Titlebook: Children‘s Literature, Popular Culture, and Robinson Crusoe; Andrew O’Malley Book 2012 Palgrave Macmillan, a division of Macmillan Publish

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Book 2012This study of the afterlife of Robinson Crusoe offers insights into the continued popularity and relevance of Crusoe‘s story and how modern conceptions of childhood are shaped by nostalgia and ideas of ‘the popular‘. Examining many adaptations in a variety of formats, it reconsiders the place Crusoe has occupied in our culture for three centuries.

Blood-Vessels

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978-1-349-32346-3Palgrave Macmillan, a division of Macmillan Publishers Limited 2012

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Introduction: ,, the Child, and the People,hout some difficulties and caveats) as an icon of an emerging middle-class sensibility and of the capitalist economic order of which this class was to become both the engine and the chief beneficiary.. . takes up and renders imaginatively, with unparalleled success, many of the central ideological c

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Performing Crusoe and Becoming Crusoes: the Pedagogical uses of , in the Eighteenth and Nineteenth the late eighteenth and nineteenth centuries. The original status of the novel as a text mostly outside the arena of and unconcerned with childhood begs questions about how and why . came to be so fully integrated into the pedagogical writing for children in the late eighteenth and early nineteenth

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,Crusoe Comes Home: Robinsonades and Children’s Editions of ,,rds, they are stories that also include a strong focus on the usually feminine-coded practices of domesticity. Coincident with the emergence of the robinsonade, and with the pedagogical merits of . firmly established, children’s editions and abridgements began appearing in considerable numbers for t

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,Poaching on Crusoe’s Island: Popular Reading and Chapbook Editions of ,,ailable to common readers. Differentiating with anything like perfect confidence between chapbook abridgements aimed at a popular readership and the sorts of children’s editions discussed in the previous chapter is perhaps an impossible task.. Children certainly had access to and read chapbooks as w

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,‘Animal Spirits are Everything!’: , Pantomimes and the Child of Nostalgia,y fanciful bistresses [.], and the usual pantomimical revolutions, receives the final reward in the hand of Columbine’ (. 20). Striking, perhaps, to modern readers of Defoe’s novel is the fact that Friday, rather than the protagonist Crusoe, should be transformed into the pantomime hero Harlequin. M

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An Island of Toys: Childhood and , Consumer Goods, the toy theatre, in 1824. These were likely bought primarily as keepsakes, as they included in parentheses the names of the actors who starred in the 1817 production at the Theatre Royal in Covent Garden (which featured Grimaldi in the role of Clown). Shortly thereafter, sheets with stage scenery a

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Epilogue,the child,’ raised some time ago by Carolyn Steedman, continues very much to demand our attention today (ix). Comparing children’s culture to a now largely defunct oral ‘folk’ culture, however, can still yield productive and forward-looking results that challenge, for instance, divisions of child an