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A highly conscious wordsmith, Daniel Defoe used expository styles in his fiction and non-fiction that reflected his ability to perceive material and intellectual phenomena from opposing, but not contradictory perspectives. Moreover, the boundaries of genre within his wide-ranging oeuvre can prove highly fluid. In this study, Robert James Merrett approaches Defoe’s body of work using interdisciplinary methods that recognize dialectic in his verbal creativity and cognitive awareness. Examining more than ninety of Defoe’s works, Merrett contends that this author’s literariness exploits a conscious dialogue that fosters the reciprocity of traditional and progressive authorial procedures. Along the way, he discusses Defoe’s lexical and semantic sensibility, his rhetorical and aesthetic theories, his contrarian theology, and more. Merrett proposes that Defoe’s contrarian outlook celebrates a view of consciousness that acknowledges the brain’s bipartite structure, and in so doing illustrates how cognitive science may be applied to further explorations of narrative art.
Daniel Defoe is known as the father of the English novel. This is the modern critical edition of Defoe's novels. It brings together all three parts of "Robinson Crusoe" and examines their relationship. The editorial material includes an introduction to each novel, explanatory endnotes, textual notes, and a consolidated index in volume 10.
The Oxford Handbook of Daniel Defoe is the most comprehensive overview available of the author's life, times, writings, and reception. Daniel Defoe (1660-1731) is a major author in world literature, renowned for a succession of novels including Robinson Crusoe, Moll Flanders, and A Journal of the Plague Year, but more famous in his lifetime as a poet, journalist, and political agent. Across his vast oeuvre, which includes books, pamphlets, and periodicals, Defoe commented on virtually every development and issue of his lifetime, a turbulent and transformative period in British and global history. Defoe has proven challenging to position--in some respects he is a traditional and conservative thinker, but in other ways he is a progressive and innovative writer. He therefore benefits from the range of critical appraisals offered in this Handbook. The Handbook ranges from concerns of gender, class, and race to those of politics, religion, and economics. In accessible but learned chapters, contributors explore salient contexts in ways that show how they overlap and intersect, such as in chapters on science, environment, and empire. The Handbook provides both a thorough introduction to Defoe and to early eighteenth-century society, culture, and literature more broadly. Thirty-six chapters by leading literary scholars and historians explore the various genres in which Defoe wrote; the sociocultural contexts that inform his works; his writings on different locales, from the local to the global; and the posthumous reception and creative responses to his works.
This collection of essays contains a wealth of information on the nature of the family in the early modern period. This is a core topic within economic and social history courses which is taught at most universities. This text gives readers an overview of how feminist historians have been interpreting the history of the family, ever since Laurence Stone's seminal work FAMILY, SEX AND MARRIAGE IN ENGLAND 1500-1800 was published in 1977. The text is divided into three coherent parts on the following themes: bodies and reproduction; maternity from a feminist perspective; and family relationships. Each part is prefaced by a short introduction commenting on new work in the area. This book will appeal to a wide variety of students because of its sociological, historical and economic foci.
Defoe's fictional settings all begin in the reign of the Stuarts, but the lack of specificity invariably reflects on the Hanoverian political and social situation, which witnessed a crisis in Whig leadership from 1717 to Walpole's resumption of power after the disaster of the South Sea Bubble and the sudden deaths of Stanhope and Sunderland. This serious split in Whig leadership probably played a role in Defoe's turning toward fiction. But Defoe never abandoned his social and political views. This study explores how his social viewpoint actuates his major fiction. --
Daniel Defoe, best known as the author of Robinson Crusoe, lived during a period of dramatic historical, political, and social change in Britain, and was by any standard a superb observer of his times. Through his pamphlets, newspapers, books of travel, and works of fiction he commented onanything and everything, from birth control to the price of coal, from flying machines to academies for women, from security for the aged to the dangers of the plague. In his fiction he created a type of vivid realism that powerfully influenced the development of the novel. The publication of workssuch as Robinson Crusoe are major events because they shape the ways in which we see our world, so that ever afterwards thoughts of desolation and desert islands immediately evoke Defoe's masterpiece. We should not be surprised: Defoe always wrote to make things happen. During his career as anauthor, he was a provocative pamphleteer, journalist, and poet; but when he was not writing, he was, at times, a spy and a double agent, a revolutionary and a dreamer. He was variously hunted by mobs with murderous intent and treated as a celebrity by the most powerful leaders of the country.Imprisoned four times or more, pilloried and reviled by his enemies, through it all he never lost confidence in his ability as a writer and thinker. Daniel Defoe: Master of Fictions is the first biography to view Defoe's complex life through the angle of vision that is most important to us as modern readers--his career as a writer. From his earliest collection of brief stories, which he presented to his future wife under the sobriquet Bellmour,to his Compleat English Gentleman, left unpublished at his death, Defoe was pre-eminently a creator of fictions. This life gives us, for the first time, a full understanding of the thought and personal experience that went into such great works as Crusoe, Moll Flanders, and Roxana.
In the eighteenth century, when the definition of marriage was shifting from one based on an hierarchical model to one based on notions of love and mutuality, marital life came under a more intense cultural scrutiny. This led to paradoxical forms of representation of marriage as simultaneously ideal and unlivable. Chris Roulston analyzes how, as representations of married life increased, they challenged the traditional courtship model, offering narratives based on repetition rather than progression. Beginning with English and French marital advice literature, which appropriated novelistic conventions at the same time that it cautioned readers about the dangers of novel reading, she looks at representations of ideal marriages in Pamela II and The New Heloise. Moving on from these ideal domestic spaces, bourgeois marriage is then problematized by the discourse of empire in Sir George Ellison and Letters of Mistress Henley, by troublesome wives in works by Richardson and Samuel de Constant, and by abusive husbands in works by Haywood, Edgeworth, Genlis and Restif de la Bretonne. Finally, the alternative marriage narrative, in which the adultery motif is incorporated into the marriage itself, redefines the function of heteronormativity. In exploring the theoretical issues that arise during this transitional period for married life and the marriage plot, Roulston expands the debates around the evolution of the modern couple.
Examines how and why marriage plots became the English novel's most popular form in the eighteenth century. This book will be of interest to students and researchers of eighteenth and early nineteenth-century English literature and culture as well as feminist literary history.
In Consensual Fictions, Wendy S. Jones focuses on the English novel of the period to explore the relationship between married love, classic liberal thought, and novelistic form.