Testing the Market

Author(s):  
David Oakleaf

Like their imitators, Eliza Haywood and even Daniel Defoe have been called mercenaries who wrote to formula for low readers with limited intellects. Yet Love in Excess and Robinson Crusoe inaugurated a decade of lively, market-driven narrative experiment aimed at sophisticated gentry readers. When low scandal titillated, it originated in high life. Highly inventive, Jane Barker, Mary Davys, Penelope Aubin, and some authors of the many lives and surprising adventures in the Crusoe manner read their rivals with professional care. They adapted and contested as well as adopted Defoe’s distinctive fictional memoir, Haywood’s equally modern amatory sublime. So did Jonathan Swift when he parodied Robinson Crusoe’s strategies in Gulliver’s Travels, an anonymous narrative that matched its commercial triumph. Swift hastened the vogue’s end, but these novelists’ commercial and literary legacy endures.

2011 ◽  
pp. 107-125
Author(s):  
Craufurd D. Goodwin

Two of the earliest novels in English, Robinson Crusoe (1719) by Daniel Defoe and Gulliver's Travels (1726) by Jonathan Swift, are widely perceived as an entertaining adventure story and a pioneering work of science fiction. Viewed by modern economists, however, they appear as expressions of opposing positions on the desirability of integration within a world economy. Crusoe demonstrated the gains from trade and colonization and the attendant social and political benefits. By contrast, Swift warned of complex entanglements that would arise from globalization, especially with foreign leaders who operated from theory and models rather than common sense.


2020 ◽  
pp. 223-232
Author(s):  
Marta Kacprzak

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.


Author(s):  
Ralph Keyes

Pitched battles have long been fought between neology advocates and those who think we have enough words already. Centuries ago language purists such as Daniel Defoe and Jonathan Swift railed against the many new words they thought were defiling the English language. Britons and Americans subsequently squabbled fiercely over Americanisms, the neologisms that settlers began to create soon after they arrived in the New World (e.g., foothill, skunk, eel grass). Jefferson’s coinage belittle raised particular hackles in the mother country. Jefferson – a self- proclaimed “friend to neology” – joined John Adams, Noah Webster and others in defending the coinage-rich American version of English that they thought was integral to establishing a sense of independence from the mother country. Guardians of the King’s English in Great Britain considered this attitude impudent. Protecting their national franchise and sense of ethnic privilege proved to be integral to that guardianship.


Author(s):  
Laura Wright

Through an examination of the politics of print culture that contributed to the 1740 continuation of Daniel Defoe’s 1724 Roxana, this essay brings the historical 18th- century playwright, novelist, and political pamphleteer Eliza Haywood into conversation with South African novelist J.M. Coetzee’s metafictional reworking of Defoe’s Robinson Crusoe (1719) and Roxana, Foe (1986). This essay places Haywood – whose novel The British Recluse (1722) is one of at least seven pre- existing texts that make up the “pastiche” (Seager, 2009, p. 370) that constitutes the 1740 Roxana – alongside Foe’s narrator Susan Barton, a character who constitutes “a pastiche of 18th-century heroines” (Maher 39), a woman who is “doubt itself” (Coetzee 133), uncertain of who controls the truth of her narrative, yet a woman who writes back to and against the narrative established for her by her male counterparts. Susan’s story of her life as a castaway on Cruso’s island is taken from her by Foe, Coetzee’s fictionalization of Daniel Defoe, who, instead of writing her requested The Female Castaway, writes her out of the narrative that becomes Robinson Crusoe, turning her instead into the narrator of Roxana. Spivak asks, “who is the female narrator of Robinson Crusoe?” And I answer: in a somewhat playful feminist act of resurrection, Eliza Haywood. 


PMLA ◽  
1959 ◽  
Vol 74 (4-Part1) ◽  
pp. 348-355
Author(s):  
William H. McBurney

