- Tapa blanda: 736 páginas
- Editor: CONTINUUM (1 de septiembre de 2006)
- Idioma: Inglés
- ISBN-10: 0826480373
- ISBN-13: 978-0826480378
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº34.696 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
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The Seven Basic Plots : Why We Tell Stories (Inglés) Tapa blanda – 1 sep 2006
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"This book...has mind-expanding properties. Not only for anyone interested in literature, but also for those fascinated by wider questions of how human beings organise their societies and explain the outside world to their inmost selves, it is fascinating. Katherine Sale, FT Christopher Booker's mammoth account of plot types, archetypes, their role in literary history and where Western culture has gone horribly wrong. Times Literary Supplement His prose is a model of clarity, and his lively enthusiasm for fictions of every description is infectious... The Seven Basic Plots is nevertheless one of the most diverting works on storytelling I've ever encountered. Dennis Dutton, The Washington Post This is the most extraordinary, exhilarating book. Fay Weldon, novelist An enormous piece of work, not really one book at all but at least three... nothing less than the story of all stories. Ian Hislop, editor of Private Eye This is literally an incomparable book, because there is nothing to compare it with. It goes to the heart of man's cultural evolution through the stories we have told since storytelling began. It illuminates our nature, our beliefs and our collective emotions by shining a bright light on them from a completely new angle. Original, profound, fascinating - and on top of it all, a really good read. Sir Antony Jay, co-author of Yes, Minister I have been quite bowled over by Christopher Booker's new book. It is so well planned with an excellent beginning and the contrasts and comparisons throughout are highly entertaining as well as informative and most original - and always extremely readable. John Bayley This is a truly important book, an accolade often bestowed and rarely deserved in our modern age. Dame Beryl Bainbridge"
Reseña del editor
Breathtaking in its scope and originality, "Seven Basic Plots" examines the basis of story telling in literature, film, and libretto. No one will ever see stories in the same way again. This remarkable and monumental book at last provides a comprehensive answer to the age-old riddle of whether there are only a small number of 'basic stories' in the world. Using a wealth of examples, from ancient myths and folk tales via the plays and novels of great literature to the popular movies and TV soap operas of today, it shows that there are seven archetypal themes which recur throughout every kind of storytelling. But this is only the prelude to an investigation into how and why we are 'programmed' to imagine stories in these ways, and how they relate to the inmost patterns of human psychology. Drawing on a vast array of examples, from Proust to detective stories, from the Marquis de Sade to E.T., Christopher Booker then leads us through the extraordinary changes in the nature of storytelling over the past 200 years, and why so many stories have 'lost the plot' by losing touch with their underlying archetypal purpose. Booker analyses why evolution has given us the need to tell stories and illustrates how storytelling has provided a uniquely revealing mirror to mankind's psychological development over the past 5000 years. This seminal book opens up in an entirely new way our understanding of the real purpose storytelling plays in our lives, and will be a talking point for years to come.Ver Descripción del producto
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- An introduction to the seven basic plots and their many associated archetypes that work in combination.
- A system. It can be applied to any story you know (and it’s fun to do so).
- A tool. An almost obligatory read for anyone who invents stories. If you don’t tap on this 37 years research you’re simple on disadvantage. It’s not that everyone should follow the author's guidance in order to write stories that fulfill the self and not the ego, on the contrary, a writer might find herself not wanting to do so, but the structure the book provides is a map to decide when and how to move away or within the Self archetypical path.
- A partial and moral history of literature, and an even more partial and equally moral history of Western culture.
- A psychoanalis of our modern western culture, throughout the stories we invent and the ones we tell ourselves. And it's, indeed, a moralistic analysis, something that can pull the nerves of a grownup reader.
- A compendium of great and diverse stories.
- A source of unexpected spoilers (if you read the book be very careful with this, for it reveals the plot of so many stories and books, that chances are it will spoil something you want to read. I had to overlook several paragraphs when reading).
The Odyssey versus Ulysses, E.T. versus Encounters of the Third Type, Terminator versus Frankenstein… in each comparison the author prefers the first and rejects the second option. Interestingly, this framework (or as I called it: system) allows strange and yet consistent and justifiable comparisons, such as Jaws versus Gilgamesh (borrowing a famous gedankenexperiment from Chomsky, if someone told these two stories to a martian, it will think they are just two slightly different versions of the same). It’s refreshing to see how the author jumps without loss of continuity from Hollywood B movies to universal classics. And this tool's lack of respect for the boundaries between high and low cultures (the below-the-line and the above-the-line archetype), which is itself a moral construct, compensates, in my opinion, its otherwise unbearable moralism regarding other aspects (ego versus self).
In summary: vaccinate yourself against moralism, enjoy this awesome construction and the many stories it contains, be aware of spoilers, and use what you learned to write great new stories.
In some ways this book is not as immediately useful as, say, 'Save the Cat' and others like it are useful for screenwriting. However, I think this book delivers the groundwork for stories--the groundwork beyond which we cannot go. Its information is more fundamental than the 'Save the Cat' types. If I were a literature professor, this might well be the book I started with.
As he moves into how stories have gone rogue, trying to escape from the archetypal patterns, the book begins to become repetitive, and the tone begins to change from that of confident lecturer to exasperated preacher. But these chapters are still valuable.
Then he applies the archetypes to history, and things become not only repetitive, especially if you already know something about history in general and the history of religion in particular, but also without clear focus. I'm not sure he is always correct with either his facts or his analysis, although generally I consider him authoritative. It also seems to me that he is projecting the archetypes onto history, which is one of the things he warns against.
Still, I find his thesis very useful, which in short is that as we lose touch with our religious ties to God, and therewith our ties to the Self (Jung), we become isolated and egotistical, on both the individual level as well as the national level. And, furthermore, that story structure can tell us how we are deficient if only we have the humility to look for it, again, both as groups, even nations, and as individuals. Ultimately these could be the most profound and important chapters of the book, but a good editor would have been useful to sort them out. For me, they were a bonus: not what I bought the book for, but a welcome introduction to the possibility of using stories to heal ourselves.