Journal articles: 'Literature of Daniel Defoe'

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Marshall, Ashley. "Daniel Defoe as Satirist." Huntington Library Quarterly 70, no. 4 (December 2007): 553–76. http://dx.doi.org/10.1525/hlq.2007.70.4.553.

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Troy, Mark. "The Blank Page of Daniel Defoe." Orbis Litterarum 46, no. 1 (April 1991): 1–12. http://dx.doi.org/10.1111/j.1600-0730.1991.tb01901.x.

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Bignami, Marialuisa, and John Richetti. "The Life of Daniel Defoe." Modern Language Review 102, no. 4 (October 1, 2007): 1143. http://dx.doi.org/10.2307/20467571.

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Rogers, S. "The Ancestry of Daniel Defoe." Notes and Queries 55, no. 3 (July 1, 2008): 306–8. http://dx.doi.org/10.1093/notesj/gjn103.

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Loar, Christopher F. "Plague’s Ecologies: Daniel Defoe and the Epidemic Constitution." Eighteenth-Century Fiction 32, no. 1 (October 1, 2019): 31–53. http://dx.doi.org/10.3138/ecf.32.1.31.

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Sill, Geoffrey. "An Essay on the Original of Literature by Daniel Defoe." Scriblerian and the Kit-Cats 42, no. 1 (2009): 72–73. http://dx.doi.org/10.1353/scb.2009.0043.

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Livingstone, C. "JOHN RICHETTI, The Life of Daniel Defoe." Notes and Queries 54, no. 1 (March 1, 2007): 110–11. http://dx.doi.org/10.1093/notesj/gjm050.

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Swaminathan, Srividhya. "Captain Singleton by Daniel Defoe, ed. Manushag N. Powell." Eighteenth-Century Fiction 33, no. 2 (December 1, 2020): 325–27. http://dx.doi.org/10.3138/ecf.33.2.325.

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Backscheider, Paula R. "Robert Harley to Daniel Defoe: A New Letter." Modern Language Review 83, no. 4 (October 1988): 817. http://dx.doi.org/10.2307/3730896.

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Hassoon, Mohammed Naser. "Epidemic as Metaphor: the Allegorical Significance of Epidemic Accounts in Literature." Studia Universitatis Babeș-Bolyai Philologia 66, no. 3 (September 20, 2021): 201–18. http://dx.doi.org/10.24193/subbphilo.2021.3.13.

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"Epidemic as Metaphor: The Allegorical Significance of Epidemic Accounts in Literature. Our paper searches for those common elements in selected literary representations of the plagues that have affected humanity. As a theoretical framework for our research, we have considered the contributions of Peta Michell, who equals pandemic with contagion and sees it as a metaphor; Susan Sontag views illness as a punishment or a sign, the subject of a metaphorization. Christa Jansohn sees the pest as a metaphor for an extreme form of collective calamity. For René Girard, the medical plague is a metaphor for the social plague, and Gilles Deleuze thinks that fabulation is a “health enterprise.” From the vast library of the pandemic, we have selected examples from Antiquity to the 19th century: Thucydides, Lucretius, Boccaccio, Daniel Defoe, Mary Shelley, Edgar Allan Poe, and Jack London. For Camus, the plague is an allegory of evil, oppression and war. Our paper explores the lessons learned from these texts, irrespective of their degree of factuality or fictionality, pointing out how the plague is used metaphorically and allegorically to reveal a more profound truth about different societies and humanity. Keywords: epidemic, plague, The Decameron (Boccaccio), A Journal of the Plague Year (Daniel Defoe), King Pest (Edgar Allan Poe), The Last Man (Mary Shelley), The Nature of Things (Lucretius), The Plague (Albert Camus), The Scarlet Plague (Jack London), The War of the Peloponnesians (Thucydides) "

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Tadié, Alexis. "Les hésitations de la fiction dans Roxana de Daniel Defoe." Études anglaises 55, no. 3 (2002): 273. http://dx.doi.org/10.3917/etan.553.0273.

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Lipski, Jakub. "Obraz wyspy Crusoe: Defoe, Rousseau, Stothard." Porównania 25 (December 15, 2019): 85–99. http://dx.doi.org/10.14746/por.2019.2.5.

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W niniejszym tekście analizie poddane są wybrane ilustracje Thomasa Stotharda przedstawiające wydarzenia z powieści Robinson Crusoe Daniela Defoe. Wyeksponowanie tła naturalnego, wyraźnie widoczne w omawianych ilustracjach, odczytywane jest w kontekście sentymentalnych interpretacji powieści Defoe, które – inaczej niż tekst oryginalny, którego autor wydaje się być nieczuły na piękno natury – zdecydowanie pozytywnie wartościowały samotne życie w harmonii z naturą. Ten aspekt ilustracji Stotharda interpretowany jest w kontekście myśli J. J. Rousseau, a w szczególności tego, jak francuski filozof odczytywał powieść Defoe.

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PARKINSON, JOHN M. "DANIEL DEFOE: ACCOMPTANT TO THE COMMISSIONERS OF THE GLASS DUTY." Notes and Queries 45, no. 4 (December 1, 1998): 455–56. http://dx.doi.org/10.1093/nq/45.4.455-b.

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Livingstone, C. "JOHN MARTIN, Beyond Belief: The Real Life of Daniel Defoe." Notes and Queries 55, no. 3 (July 1, 2008): 376–78. http://dx.doi.org/10.1093/notesj/gjn088.

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Vardanian, Maryna. "Translating children’s literature of Ukrainian Diaspora as an implementation of the educational ideal of Ukrainian abroad." SHS Web of Conferences 75 (2020): 01002. http://dx.doi.org/10.1051/shsconf/20207501002.

