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18th century in literature
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Literature of the 18th century refers to world literature produced during the 18th century.
Contents
[hide]
1 European literature in the 18th century
1.1 The Enlightenment
2 By year
2.1 1700–09
2.2 1710–19
2.3 1720–29
2.4 1730–39
2.5 1740–49
2.6 1750–59
2.7 1760–69
2.8 1770–79
2.9 1780–89
2.10 1790–99
2.11 Selected list of novels
3 References
European literature in the 18th century[edit]
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European literature of the 18th century refers to literature (poetry, drama, satire, and novels) produced in Europe during this period. The 18th century saw the development of the modern novel as literary genre, in fact many candidates for the first novel in English date from this period, of which Daniel Defoe's 1719 Robinson Crusoe is probably the best known. Subgenres of the novel during the 18th century were the epistolary novel, the sentimental novel, histories, the gothic novel and the libertine novel.
18th Century Europe started in the Age of Enlightenment and gradually moved towards Romanticism. In the visual arts, it was the period of Neoclassicism.
See also:
18th-century French literature
The novel and new psychology in the 18th century
List of years in literature: the 1800s
Literary neoclassicism
English literature: Augustan literature, British amatory fiction
German literature: German Romanticism, Sturm und Drang
18th century in poetry
The Enlightenment[edit]
The 18th century in Europe was The Age of Enlightenment and literature explored themes of social upheaval, reversals of personal status, political satire, geographical exploration and the comparison between the supposed natural state of man and the supposed civilized state of man. Edmund Burke, in his A Vindication of Natural Society (1757), says: "The Fabrick of Superstition has in this our Age and Nation received much ruder Shocks than it had ever felt before; and through the Chinks and Breaches of our Prison, we see such Glimmerings of Light, and feel such refreshing Airs of Liberty, as daily raise our Ardor for more."research by Shema Leon Patrick
By year[edit]
1700–09[edit]
In 1700, William Congreve's play The Way of the World premiered.[1] Although unsuccessful at the time The Way of the World is a good example of the sophistication of theatrical thinking during this period, with complex subplots and characters intended as ironic parodies of common stereotypes.
In 1703, Nicholas Rowe's domestic drama The Fair Penitent, an adaptation of Massinger and Field's Fatal Dowry, appeared; it would later be pronounced by Dr Johnson to be one of the most pleasing tragedies in the language. Also in 1703 Sir Richard Steele's comedy The Tender Husband achieved some success.
In 1704 Jonathan Swift (Irish satirist) published A Tale of a Tub and The Battle of the Books [2] and John Dennis published his Grounds of Criticism in Poetry. The Battle of the Books begins with a reference to the use of a glass (which, in those days, would mean either a mirror or a magnifying glass) as a comparison to the use of satire. Swift is, in this, very much the child of his age, thinking in terms of science and satire at one and the same time. Swift often patterned his satire after Juvenal, the classical satirist.[3] He was one of the first English novelists and also a political campaigner. His satirical writing springs from a body of liberal thought which produced not only books but also political pamphlets for public distribution. Swift's writing represents the new, the different and the modern attempting to change the world by parodying the ancient and incumbent. The Battle of the Books is a short writing which demonstrates his position very neatly.
From 1704 to 1717, Antoine Galland published the first European translation of the One Thousand and One Nights (also known as The Arabian Nights in English).[4] His version of the tales appeared in twelve volumes and exerted a huge influence on subsequent European literature and attitudes to the Islamic world. Galland's translation of the Nights was immensely popular throughout Europe, and later versions of the Nights were written by Galland's publisher using Galland's name without his consent.
In 1707, playwright Carlo Goldoni was born.
In 1707, Henry Fielding was born (22 April) and his sister Sarah Fielding was born 3 years later on 8 November 1710. In 1711 Alexander Pope began a career in literature with the publishing of his An Essay on Criticism. In 1712 French philosophical writer Jean Jacques Rousseau born 28 June and his countryman Denis Diderot was born the following year 1713 on 5 October. Also in 1712 Pope published The Rape of the Lock and in 1713 Windsor Forest.
