Robinson Crusoe: Gebundene Ausgabe

by Daniel Defoe

Overview

„Mit Robinson Crusoe legte Defoe einen der bedeutendsten Romane der Weltliteratur vor. Er spielt dabei virtuos mit den Literaturgattungen, wie es nur ein Großautor vermag. Eine derart geglückte Kombination aus Unterhaltsamkeit und Gelehrsamkeit kommt in dieser Form in der klassischen Literatur nur selten vor - von der modernen ganz zu schweigen. Der ursprüngliche, vollständige Titel lautet übrigens: Das Leben und die seltsamen überraschenden Abenteuer des Robinson Crusoe aus York, Seemann, der 28 Jahre allein auf einer unbewohnten Insel an der Küste von Amerika lebte, in der Nähe der Mündung des großen Flusses Oroonoque; durch einen Schiffbruch an Land gespült, bei dem alle außer ihm ums Leben kamen. Mit Aufzeichnungen, wie er letztlich seltsam durch Piraten befreit wurde. Geschrieben von ihm selbst". Redaktion Gröls-Verlag (Edition Werke der Weltliteratur)

Product Details

ISBN-13:	9783966370493
Publisher:	Grols Verlag
Publication date:	09/17/2019
Pages:	282
Product dimensions:	8.50(w) x 11.00(h) x 0.69(d)
Language:	German
Age Range:	7 - 9 Years

About the Author

Daniel Defoe published more than 500 works including novels, pamphlets, and magazine articles. He is considered to be one of the precursors of the novelistic genre in England because of his most famous work, Robinson Crusoe.

Read an Excerpt

I was born in the Year 1632, in the City of York, of a good Family, tho 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 afterward 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 our selves, and write our Name Crusoe, and so my Companions always call’d me.
(Continues…)

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Excerpted from "Robinson Crusoe"
by .
Copyright © 2008 Daniel Defoe.
Excerpted by permission of Penguin Publishing Group.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Table of Contents

1.

The Family Left Behind

7

2.

First Adventures at Sea

11

3.

In and Out of Slavery

17

4.

From Brazil to a Shipwreck

23

5.

Looting the Wrecked Ship

31

6.

Making a Home

39

7.

Getting Organized

43

8.

Diary of a Castaway

47

9.

A Turning Point

57

10.

Finding Comfort

63

11.

Exploring the Island

75

12.

A New Pet

79

13.

Baking Bread

85

14.

Great Improvements

91

15.

Ocean Danger

99

16.

A Dairy Farm

105

17.

The Footprint

111

18.

Cannibals

117

19.

A Secret Cave

121

20.

Another Shipwreck

125

21.

Wonderful Dream

129

22.

Finding Friday

137

23.

Friendship

145

24.

Arrival of Savages

151

25.

Rescuing Captives

157

26.

The Mutineers

167

27.

Heading Home

177

What People are Saying About This

From the Publisher

"There is nothing archaic about Vance's miraculous reading of this classic tale.... This stellar audiobook brings out all the elements of this original castaway tale." —-Booklist Starred Audio Review

EBOOK COMMENTARY

"There is nothing archaic about Vance's miraculous reading of this classic tale.... This stellar audiobook brings out all the elements of this original castaway tale." —-Booklist Starred Audio Review

Reading Group Guide

1. Robinson Crusoe is regarded as one of the first English novels. What were the qualities that defined the English novel? How has the meaning of the word "novel" changed? Do we use the term more loosely now or has it evolved into something entirely different?

2. Defoe's novel is also thought to be one of the earliest examples of the use of psychological realism. Defoe posits himself as "editor" and Crusoe as the author. How does his use of voice and point of view differ from that of his contemporaries? How much of his fiction might be influenced by his background in journalism and nonfiction?

3. How much of Robinson Crusoe is supposed to be "real" and journalistic and how much is intended to be allegorical? How does Defoe use Crusoe to espouse certain values? In what sense is the book a morality story?