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This essay examines the implementation of the educational ideal of Ukrainian Abroad in the Ukrainian Diasporic translation of children’s literature by such authors as Dhan Gopal Mukerji, Louis Henri Boussenard, Oscar Wilde, Daniel Defoe, Rudyard Kipling, etc. I claim that this ideal was formed in the 20th century in different cultural centers, united by Ukrainian World Congress. The Second Ukrainian World Congress approved main principles of the educational ideal in 1973, summarizing previous achievements. It is based on such human values as love, respect, and tolerance. All of these values got a Ukrainian sense. My focus in this article is on how these principles of the educational ideal are fulfilled in the translation of children’s literature of Ukrainian Diaspora.

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McDowell, Paula. "Defoe and the Contagion of the Oral: Modeling Media Shift in A Journal of the Plague Year." PMLA/Publications of the Modern Language Association of America 121, no. 1 (January 2006): 87–106. http://dx.doi.org/10.1632/003081206x96122.

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This essay contributes to a history of evolutionary models of media shift through a reading of Daniel Defoe. Published in 1722 but depicting events of 1664–65, A Journal of the Plague Year represents temporal distance in terms of shifts in modes of communication. Modes that in reality are coexistent and interdependent are here represented as parts of a linear, progressive development. Defoe helped shape an emergent hierarchy of media forms with print at its apex. A key structuring binary of this text opposes a backward past associated with orality to a new, print-oriented modernity linked to the collection and reproduction of accurate statistics and true report. The essay first examines Defoe's handling of the “Women-Searchers”–agents employed to search bodies to determine cause of death, whose oral reports formed the basis for the printed bills of mortality–then considers the depiction of rumors and an oral street culture that is associated with old women, error, and contagious superstition. (PMcD)

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Hansen, Adam. "Criminal Conversations: Rogues, Words and the World in the Work of Daniel Defoe." Literature & History 13, no. 2 (November 2004): 26–48. http://dx.doi.org/10.7227/lh.13.2.2.

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Mayer, Robert. "Not Adaptation but "Drifting": Patrick Keiller, Daniel Defoe, and the Relationship between Film and Literature." Eighteenth-Century Fiction 16, no. 4 (2004): 803–27. http://dx.doi.org/10.1353/ecf.2004.0048.

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Wilkinson, Greg. "Epidemics: A Journal of the Plague Year, London, 1665 – by Daniel Defoe – psychiatry in literature." British Journal of Psychiatry 219, no. 2 (July 28, 2021): 459. http://dx.doi.org/10.1192/bjp.2021.34.

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Waterman, Bryan. "Plague Time (Again)." American Literature 92, no. 4 (October 6, 2020): 759–66. http://dx.doi.org/10.1215/00029831-8780971.

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Abstract This essay probes literary representations of pandemic temporalities to argue that plague reshapes our sense and experience of time in specific ways: It opens contact with the epidemic past to restructure historical understanding and attendant forms of identity; it promotes utopian or cosmopolitan fantasies of shared vulnerability and future inoculation; it marks survivors with a kind of zombie consciousness in an unending, limitless present. Drawing on American works from Charles Brockden Brown’s Arthur Mervyn (1799–1800) to Katherine Anne Porter’s Pale Horse, Pale Rider (1939) to Tony Kushner’s Angels in America (1992–95), this essay situates their discussions of plague time within broader traditions stretching from Thucydides to Daniel Defoe to Albert Camus.

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Falkenhayner, Nicole. "Permeable Boundaries: Daniel Defoe’s A Journal of the Plague Year (1722) and Jurij M. Lotman’s Semiosphere." Anglia 137, no. 1 (March 14, 2019): 70–83. http://dx.doi.org/10.1515/ang-2019-0005.

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Abstract This article argues that the cultural semiotic model of the “semiosphere” by Lotman (Lotman, Grishakova and Clark 2009) can be productively employed to interpret the complex layers of social order and liminal sociality in Daniel Defoe’s A Journal of the Plague Year (1722). Defoe’s text, analysed with a cultural semiotic approach, appears as more than a shocking re-narration of a historical event, as it becomes possible to read this proto-novel as a text that showcases and makes experiential the entanglement of social breakdown and social needs. London during the plague is shown as a space that labours to enforce both discursive as well as physical borders, but fails in both instances: The lively media public which Defoe depicts for the mid-17th century is shown as failing to establish boundaries of ‘facts’ and ‘fake news’, while single human beings constantly defy the shutting orders of the authorities, or flee the city illegally. In the semiosphere of a London constituted by a state of exception, Defoe strategically inserts permeable boundaries to show a survival of conviviality in the face of the breakdown of society. The main topoi of Lotman’s cultural semiotic model – explosion and periphery – illustrate both the discursive disorientation during the plague as well as the spatial peripheries of the city as sites of liminal social survival in the face of catastrophe.

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Kacprzak, Marta. "La ermoza istorya de Robinzon o la mizerya: Sephardi Versions of Robinson Crusoe." Colloquia Humanistica, no. 9 (December 31, 2020): 223–32. http://dx.doi.org/10.11649/ch.2020.014.