In 1708, Simon Ockley publishes an English translation of Ibn Tufail's Hayy ibn Yaqdhan, a 12th-century philosophical novel, as The Improvement of Human Reason: Exhibited in the Life of Hai Ebn Yokdhan. This was the first English translation directly from the Arabic original.
Samuel Johnson was born on 18 September 1709 in Lichfield, Staffordshire, England.
1710–19[edit]
Horace Walpole was born on 24 September 1717.
Daniel Defoe was another political pamphleteer turned novelist like Jonathan Swift and was publishing in the early 18th century. In 1719 he published Robinson Crusoe.
1720–29[edit]
1720
Daniel Defoe's Captain Singleton is published.
1722
Daniel Defoe's Moll Flanders is published. Other published authors include Sir Richard Steele, Penelope Aubin and Eliza Haywood.
From 1726 to 1729, Voltaire lived in exile mainly in England.
Also in 1726, Jonathan Swift published Gulliver's Travels, one of the first novels in the genre of satire.
In 1728 John Gay wrote The Beggar's Opera which has increased in fame ever since. The Beggar's Opera began a new style in Opera, the "ballad opera" which brings the operatic form down to a more popular level and precedes the genre of comic operettas. Also in 1728 came the publication of Cyclopaedia, or, A Universal Dictionary of Arts and Sciences (folio, 2 vols.), an encyclopedia by Ephraim Chambers. The Cyclopaedia was one of the first general encyclopedias to be produced in English and was the main model for Diderot's Encyclopédie (published in France between 1751 and 1766).
In 1729, Jonathan Swift published A Modest Proposal, a satirical suggestion that Irish families should sell their children as food. Swift was, at this time, fully involved in political campaigning for the Irish.
In 1729, Gotthold Ephraim Lessing was born.
1730–39[edit]
In 1731, George Lillo's play The London Merchant was a success at the Theatre-Royal in Drury Lane. It was a new kind of play, a domestic tragedy, which approximates to what later came to be called a melodrama.
In 1738, London, a poem in imitation of Juvenal’s Third Satire, by Samuel Johnson is published. Like so many poets of the 18th century Johnson sought to breathe new life into his favorite classical author Juvenal.
1740–49[edit]
In 1740, Samuel Richardson's Pamela, or Virtue Rewarded is published and Marquis de Sade is born.
1743
Gavrila Derzhavin is born.
1744
Alexander Pope dies.
1745
Jonathan Swift dies.
1748
John Cleland's Memoirs of a Woman of Pleasure (popularly known as Fanny Hill), arguably the first work of pornographic prose, is published.
1749
Henry Fielding's The History of Tom Jones, a Foundling is published.
1750–59[edit]
1751
Thomas Gray writes Elegy Written in a Country Churchyard. Denis Diderot begins the Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Over the next three decades Encyclopédie attracts, alongside of those from Diderot, notable contributions from other notable intellectuals of the 18th century including Voltaire, Jean-Jacques Rousseau and Louis de Jaucourt.
1752
Micromégas, a satirical short story by Voltaire, features space travellers visiting earth. It is one of the first stories to feature several elements of what will later become known as science fiction. Its publication at this time is also indicative of the trend toward scientific thinking that characterizes the Enlightenment.
1754
October 8th: Henry Fielding dies.
1755
After nine years Samuel Johnson completes his dictionary of the English language; its release is greeted with enthusiasm in literary circles.
1759
Voltaire's Candide/Optimism is published. On November 10th, Johann Christoph Friedrich von Schiller is born.
1760–69[edit]
1760–1767 Laurence Sterne wrote Tristram Shandy.
1761
Jean Jacques Rousseau's Julie, ou la nouvelle Héloïse is published.
1762
Jean Jacques Rousseau's Émile is published.
1764
Horace Walpole's The Castle of Otranto is published (initially under a pseudonym and claiming it to be a translation of an Italian work from 1529); the first gothic novel.