4. Examine Crusoe's relationships with Xury and Friday. Critics have seen Robinson Crusoe as representative of British colonialism and imperialism, glorifying the subjugation of other cultures. How does Defoe seem to comment on the institution of slavery and issues of race?

5. How do Robinson Crusoe's experiences on the island comment on the society from which he has been separated?

6. How does what we now call the Protestant work ethic pervade Defoe's novel? Robinson seems to channel all of his energy into the pursuit of manual labor; the story is a series of daily routines and a tribute to work. To what end? Is his newfound work ethic accompanied by a spiritual awakening?

7. How is value established on Crusoe's island? How does the language of economics inform the text?

8. What is the nature of RobinsonCrusoe's relationship with his environment? Does he regard his surroundings as hostile? Does he seek to re-create the landscape?

Editorial Reviews

"This edition greatly enriches the reader's appreciation of Robinson Crusoe both as a classic that transcends its historical origins and as a text that reflects a specific historical context. In each role, the novel can be viewed from many perspectives, ranging from those embodied in other writings by Defoe and his contemporaries to later ideas about psychology, economics, religion, and post-colonialism, and the introduction and appendices give the reader access to an extraordinarily copious array of these perspectives. The introduction, moreover, goes well beyond compiling viewpoints: while elegantly marshaling information, Evan R. Davis also contests received opinion and offers fresh insights. This is an extremely useful edition for students, general readers, and even those already well-acquainted with Defoe."

Oscar Kenshur Indiana University

"Evan Davis has done an excellent job of bringing together many of the strands of thought that Defoe put into The Life and Strange Surprizing Adventures of Robinson Crusoe—his interests in travel, economics, religion, and the experience of solitude—and putting them into an attractive format. Professor Davis supplies examples of texts on related topics such as solitude, cannibalism, and castaway narratives, along with a group of wonderful illustrations, including a large number of Crusoe and Friday, showing everything from the sympathetic and helpful Crusoe to Crusoe the colonialist and exploiter. These are well chosen to make points about the ways in which Crusoe fits into the interests of post-colonial criticism. Professor Davis is also very good in his introduction on the ambiguity with which Crusoe treats Friday. Is he a friend, a servant, or a slave? Or all three? This will be a useful and indeed an exciting text for students at all levels."

Maximillian E. Novak University of California

Beyond the end of Robinson Crusoe is a new world of fiction. Even though it did not know itself to be a ‘novel,’ and even though there were books that we might now call ‘novels’ published before it, Robinson Crusoe has made itself into a prototype . . . Perhaps because of all the novels that we have read . . . the novelty of Defoe’s fiction is the more striking when we return to it. Here it is, at the beginning of things, with its final word reaching out into the future.” –from the Introduction by John Mullan

EBOOK COMMENTARY

"There is nothing archaic about Vance's miraculous reading of this classic tale.... This stellar audiobook brings out all the elements of this original castaway tale." —Booklist Starred Audio Review

From the Publisher

A labored retelling of the classic survival tale in graphic format, heavily glossed and capped with multiple value-added mini-essays.

Along with capturing neither the original's melodrama nor the stranded Crusoe's MacGyver-esque ingenuity in making do, Graham's version quickly waxes tedious thanks to forced inclusion of minor details and paraphrased rather than directly quoted dialogue in an artificially antiquated style ("You Friday. Me Master"). Frequent superscript numbers lead to often-superfluous footnotes: "Crusoe, a European, assumes that he is superior to other races. This attitude was usual at the time when the story was written." Shoehorned into monotonous rows of small panels, the art battles for real estate with both dialogue balloons and boxed present-tense descriptions of what's going on (the pictures themselves being rarely self-explanatory). Seven pages of closing matter cover topics from Defoe's checkered career to stage and film versions of his masterpiece—and even feature an index for the convenience of assignment-driven readers.

At best, a poor substitute for Cliffs Notes and like slacker fare.(Graphic novel. 11-14)

Kirkus Reviews