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La ermoza istorya de Robinzon o la mizerya: Sephardi Versions of Robinson CrusoeIn the second half of the 19th century the Haskalah, an intellectual movement whose objective was to educate and westernize Eastern European Jews, also reached the Sephardic communities in the Ottoman Empire. As a result, there emerged Sephardic modern secular literature, represented mainly by narrative fiction, theatre plays and press. It should be added that modern Sephardic literature is primarily based on translations or adaptations of Western novels. Among these texts we find Sephardic editions of classics of European literature, such as Romeo and Juliet by William Shakespeare, Robinson Crusoe by Daniel Defoe and Gulliver’s Travels by Jonathan Swift.I have found four different versions of Robinson Crusoe that were written in Judeo-Spanish and edited in aljamía. Two of them were published serially in Sephardi press, one in Salonica in 1881 and the other in Constantinople in 1900. The other two editions were prepared by Ben Tsiyon Taragan and published as complete versions, the first one in Jerusalem in 1897 and the second one in Constantinople in 1924. The aim of this paper is to provide a brief analysis of the Sephardic adaptations of Robinson Crusoe by Taragan. La ermoza istorya de Robinzon o la mizerya: sefardyjska wersja Robinsona CrusoeHaskala, zwana także Żydowskim Oświeceniem, to ruch intelektualny, którego celem było odrodzenie kulturowe i społeczne Żydów z EuropyWschodniej oraz ich integracja ze środowiskiem lokalnym. W drugiej połowie XIX wieku Haskala objęła także społeczność Żydów sefardyjskich zamieszkujących tereny należące do Imperium Osmańskiego, w wyniku czego powstała współczesna, świecka literatura sefardyjska reprezentowana głównie przez prozę, sztuki teatralne oraz prasę. Warto dodać, że współczesna literatura sefardyjska oparta jest przede wszystkim na przekładach lub adaptacjach powieści uważanych za klasykę literatury europejskiej, takich jak Romeo i Julia Williama Szekspira, Robinson Crusoe Daniela Defoe czy Podróże Guliwera Jonathana Swifta.W trakcie prowadzonych przeze mnie badań natrafiłam na cztery różne judeo-hiszpańskie wersje Robinsona Crusoe, które zapisane zostały alfabetem hebrajskim, tzw. pismem Rasziego. Dwie z nich ukazały się w prasie sefardyjskiej, jako powieść w odcinkach, pierwsza w Salonikach w 1881 r., a druga w Konstantynopolu w 1900 r. Pozostałe dwie, autorstwa Ben Tsiyona Taragana, zostały wydane w całości, pierwsza w Jerozolimie w 1897 r., druga zaś w Konstantynopolu w 1924 r. Celem tego artykułu jest prezentacja oraz krótka analiza sefardyjskich adaptacji Robinsona Crusoe autorstwa B. T. Taragana.

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Alayrac-Fielding, Vanessa. "« Like a Passenger » : circulation(s) dans Roxana: or, the Fortunate Mistress (1724) de Daniel Defoe." Études anglaises 70, no. 3 (2017): 323. http://dx.doi.org/10.3917/etan.703.0323.

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Keymer, T. "P. N. FURBANK and W. R. OWENS. A Political Biography of Daniel Defoe." Review of English Studies 58, no. 237 (November 12, 2007): 736–38. http://dx.doi.org/10.1093/res/hgm106.

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Suciu, Andreia Irina, and Mihaela Culea. "From Defoe to Coetzee’s Foe/Foe through Authorship." Baltic Journal of English Language, Literature and Culture 11 (2021): 121–37. http://dx.doi.org/10.22364/bjellc.11.2021.08.

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The article investigates the concept of authorship in the works of two authors separated by three centuries, namely, Daniel Defoe and J. M. Coetzee, both concerned, in different ways, with aspects regarding the origin and originators of literary works or with the act of artistic creation in general. After a brief literature review, the article focuses on Coetzee’s contemporary revisitation of the question of authorship and leaps back and forth in time from Defoe’s Robinson Crusoe (1719) to Coetzee’s Foe (1986). The purpose is that of highlighting the multiple perspectives (and differences) regarding the subject of authorship, including such notions and aspects as: canonicity related to the act of writing and narrating, metafiction, self-reflexivity and intertextuality, silencing and voicing, doubling, bodily substance and the substance of a story, authenticity, (literary) representation and the truth, authoring, the author’s powers, the relation between author and character or between narrator and story, authorial self-consciousness, agency, or ambiguity. The findings presented in the article show that both works are seminal in their attempts to define and redefine the notion of authorship, one (Defoe) concerned with the first literary endeavours of establishing the roles of professional authorship in England, while the other (Coetzee), intervenes in existing literary discussions of the late twentieth century concerning the postmodern author and (the questioning of or liberation of the text from) his powers.

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Bubak, Grzegorz. "Film Zostawcie Robinsona! czyli węgiersko-kubańska interpretacja przygód bohatera powieści Defoe oraz inne filmowe adaptacje losów Robinsona Crusoe." Porównania 25 (December 15, 2019): 127–41. http://dx.doi.org/10.14746/por.2019.2.8.

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Historia Robinsona Crusoe została w filmie opowiedziana wielokrotnie, czasem z dochowaniem wierności oryginałowi literackiemu, częściej z licznymi odstępstwami i mniej lub bardziej pomysłowymi wariantami. Twórcy różnej rangi i autoramentu wpisywali przygody bohatera w liczne schematy gatunkowe, poczynając – w sposób najbardziej naturalny – od filmu przygodowego, a kończąc na komedii i science fiction. Inspiracji dostarczał raczej Daniel Defoe niż prototyp jego bohatera – Alexander Selkirk. Co ciekawe, daleko idące transkrypcje przygód Robinsona pojawiły się już w latach trzydziestych ubiegłego wieku. O tym, co działo się wcześniej, niewiele wiadomo. Filmy, o których informacje można znaleźć, przeważnie uchodzą za zaginione. W swoim tekście piszę o węgiersko-kubańskiej wersji przygód Robinsona Crusoe oraz o innych filmach, które w pewnym stopniu mogły być dla reżysera tego dzieła, Pétera Tímára inspiracją.

