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To any reader in western society, Robinson Crusoe is a well-known character. Many of us come across his story even before we can read, through children’s books and bedtime stories, or any of the other numerous versions of Daniel Dafoe’s original. Robinson Crusoe has also been used to create adaptations such as Hollywood blockbuster Cast Away, the Swedish reality show Robinson and the American TV-series Lost. The core of these stories is always the same: a lone man or group of men and women battle against nature to survive. Below the surface of a physical struggle between nature and man, I see a story about human adaptation, learning and development. The reason why Robinson survives is that he uses his knowledge, adapts to the situation and learns from experience. The same goes for any other of the different characters we meet in both the original and the adaptations. It is never through physical domination alone that a Robinson character triumphs; the ability to develop as the game develops is just as important. I believe that a story this popular must influence its readers in significant ways. The story does not only provide us with a common frame of reference but also with a hero with whom we can easily relate; the thought of being alone, shipwrecked, in the way Robinson is, provokes in us a primal fear, and this is also central to the plot in many of the adaptations. A strong identification with Robinson is likely to strengthen the possibility that we become influenced by the character traits he possesses and that we act in similar ways as he does. This thought is what has led me to look at the dynamics of Robinson from a pedagogical perspective, to try to understand in what way he might affect the many students who meet him during their education.

It has been said that Defoe's writings embody an unresolvable split between a Puritan morality and an essentially capitalist economic interest. Defoe is either a Puritan, in some cases, writing works with heavy moral and religious overtones; or he is a capitalist, disregarding the virtues of a Puritan morality in the pursuit of economic gain. This split between trade and religion becomes a central critical issue in his first novel, Robinson Crusoe. There are sections of the novel in which Crusoe meditates upon religion, virtue, God's providence, his own place in the divine scheme, or in which he reflects on his past life of sin and adventure. There are other sections in the book in which the excitement of the narrative is generated through a focus on an action-economics pattern. Thus, the reader becomes involved in Crusoe's various survival projects, his explorations of the island wilderness, even in his early trading ventures. The latter, of course, are antithetical to the religious point of view maintained throughout the novel. The split in Crusoe's character, and the concomitant split in the structure of his "autobiography," can be resolved by looking at Defoe's ideological background as it relates to the themes and structure of Robinson Crusoe. Defoe's religion is a form of Puritanism; he comes from a Presbyterian household. Therefore, his ideas on economics tend to be moralistic and conservative; he is a mercantilist, not a capitalist. In Crusoe, the main character's "capitalistic" schemes for getting quickly ahead in the world are justly punished by Providence. Providence, in this sense, is the hand of God operating as a force for moral and economic order in human affairs. Through a careful structuring of his narrative, Defoe indicates his own moral and thematic intentions. There is a religious pattern in Robinson Crusoe which manifests itself through spiritual emblemism (i.e., events can be read for their spiritual significance), traces of allegory, the actions of Providence in Crusoe's life, Crusoe's own series of moral reflections, and a structure based on the conventional patterns of the seventeenth century spiritual autobiography. In the latter, the conversion scene is always the central dramatic event, and in Crusoe, the conversion stands squarely at the center of the novel; it is the scene central to Crusoe's own development as he evolves from a "capitalist" to a moral and religious man. In all, the religious pattern gives the reader a perspective on Crusoe's economics; rather than being a capitalist and disrupting the status quo, Crusoe learns to create order and stability on his island through an application of the principles of reason and faith. Thus, the religious and economic patterns work together throughout the novel; they are not antithetical. One other basic pattern in Robinson Crusoe is that of Crusoe's growth to moral wisdom and rational knowledge. Crusoe evolves through three stages, from an early "brute" stage (Crusoe as capitalist), through reason, and finally to faith. Again, Defoe's intention is to show that reason and faith should operate to control impulsive behavior and action. Thus, this pattern blends with the religious pattern in the book, but it also indicates Defoe's knowledge of the seventeenth-century natural law philosophers. Basing himself firmly on philosophical definitions of man and nature (as found in Grotius, Hobbes, and especially Locke), Defoe structures his text in order to show Crusoe's growth into faith and rationality. The result is, of course, that Crusoe becomes an example of the "good" eighteenth-century Englishman, able to control his actions through reason and morality, and thus he becomes a force for moral order and social stability throughout the last part of the book. Robinson Crusoe, then, can be seen as a text structured to indicate a resolution of the conflict between trade and morality. Defoe reduces and simplifies a complex ideology—made up of elements of Puritanism, conservative economic theory, natural law philosophy— for purposes of fictional presentation. It is this model, reduced and simplified, that the reader must understand in order to fully comprehend Defoe's moral and economic intentions in Robinson Crusoe and, finally, to see the book as it resolves the trade-morality conflict. / Arts, Faculty of / English, Department of / Graduate

