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Date 21-05-2012
Time 14:35:37

Last Year in Marienbad

AskWhy! Marienbad Muser Plot Generator

Abstract

Gozzi, the author of Turandot, according to Goethe, had found 36 tragic, by which he meant dramatic, situations, but he never published them. In 1921, George Polti, a French academic in his fifties, claimed to have rediscovered these 36 plots. He maintained they correspond to the no more than 36 emotions, which he believed humans can experience. PoltiPlot is presented elsewhere but here is a refinement, an indulgence. Polti in Marienbad! It serves the same purpose, but is set Last Year in Marienbad, also simulated in these pages.
Page Tags: Plot, Generator, Plot Generator, Story Generator, George Polti, 36 Dramatic Situations, Last Year in Marienbad
Site Tags: contra Celsum CGText Marduk dhtml art Christendom Israelites morality the cross Conjectures tarot Hellenization Truth Deuteronomic history Belief God’s Truth inquisition
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We feel like laughing when we consider the solemn commandment, “thou shalt not kill”, as a bishop blesses the army.
George Bataille, Eroticism (1962)

© 1998 The Adelphiasophists and AskWhy! Publications. Freely distribute as long as it is unaltered and properly attributed
Contents Updated: Saturday, 9 August 2008

The Marienbad Muser Story Teller

As we have already said in connexion with PoltiPlot, if a computer could write you a story, then you as a storyteller are redundant. These pages are to stimulate your thinking, and help you overcome writer’s block. The plot outliner simply juxtaposes, not in any logical way, some Polti categories to give you ideas for plots. By merging with the Marienbad simulation, the musings of the Polti plot muser bring a degree more unity into the schema which emerges, but not much. It simply helps to remind us or convince ourselves that the attempt is to suggest one story, not several. The logic of your own story is your’s, but an exercise in creativity is to take one of these pages, and to force yourself to make a story, using the elements suggested, it being your choice, of course, what you consider the primary plot and what the subplots.

I should know… But it is hard to recall things…Ah, now I am beginning to remember. A luxury hotel for its elegant clientele, maybe that is the scene, its baroque French design seemed geometric, perpetually orthogonal, though punctuated with classical looking pictures and statues, and decorated with elaborate ornamentation. Something different, perhaps more horrible still, will haunt you, but it haunts me. Why? What got me here? Did the villain manipulate me into this tragedy—or out of it, like a spider and a fly, as in Casablanca where Elsa’s wiles lure Rick into helping her, only to destroy the life he has built? The place was just like this one. You just giggled. Sometimes, you seem to be anxious and distracted. But, of course, you do remember. You must remember. One misty morning, I went up to your bedroom. It was a plush bedroom of oriental silks, finely carved wardrobes and four poster beds. It seems as if you were waiting, silently, seductively, lying across the sateen sofain a provocative posture. The details seem indistinct to me, now, but you accepted that you did remember, eventually. Was there another factor involved?—a subtle third element? Was it there explicitly, and only I failed to notice it? Or was it introduced imperceptibly? Was it an instrument, the relationship of some disputed object with its previous owners, and even its own preferences? The architecture of the hotel and its grounds seems unnatural, geometrical, lifeless. The park is a vast Versailles garden reassuringly arranged, with clipped bushes, and regular paths where we may walk with measured steps, side by side, day after day, within arm’s reach but without ever coming any closer to each other. A vast window opening on to the terrace from the gaming room affords us a view of the main avenue with its tiny figures moving from station to station as if choreographed. They seem like simulacra and not real people.

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Last uploaded: 20 December, 2010.

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The anthropologist, Alfred Reginald Radcliffe-Brown (1881-1955), has pointed out that religious fear is self-perpetuating. He argues that, for pastors and their sheep, the objective of ritual is to relieve the believer of insecure feelings or danger from evil. But it also serves to remind the worshipper of their feeling of insecurity. If it were not for the existence of rituals and the beliefs associated with them, people would feel less anxious. So, while some think magic, ritual and religion give men confidence, comfort and a sense of security, they are simultaneously inculcating in them fears and anxieties of which people would otherwise be much less conscious.

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The Wisdom of Carl
If a given phenomenon can already be plausibly understood in terms of matter and energy, why should we hypothesize that something else, something for which there is as yet no other good evidence, is responsible?
Carl Sagan, The Demon Haunted World (1996)