Lincoln Faller describes and discusses some of the ways in which Defoe's crime fiction relates to the ordinary, popular narrative form which it imitates.
Lincoln Faller describes and discusses some of the ways in which Defoe's crime fiction relates to the ordinary, popular narrative form which it imitates.
Preface; 1. Romancing the real: the field of criminal biography; 2. Defoe's realism: rough frames strange voices surprisingly various subjects and readers made more present to themselves; 3. The copious text: opening the door to inference or room for those who know how to read it; 4. Imitations of an invisible hand: the mind exercised enlarged and kept in play by strange concurrences; 5. The general scandal upon business: unanswerable doubts and the texts as a field supporting very nice distinctions; 6. The frontiers of dishonesty the additions and concurrence of circumstances: more on the strategic situating of names; 7. Notions different from all the world: criminal stupidity the self and the symbolic order; Closing comments: truth complexity common sense and empty spaces.
Preface; 1. Romancing the real: the field of criminal biography; 2. Defoe's realism: rough frames strange voices surprisingly various subjects and readers made more present to themselves; 3. The copious text: opening the door to inference or room for those who know how to read it; 4. Imitations of an invisible hand: the mind exercised enlarged and kept in play by strange concurrences; 5. The general scandal upon business: unanswerable doubts and the texts as a field supporting very nice distinctions; 6. The frontiers of dishonesty the additions and concurrence of circumstances: more on the strategic situating of names; 7. Notions different from all the world: criminal stupidity the self and the symbolic order; Closing comments: truth complexity common sense and empty spaces.
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