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Helena, Lucia. "A literatura como passagem: reflexões em torno das ficções em desassossego." Alea : Estudos Neolatinos 11, no. 1 (June 2009): 111–29. http://dx.doi.org/10.1590/s1517-106x2009000100010.

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Este artigo trata do uso ficcional do naufrágio como metáfora em textos do século XVIII, tais como o Robinson Crusoe, de Daniel Defoe, e o Émile, de Jean-Jacques Rousseau, tanto quanto em romances contemporâneos, como O náufrago (Der Untergeher), de Thomas Bernhard, como um meio para abordar as transformações do pensamento iluminista em direção ao que Zygmunt Bauman chamou de "modernidade líquida". Considera os vínculos entre o ceticismo e o pensamento trágico, conectando estas ideias às criativas e decisivas acepções do conceito de passagem, esboçado por Walter Benjamin em seus estudos sobre a poesia de Baudelaire e, em especial, no "livro em aberto" que nos legou com as suas Passagens. Por fim, reflete sobre a metáfora-conceito "passagem" vista como uma sugestiva maneira de focalizar a literatura em nosso tempo, em especial aqueles romances que podem ser chamados de "ficções do desassossego".

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Pepper, Andrew. "Early crime writing and the state: Jonathan Wild, Daniel Defoe and Bernard Mandeville in 1720s London." Textual Practice 25, no. 3 (June 2011): 473–91. http://dx.doi.org/10.1080/0950236x.2010.495527.

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Coetzee, J. M. "An Essay on the History and Reality of Apparitions, ed. Kit Kincade by Daniel Defoe." Common Knowledge 25, no. 1-3 (April 1, 2019): 410–11. http://dx.doi.org/10.1215/0961754x-7312165.

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Andrianova, Irina. "Stenography and Literature: What did Western European and Russian Writers Master the Art of Shorthand Writing For?" Studia Slavica Academiae Scientiarum Hungaricae 64, no. 1 (June 2019): 1–11. http://dx.doi.org/10.1556/060.2019.64101.

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What brings together Daniel Defoe, Charles Dickens, Vsevolod Krestovsky, Nikolai Chernyshevsky, Fyodor Dostoevsky, Аlexander Kuprin, George Bernard Shaw, and Аstrid Lindgren, i.e. writers from different countries and belonging to different epochs? In their creative work, they all used stenography, or rapid writing, permitting a person to listen to true speech and record it simultaneously. This paper discloses the role of stenography in literary activities of European and Russian writers in the 19th and early 20th centuries. Some researchers believe that the first ties between shorthand and literature appeared in the days of Shakespeare when the playwright's competitors used shorthand to put down the texts of his plays. Others have convincingly refuted this viewpoint, proving that such records never existed. The most famous English novelist in the 17th and 18th centuries Daniel Defoe can be considered one of the first writers who used shorthand in his literary work. The writers mastering the art of shorthand writing such as Defoe, Dickens, and Lindgren were popular in various professional spheres (among others, the secret service, journalism, and secretarial service) where they successfully applied their skills in shorthand writing. Stenography was an integral part of a creative process of the authors who resorted to it (Dostoevsky, Krestovsky, Shaw, and Lindgren). It economized their time and efforts, saved them from poverty and from the terms of enslavement stipulated in the contracts between writers and publishers. It is mainly thanks to stenography that their works became renowned all over the world. If Charles Dickens called himself “the best writer-stenographer” of the 19th century, F. M. Dostoevsky became a great admirer of the “high art” of shorthand. He was the second writer in Russia (following V. Krestovsky), who applied shorthand writing in his literary work but the only one in the world literature for whom stenography became something more than just shorthand. This art modified and enriched the model of his creative process not for a while but for life, and it had an influence on the poetics of his novels and the story A Gentle Creature, and led to changes in the writer's private life. In the course of the years of the marriage of Dostoevsky and his stenographer Anna Snitkina, the author's artistic talent came to the peak. The largest and most important part of his literary writings was created in that period. As a matter of fact, having become the “photograph” of live speech two centuries ago, shorthand made a revolution in the world, and became art and science for people. However, its history did not turn to be everlasting. In the 21st century, the art of shorthand writing is on the edge of disappearing and in deep crisis. The author of the paper touches upon the problem of revival of social interest in stenography and its maintenance as an art. Archival collections in Europe and Russia contain numerous documents written in short-hand by means of various shorthand systems. If humanity does not study shorthand and loses the ability to read verbatim records, the content of these documents will be hidden for us forever.

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Harper, Heather. "“MATCHLESS SUFFERINGS”: INTIMATE VIOLENCE IN THE EARLY MODERN APPARITION NARRATIVES OF DANIEL DEFOE AND ELIZABETH BOYD." Women's Writing 16, no. 3 (November 12, 2009): 425–44. http://dx.doi.org/10.1080/09699080903162005.

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Mulcaire, Terry. "Public Credit; or, The Feminization of Virtue in the Marketplace." PMLA/Publications of the Modern Language Association of America 114, no. 5 (October 1999): 1029–42. http://dx.doi.org/10.2307/463462.

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The feminine figure of “Public Credit,” which appears prominently and frequently in early-eighteenth-century Whig texts, is a rich and complex symbolization of early liberal political and economic ideology. In readings of Joseph Addison, Daniel Defoe, and the Whig libertarians John Trenchard and Thomas Gordon (the collective authors of Cato's Letters, a polemic that had a major influence on American revolutionary ideology), I show that their representations of Credit speak not to the empirical truth of economic value but openly to its imaginary desirability. Credit thus represents a manifest political and cultural strategy of these Whig writers for articulating and defending the values of a liberal market society by representing them as desirable—or, in other words, as aesthetic values.

