Lundy Field Society Newsletter Number 17/18
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Robinson Crusoe
READING GROUP GUIDE ROBINSON CRUSOE BY DANIEL DEFOE Restless Classics presents the Three-Hundredth Anniversary Edition of Robinson Crusoe, the classic Caribbean adventure story and foundatio- nal English novel, with new illustrations by Eko and an introduction by Jamaica Kincaid that recontextualizes the book for our globalized, post- colonial era. Three centuries after Daniel Defoe published Robinson Crusoe, this gripping tale of a castaway who spends thirty years on a remote tropical island near Trinidad, encountering cannibals, captives, and mutineers before being ultimately rescued, remains a classic of the adventure genre and is widely considered the first great English novel. But the book also has much to teach us, in retrospect, about entrenched attitudes of coloni- zers toward the colonized that still resound today. As celebrated Caribbean writer Jamaica Kincaid writes in her bold new introduction, “The vivid, vibrant, subtle, important role of the tale of Robinson Crusoe, with his triumph of individual resilience and ingenuity wrapped up in his European, which is to say white, identity, has played in the long, unin- BUY FROM RESTLESS terrupted literature of European conquest of the rest of the world must not be dismissed or Paperback List Price: $19.99 ignored or silenced.” ISBN: 9781632061195 Publication: 8/27/19 Daniel Defoe (c. 1660 - 1731) was an English writer, journalist, and spy, who gained 5.5” x 8.25” • 384 pages enduring fame for his novel Robinson Crusoe. Defoe is notable for being one of the earliest Fiction: Classics/ World Litera- ture / Caribbean/ Adventure/ practitioners of the novel and helped popularize the genre in Britain. -
Report of the Lundy Marine Conservation Zone Advisory Group
REPORT OF THE LUNDY MARINE CONSERVATION ZONE ADVISORY GROUP The Lundy Marine Conservation Zone Advisory Group (LMCZAG) provides a forum for the discussion of all matters relating to the island’s waters and shores. The Group includes representatives from the island (the Lundy Company), Natural England, the Devon and Severn Inshore Fisheries Conservation Authority (formerly Devon Sea Fisheries Committee), the Lundy Field Society, the Marine Biological Association, Devon Wildlife Trust, Torridge District Council, commercial fishing interests, dive charter boat skippers and local dive clubs. The Group meets twice a year: in 2011 it met on 19 April on board MS Oldenburg alongside Bideford Quay, and on 25 October also on board the Oldenburg but this time alongside Ilfracombe Quay. The Lundy Field Society provides the secretariat for the LMCZAG. A variety of issues were brought to the attention of the Group and discussed during the two meetings held in 2011. These are summarised below: Celebrating marine conservation at Lundy 2011 was an important year for the island’s waters as it had been 40 years since the voluntary marine nature reserve was recognised and also 25 years since the statutory reserve was established. The Group had decided to celebrate these anniversaries with a party on board MS Oldenburg on 3 July. In the region of 100 guests were invited. The local MP for Torridge, Geoffrey Cox, said a few words, as did Derek Green, Keith Hiscock and Robert Irving, and Ilfracombe & Appledore dive clubs exhibited their members’ underwater photos of Lundy’s marine life. The opportunity was also taken to launch the island’s new Marine Life Guides by Nicola Saunders and Sophie Wheatley. -
Information Guide for Visitors Planning to Use the Tramper Introduction To
Information Guide for Visitors Planning to use the Tramper Introduction Lundy is the largest island in the Bristol Channel, 12 miles off the Devon coast. The Landmark Trust rescued Lundy in 1969 when it took on the island’s lease and now manage 23 buildings and a camp site. People return time and again to the simple pleasures that Lundy offers; the sea is clear, the landscape spectacular and at night the stars shine with unfamiliar brilliance. A partnership between Lundy and the disability charity, Living Options Devon, aims to make the island more accessible to visitors with a variety of access needs. The nature of the island, and the transport used to reach it, means that there will always be limitations, but, working together, we aim to increase the opportunity to enjoy the island. The Heritage Ability project operated by Living Options Devon (and funded by the Heritage Lottery Fund) is providing a range of support including advice, training and visitor information materials. It is also funding two all-terrain mobility scooters known as Trampers to be operated through Living Option Devon’s well-established Countryside Mobility initiative. This extended version of the information guide aims to provide you with additional information about reaching and enjoying Lundy if you plan to make use of the scooter on the island. It is particularly designed to help you reach an informed decision as to whether it is feasible for you to reach and stay on the island. While using Trampers on the island is no more difficult than many of Countryside Mobility’s existing hire locations, the challenge of reaching the island by ship or helicopter will remain unrealistic for some. -
