The Displaced Self in the Novels of Daniel Defoe

1975 ◽  
Vol 4 (1) ◽  
pp. 69-94
Author(s):  
Homer O. Brown
Keyword(s):  
Daniel Defoe

A Rhetorical Approach to the Prose of Daniel Defoe

1993 ◽  
Vol 11 (3) ◽  
pp. 293-319 ◽  
Author(s):  
Laura A. Curtis
Keyword(s):  
Daniel Defoe ◽  
Figures Of Speech

Abstract: Previous attempts to account for Defoe's stylistic versatility have failed to take account of the important role played by his training in rhetoric. Ttiis essay argues that a useful taxonomy of styles can be generated by taking into account traditional rhetorical principles of sentence composition, prose rhythms and clausulae construction, the use of various figures of speech, and the frequency of tropes. This method of analyzing Defoe's prose shows deliberate rhetorical choices in his lesser-known essays and pamphlets as well as in his better-known fiction.

The Attribution of A Vindication of the Press to Daniel Defoe

1989 ◽  
Vol 18 (1) ◽  
pp. 433-444
Author(s):  
Laura A. Curtis
Keyword(s):  
Daniel Defoe ◽  
The Press

Daniel Defoe and early modern intelligence

1996 ◽  
Vol 11 (1) ◽  
pp. 1-21 ◽  
Author(s):  
Paula R. Backscheider
Keyword(s):  
Early Modern ◽  
Daniel Defoe

The Market

2021 ◽  
pp. 264-278
Author(s):  
Matthew Watson
Keyword(s):  
Eighteenth Century ◽  
Adam Smith ◽  
Daniel Defoe ◽  
The Self ◽  
Presentation Of Self ◽  
Market Institutions ◽  
Late Eighteenth Century ◽  
Specific Performance ◽  
The Right ◽  
Objective Existence

The market has no independent objective existence beyond the practices that are embedded within particular market institutions. Those practices, in turn, involve learning particular techniques of performance, on the assumption that each market environment rewards a corresponding type of market agency. However, the ability to reflect what might be supposed the right agential characteristics is not an instinct that is hardwired into us from birth. Instead it comes from perfecting the specific performance elements that allow people to recognize themselves as potentially competent actors in any given market context. This chapter takes the reader back to some of the earliest accounts of these performance elements, showing that important eighteenth-century debates about how to flourish as a market actor revolved around little else. In the early eighteenth century, Daniel Defoe emphasized the need for market actors to create convincing falsehoods, hiding their true feelings behind a presentation of self where customers’ whims were always catered to. In the late eighteenth century, Adam Smith was still wrestling with the dilemma of how genuinely the self could be put on display within market environments, believing that customers had a responsibility to curb excessive demands so that merchants’ interests could be respected. This meant not forcing them into knowingly false declarations, so that moral propriety and economic expedience were not necessarily antagonistic forces in the development of merchants’ character.

The First Globalization Debate: Crusoe vs. Gulliver

2011 ◽  
pp. 107-125
Author(s):  
Craufurd D. Goodwin
Keyword(s):  
Science Fiction ◽  
Common Sense ◽  
World Economy ◽  
Daniel Defoe ◽  
Jonathan Swift ◽  
Gains From Trade ◽  
Robinson Crusoe ◽  
Adventure Story ◽  
Gulliver's Travels

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.

JOHN RICHETTI, The Life of Daniel Defoe.

2007 ◽  
Vol 54 (1) ◽  
pp. 110-111
Author(s):  
C. Livingstone
Keyword(s):  
Daniel Defoe
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