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Esteves, Lainister de Oliveira. "As ficções editoriais e narrativas de Robinson Crusoé." Aletria: Revista de Estudos de Literatura 31, no. 2 (June 30, 2021): 203–22. http://dx.doi.org/10.35699/2317-2096.2021.25822.

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Este artigo analisa os artifícios narrativos que caracterizam a trama de Robinson Crusoé, romance publicado em 1719 e considerado um dos textos fundadores da ficção moderna. O exame das estratégias de dissimulação da autoria, que considera a recepção setecentista das três obras relacionadas ao personagem, permite investigar as relações entre narração e ficcionalidade nos textos escritos por Daniel Defoe. A análise destes elementos constitutivos do romance como gênero letrado relacionado ao livro sugere uma história da literatura interessada nos efeitos produzidos pelos dispositivos editoriais e nas diferentes estratégias de atribuição de sentido potencializadas pela ampliação do escopo da crítica a partir do século XVIII.

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Knowles, Deborah, Damian William Ruth, and Clare Hindley. "Crisis as a plague on organisation: Defoe and A Journal of the Plague Year." Journal of Organizational Change Management 32, no. 6 (October 7, 2019): 640–49. http://dx.doi.org/10.1108/jocm-03-2019-0074.

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Purpose The purpose of this paper is to enrich the understanding of current models of organisational response to crises and offer additional perspectives on some of these models. It is also intended to confirm the value of fiction as a truth-seeking and hermeneutic device for enriching the imagination. Design/methodology/approach The study uses Daniel Defoe’s 1722 novel A Journal of the Plague Year to draw parallels between his portrayal of the London Great Plague of 1665 and the management of modern-day crises. Defoe uses London’s ordeal of the Great Plague to advise those subjected to future crises. Through his representation of plague-ridden streets, Defoe shows stakeholders acting in ways described in current crisis management literature. Findings The authors note how the management of the Plague crisis was unsuccessful and they challenge the very idea of managing a true crisis. The authors are able to illustrate and offer refinements to the Pearson and Clair (1998) and Janes (2010) models of crisis management as well as confirming the value of their constructs across a lapse of centuries. Research limitations/implications Although it is an examination of a single novel, the findings suggest value in conceptualising organisational crises in innovative and more imaginative ways. Originality/value It confirms the heuristic value of using fiction to understand organisational change and adds value to current models.

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Neves, Júlia Braga. "improvável Crusoé." Aletria: Revista de Estudos de Literatura 31, no. 2 (June 30, 2021): 91–112. http://dx.doi.org/10.35699/2317-2096.2021.26277.

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Este artigo tem o objetivo de discutir como Maria Graham articula fato e ficção em Journal of a Voyage to Brazil, comparando a sua narrativa de viagem com aspectos históricos e ficcionais de Robinson Crusoé de Daniel Defoe. A partir de questões referentes à literatura de viagem e de reflexões sobre as relações entre história e ficção de Reinhart Koselleck, busca-se entender como Graham emprega elementos ficcionais em seu diário de viagem para representar a política e a história do Brasil, bem como a sua própria vivência no país. Por último, o artigo considera os aspectos de gênero nos relatos de Graham, argumentando que sua credibilidade e autoridade são dificultadas pelo fato de ela ser mulher.

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Tomczok, Marta. "Robinson w postantropocenie." Porównania 25 (December 15, 2019): 277–88. http://dx.doi.org/10.14746/por.2019.2.16.

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W artykule podjęto próbę wyjaśnienia związków wyrażenia „Robinson warszawski” z powieścią Robinson Kruzoe Daniela Defoe i współczesnym nawiązaniem do niej w futuresce Dwa końce świata Antoniego Słonimskiego. W części analitycznej wykazano zależność prozy Słonimskiego od wzorca fabularnego oraz eseistyki Jana Kotta i Iana Watta poświęconej przekroczeniu perspektywy indywidualistycznej w powieści europejskiej. W zakończeniu postawiono pytanie o preposteryjną lekturę Dwu końców świata w kontekście koncepcji posthumanizmu Rosi Braidotti.

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Shigematsu, Eri. "Defoe’s psychological realism: The effect of directness in indirect consciousness representation categories." Language and Literature: International Journal of Stylistics 27, no. 2 (May 2018): 71–85. http://dx.doi.org/10.1177/0963947018782008.

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Daniel Defoe’s fictional autobiographies represent the life of an individual through personal memories. Although he has often been associated with circumstantial realism rather than psychological realism, Defoe in fact represents the psychological as well as social and economic realities of his characters. In Defoe’s first-person autobiographical narratives, the person who narrates (i.e. the narrating self) and the one who experiences (i.e. the experiencing self) share the same pronoun, ‘I’, which exhibits a fluctuating internal tension between the two selves. This article aims to investigate Defoe’s psychological realism in terms of this internal tension, focusing on the narrative techniques for representing consciousness in which the points of view of the two selves are mingled. The representation of consciousness by means of what is called free indirect speech and thought (FIST) is under development in the early eighteenth century. In Defoe’s fictions, however, the internal tension between the two selves is abundantly indicated by his use of FIST and his handling of directness (the-experiencing-self-oriented deictic and expressive elements) within indirect representations of consciousness (indirect speech and thought (IST) and narrator’s representation of speech/thought act (NRSA/TA)) and within narration (N). The analysis demonstrates that, like FIST, direct elements used in indirect consciousness representation categories show the narrating self’s empathetic identification with the past self, which simultaneously evokes the reader’s empathetic feelings towards the psychology of the experiencing self. It consequently reveals that the creation of empathetic effects through directness helped Defoe to represent the psyches of individuals in remembering as in real life.

