By Elizabeth R. Napier
Defoe’s narratives elevate profound questions on selfhood and business enterprise (as good as display competing attitudes approximately narration) in his fictive worlds. His canon shows a extensive diversity of first-person fictional bills, from pseudo-memoir (A magazine of the Plague Year, Memoirs of a Cavalier) to legal autobiography (Moll Flanders) to confession (Roxana), and the narrators of those bills (secretive, compulsive, fractive) express an array of resistances to the telling in their lifestyles tales. Such experiments with narration evince Defoe’s deep involvement in initiatives of self-description and -delineation, as he interrogates the limits of the self and dramatizes the arduousness of self-accounting. Defoe’s fictions are emphatically consciousness-centered and the importance of this sort of concentration to the improvement of the radical is patently as nice as is his “realistic” kind. Defoe’s narrative undertaking, actually, demanding situations present perspectives at the second at which inwardness and interiority start, as Lukács argued, to contain the subject material of the unconventional, implicitly attributing to id and cognizance a spot of sign and complicated value within the new genre.
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Additional info for Defoe’s Major Fiction: Accounting for the Self
Defoe’s Major Fiction: Accounting for the Self by Elizabeth R. Napier