In this essay i examine the adaption process of the book Robinson Crusoe (1719) and the movie Robinson Crusoe from 1997. From my findings i will discuss the didactic potential of working with classic literature in a widened textual sense. I aim to answer the following questions: 1. What could be found in the adaption process between text and movie? 2. How can film be used as didactical tool in teaching classical literature in upper secondary school? The methods i have used in this essay are narrative method which means that you study the story as a whole and it´s parts. In specific I have studied the plot, use of time and the characters. I have found that the characters have been modernized in order to fit in a changed society. Which is also shown is the polarization of the characters´ religion. A women is added to the story which change the cultural context in comparison to the original story. I found several potential didactic dimensions; for example the use of a female character in the movie which can engage a larger audience, different living conditions and the questions of different religions.

Magister Artium - MA / This thesis will critically analyse two theatrical adaptations of J. M. Coetzee's Foe (1986). Primarily, this thesis will be seeking to understand the complex relationship of the primary text to its adaptations more closely, regarding them not only as second-order versions or interpretations of the novel, but also to consider the way they may retrospectively construct new readings and understandings of the source text. This thesis will not only consider the way in which Foe is used in the adaptations but also how Robinson Crusoe (1719) influenced the adaptors and adaptive process. Theories of adaptation will be discussed, drawing extensively on work by Linda Hutcheon (2006) and Robert Stam (2005). One of the key ideas in adaptation theory is that adaptive fidelity to the source text is neither possible nor desirable, but that adaptation is a more complex, multi-layered intertextual and intermedial interplay of fictional material. One of the aims of this thesis is to ask whether or not Foe can be successfully transposed to the stage. This thesis will serve as a close analysis of the two theatrical adaptations, focusing on the beginning and endings of the respective adaptations. This research will contribute a new approach to Coetzee studies and to Foe in particular by exploring how these texts can lead to a broader understanding of Coetzee's work and the way it crosses into different media.

This dissertation investigates how Dissenting writers, among them Samuel Annesley and Richard Baxter, influenced the religious thought of Daniel Defoe. Though some critics, most notably G. A. Starr and J. Paul Hunter, have positioned Defoe within a broad "Puritan" tradition, his religious ideas are more properly understood within the specific circumstances of post-Restoration England, as the unique pressures engendered by the Interregnum impelled many Dissenting writers to privilege "Practical Religion" over abstract theology. The aversion to "doubtfull disputations" that Defoe inherits from this discourse informs not only the modes of argument Defoe employs, but also the genres through which he engages with theological questions. Throughout his writing, however, his attachment to Biblical typology, which is informed by his dependence on the Bible as a stable locus of indisputable “plainness,” comes into conflict with his political tenets, as Scripture provides no firm precedent for the mode of contractual kingship introduced by the Glorious Revolution. At first seeking to mute the incongruities between "Hebrew times" and "modern" circumstances, Defoe is eventually impelled to reconceptualise typology, formulating a theory that both acknowledges the authority of the Bible while allowing William, and the mode of contractual kingship he represents, to surpass Scriptural types. This attitude towards typology fundamentally underpins the narrative of Robinson Crusoe (1719), which systematically repudiates Biblical narratives. Rather than adhering to prefigurative Biblical patterns, the novel is built on a series of divergences, first personal and then political, from Scriptural models. Anchored in his specific geographic and economic circumstances, Crusoe’s conversion is markedly distanced from Biblical types, represented as a process unique to his situation, rather than an iteration of an existing pattern. Ultimately, this dissertation contends that Defoe’s religious thought, specifically his commitment to "Practical Religion" and the typological hermeneutic this discourse underpins, is fundamentally informed by his relationship with post-Restoration Dissent. / Thesis (Ph.D, English) -- Queen's University, 2013-08-01 15:48:01.785