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Ramírez, Sergio. "La pasión crítica (Los intelectuales ante el espejo de su tiempo)." Encuentro, no. 79 (February 7, 2008): 36–47. http://dx.doi.org/10.5377/encuentro.v0i79.3646.

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Daniel Defoe, igual que José Saramago, comenzó tarde a escribir. Su primera novela, Robinson Crusoe, apareció en 1719, cuando tenía ya la edad de sesenta años, pero de allí en adelante quiso desquitarse del tiempo terco escribiendo con arrebato hasta la hora misma de su muerte. Más allá de haber creado en Robinson uno de los personajes arquetípicos de la literatura de todos los tiempos, se propuso escribir, con pulso de viejo que ya venía de vuelta, historias que sonaran verídicas en los oídos y lo parecieran a los ojos, y para ello utilizó la precisión fría del notario que inventaría bienes en subasta, o del maestro de obras que anota en su bitácora los celemines de argamasa que precisa un arco de punto.

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Dąbrowicz, Elżbieta. "Syndrom rozbitka. Robinson Crusoe i Julian Ursyn Niemcewicz." Porównania 25 (December 15, 2019): 21–42. http://dx.doi.org/10.14746/por.2019.2.2.

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Opinia Jean-Jacquesa Rousseau o powieści Daniela Defoe (pierwodruk: 1719) wpłynęła na późniejsze przekłady i adaptacje dzieła. W jej następstwie upowszechniło się mocniejsze niż w oryginale eksponowanie doświadczeń wyspiarskich w dziejach Robinsona Crusoe. Sukces powieści sprawił też, że jej bohater zaczął żyć jako postać emblematyczna dla kultury zachodniej (zwłaszcza angielskiej) ekspandującej poza granice Europy. Robinson-rozbitek, który przez wiele lat dawał sobie radę na bezludnej wyspie, uosabiał zespół cech gwarantujących sukces w podboju świata, połączenie indywidualizmu, przedsiębiorczości, protestanckiej religijności. Mimo że polska mentalność o rodowodzie szlacheckim miała charakter antymieszczański, powieść Defoe zdobyła popularność również wśród polskich czytelników. Wydaje się, że Robinson Crusoe był też sojusznikiem tych spośród polskich pisarzy, którzy działali najpierw na rzecz ratowania państwa pod koniec XVIII wieku, a kiedy to się nie udało, próbowali przynajmniej unowocześnić polską mentalność. Określa się ich zresztą niekiedy mianem „rozbitków”, nawiązując do popularnego toposu nawy państwowej jako okrętu. Jeden z nich, Julian Ursyn Niemcewicz, traktował Robinsona Crusoe jako postać z pogranicza fikcji i prawdy pozaliterackiej. Sam, jak Robinson, odbywał podróże do Nowego Świata i próbował tam przetrwać. W jego zapiskach dziennikowo-pamiętnikarskich można znaleźć wiele motywów, które rozważa się w związku z powieścią Defoe: migracje, etniczne uwarunkowania kolonizacji, stosunek przybyszów do rdzennych mieszkańców. Przez pryzmat Robinsona Crusoe warto również spojrzeć na powieść Niemcewicza Jan z Tęczyna. Jej bohater, podobnie jak Robinson, trafia na wyspę po katastrofie statku. Nie udaje mu się jednak na niej osiąść z powodu przeszkód natury wewnętrznej: idealistycznych wyobrażeń o miłości do kobiety oraz własnym statusie jako Polaka znakomitego rodu.

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Dowdell, Coby. "“A Living Law to Himself and Others”: Daniel Defoe, Algernon Sidney, and the Politics of Self-Interest inRobinson CrusoeandFarther Adventures." Eighteenth-Century Fiction 22, no. 3 (March 2010): 415–42. http://dx.doi.org/10.3138/ecf.22.3.415.

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Deepak, T. R. "The Inner Quandary of Woman in Daniel Defoe’s Moll Flanders." Shanlax International Journal of English 9, no. 3 (June 1, 2021): 46–49. http://dx.doi.org/10.34293/english.v9i3.3793.

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Daniel Defoe is an enchanted incinerator of English literature sprung during the initial years of eighteenth century. His applauded Moll Flanders (1722) is professed as picaresque in literary vegetation. He has emotionally painted the commotion of a solitary, imprudent and prevalent female distinct against an inimical and droopy humanity. As a matter of datum, the female chief strolls into the alleyway of assorted catastrophes. She has borne the humanity either in an orthodox or warped mundane. All these archetypes of women have shed light in the fiction even before the initiation of feminist movements athwart the realm. These movements have engrossed the intellect of community and sedated as operational. At regular intervals, these have performed more elegant and redundant than being operative.Moll Flanders is not a typical incarnation of feminist thoughts. It has never strained to sketch an itinerary for the relegated female personality to outshine her eccentricity. Yet, it is indubitably pro-woman and reconnoiters a female character with the reputation of protagonist. The farsighted image of woman with grander tenets of empathy and sympathy is blossomed. In the contemporary habitat, the novel may not seem like far-reaching as it pushes the female lead to imitate and regret with ceaseless kinks and contraventions. But the novelist is ahead of his epoch in aiding his female protagonist to gallop and endure the probabilities amidst dejection and misfortunes. Hence, the research ornate has through an endeavour to enchant the inner quandary of woman in a masculine captivated sophistication with reference to Daniel Defoe’s Moll Flanders.

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Ha, Sha. "Plague and Literature in Western Europe, from Giovanni Boccaccio to Albert Camus." International Journal of Comparative Literature and Translation Studies 9, no. 3 (August 25, 2021): 1. http://dx.doi.org/10.7575/aiac.ijclts.v.9n.3p.1.