Narratives of the Literary Island: European Poetics of the Social System After 1945
Narratives of the Literary Island: European Poetics of the Social System after 1945 Ioana Andreescu Abstract In European post-war literature, the topos of the island takes centre stage, as the insular space often narrates a micro-scale society and the reconstruction of its social system. Isolation, semantically derived from ‘island’, characterises a European society radically transformed by the traumatic violence of the twentieth century. In this context, Robinson Crusoe—the ‘rational adult white man’—is recreated and reinvented in a multitude of new meanings, newly significant for understanding a transformed (and in-transformation) European society: he is cruel, he is afraid, he is a child, he is a woman, he is alone among others. The hypothesis of this paper is that the interest in and updating of Robinson Crusoe’s story transform this narrative into a literary myth, invested via intertextual and palimpsestic approaches with “a programme of truth” (Veyne 1983) that reveals a continuous interest in an alternative social system, which is in-the-making, historically, socially, psychologically, geopolitically, and so on. The literary post-war island narratives considered here, The Magus (1965) by John Fowles and Friday, or, the Other Island (1967) by Michel Tournier, highlight the process of the rewriting and rescaling of European history, as well as the essential need for human values in the creation of a society that has economics at its core. Keywords: Robinson Crusoe, myth, power, ideology, capitalism, individualism, palimpsest, postmodernism, postcolonialism Introduction This paper seeks to relate the myth of Robinson Crusoe and that of the desert island to modern European history, in order to apprehend several poetic1 functions of the post-1945 social system, particularly as portrayed in two post-war European novels, namely The Magus (1965) by John Fowles and Friday, or, the Other Island (1967) by Michel Tournier. -
Islands in the Screen: the Robinsonnade As Television Genre Des Îles À L’Écran : La Robinsonnade Comme Genre Télévisuel Paul Heyer
Document generated on 09/24/2021 6:24 p.m. Cinémas Revue d'études cinématographiques Journal of Film Studies Islands in the Screen: The Robinsonnade as Television Genre Des îles à l’écran : la robinsonnade comme genre télévisuel Paul Heyer Fictions télévisuelles : approches esthétiques Article abstract Volume 23, Number 2-3, Spring 2013 The island survivor narrative, or robinsonnade, has emerged as a small but significant television genre over the past 50 years. The author considers its URI: https://id.erudit.org/iderudit/1015187ar origins as a literary genre and the screen adaptations that followed. Emphasis DOI: https://doi.org/10.7202/1015187ar is placed on how “island TV” employed a television aesthetic that ranged from an earlier conventional approach, using three cameras, studio locations, and See table of contents narrative resolution in each episode, to open-ended storylines employing a cinematic style that exploits the new generation of widescreen televisions, especially with the advent of HDTV. Two case studies centre the argument: Gilligan’s Island as an example of the former, more conventional aesthetic, and Publisher(s) Lost as an example of the new approach. Although both series became Cinémas exceedingly popular, other notable programs are considered, two of which involved Canadian production teams: Swiss Family Robinson and The Mysterious Island. Finally, connections are drawn between robinsonnades and ISSN the emerging post-apocalyptic genre as it has moved from cinema to television. 1181-6945 (print) 1705-6500 (digital) Explore this journal Cite this article Heyer, P. (2013). Islands in the Screen: The Robinsonnade as Television Genre. Cinémas, 23(2-3), 121–143. -
The Life and Adventures of Robinson Crusoe, by Daniel Defoe Title