1766
Oliver Goldsmith's The Vicar of Wakefield is published.
1767
September 8th: August Wilhelm von Schlegel is born.
1768
Sarah Fielding dies.
1770–79[edit]
1770
April 7th: William Wordsworth is born.
1772
March 10th: Karl Wilhelm Friedrich von Schlegel is born.
German poet Novalis is born.
1773 Oliver Goldsmith's play She Stoops to Conquer, a farce, was performed in London.
1774 Goethe wrote The Sorrows of Young Werther, a novel which approximately marks the beginning of the Romanticism movement in the arts and philosophy. A transition thus began, from the critical, science inspired, enlightenment writing to the romantic yearning for forces beyond the mundane and for foreign times and places to inspire the soul with passion and mystery.
1776
The United States Declaration of Independence is created and ratified.
1777 the comedy play The School for Scandal, a comedy of manners, was written by Richard Brinsley Sheridan.
1778 Death of Voltaire. Death of Jean Jacques Rousseau 2 July. Two major contributors to Diderot's Encyclopédie dead in the same year.
1779–1781 Samuel Johnson writes and publishes Lives of the Most Eminent English Poets. This compilation contains mini-biographies of 52 influential poets (most of whom lived in the 18th century) along with critical appraisals of their works. most notable are Alexander Pope, John Dryden, John Milton, Jonathan Swift, and Joseph Addison.
1780–89[edit]
1783 Washington Irving was born.
1784 Denis Diderot died 31 July. Voltaire, Rousseau and Diderot have all died within a period of a few years and French philosophy had thus lost three of its greatest enlightened free thinkers. Rousseau's thinking on the nobility of life in the wilds, facing nature as a naked savage still had great force to influence the next generation as the romantic movement gained momentum. Beaumarchais wrote The Marriage of Figaro. Maria and Harriet Falconar publish Poems on Slavery. The anti-slavery movement was growing in power and many poems and pamphlets were published on the subject.
On 13 December 1784 Samuel Johnson died.
1785 William Cowper published The Task
1786 Robert Burns published Poems Chiefly in the Scottish Dialect. The mood of literature was swinging toward more interest in diverse ethnicity. Beaumarchais' The Marriage of Figaro (Le Nozze di Figaro) was adapted into a comic opera composed by Wolfgang Amadeus Mozart, with libretto by Lorenzo da Ponte.
1789 The Interesting Narrative of the Life of Olaudah Equiano, one of the first slave narratives to have been widely read in historical times, is published. James Fenimore Cooper is born on September 15th in the United States.
1790–99[edit]
1791 Dream of the Red Chamber is published for the first time in movable type format.
1792 Percy Bysshe Shelley was born (August 4).
1793 Salisbury Plain by William Wordsworth.
1794 Robert Goldsmith was born.
In 1795 Samuel Taylor Coleridge met William Wordsworth and his sister Dorothy. The two men published a joint volume of poetry, Lyrical Ballads (1798), which became a central text of Romantic poetry.
