D. De Foe’s Robinson Crusoe

1. A Comparative Analysis in Fiction D. De Foe’s Robinson Crusoe J. Coetzee’s Foe

2. IDENTITYAND GENDER IN LITERATURE • An Intertextual Reading • From Robinson to Foe • Una lettura intertestuale • Da Robinson a Foe NOVEL Robinson Susan

3. Robinson Crusoe 18th century Foe 20ieth century A silent dialogue in fiction YEAR 1719 1986

4. Guidelines Narrative conventions compared • Narrative technique/s • Use of language • Style • Tone • Gender  Overall effect S I M I L A R I T I E S D I F F E R N C E S + Robinson Crusoe = Foe _

5. NARRATOR 1st person narrator a man, called Robinson Crusoe the protagonist of the story the stereotype of a colonialist NARRATOR/S 1st person narrator a woman, called Susan Barton the protagonist of the story thesymbolof marginalization Narrative Techniques How has the reader’s response changed? Multiple perspectives ofa situation/case/reality

6. Robinson Crusoe the novel starts with the introduction of Robinson Crusoe’s social background storyline develops through all the book the technique of telling is privileged the novel adopts the format of the diary the novel is organized into twenty-six chapters there is a realistic description of events Foe the novel starts in medias res storyline is restricted to the first chapter Susan uses both the technique of showing and the technique of telling there are different kinds of narration (telling, letters, showing, … the novel is organized into 4 chapters Language recalling poetry→alliterations and anaphors there are a lot of exotic elements in the second chapter Susan uses formal language chapters 2-3-4 reflect on truth and writing STYLISTIC CHOICES Chapters 4 26

7. What does Foe mean?The relevance of a title Why this title? The word “Foe” is : • an obsolete word • means “adversary” and “enemy” • is short and sticks in the mind • is a carrier of meaning • recalls the name ofCrusoe’s novelist, Daniel De Foe • is a secret man • Susan asked him to write her story Etymology Webliography: http://www.wordreference.com/FOE: adversary; rival Webliography: http://www.allwords.com/FOE: abbreviation of friends of the Earth Webliography: http://www.allwords.com/FOE: Anglo-Saxon fah hostile. ? Foe writer

8. The classical version Robinson’s narrator privileges actions Accurate and detailed description of reality The reader is asked to create a mental picture of facts and actions Defoe’s concern for Realism Coetzee’s version Susan privileges emotions The reader is emotionally involved The narrator often addresses her words to the reader, expresses her emotions Different fictional aims ? Truth Truths

9. In Robinson’s writing a realistic style of narration  to provide the illusion of authenticity through fictional material Mystery wraps up any moment of the protagonist’s existence There is a contrast between Cruso and Susan’ features Susan has a controversial attitude towards Crusoe (II Chapter) intimate atmosphere: Susan and Foe find a personal relationship MAN = Truth  Rationality, ConcretenessWoman = Truths  Emotions, Sympathy In Susan’s narration GENDER Fiction cannot tell the truth M W

10. A DIFFERENT FRIDAY Friday • He is a black man and a servant→Robinson • He can’t speak because he doesn’t have a tongue → Foe • The importance of his mouth → it hides the truth • Friday → the hidden problem of racism represented • Friday → lack of identity: unable to speak and tell what really happend He is deprived of a language of his own He is not provided with EQUAL OPPORTUNITIES A video OFFLINE EOFFLINE I De Foe Coetzee Friday Robin … Foe

11. The problem of language … wants to underline the writer’s intentions (John Coetzee’s) • focus no longer on what has been told but rather • on how and from whose perspective it is being told! SUSAN • is worried … she is not sure she will be able to tell the truth about the adventure she is living. • Foe, the teller, expresses frequent doubts as for fiction being able to tell reality. ROBINSON • is sure about reality: he writes as to make the reader visualize the island with all the details he adopts Voice tongue ex pression

12. The Classical Novel • Strong sense of concreteness • Self-assured male character • Worried with REALITY • Marginalized position of character perceived as ALTER/DIFFERENT • Male narrator • Hevily relies on factual vison of things • Myth of Western society • Mutual ignorance of each other language NO INTERCULTURAL DIALOGUE or EQUAL OPPORTUNITIES 18th male NoAlter

13. The Postmodern and Postcolonial Novel Silently interacts with the past  intertextuality Sense of relativity of experience Does not believe in unique TRUTH Adopts different points of view  truths Privileges INCLUSION Fights MARGINALIZATION Appreciates the added value of difference and MULTIPLE IDENTITIES Considers MULTILINGUALISM a requisite for the construction and expression of IDENTITY and DIGNITY languages and cultural polyphony key competences (Education for All) for sustainable human development OUR CONCLUSIONS Who is speaking to me POST BEFORE AFTER