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In medieval times the plague hit Europe between 1330 and 1350. The Italian novelist Giovanni Boccaccio, one of the exponents of the cultural movement of Humanism, in the introduction (proem) of his “Decameron” described the devastating effects of the ‘black plague’ on the inhabitants of the city of Florence. The pestilence returned to Western Europe in several waves, between the 16th and 17th centuries. William Shakespeare in “Romeo and Juliet” and other tragedies, and Ben Jonson in “The Alchemist” made several references to the plague, but they did not offer any realistic description of that infective disease. Some decennials later Daniel Defoe, in his “A Journal of the Plague Year” (1719), gave a detailed report about the ‘Great Plague’ which hit England in 1660, based on documents of the epoch. In more recent times, Thomas S. Eliot, composing his poem “The Waste Land” was undoubtedly influenced by the spreading of another infective disease, the so-called “Spanish flu”, which affected him and his wife in December 1918. Some decennials later, the French writer and philosopher Albert Camus, in his novel “The Plague”, symbolized with a plague epidemic the war which devastated Europe, North Africa and the Far East from 1937 to 1945, extolling a death toll of over 50 million victims. Those literary works offered a sort of solace to the lovers of literature. To recall them is the purpose of the present paper, in these years afflicted by the spreading of the Covid-19 Pandemic.

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Roszak, Joanna. "Rozbitek buduje łódź. Przegląd wątków recepcyjnych Robinsona Crusoe w narracjach ocaleńców z Zagłady." Porównania 25 (December 15, 2019): 157–71. http://dx.doi.org/10.14746/por.2019.2.10.

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W artykule podjęto próbę przeglądu wybranych wątków recepcyjnych powieści Daniela Defoe Przypadki Robinsona Crusoe (1719) wobec Zagłady. Ukazanom tym samym, jakie elementy powieści aktualizują się w kontekście Szoa, jakie się zacierają oraz co nowego o losie innych książek i ludzi z XX wieku pozwala powiedzieć ów trzystuletni utwór. Angielska powieść służy w omówionych tekstach jako synekdocha (Primo Levi, Uri Orlev), lektura apotropaiczna (świadectwa osobiste, m. in. wspomnienia Hanke Grynberg) lub podstawa dla wykreowania apokryfu (wiersze Dana Pagisa i Jehudy Amichaja).

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Maleszyńska, Joanna. "Robinsonada na scenie albo dzieje nieudanej adaptacji." Porównania 25 (December 15, 2019): 113–26. http://dx.doi.org/10.14746/por.2019.2.7.

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Artykuł Robinson na scenie czyli dzieje nieudanej adaptacji dotyczy opery komicznej Robinson Crusoe Jacquesa Offenbacha, której libretto powstało w oparciu o fabułę wielkiej powieści Daniela Defoe. Adaptacja, dokonana przez francuskich librecistów w drugiej połowie XIX wieku, daleko odbiegła od epickiego pierwowzoru i z powieści będącej epickim hymnem na cześć ludzkiej zaradności i siły przetrwania uczyniła błahą komedię z banalną akcją i bez głębszego przesłania. Porównanie dwóch różnych gatunkowo tekstów o tym samym bohaterze przynosi wniosek o organicznej nieprzekładalności monumentalnej powieści, szczególnie na komedię, przeznaczoną na scenę muzyczną.

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Lipski, Jakub. "Travellers, Connoisseurs, and Britons: Art Commentaries and National Discourse in the Travel Writings of Daniel Defoe and Tobias Smollett." Studia Anglica Posnaniensia 52, no. 3 (December 1, 2017): 365–75. http://dx.doi.org/10.1515/stap-2017-0014.

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Abstract This article seeks to explore the interrelationship of two facets characterising eighteenth-century travel writing – art commentaries and national discourse. It is demonstrated that one of the reasons behind the travellers’ repetitious attempts to fashion themselves as connoisseurs was a need to re-affirm their national identity. To this end it offers an analysis of two travel texts coming from two different political moments – Daniel Defoe’s A Tour thro’ the Whole Island of Great Britain (1724–1726), constituting an attempt to read the British as a “great” and prosperous nation after the union of 1707, and Tobias Smollett’s idiosyncratic Travels through France and Italy (1766), shedding light on the British attitude towards the South in the aftermath of the Seven Years’ War and at the outset of the cult of feeling in Britain. It will also be argued that the numerous art commentaries throughout the narratives had a political agenda and supported the national discourse underpinning the texts.

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Lemann, Natalia. "Naturalizacja władzy a kolonializm. Uwagi na marginesie Robinsona Cruzoe Daniela Defoe i Piętaszka, czyli Otchłani Pacyfiku Michela Tourniera, z Szekspirowską Burzą w tle." Porównania 25 (December 15, 2019): 229–45. http://dx.doi.org/10.14746/por.2019.2.14.

