Сень сюжетов (книга)
The Seven Basic Plots. Why We Tell Stories
Publisher: Continuum
2005
From The Epic of Gilgemesh to Jaws and Schindler's List, Christopher Booker examines in detail the stories that underlie literature and the plots that are basic to story telling through the ages. In this magisterial work he examines the plots of films, opera libretti and the contemporary novel and short story. Underlying the stories he examines are Seven Basic Plots: rags to riches; the quest; voyage and return; the hero as monster; rebirth and so on. Booker shows that the images and stories serve a far deeper and more significant purpose in our lives than we have realised. In the definition of these basic plots, Booker shows us we are entering a realm in which the recognition of the plots proves only to be the gateway. We are in fact uncovering a kind of hidden universal language: a nucleus of situations and figures which are the very stuff from which stories are made. With Booker's exploration, there is literally no story in the world which cannot be seen in a new light: we have come to the heart of what stories are about and why we tell them. Here, Christopher Booker moves on from some of the themes he outlined in his hugely bestselling book The Neophiliacs. Seven Basic Plots is unquestionably his most important book to date.
Table of contents :
Cover......Page 1
Contents......Page 8
Introduction and Historical Notes......Page 10
PART ONE: THE SEVEN GATEWAYS TO THE UNDERWORLD......Page 24
Prologue to Part One......Page 26
1 Overcoming the Monster......Page 30
2 The Monster (II) and the Thrilling Escape From Death......Page 40
3 Rags to Riches......Page 60
4 The Quest......Page 78
5 Voyage and Return......Page 96
6 Comedy......Page 116
7 Comedy (II): The Plot Disguised......Page 140
8 Tragedy (I): The Five Stages......Page 162
9 Tragedy (II): The Divided Self......Page 182
10 Tragedy (III): The Hero as Monster......Page 190
11 Rebirth......Page 202
12 The Dark Power: From Shadow into Light......Page 224
Epilogue to Part One: The Rule of Three......Page 238
PART TWO: THE COMPLETE HAPPY ENDING......Page 246
Prologue to Part Two......Page 248
13 The Dark Figures ......Page 250
14 Seeing Whole ......Page 262
15 The Perfect Balance......Page 276
16 The Unrealised Value......Page 286
17 The Archetypal Family Drama......Page 298
18 The Light Figures......Page 306
19 Reaching the Goal......Page 320
20 The Fatal Flaw......Page 338
PART THREE: MISSING THE MARK......Page 354
21 The Ego Takes Over (I): Enter the Dark Inversion......Page 356
22 The Ego Takes Over (II): The Dark and Sentimental Versions......Page 376
23 The Ego Takes Over (III): Quest, Voyage and Return, Comedy......Page 394
24 The Ego Takes Over (IV): Tragedy and Rebirth......Page 408
25 Losing the Plot: Thomas Hardy - A Case History......Page 422
26 Going Nowhere: The Passive Ego. The Twentieth-Century Dead End - From Chekhov to Close Encounters......Page 434
27 Why Sex and Violence? The Active Ego. The Twentieth-Century Obsession: From de Sade to The Terminator......Page 464
28 Rebellion Against'The One': From Job to Nineteen Eighty-Four......Page 504
29 The Mystery......Page 514
30 The Riddle of the Sphinx: Oedipus and Hamlet......Page 526
PART FOUR: WHY WE TELL STORIES......Page 550
31 Telling Us Who We Are: Ego versus Instinct......Page 552
32 Into the Real World: The Ruling Consciousness......Page 580
33 Of Gods and Men: Reconnecting with 'The One'......Page 602
34 The Age of Loki: The Dismantling of the Self......Page 654
Epilogue: The Light and the Shadows on the Wall......Page 708
Author's Personal Note......Page 712
Glossary of Terms......Page 716
Bibliography......Page 720
Index of Stories Cited......Page 724
General Index......Page 729
Publisher: Continuum
2005
From The Epic of Gilgemesh to Jaws and Schindler's List, Christopher Booker examines in detail the stories that underlie literature and the plots that are basic to story telling through the ages. In this magisterial work he examines the plots of films, opera libretti and the contemporary novel and short story. Underlying the stories he examines are Seven Basic Plots: rags to riches; the quest; voyage and return; the hero as monster; rebirth and so on. Booker shows that the images and stories serve a far deeper and more significant purpose in our lives than we have realised. In the definition of these basic plots, Booker shows us we are entering a realm in which the recognition of the plots proves only to be the gateway. We are in fact uncovering a kind of hidden universal language: a nucleus of situations and figures which are the very stuff from which stories are made. With Booker's exploration, there is literally no story in the world which cannot be seen in a new light: we have come to the heart of what stories are about and why we tell them. Here, Christopher Booker moves on from some of the themes he outlined in his hugely bestselling book The Neophiliacs. Seven Basic Plots is unquestionably his most important book to date.
Table of contents :
Cover......Page 1
Contents......Page 8
Introduction and Historical Notes......Page 10
PART ONE: THE SEVEN GATEWAYS TO THE UNDERWORLD......Page 24
Prologue to Part One......Page 26
1 Overcoming the Monster......Page 30
2 The Monster (II) and the Thrilling Escape From Death......Page 40
3 Rags to Riches......Page 60
4 The Quest......Page 78
5 Voyage and Return......Page 96
6 Comedy......Page 116
7 Comedy (II): The Plot Disguised......Page 140
8 Tragedy (I): The Five Stages......Page 162
9 Tragedy (II): The Divided Self......Page 182
10 Tragedy (III): The Hero as Monster......Page 190
11 Rebirth......Page 202
12 The Dark Power: From Shadow into Light......Page 224
Epilogue to Part One: The Rule of Three......Page 238
PART TWO: THE COMPLETE HAPPY ENDING......Page 246
Prologue to Part Two......Page 248
13 The Dark Figures ......Page 250
14 Seeing Whole ......Page 262
15 The Perfect Balance......Page 276
16 The Unrealised Value......Page 286
17 The Archetypal Family Drama......Page 298
18 The Light Figures......Page 306
19 Reaching the Goal......Page 320
20 The Fatal Flaw......Page 338
PART THREE: MISSING THE MARK......Page 354
21 The Ego Takes Over (I): Enter the Dark Inversion......Page 356
22 The Ego Takes Over (II): The Dark and Sentimental Versions......Page 376
23 The Ego Takes Over (III): Quest, Voyage and Return, Comedy......Page 394
24 The Ego Takes Over (IV): Tragedy and Rebirth......Page 408
25 Losing the Plot: Thomas Hardy - A Case History......Page 422
26 Going Nowhere: The Passive Ego. The Twentieth-Century Dead End - From Chekhov to Close Encounters......Page 434
27 Why Sex and Violence? The Active Ego. The Twentieth-Century Obsession: From de Sade to The Terminator......Page 464
28 Rebellion Against'The One': From Job to Nineteen Eighty-Four......Page 504
29 The Mystery......Page 514
30 The Riddle of the Sphinx: Oedipus and Hamlet......Page 526
PART FOUR: WHY WE TELL STORIES......Page 550
31 Telling Us Who We Are: Ego versus Instinct......Page 552
32 Into the Real World: The Ruling Consciousness......Page 580
33 Of Gods and Men: Reconnecting with 'The One'......Page 602
34 The Age of Loki: The Dismantling of the Self......Page 654
Epilogue: The Light and the Shadows on the Wall......Page 708
Author's Personal Note......Page 712
Glossary of Terms......Page 716
Bibliography......Page 720
Index of Stories Cited......Page 724
General Index......Page 729