Wyniki wyszukiwania - Biblioteka Nauki

1

Robinson Crusoe Daniela Defoe jako utwór chrześcijański

100%

Borowska M.

Roczniki Nauk Społecznych

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2006

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tom 34

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nr 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.

2

Film Zostawcie Robinsona! czyli węgiersko-kubańska interpretacja przygód bohatera powieści Defoe oraz inne filmowe adaptacje losów Robinsona Crusoe

98%

Bubak G.

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2019

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tom 25

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nr 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.

3

Obraz wyspy Crusoe: Defoe, Rousseau, Stothard

74%

Lipski J.

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2019

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tom 25

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nr 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.

4

Robinzonády v ľudovom čítaní na Slovensku v 19. storočí

70%

Kubealaková M.

Slovo a smysl - Word & Sense

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2024

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tom 21

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nr 44

36-53

EN

The aim of this study is to present the basic context of literary research on popular literature in Slovakia, following studies by Věra Brožová (2008) and Jiří Hrabal (2022), looking specifically at the forms of 19th-century Robinsonades, including Czech Robinsonades reprinted in Slovakia from the late 18th century through the 19th century. With the exception of a single edition of Pavel Šulc’s adaptation, we know of no adaptations of Defoe’s Robinson Crusoe in the Czech context to have been published in Slovak editions; this is surprising considering the popularity of the theme and rich history of Czech adaptations, and we believe that further investigation is required. This study therefore distinguishes between the ‘Robinsonade’ and ‘folk Robinsonade’, with respect to the different motivations for adapting Defoe’s work in the context of Slovakian popular literature: that is, between the Robinsonade as a line started by the Czech translation of J. Campe’s German adaptation Robinson der Jüngere (and subsequent adaptations by V. Kramerius’s and others; the ‘Czech Story’ follows, for example, the aforementioned study by Hrabal), and various other works that draw instead on the success of Defoe’s novel to create adventure stories based on the Robinson theme. The heroes of these stories — Berthold, Ildegert, Spelhofen, and Engelbrecht — are known from both Czech and Slovak editions. The results of this comparison, together with an examination of the factors that may have caused these changes at all investigated levels, are formulated as manifestations of specific forms of inter-literary reception, namely ‘retellings’ with omission and expansion (Robinson der Jüngere), and — as examples of the ‘folk Robinsonade’ — adaptation (Berthold), plagiarism (Ildegert), interliterary allusion (Spelhofen), and allusion (Engelbrecht). Changes in form are found to be directly proportional to the degree of application of the poetics of popular literature.