The Robinsonade's genre-specific isolationism manifests a possibility space of social-utopian provenance. Ideal social constructions can be simulated in the experimental microcosm. In the center of the diachronic exegesis, that comprise positions from the 18th to the 21st century, the male and female Robinson-figures stand as mankind Representatives. They serve as a many-facetted projection of political and social issues und crises of various eras (The European Enlightenment, colonialism, modernism, the Cold War, postmodernism) in which the cultural-pessimistic and -optimistic contrasts open the horizon of possibilities of space and time. To understand the different lines of development of the genre and its visionary concept, aspects of Gender and various human-nature-relationships are included in the analysis. By portraying the utopist dimensions from true motifs of longing to dystopia and persiflage, the contribution attempts to elicit a reasonable formation of categories. It is the aim of this article to elaborate the respective distinctive features and demarcation paradigms. This concerns the following works: Daniel Defoe's “Robinson Crusoe”, Joachim Heinrich Campe's Robinson der Jüngere”, Gerhard Hauptmann's “Die Insel der Großen Mutter oder das Wunder von île des Dames“, Friedrich Dürrenmatt's “Das Unternehmen der Wega”, Marlen Haushofer's “Die Wand” and Christan Kracht's “Imperium”.