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Artykuł poświęcony jest analizie zmieniających się w kulturze europejskiej mechanizmów legitymizacji władzy. Robinson Cruzoe Daniela Defoe lokowany jest tradycyjnie w obrębie wczesnokapitalistycznego wzrostu indywidualizmu, przejawiającego się na polu ekonomicznego działania jednostki. Argumentuję, że aby Robinson mógł stać się na swej wyspie homo oeconomicus, który wyłącznie swą pracą przekształca dziką naturę w cywilizację, a następnie zostać władcą/królem/gubernatorem wyspy, musiały zajść zmiany w obrębie źródeł legitymizacji władzy. Robinson Cruzoe, everyman, może stać się władcą swej wyspy dzięki odejściu od boskiej legitymizacji władzy, która dominowała w kulturze europejskiej, począwszy od antyku, aż do czasów Oświecenia. Przywołuję więc postać Szekspirowskiego Prospera, maga i króla Neapolu, który włada swą wyspą przy pomocy magii jako ostatni literacki potomek „królów cudotwórców” (M. Bloch, E. Kantorowicz). Władza Robinsona opiera się za zasadach umowy społecznej i nie pochodzi z boskiego nadania. Analizuję opisywany przez Defoe mechanizm zdobywania i utrzymywania władzy przez Cruzoe, odwołując się do procesualności powstawania imperiów kolonialnych. Piętaszek, czyli otchłanie Pacyfiku Michela Tourniera z 1967 roku to powieść powstała w optyce Saidowskiej „lektury kontrapunktowej”, dlatego też Tournier dekonstruuje mechanizm naturalizacji, demokratyzacji władzy Robinsona, odwołując się do wcześniejszych mechanizmów metafizycznej legitymizacji. Dostrzegam więc procesualność mechanizmu zdobywania i utrzymywania władzy, co wydaje mi się istotne z punktu widzeniazrozumienia istoty i dynamiki imperializmu kolonialnego.

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Richetti, John. "John Martin,Beyond Belief: The Real Life of Daniel Defoe. Pembroke Dock, Pembrokeshire: Accent Press, 2006. viii+316pp. £19.99. ISBN 978-1-905170-56-2.Leo Abse,The Bi-Sexuality of Daniel Defoe: A Psychoanalytic Survey of the Man and His Works. London: Karnac Books, 2006. xi+308pp. US$39.95. ISBN 978-1-85575-456-0." Eighteenth-Century Fiction 20, no. 2 (December 2007): 272–77. http://dx.doi.org/10.3138/ecf.20.2.272.

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Dantas, Tatianne Santos, and Simone Zanon Moschen. "Escrita, vestígio e ausência em A amiga genial de Elena Ferrante." Revista Subjetividades 19, no. 2 (July 18, 2019): 1. http://dx.doi.org/10.5020/23590777.rs.v19i2.e9156.

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Neste artigo, pretendemos fazer ressoar, com a psicanálise, efeitos da leitura do livro A amiga genial de Elena Ferrante. Encontramos neste romance, em especial no prólogo Apagar os vestígios, a possibilidade de traçar um percurso que nos permite mobilizar elementos capazes de dar contorno à proposição freudiana de que os traços mnêmicos, de que se constitui o aparelho psíquico, inscrevem-se como fruto de um apagamento. Também interessará à tessitura deste texto os fios que nos chegam do trabalho de Lacan com o romance Robinson Crusoé, de Daniel Defoe – trabalho que mobiliza o movimento de ausência-presença-ausência como condição de um registro simbólico. O desaparecimento da personagem Lila Cerullo, narrado nas páginas iniciais do romance de Ferrante, nos permitirá pensar sobre a relação entre perda e criação literária. O significante vestígio que compõe o título do prólogo de A amiga genial indica a passarela que permite colocar em contato o pensamento da escritora italiana e as formulações freudianas sobre o inconsciente. É no rastro desse significante que espraiamos a relação com a literatura, para entrever o que a ficção contemporânea pode dizer para a psicanálise.

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Rogers, Pat. "The Topographic Sources of Defoe’s Tour." Review of English Studies 70, no. 296 (April 10, 2019): 702–15. http://dx.doi.org/10.1093/res/hgz027.

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Abstract The most important study of the topographic background to Daniel Defoe’s Tour thro’ Great Britain (1724–1726) is still one written by the historical geographer J. H. Andrews in 1960. This article seeks to amplify what Andrews says about two aspects of the subject: the use that the author made of maps in compiling his work, and his recourse to the text of topographic volumes, including atlases and guides. On the first issue, the evidence corroborates what Andrews suggested about the use of maps in the Tour, but it shows that Defoe enlisted their aid more widely than previously suspected in areas of the country such as Westmorland. The discussion draws chiefly on maps by Robert Morden, but also those by John Speed, Herman Moll, and others. On the second point, Andrews tended to understate Defoe’s acquaintance with counties such as Dorset, Somerset, and East Yorkshire. As a result, except for parts of Cornwall, he exaggerated the degree to which the author relied on A New General Atlas (1721). Some other sources that he did not consider have now surfaced. A full comparison between the Tour and John Macky’s Journey is provided, exploring the kind of topographic detail each writer supplied. It remains the case that much of the treatment by Andrews continues to be valid after 60 years, and the article endorses his conclusion that even when we identify Defoe’s borrowings, they do not diminish the importance of ‘a great pioneer work of economic geography’.

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Doms, Misia Sophia. "Didaktische Effekte des Umgangs mit Tieren in ausgewählten Robinsonaden." Porównania 25 (December 15, 2019): 249–76. http://dx.doi.org/10.14746/por.2019.2.15.

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Der grundlegende Sammelband Robinsons Tiere (hrsg. von Roland Borgards, Marc Klesse und Alexander Kling) hat jüngst die Mensch-Tier-Interaktion in der Literaturgattung der Robinsonade näher beleuchtet. Der Fokus des Bandes liegt dabei auf der ethischen und politischen Dimension des speziesübergreifenden Umgangs miteinander. Welche didaktischen Effekte die Interaktion mit lebenden oder toten Tieren für die Protagonisten der untersuchten Robinsonaden hat, gerät dagegen kaum in den Blick. Dieser Frage widmet sich der vorliegende Aufsatz, der sich mit Daniel Defoes Prototyp und den Robinsonaden von Joachim Heinrich Campe, von Johann David und Johann Rudolf Wyss, von Marlen Haushofer sowie Yann Martel befasst.

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Journal articles on the topic 'Literature of Daniel Defoe'

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