The Life and Adventures of Robinson Crusoe, by Daniel Defoe Title: The Life and Adventures of Robinson Crusoe Author: Daniel Defoe CHAPTER I—START IN LIFE I was born in the year 1632, in the city of York, of a good family, though not of that country, my father being a foreigner of Bremen, who settled first at Hull. He got a good estate by merchandise, and leaving off his trade, lived afterwards at York, from whence he had married my mother, whose relations were named Robinson, a very good family in that country, and from whom I was called Robinson Kreutznaer; but, by the usual corruption of words in England, we are now called—nay we call ourselves and write our name—Crusoe; and so my companions always called me. I had two elder brothers, one of whom was lieutenant-colonel to an English regiment of foot in Flanders, formerly commanded by the famous Colonel Lockhart, and was killed at the battle near Dunkirk against the Spaniards. What became of my second brother I never knew, any more than my father or mother knew what became of me. Being the third son of the family and not bred to any trade, my head began to be filled very early with rambling thoughts. My father, who was very ancient, had given me a competent share of learning, as far as house-education and a country free school generally go, and designed me for the law; but I would be satisfied with nothing but going to sea; and my inclination to this led me so strongly against the will, nay, the commands of my father, and against all the entreaties and persuasions of my mother and other friends, that there seemed to be something fatal in that propensity of nature, tending directly to the life of misery which was to befall me. -
Scholars Journal of Arts, Humanities and Social Sciences ISSN 2347-5374 (Online) Sch
Thinkwell Ngwenya.; Sch. J. Arts. Humanit. Soc. Sci. 2015; 3(2C):510-515 Scholars Journal of Arts, Humanities and Social Sciences ISSN 2347-5374 (Online) Sch. J. Arts Humanit. Soc. Sci. 2015; 3(2C):510-515 ISSN 2347-9493 (Print) ©Scholars Academic and Scientific Publishers (SAS Publishers) (An International Publisher for Academic and Scientific Resources) Circum Atlantic Space and Class Identity Formation and Transformation: The Case of The European, The African and The American in The English Novel Thinkwell Ngwenya Great Zimbabwe University, Faculty of Arts, Department of English and Media Studies, Masvingo, Zimbabwe *Corresponding Author: Thinkwell Ngwenya Email: [email protected] Abstract: The argument in this paper says identities are not given but they keep changing particularly in ―The New World‖ and this paper looks at English literature, Daniel Defoe‘s Robinson Crusoe and Alexander Exquemelin‘s The Buccaneers of America. Defoe shows the new avenues and possibilities of self exploration offered by the New World. In this book the concept of identity will be discussed vis-à-vis the ship, the sea, and the island chronotopes. The contention being that these alternative spaces exert certain demands and expectations on individuals which make constant adjustments and metamorphosis inevitable for both Robinson Crusoe and Friday, his servant. Meanwhile, Alexander Exquemelin‘s portrays the Atlantic world with its connecting link, the ship as elastic space which can be exploited, manipulated, appropriated, and utilized for self creation, agency and subjectivity. Both Robinson Crusoe and The Buccaneers of America deal with the issue of economic subjectivity: i.e. the romanticized and idealized homo- economicus of Robinson Crusoe in his utopian island and the real world of conspiracy and piracy, extravagancy, debauchery, and waste of the buccaneers. -
Landscape, Culture, and Education in Defoe's Robinson Crusoe
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 14 (2012) Issue 3 Article 9 Landscape, Culture, and Education in Defoe's Robinson Crusoe Geert Vandermeersche Ghent University Ronald Soetaert Ghent University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Vandermeersche, Geert; and Soetaert, Ronald. "Landscape, Culture, and Education in Defoe's Robinson Crusoe." CLCWeb: Comparative Literature and Culture 14.3 (2012): <https://doi.org/10.7771/1481-4374.2043> This text has been double-blind peer reviewed by 2+1 experts in the field. -
Robinson Crusoe, “Sudden Joy,” and the Portuguese Captain
Robinson Crusoe, “Sudden Joy,” and the Portuguese Captain Geoffrey Sill I. WAS !" AS #R! a$ter a shipwre&', Robinson Crusoe %al's distra&tedly about, %ordlessly gi(ing than's to God $or his reprie(e, )a'ing “a *ousand Gestures and +otions %hi&h I &annot des&ribe,” and grie(ously la)enting the loss o$ his &o)rades ,RC 41, n.284). Re&alling the )o)ent sixty years later as he %rites his )e)oirs, Crusoe still 3nds it “i)possible to express to the Li$e %hat the !xtasies and 5ransports o$ the Soul are” %hen a )an is sa(ed out o$ the (ery gra(e. He resorts to quoting a line o$ (erse to &on(ey the &on$usion o$ joy and grie$ that he $elt upon 3nding hi)sel$ sa$e on shore8 “For sudden Joys, like Griefs, confound at first.”i *e line is a talis)an $or a the)e that runs throughout The Life and Strange Surprizing Ad entures of Robinson Crusoe—the po%er o$ joy, and its t%in passion, grie$, to render affe&ted hu)anity spee&hless, e&stati&, e(en senseless. Crusoe experien&es the o(er%hel)ing po%er o$ sudden joy not on&e, but sixteen ti)es in the &ourse o$ the 3rst volu)e o$ his tra(els, and he is surprised by grie$ another t%el(e ti)es.ii Crusoe is a%are that these )o)ents ha(e pro$ound philosophi&al and spiritual signi3&an&e, though he is unable to say %hat it is. -