Geólogo / La isla Robinson Crusoe (33°38 42 S, 78°49 23 O) corresponde a un conjunto volcánico de intraplaca emplazado en la Dorsal de Juan Fernández, un ridge asísmico de orientación aproximada E-W situado sobre la Placa de Nazca. Su sección emergida está formada principalmente por rocas volcánicas básicas además de un cuerpo intrusivo félsico y escasas secuencias sedimentarias. La Secuencia Punta Larga (ca 5,8 Ma.) se compone de basaltos y andesitas basálticas toleíticas de medio K. Destaca en ella la significativa presencia de mineralogía secundaria (clorita, esmectita, epidota, carbonatos). La Secuencia Puerto Inglés (ca 3-4 Ma.) es representativa de la fase de volcanismo de escudo de la isla y se compone de basaltos de medio K con afinidad transicional desde toleítica a alcalina. Además, en esta última se reconocen rocas ricas en olivino con valores de MgO>16% y enclaves ultramáficos dentro de los diques, correspondientes a cúmulos duníticos. A su vez, la Secuencia Bahía del Padre (ca 1,2 Ma.) está formada por basanitas marcadamente alcalinas, con total ausencia de fenocristales de plagioclasa y fuerte enriquecimiento relativo en HFSE. Por último, el Intrusivo de Punta Larga corresponde a un cuerpo de sienitas y sienodioritas de clinopiroxeno de alto y medio K con importante presencia de apatito y circón. El comportamiento de elementos tales como Mg, Ni, Ca, Sc, V, Sr y Al permite inferir procesos de acumulación de olivino (grupo de alto Mg) y fraccionamiento de clinopiroxeno y plagioclasa, que serían capaces de explicar las variaciones geoquímicas internas observadas. Se puede establecer una clara tendencia marcada por el aumento de la alcalinidad en las unidades volcánicas más jóvenes. En este sentido, las rocas parcialmente alteradas de la secuencia basal son toleíticas (La/Yb=10,70, Ba/Zr=0,76, Nb/Zr=0,16); la fase de volcanismo de escudo es transicional (La/Yb=13,69; Ba/Zr=1,07; Nb/Zr=0,16) y, finalmente, las basanitas post-escudo son fuertemente alcalinas (La/Yb=22,32; Ba/Zr=2,26; Nb/Zr=0,26). Para explicar la tendencia evolutiva observada se evalúan dos hipótesis. La primera consiste en grados decrecientes de fusión parcial en un manto enriquecido que implican, en todo caso, coeficientes de partición distintos entre la secuencia más joven y aquellas que la preceden. La segunda hipótesis propone cambios en la fuente mantélica asociada a la génesis de la unidad post-escudo. Esta nueva fuente se encontraría enriquecida fuertemente en Nb y Ta, y levemente en Zr, Y, Hf y Th (con características similares a una fuente tipo HIMU) en comparación con aquella asociada a las secuencias antiguas y que corresponde a una mezcla entre fuentes tipo HIMU y N-MORB. La primera alternativa supone una fuente estática incompatible con el modelo de hotspot . La segunda sería más consistente con un escenario de pluma mantélica capaz de generar cambios composicionales (metasomáticos?, mineralógicos?) en el manto a lo largo del tiempo como se ha sugerido en otras islas oceánicas.

Memoria para optar al título de Geógrafo / En la actualidad el archipiélago de Juan Fernández, enfrenta un gran problema ambiental determinado por la gran tasa de invasión biológica de especies vegetales, esencialmente las 3M: maqui, mora y murta. Al combinarse esta distribución, que amplía su rango año a año, más el alto endemismo por unidad de superficie y el alto porcentaje de especies en peligro de extinción, nace la necesidad de emprender acciones de manera urgente para asistir al sistema frente a la dura competencia que se desarrolla en el hábitat de las especies originarias. En Plazoleta el Yunque (Robinson Crusoe, IRC) se han llevado a cabo medidas de control de plagas vegetales, mediante el control de maqui y mora en los claros del bosque. Este proceso ha resultado positivo para la regeneración del bosque, por lo que se proyecta la misma intervención hacia otros sectores invadidos. La gran superficie ocupada por matorral invasivo en IRC, hace inminente priorizar las áreas a intervenir, las cuales deben cumplir con ciertos requisitos y restricciones, basados en el objetivo de restauración. Se seleccionaron como criterios los factores riqueza de especies, abundancia por especie, coberturas vegetales, conservación ex situ y distribución del matorral de las 3M, y como limitante los rangos de pendiente, debido a los riesgos de erosión. Todos fueron integrados en un modelo de decisión multicriterio basado en el método de sumatoria lineal ponderada, que asocia los valores óptimos de localización para cada criterio, mediante algebra de mapas. Se seleccionaron como sitios prioritarios a intervenir las siguientes microcuencas hidrográficas: Puerto Inglés, Villagra, Quebrada Colonial, Piedra con Letras, Quebrada de Lord Andson, Quebrada El Palillo y el Pangal.

