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From Alexandre Dumas to Raymond Chandler, Martin Green examines adventure stories and their role in spreading the ideology of the modern nation-state. Seven Types of Adventure Tale studies widely read and influential adventure tales of the eighteenth through the twentieth centuries in the respectable literary forms. Some of the authors considered are Dumas, Scott, Defoe, Cooper, Verne, Buchan, Kipling, Twain, and Chandler. These stories, though adapted and copied innumerable times and read in their native languages and in translation throughout the Western world, have been largely neglected by literary theorists. Green offers a way to take the adventure tale seriously by positioning these stories within a new theoretical framework. Green places the tales in seven categories organized according to the type of central character in each story. The first category is the Robinson Crusoe story, which portrays the myth of entrepreneurial capitalism and &"modern&" or postfeudal politics. This story has appeared in one hundred well-known versions, including The Swiss Family Robinson and Lord of the Flies, since Defoe published his version. The second category is the Three Musketeers story, mythifying the birth of the French state and, by extension, the birth of other nation-states. The third is the Frontiersman story, originally about American history but a powerful myth far beyond U.S. borders. The fourth, the Avenger story, is tied to the myth of an avenging return by Napoleon to France, but more generally to a threat to the bourgeois ruling classes of the nineteenth-century Europe. The fifth is the Wanderer story, which relates to escaping from social discipline but also to spying and disguises and crossing frontiers of all kinds. The sixth, the Saga story, is a revision of the Icelandic and Teutonic sagas and reflects the myth of resurgent Germany after its unification in 1870. And the seventh category, more specific to the twentieth century, is the Hunted Man story, in which an individual hero is pitted against social juggernaut, such as the state, the Mafia, or a giant corporation. Seven Types of Adventure Tale is the second volume of a three-volume study of adventure by Green that began with The Robinson Crusoe Story.
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.
Boys and Girls in No Man's Land examines how the First World War entered the lives and imaginations of Canadian children. Drawing on educational materials, textbooks, adventure tales, plays, and Sunday-school papers, this study explores the role of children in the nation's war effort. Susan R. Fisher also considers how the representation of the war has changed in Canadian children's literature. During the war, the conflict was invariably presented as noble and thrilling, but recent Canadian children's books paint a very different picture. What once was regarded a morally uplifting struggle, rich in lessons of service and sacrifice, is now presented as pointless slaughter. This shift in tone and content reveals profound changes in Canadian attitudes not only towards the First World War but also towards patriotism, duty, and the shaping of the moral citizen.
Examines seven types of ambiguity, providing examples of it in the writings of Shakespeare, Wordsworth, and T.S. Eliot.
Seven Types of Ambiguity is a psychological thriller and a literary adventure of breathtaking scope. Celebrated as a novelist in the tradition of Jonathan Franzen and Philip Roth, Elliot Perlman writes of impulse and paralysis, empty marriages, lovers, gambling, and the stock market; of adult children and their parents; of poetry and prostitution, psychiatry and the law. Comic, poetic, and full of satiric insight, Seven Types of Ambiguity is, above all, a deeply romantic novel that speaks with unforgettable force about the redemptive power of love. The story is told in seven parts, by six different narrators, whose lives are entangled in unexpected ways. Following years of unrequited love, an out-of-work schoolteacher decides to take matters into his own hands, triggering a chain of events that neither he nor his psychiatrist could have anticipated. Brimming with emotional, intellectual, and moral dilemmas, this novel-reminiscent of the richest fiction of the nineteenth century in its labyrinthine complexity-unfolds at a rapid-fire pace to reveal the full extent to which these people have been affected by one another and by the insecure and uncertain times in which they live. Our times, now.
This sweet, funny novel follows fifth-grader Genie Kunkle through a tumultuous year. From the first day of school, Genie knows there will be good, bad, and in-between. The good? She’s in homeroom with her best friend, Sarah. The bad? Sarah’s friend from camp, Blair, is a new student at their school, and is itching to take Genie’s place as Sarah’s BFF. The in-between? Genie is excited to be elected to write her class’s blog, where she’s tasked with tracking the wishes and dreams of her class. But expressing her opinion in public can be scary—especially when her opinion might make the rest of her class upset. Elisabeth Dahl authentically captures the ups and downs of a tween girl’s life, and the dramas—both little and big—that fill the scary transition between childhood and adolescence. UPraise for Genie Wishes/u "Girls should identify and mothers should approve of this gentle tale of growing up." —Kirkus Reviews "Upbeat slice-of-life novel." —Publishers Weekly "Here’s to reading about Genie’s sixth-grade year soon." —Booklist "The author has a keen eye for the tween girl experience: Genie’s plans for the future involve living right by her best friend and working together as dolphin trainers, while the highlight of her summer is the fact that her other friend just joined the pool. This will no doubt resonate with tween girls, and it has the charm and the discussion fodder to make an excellent mother-daughter book club selection." —Bulletin of the Center for Children's Books
Beatrice awakens after an eight-hundred-year sleep and travels throughout East Germany with the help of socialist trolley driver Laura Salman.
Pinocchio, The Tale of a Puppet follows the adventures of a talking wooden puppet whose nose grew longer whenever he told a lie and who wanted more than anything else to become a real boy.As carpenter Master Antonio begins to carve a block of pinewood into a leg for his table the log shouts out, "Don't strike me too hard!" Frightened by the talking log, Master Cherry does not know what to do until his neighbor Geppetto drops by looking for a piece of wood to build a marionette. Antonio gives the block to Geppetto. And thus begins the life of Pinocchio, the puppet that turns into a boy.Pinocchio, The Tale of a Puppet is a novel for children by Carlo Collodi is about the mischievous adventures of Pinocchio, an animated marionette, and his poor father and woodcarver Geppetto. It is considered a classic of children's literature and has spawned many derivative works of art. But this is not the story we've seen in film but the original version full of harrowing adventures faced by Pinnocchio. It includes 40 illustrations.