Search Results for Roxana

... in the Devil was a slippery slope toward atheism. How Defoe chose to represent the Devil in his novels could potentially have serious cultural ramifications, helping to shape the modern concept of the Tempter as well as social discourses about the origin of evil. And yet, in Roxana , the ontological status...

... through which Francis Noble and his brother John represented the authorial relationship between Defoe, Roxana , and Moll Flanders between 1775 and 1787 and analyzes these attributions within the larger discourses surrounding the Nobles’ circulating libraries. “Attribution and Repetition” provides...

...: the seventeenth-cen- tury romances of Madeleine de Scudéry and La Calprenède. In The Rival Queens, Lee transforms Calprenède’s original romance tale in which Statira and Roxana become friends, in spite of their shared love for Oroondates, the prince of Scythia, into a feverish competition for the emperor...

... is devoted to fiction other than Crusoe; it covers the History of Duncan Campbell (1720, de-­attributed long ago), Moll Flanders, Col. Jacque (1722), Roxana, and Memoirs of a Cava- lier (1720) (58 – ​59).21 The Life concludes with an assertion that Defoe was “one of the ablest” and “most captivating...

... Pamela and Daniel Defoe’s Roxana) by pairing them with historical accounts of female servants whose actual stories exaggerate the concerns of the fictions. She compares Pamela with Elizabeth Canning, and Roxana and Amy with Elizabeth Brownrigg. In both of her chapters on female servants, Straub...

..., Haywood, and Burney receive one chapter each: Moll Flanders (1722) and Roxana (1724) for Defoe, Betsy Thoughtless (1751) and The History of Jemmy and Jenny Jessamy (1753) for Haywood, and Evelina (1778) and Cecilia (1782) for Burney. Two chapters are devoted to Richardson's four-novel...

... of the Bees (1714), Roxana (1724), Clarissa (1748), and Tom Jones (1749). I can only sample here the many new angles on old texts that I will pon- der and probably incorporate into my teaching. I like Rosenthal’s insistence Understanding Whores     9 9...

... smallpox; while she was ill, someone showed at least the Lady Mary Wortley Montagu 8 1 poem “Roxana” (later, “Monday at court and to Princess Caroline. A satire on a women who had failed to gain royal favor, the poem criticized Caroline in the satirized courtier’s...

... extension of the reader to whom it is attached, and a voluble simulacrum of a person. Thus, a first chapter on the eighteenth- ­­century passion for novelty and on the novel as a consumable object — with set- ­­piece readings of ornament in Oroonoko and fashion in Roxana, though without much attention...

... is interested here in spy fiction and reverse ethnography. Chapter 1, “Fiction/ Translation/Transculturation,” reads Marana’s Turkish Spy (1684 – ​86) as “con- textually determinative” (40) for Behn’s Oroonoko (1688) and Defoe’s Roxana (1724), urging us to treat English fiction of this period as “a multi...

... of the Protestant whore, both the trans-­decades icon and its sequential individual manifesta- tions, starting with Behn’s Love-­Letters Between a Nobleman and His Sister and continuing through the “Secret Histories” of the 1690s and Queen Anne’s reign, [Defoe’s Roxana, and, in a suggestive if less...

... Road 1 3 9 Providence or providential plots; they have to survive in a world they do not have the resources to control or resist. Moll Flanders and Roxana are Pavel’s final examples of the genre, and they show how Daniel Defoe adapts this kind of story. In contrast to the earlier examples...

... problem for the eighteenth-century domestic novel the fact that a woman’s unsexed sinews, veins, and nerves must ratify Locke’s defense of nat- urally stronger and abler men’s claim to conjugal dominance” (58). She finds, unsurprisingly, that “Roxana’s feminism consists in a refusal to ratify...

... and Roxana comes from an exceedingly unreliable source more than forty years after Defoe’s death.57 A long series of books about Defoe’s fiction have been written, solemnly tracing his presumptive devel- opment as a novelist, studying his evolution in novels some or most of which he may well not have...

... to seraglios (there is an uncommon amount of female interest in these)9 were represented as tyrants of special cruelty: such was the empress Roxana, source of the name that titles Defoe’s last novel. This Roxana wears, it will be remembered, a notable Turkish cos- tume that eventually reveals her identity...

... of female voice that both display and examine the ethics of commerce in the imaginative litera- ture of the period: Daniel Defoe’s Roxana, Samuel Richardson’s Pamela, Clarissa, and Harriet Byron. However, women of letters and women with commercial literary aspirations were not only represented...

... remained central figures in the eighteenth- century literary landscape precisely because of their ability to speak to issues at once political and aesthetic, public and private. At key moments of works as different as Defoe’s Roxana and Fielding’s Tom Jones, allusions to Nell Gwyn structure the novels...

...³ict (for now) to the one between Crusoe and the Moors. His treatment on board the ship as well as in Brazil itself is a model of fantasized European ecumenical humani- tarianism and commercial harmony, colored by Defoe s characteristic over- laying of sentiment onto capital. (As in Roxana, friend...

... in Defoe’s fi ction; Roxana’s trusted Amy renegotiates the lines between mistress and servant by dressing as a gentlewoman (509). Backscheider also observes that “throughout his writing career, [Defoe] would quote himself either in long identifi ed passages or in phrases, analogies, and well-turned...

... Zimmerman, Defoe and the Novel (Berkeley: Univ. of California, 1975); David Blewett, Defoe’s Art of Fiction: Robinson Crusoe, Moll Flanders, Colonel Jack, and Roxana (Toronto: Univ. of Toronto, 1979); and Michael M. Boardman, Defoe and the Uses of Narrative (New Brunswick: Rutgers Univ., 1983...