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Robinson Crusoe Daniela Defoe jako utwór chrześcijański

100%
Borowska M.
Roczniki Nauk Społecznych
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2006
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vol. 34
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issue 2
185-197
EN
Daniel Defoe's novel Robinson Crusoe is saturated with the hero's deep religiousness. Faith is the foundation on which he builds his life, and God is the one who gives a meaning and an aim to the experience of loneliness. The whole novel is characterized by a wealth of religious motifs. Here are the most important ones: daily reading of the Holy Scriptures and prayer, moral self-analysis. After each activity the protagonist thinks about how the Providence's intentions have been revealed in his action. Each experience is for him either a result of a committed sin (leaving his parents) or an act of Divine Providence. Religion pervades all the aspects of the hero's life. He builds a church, he erects a cross, he celebrates Sundays and Christmas. Religious practices become a source of strength and consolation for him, and also a valuable support at the moments of doubt. The hero's friendship with Friday is an important part of his life. He tries to teach him the basic truth of faith; he tells him about God's love of people, about the mystery of Redemption and about the role of the Holy Spirit in a man's life. Considering the above mentioned religious acts contained in Daniel Defoe's novel it can be stated that the novel is very valuable as a pedagogical book. Robinson Crusoe is still an important book, especially for young people looking for personal models and authorities.
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Film Zostawcie Robinsona! czyli węgiersko-kubańska interpretacja przygód bohatera powieści Defoe oraz inne filmowe adaptacje losów Robinsona Crusoe

98%
Bubak G.
Porównania
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2019
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vol. 25
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issue 2
127-141
EN
The story of Robinson Crusoe has been told many times in the film, sometimes with faithfulness to the literary original, more often with numerous deviations and more or less ingenious variants. The creators of various ranks and authority inscribed the hero’s adventures in numerous genre schemes, ranging - in the most natural way - from adventure film to comedy and science fiction. It was Daniel Deofe’s story that provided the inspiration rather than the prototype of his hero – Alexander Selkirk. Interestingly, far-reaching transcripts of Robinson’s adventures already appeared in the 1930s. Little is known about what had happened before. The movies about which any information can be found are usually considered missing. In the paper, I write about the Hungarian-Cuban version of the adventures of Robinson Crusoe and about other films that could have been to some extent an inspiration for director Péter Tímár.
PL
Historia Robinsona Crusoe została w filmie opowiedziana wielokrotnie, czasem z dochowaniem wierności oryginałowi literackiemu, częściej z licznymi odstępstwami i mniej lub bardziej pomysłowymi wariantami. Twórcy różnej rangi i autoramentu wpisywali przygody bohatera w liczne schematy gatunkowe, poczynając – w sposób najbardziej naturalny – od filmu przygodowego, a kończąc na komedii i science fiction. Inspiracji dostarczał raczej Daniel Defoe niż prototyp jego bohatera – Alexander Selkirk. Co ciekawe, daleko idące transkrypcje przygód Robinsona pojawiły się już w latach trzydziestych ubiegłego wieku. O tym, co działo się wcześniej, niewiele wiadomo. Filmy, o których informacje można znaleźć, przeważnie uchodzą za zaginione. W swoim tekście piszę o węgiersko-kubańskiej wersji przygód Robinsona Crusoe oraz o innych filmach, które w pewnym stopniu mogły być dla reżysera tego dzieła, Pétera Tímára inspiracją.
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L’analyse hypertextuelle de L’Empreinte à Crusoé de Patrick Chamoiseau

80%
Masłowski D. P.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. Special Issue: Le monde de la litérrature
157-166
EN
Over centuries, the subject of robinsonade does not seem to be a thoroughly investigated field in literary criticism. In this context, the role of Defoe’s work is still considered as the fundamental hypotext for every future robinsonade. Nevertheless, the twentieth century brings writers such as Michel Tournier, Patrick Chamoiseau or Yann Martel who began to transvalorize their robinsonades. This postmodern and sometimes postcolonial approach questions the topicality of modern and colonial masterpiece. In his recent novel, Patrick Chamoiseau explores the literary myth of Robinson Crusoe. He indicates the equiponderant influence of Daniel Defoe’s Robinson Crusoe and Michel Tournier’s Friday, or, the Other Island. The purpose of this paper is to analyze said hypertextuality in Crusoe’s footprint. It attempts to focus notably on the dialogue between Chamoiseau and Tournier and to see Michel Tournier’s impact not only as the primordial hypotext in case of Crusoe’s footprint but also as the basic reference for robinsonades reversing the ideological message of Daniel Defoe’s text in the XXth and XXIth centuries.
4
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Obraz wyspy Crusoe: Defoe, Rousseau, Stothard

74%
Lipski J.
Porównania
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2019
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vol. 25
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issue 2
85-99
EN
This article analyses Thomas Stothard’s illustrations of Robinson Crusoe arguing that the heightened interest in and appreciation of nature in Stothard’s set should be seen in the context of sentimental readings of Daniel Defoe’s Robinson Crusoe, which, unlike the original, recognised the benefits to a solitary life in natural surroundings. The article traces some fundamental steps in this change of paradigm, first by showing Defoe’s reticence about natural beauties, and then by juxtaposing Stothard’s contribution with how J. J. Rousseau read and interpreted Robinson Crusoe.
PL
W niniejszym tekście analizie poddane są wybrane ilustracje Thomasa Stotharda przedstawiające wydarzenia z powieści Robinson Crusoe Daniela Defoe. Wyeksponowanie tła naturalnego, wyraźnie widoczne w omawianych ilustracjach, odczytywane jest w kontekście sentymentalnych interpretacji powieści Defoe, które – inaczej niż tekst oryginalny, którego autor wydaje się być nieczuły na piękno natury – zdecydowanie pozytywnie wartościowały samotne życie w harmonii z naturą. Ten aspekt ilustracji Stotharda interpretowany jest w kontekście myśli J. J. Rousseau, a w szczególności tego, jak francuski filozof odczytywał powieść Defoe.
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