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A Narrative of the Life and Astonishing Adventures of John Daniel, a smith at Royston in Hertfortshire, for a course of seventy years. Containing, the melancholy occasion of his travels. His shipwreck with one companion on a desolate island. Their way of life. His accidental discovery of a woman for his companion. Their peopling the island. Also, a description of a most surprising engine, invented by his son Jacob, on which he flew to the moon, with some account of its inhabitants. His return ... His further excursions in search of England. His residence in Lapland, and travels to Norway, from whence he arrived at Aldborough, and further transactions till his death, in 1711. Aged 97. Illustrated with several copper plates, engraved by Mr. Boitard. Taken from his own mouth, by Mr. Ralph Morris

John DANIEL (of Royston.)

Published: 1801

Total Pages: 86


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Now with an Historical Afterword by Ron MillerIncludes the original illustrations Featured in Ron Millers _The Conquest of Space Book Series.Ó Originally published in 1751, this fantasy-adventure contains one of the most detailed and best-realized spacecraft/flying machines in science fiction. It marked the transition from the fantastic and mystical means of reaching space that had preceded it and laid the foundation for the scientific verisimilitude of Poe and Verne. At the publisher's request, this title is sold without DRM (Digital Rights Management).
Rigorously inventive and revelatory in its adventurousness, 1650–1850 opens a forum for the discussion, investigation, and analysis of the full range of long-eighteenth-century writing, thinking, and artistry. Combining fresh considerations of prominent authors and artists with searches for overlooked or offbeat elements of the Enlightenment legacy, 1650–1850 delivers a comprehensive but richly detailed rendering of the first days, the first principles, and the first efforts of modern culture. Its pages open to the works of all nations and language traditions, providing a truly global picture of a period that routinely shattered boundaries. Volume 28 of this long-running journal is no exception to this tradition of focused inclusivity. Readers will experience two blockbuster multi-author special features that explore both the deep traditions and the new frontiers of early modern studies: one that views adaptation and digitization through the lens of “Sterneana,” the vast literary and cultural legacy following on the writings of Laurence Sterne, a legacy that sweeps from Hungarian renditions of the puckish novelist through the Bloomsbury circle and on into cybernetics, and one that pays tribute to legendary scholar Irwin Primer by probing the always popular but also always challenging writings of that enigmatic poet-philosopher, Bernard Mandeville. All that, plus the usual cavalcade of full-length book reviews. ISSN: 1065-3112 Published by Bucknell University Press, distributed worldwide by Rutgers University Press.
Eighteenth-century England did not only see the rise of the novel, but also the rise of genres of what we now call the fantastic, such as imaginary voyages and apparition narratives. Combining theoretical reflection and cultural analysis, the author of this book investigates the origins, and demonstrates the formal and historical identity of a great variety of texts, which have never been considered as part of the same family. The fantastic, he argues, is an intrinsically modern mode, which uses the devices of realistic representation to describe supernatural phenomena. Its origins can be found in the seventeenth century, when the rise of modern empiricism threatened the ontological and epistemological underpinnings of traditional religious culture. The author shows how a broad range of discursive formations - demonology, providential literature, teratology, and natural philosophy - attempted to reconcile world-views that were felt to be increasingly incompatible, and traces the development of a new kind of fiction that gradually replaced them and took over their work of reconciliation. Coalescing as an autonomous system of genres, free from the restrictions of modern science and at the same time self-consciously aesthetic, the fantastic emerged as an instrument both to affirm and to transcend the empirical vision.