The aim of this thesis is to understand the presentations of characters¡¦ identity problems in Jonathan Swift¡¦s Gulliver¡¦s Travels and Daniel Defoe¡¦s Robinson Crusoe in relation to their respective genre and to see how the presentations reflect the social ambience and the cultural development in eighteenth-century England. This thesis consists of five chapters. In chapter one, I will briefly summarize the social conditions in eighteenth-century England. This summary of social conditions will show eighteenth-century England as a society of conflicts and contrasts between old and new values. Two key words here, old and new values, will allude to the development of literary genres in eighteenth-century England. Novel is a term which first appears around this time in the history of literary writing and which refers to a new type of genre. As people have varieties of life styles, so do authors have a new genre to work with. However, this newness, either in a social or cultural context, coexists with the old values. In the context of literary writing, the novel, as a genre, has to compete and cooperate with one of its precursors, the genre of satire. In chapter two, I will try to understand the relationship between novel and satire in the light of another genre, utopia. Even though the utopian element in satire is a counterpoint, meaning the dystopian stance, of utopian traditions, there still is a strong sense of community in satirical writings. Compared with satire, the sense of individuals is the core of the genre of the novel. Realism, marked by Ian Watt, is a new trend in novel writing and it is highly connected with the idea of individualism instead of the sense of community. In order to see this difference, Swift¡¦s Gulliver¡¦s Travels and Defoe¡¦s Robinson Crusoe are the two texts that I will use in chapter three and four for detailed discussions. As for the second part of chapter two, I try to single out the idea of travel with the intention to see its importance in eighteen-century England. In chapters three and four, my concern turns to characters¡¦ identity problems in the two travel narratives: Gulliver¡¦s Travels and Robinson Crusoe. Compared with each other, the characters of the two travel narratives have different identity problems and this difference is important in the way of symbolizing the different concerns of each genre: satire for a sense of community and novel for individualism. Moreover, in terms of the different endings in the two travel narratives, Gulliver and Crusoe¡¦s experiences of their identity problems also suggest an important social condition, which is the different possibilities of life, in eighteenth-century England. In conclusion, I will give an overall review of the whole thesis.

The goal of this thesis is to discuss the formation of Robinson Crusoe¡¦s capitalist identity in Daniel Defoe¡¦s Robinson Crusoe with the issue of dominance/submission and the concepts of capitalism. Defoe¡¦s Robinson Crusoe is regarded as the first novel in the English literary history. The novel tells how Crusoe, from exiled on an isolated island to return to English society, manipulates power of mastery with authority to undergo metamorphosis to be a colonizer and a successful capitalist. The novel deals with not only the issue of the establishment of Robinson Crusoe¡¦s identity struggling on the isolated island, but also the hegemony of Britain and the advocacy of Capitalism and Protestantism. This thesis consists of four chapters. In chapter one, I will briefly discuss the historical background and reasons, socially as well as politically, for the rise of the novel in the eighteenth century, and Daniel Defoe¡¦s background, his writing style, and his first novel Robinson Crusoe. In chapter two, I will clarify the illusion of the biblical Eden in the novel, and discuss the significance of the island for Robinson Crusoe. Moreover, how Crusoe¡¦s progression civilizes the island, resulting in the loss of the biblical Eden. Crusoe¡¦s status is reversed from God to a capitalist looking for profit. In chapter three, I will discuss the formation of Crusoe¡¦s identity with power and authority. How he establishes his identity through the process of mastery over non-humans and humans. In conclusion, I will give an overall review of the whole thesis.