1796 Thomas Chandler Haliburton was born. Denis Diderot's Jacques le fataliste was published posthumously.
1796 Matthew Lewis published his controversial, anti-catholic novel The Monk.
1796 Charlotte Turner Smith published her novel Marchmont.
Main article: European Enlightenment literature
See also: List of years in literature
1700s - 1710s - 1720s - 1730s - 1740s - 1750s - 1760s - 1770s - 1780s - 1790s - 1800s
Selected list of novels[edit]
Simon Ockley, The Improvement of Human Reason: Exhibited in the Life of Hai Ebn Yokdhan (British, 1708) - English translation of Ibn Tufail's Hayy ibn Yaqdhan (12th century)
Daniel Defoe, Robinson Crusoe, (British, 1719) - considered by many the first novel in English
Eliza Haywood, Love in Excess, (British, 1719)
Samuel Richardson, Pamela, (British, 1740)
Henry Fielding, Tom Jones, (British, 1749)
Laurence Sterne, Tristram Shandy, (British, 1759–1767)
Tobias Smollett, The Expedition of Humphry Clinker, (Scottish, 1771)
Ignacy Krasicki, The Adventures of Nicholas Experience (Polish, 1776) - the first Polish novel
Frances Burney, Evelina, (British, 1778)
Ann Radcliffe, The Mysteries of Udolpho, (British, 1794)
Mary Hays, Memoirs of Emma Courtney, (British, 1796)
Matthew Lewis, The Monk, (British, 1796)
References[edit]
Jump up ^ Full text, gutenberg project, retrieved on 17-03-2012
Jump up ^ [1]
Jump up ^ Satire#Classifications of satire
Jump up ^ Jacob W. Grimm (1982). Selected Tales pg 19. Penguin Classics
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The Trials of Apollo
From Wikipedia, the free encyclopedia
Jump to: navigation, search
The Trials of Apollo
Logo of the series
The Hidden Oracle (2016)
The Dark Prophecy (2017)
The Burning Maze (2018)
Author
Rick Riordan
Cover artist
John Rocco
Country
United States
Language
English
Genre
Greek mythological fiction, fantasy, adventure and children's fiction
Publisher
Hyperion Books
Published
May 3, 2016–
Media type
Print (hardcover and paperback), audiobook, e-book
No. of books
2 (as of 2017)
Preceded by
The Heroes of Olympus
The Trials of Apollo is a pentalogy of fantasy adventure and mythological fiction novels written by American author Rick Riordan that collectively form a sequel to the Heroes of Olympus series. It is set in the same world as other Riordan tales, and references characters and happenings from earlier series.[1] A supplementary book has also been released in addition to the main series.
The first book in the series, The Hidden Oracle, was released on May 3, 2016.[2] The second book in the series, The Dark Prophecy, was released on May 2, 2017.[3]
Contents
[hide]
1 Synopsis
2 Books
2.1 The Hidden Oracle
2.2 The Dark Prophecy
2.3 The Burning Maze
3 Supplementary works
3.1 Camp Half-Blood Confidential
4 Main characters
5 References
Synopsis[edit]
The series follows the trials of the god Apollo, who has been turned into a human as punishment from his father and king of the gods Zeus. Zeus is angry with Apollo for a variety of reasons, most notably for the younger god's allowing his Roman descendant Octavian to rise to power during The Heroes of Olympus series by giving him his blessing. The final book of The Heroes of Olympus, The Blood of Olympus, takes place about six months before the beginning of The Trials of Apollo.
Books[edit]
The Hidden Oracle[edit]
Main article: The Hidden Oracle
The Hidden Oracle is the first book of the series. It is told in first-person by the main character Apollo, and uses haiku for chapter titles. The book was released on May 3, 2016.[2]
The book opens with Apollo landing in an alley in New York City—in the form of a mortal teenager named Lester Papadopoulos—and meeting Meg McCaffrey, a homeless daughter of Demeter. Believing that he must only undertake some simple quest to regain his immortality, Apollo/Lester and Meg travel to Camp Half-Blood, where they learn most of the world's oracles have stopped working. The two undertake a quest to locate and protect the one remaining oracle, hoping also to learn how to help the other oracles and to regain Apollo's immortality. Apollo [Lester] also finds out that the first oracle he has to save is heavily guarded by the mysterious 'beast'. Will Apollo [Lester] be able to accomplish this task?[4]
The Dark Prophecy[edit]
Main article: The Dark Prophecy
The Dark Prophecy is the second book in the series. It was released on May 2, 2017.
