En intressant uppsats som berör intriger och dramaturgi och dess känsloverkan,
enligt undertecknad en alldeles för underskattad del av komponerandet av en
berättelse. "The emotional arcs of stories are dominated by six basic shapes".
Som PDF här:
https://arxiv.org/pdf/1606.07772v2.pdf
Bara 27 sidor, inkl en massa balla diagram av deras undersökningar om hur
stories utvecklar sig. Utdrag:
"We are fundamentally driven to find and tell stories,
likened to Pan Narrans or Homo Narrativus. Stories are
encoded in art, language, and even in the mathematics of
physics: We use equations to represent both simple and
complicated functions that describe our observations of
the real world. In science, we formalize the ideas that
best fit our experience with principles such as Occam's
Razor: The simplest story is the one we should trust. We
also tend to prefer stories that fit into the molds which
are familiar, and reject narratives that do not align with
our experience. ...
While the plot captures the mechanics of a narrative and the
structure encodes their delivery, in the present work we
examine the emotional arc that is invoked through the
words used. The emotional arc of a story does not give us
direct information about the plot or the intended meaning of the story, but
rather exists as part of the whole
narrative. ...
- Three plots: In his 1959 book, Foster-Harris contends that there are three
basic patterns of plot
(extending from the one central pattern of conflict):
the happy ending, the unhappy ending, and the
tragedy [18]. In these three versions, the outcome
of the story hinges on the nature and fortune of
a central character: virtuous, selfish, or struck by
fate, respectively.
- Seven plots: Often espoused as early as elementary
school in the United States, we have the notion
that plots revolve around the conflict of an individual with either (1) him or
herself, (2) nature, (3)
another individual, (4) the environment, (5) technology, (6) the supernatural,
or (7) a higher power
[19].
-Seven plots: Representing over three decades of
work, Christopher Booker's The Seven Basic Plots:
Why we tell stories describes in great detail seven
narrative structures: [20]
– Overcoming the monster (e.g., Beowulf ).
– Rags to riches (e.g., Cinderella).
– The quest (e.g., King Solomons Mines).
– Voyage and return (e.g., The Time Machine).
– Comedy (e.g., A Midsummer Night's Dream).
– Tragedy (e.g., Anna Karenina).
– Rebirth (e.g., Beauty and the Beast).
In addition to these seven, Booker contends that
the unhappy ending of all but the tragedy are also
possible.
- Twenty plots: In 20 Master Plots, Ronald Tobias
proposes plots that include "quest", "underdog",
"metamorphosis", "ascension", and "descension"
[21].
- Thirty-six plots: In a translation by Lucille Ray,
Georges Polti attempts to reconstruct the 36 plots
that he posits Gozzi originally enumerated [22].
These are quite specific and include "rivalry of kinsmen", "all sacrificed for
passion", both involuntary
and voluntary "crimes of love" (with many more on
this theme), "pursuit", and "falling prey to cruelty
of misfortune".
The rejected master's thesis of Kurt Vonnegut—which
he personally considered his greatest contribution—
defines the emotional arc of a story on the "Beginning–
End" and "Ill Fortune–Great Fortune" axes [23]. Vonnegut finds a remarkable
similarity between Cinderella
and the origin story of Christianity in the Old Testament (see Fig. S18),
leading us to search for all such
groupings. In a recorded lecture available on YouTube
[24], Vonnegut asserted:
"There is no reason why the simple shapes of
stories can't be fed into computers, they are
beautiful shapes."
...
Schematic of how we compute emotional arcs.
The indicated uniform length segments (gap between samples) taken from the text
form the sample with fixed window
size set at Nw = 10, 000 words. The segment length is thus
Ns = (N −(Nw +1))/n for N the length of the book in words,
and n the number of points in the time series. Sliding this
fixed size window through the book, we generate n sentiment
scores with the Hedonometer, which comprise the emotional
arc"
Jag har bara hunnit skumma, men läs den - jag tror det är en intressant uppsats.
--Ahrvid
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