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The collective part involves a threat to the hero’s in-group (commonly the nation) from some enemy out-group.
However, the isolation of literary universals may also have consequences for our understanding of individual works. I have argued that a limited number of such genres recur across a range of unrelated traditions (on the nature of these genres, see “). However, their cross-cultural recurrence suggests their cognitive and affective salience and even predominance.
For this reason, the cross-cultural genres are often more valuable in categorizing literary works or parts of works than are the historical categories to which works were assigned by their contemporaries.
Second, “unrelated” means that the traditions have distinct origins and have not influenced one another extensively. Stories are not confined to the cross-cultural genres.
Thus, English and Twentieth-Century Chinese literatures are related; evidence for cross-cultural patterns would have to draw on Chinese and European works prior to the period of modern, European colonialism. On the other hand, as already noted, the cross-cultural genres tend to be particularly salient and prominent; traditions appear more likely to differ in recurring patterns of particularization than in the main genres themselves.(deviation from a prototype).