After the scores of “secret histories,” “authentick memoirs,” and “true relations” written by Mrs. Eliza Haywood and other female novelists of the 1720's, the four volumes of fiction by Mrs. Mary Davys produce much the same “cheerful, sunshiny, breezy” effect that Coleridge attributed to Fielding's work, in contrast to “the close, hot, day-dreamy continuity of Richardson.” The double comparison is more than subjectively valid, for Mrs. Davys stands in much the same relation to Fielding's ebullient masculine genius that Mrs. Haywood's distressed damsels do to Richardson's heroines—both as a forerunner and as an influence upon the early eighteenth-century reading public.Many of the qualities which distinguish Mrs. Davys from her contemporaries may be explained by her background and by the circumstances under which her works were written and published. She was born in Dublin in 1674 and married the Reverend Peter Davys, a friend of Jonathan Swift and headmaster of the free school attached to St. Patrick's. Swift considered the marriage an indiscretion on the headmaster's part but, indiscreet or not, it was apparently a happy one until Davys'early death in 1698. Soon after this, his young widow “went for mere want to England.” She appeared briefly in London in 1700 and then settled in York where she lived for the next fifteen years. Little is known of her during this period. Swift's correspondence and his Journal to Stella indicate that she occasionally visited London, that she tried by various ruses to maintain contact with him from York, and that he grudgingly sent her several sums of money before his return to Ireland in 1714. Such irregular charity could hardly have been sufficient for the most frugal existence, and from pictures of life in a York boarding house and the recurrent character of a settled but good-natured female companion in her plays and novels, one may conjecture that Mrs. Davys enacted a similar role in private life.


2020 ◽  
Vol 23 (1) ◽  
pp. 21-37
Author(s):  
Paola Encarnación Sandoval

Este artículo estudia la relación entre el motivo del naufragio y el proceso de adquisición del lenguaje en El Criticón de Baltasar Gracián y Robinson Crusoe de Daniel Defoe. El argumento es que el naufragio se configura como un núcleo del relato propicio para desarrollar la aventura intelectual. El análisis de paralelismos entre estos textos, centrado en cuatro elementos —la intención edificante de las obras, el tratamiento del naufragio, el encuentro de los personajes y el proceso de adquisición del lenguaje—, revela una concepción peculiar de la aventura, en la cual el componente intelectual es importante para desarrollar el enfrentamiento de los personajes con sus realidades. El objetivo del estudio consiste en plantear una reflexión en torno a las inquietudes de estos autores sobre el conocimiento como parte de la aventura literaria.


2020 ◽  
pp. 017084062096498
Author(s):  
David Cross ◽  
Juani Swart

Current debates and definitions of professionalism are primarily grounded in organisations, either as employing bureaucracies or service firms, that control and structure expert labour. This is problematic as it neglects the many neo-professionals that are self-employed. We draw on interviews with 50 independent consultants and find that, outside of organisational boundaries, they pursue a strategy of professional fluidity. This is a relational and market-driven approach that requires a multiplicity of roles and chameleon-like tactics. As opposed to notions of collegial, organisational and corporate professionalisation, professional fluidity is a co-constructed and agentic approach where validity and legitimacy are achieved primarily through relations with clients and collaborators rather than institutions or employing organisations. Through professional fluidity we contribute to a more holistic understanding of professionalism that is sensitive to the employment mode rather than knowledge domain and develops existing notions of who is a professional. This is important for wider debates on the current and future state of professions.


Ramus ◽  
2003 ◽  
Vol 32 (1) ◽  
pp. 39-56
Author(s):  
Steven J. Green

Among the many delightful stories woven into Ovid's Metamorphoses, the tale of Baucis and Philemon in Book 8—not found before Ovid—has long proven a favourite with many readers. Narrated by the elderly Lelex, the story goes that Jupiter and Mercury are wandering on earth from door to door in need of shelter; they are received by a pious old couple, Baucis and Philemon, who entertain them with their utmost hospitality; the gods later reveal themselves, punish the inhospitable neighbourhood and reward the pious couple with everlasting life by turning them into sacred trees. This popular story has been the subject of at least two lighthearted operas, by Joseph Haydn (18th century) and Charles-François Gounod (19th century); both Rubens (c.1620) and Rembrandt (1658) have depicted scenes from the story on canvas; elegant poetic translations have been written by John Dryden (1693) and Jonathan Swift (1709). It is not difficult to understand why this story has provided particular enjoyment for the reader. In a poem which too often presents the gods as indifferent to justice and indulgent in their basest desires, here is a story which celebrates the proper relationship between divine and mortal, and pulls on moral, almost Christian heart-strings. Many might agree with G. Karl Galinsky's observation that the story has the effect of ‘radiating so obviously the sort of kindly warmth which some of Ovid's readers would like to find in more of [Ovid's] myths and, one suspects, in their daily lives.’


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