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The narrative of Inkle and Yarico, made popular by Richard Steele, went through numerous remakes and revamps in the 18th century -- a phenomenon in need of explanation. The story of an English merchant who sells his indigenous rescuer and lover into slavery was brought to life by Salomon Gessner (amongst others) in a sequel which involved largely French but also German reworkings. This unusually productive adoption of ideas is crucially down to the complex negotiations of the barbaric, which in Steele's presentation can no longer guarantee a clear distinction between the West and the extra-European „other“. Subsequent variations on this narrative regularly attempt to mitigate or to entirely allay this moment of irritation using various strategies. [ABSTRACT FROM AUTHOR]

Copyright of Arbeit is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)