ASPECTS of LIFE and THOUGHT in ROBINSON CRUSOE Downloaded from by HANS W
ASPECTS OF LIFE AND THOUGHT IN ROBINSON CRUSOE Downloaded from BY HANS W. HAUSERMANN (Continued) III.—THE COMMERCIAL ELEMENT IN ROBINSON CRUSOE http://res.oxfordjournals.org/ I. The Character of the Middle-Class in " Robinson Crusoe." The first two pages of the novel contain a long panegyric of the middle-class station in life. Robinson Crusoe's father draws his son's attention to the fact that " the calamities of life were shared among the upper and lower part of mankind ; but that the middle station had the fewest disasters, and was not exposed to so many vicissitudes as the higher or lower part of mankind " (p. 17). This at Emory University on August 4, 2015 praise of the secure life of a " bourgeois " was calculated to captivate the reader. Defoe did not write his book for the learned, he wrote it for the large public of tradesmen, apprentices, and shopkeepers. Robinson Crusoe is Defoe's first novel, and the reasons why he turned from journalism and miscellaneous writing to prose fiction was " an increasing desire to make money through his pen in order to portion his daughters." x This is an explanation of the numerous traits in the novel which are clearly in the range and to the taste of a middle-class reader. What strikes us most is Defoe's way of describing such scenes as were likely to produce terror and astonishment in the reader. Thus, in the first and in the last scenes of his book, he managed to describe adventures with wild beasts, such as lions, wolves, and bears. -
Robinson Crusoe
Robinson Crusoe A pantomime by Brian Freeland Spotlight Publications COPYRIGHT © 2006 BRIAN FREELAND Published by Spotlight Publications All rights are reserved including performances on stage, radio and television. No part of this publication may be reproduced by photocopying or any other means without the prior permission of the copyright owner. It is an infringement of the copyright to give any performance or public reading of the play before a licence has been issued. Spotlight pantomimes must be played as per the script, and without alterations, additions or cuts, except by written permission of the publisher. However minor changes such as the addition of local references and topical references or gags are permitted. Likewise, all musical numbers may be changed at the discretion of the producer. The name of the author shall be stated on all publicity including posters and programmes. Programme credits shall state "script provided by Spotlight Publications". All enquiries to Spotlight Publications, 259 The Moorings, Dalgety Bay, Fife, KY11 9GX. Tel. 01383 825737. Email: [email protected] Website: www.spotlightpublications.com ISBN 1 904930 64 6 Robinson Crusoe The Lad from Largo CAST (in order of appearance) Robinson Crusoe , our hero Enrico Crusoe , his singing brother Mrs Crusoe , their mother Jeannie , Enrico's girlfriend The Laird o' Lundy , the baddie Captain Cockle , elderly and kind Hamish Gordon, narrator and bit player Friday, native islander Villagers, Pirates, Sailors, etc. Babes Musicians : Keyboards Percussion/Bodran Violin or Accordion Bass Guitar Steel Drums (if practical) PRODUCTION NOTES The script incorporates several stock pantomime routines but is not a conventional panto having front cloths alternating with full stage settings. -
The Many Faces of Daniel Defoe's Robinson Crusoe: Examining the Crusoe Myth in Film and on Television
THE MANY FACES OF DANIEL DEFOE'S ROBINSON CRUSOE: EXAMINING THE CRUSOE MYTH IN FILM AND ON TELEVISION A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by SOPHIA NIKOLEISHVILI Dr. Haskell Hinnant, Dissertation Supervisor DECEMBER 2007 The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled THE MANY FACES OF DANIEL DEFOE’S ROBINSON CRUSOE: EXAMINING THE CRUSOE MYTH IN FILM AND ON TELEVISION presented by Sophia Nikoleishvili, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. Professor Haskell Hinnant Professor George Justice Professor Devoney Looser Professor Catherine Parke Professor Patricia Crown ACKNOWLEDGEMENTS This dissertation would not have been possible without the help of my adviser, Dr. Haskell Hinnant, to whom I would like to express the deepest gratitude. His continual guidance and persistent help have been greatly appreciated. I would also like to thank the members of my committee, Dr. Catherine Parke, Dr. George Justice, Dr. Devoney Looser, and Dr. Patricia Crown for their direction, support, and patience, and for their confidence in me. Their recommendations and suggestions have been invaluable. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS...................................................................................................ii INTRODUCTION...................................................................................................................1