The book continues the story of Apollo as the mortal Lester, as he leaves the safety of Camp Half-Blood and journeys across North America to restore the remaining four Oracles and defeat the triumvirate of Roman emperors-turned-Gods, while also being helped by Leo Valdez, the now-mortal Calypso and Festus the bronze dragon.[5]
The Burning Maze[edit]
The Burning Maze is the third book in the series. It is scheduled to be released on May 1, 2018.[6]
Supplementary works[edit]
Camp Half-Blood Confidential[edit]
A companion book titled Percy Jackson: Camp Half-Blood Confidential was released on May 2, 2017.[7]
Main characters[edit]
Main article: List of characters in mythology novels by Rick Riordan § Camp Half-Blood chronicles
Lester Papadopoulos (Apollo): Lester is the mortal teenage incarnation of the god Apollo and is the main character of the Trials of Apollo series. He has to deal with such ordinary human problems as zits, flabby muscles, and feeling pain once he becomes mortal. When he isn't writing lame haiku or complaining bitterly to his father, Zeus, he is looking for Oracles to restore in an attempt to earn his way back to Mount Olympus.
Meg McCaffrey: Meg McCaffrey is a twelve-year-old demigod who looks like a colorfully dressed street urchin. She is fierce, bossy, and tight-lipped about her past. She may smell faintly of apple pie, but she can take down enemies with just a few pieces of rotten fruit. Also, she has a fearsome protector named Peaches.
Calypso: Calypso is the daughter of the Titan Atlas. After being imprisoned on the island of Ogygia for centuries, Leo Valdez rescued her and brought her to the Waystation to live temporarily. She assists Lester throughout The Dark Prophecy.
References[edit]
Jump up ^ "Rick Riordan announces 'Trials of Apollo' series set in Percy Jackson's world". Hypable. October 6, 2015. Retrieved September 6, 2016.
^ Jump up to: a b Riordan, Rick (May 11, 2016). "The Hidden Oracle!". RickRiordan.com. Rick Riordan. Retrieved January 6, 2017.
Jump up ^ "'Trials of Apollo' book 2 info revealed on heels of 'Hidden Oracle' release". Hypable. May 5, 2016. Retrieved September 19, 2016.
Jump up ^ Riordan, Rick (2016). The Hidden Oracle. Los Angeles: Disney-Hyperion. ISBN 9781484732748.
Jump up ^ "The Dark Prophecy – Rick Riordan". rickriordan.com. Retrieved 2018-02-27.
Jump up ^ http://rickriordan.com/series/the-trials-of-apollo/ The Rick Riordan official Website
Jump up ^ "From Percy Jackson: Camp Half-Blood Confidential (An Official Rick Riordan Companion Book): Your Real Guide to the Demigod Training Camp (Trials of Apollo)". Amazon. Retrieved March 31, 2017.
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Captain Pugwash
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Captain Pugwash
Captain Pugwash, from the title sequence of the 1974–75 series
Publication information
Publisher
The Eagle, Radio Times
Publication date
1950; 68 years ago (1950)
Main character(s)
Pugwash
Creative team
Written by
John Ryan
Captain Pugwash is a fictional pirate in a series of British children's comic strips and books created by John Ryan. The character's adventures were adapted into a TV series, using cardboard cut-outs filmed in live-action (the first series was performed and broadcast live), also called Captain Pugwash, first shown on the BBC in 1957, a later colour series, first shown in 1974–75, and a traditional animation series, The Adventures of Captain Pugwash, first aired in 1998.[1]
The eponymous hero – Captain Horatio Pugwash – sails the high seas in his ship called the Black Pig, ably assisted by cabin boy Tom, pirates Willy and Barnabas, and Master Mate. His mortal enemy is Cut-Throat Jake, captain of the Flying Dustman.
Contents
1 History
2 Episodes
3 Characters
3.1 Captain Pugwash
3.2 Master Mate
3.3 Barnabas
3.4 Willy
3.5 Tom the Cabin Boy
3.6 Cut-Throat Jake
3.7 Characters added in the later series
4 Pugwashisms
5 Theme
6 Captain Pugwash books
7 Television episodes
7.1 1974–75 series
7.2 1997 series
8 Libel case regarding double entendres
9 Film
10 See also
11 References
12 External links
History
Captain Horatio Pugwash made his debut in a comic-strip format in the first issue of The Eagle in 1950, then appeared regularly as a strip in Radio Times. In 1957 the BBC commissioned a series of short cartoon films produced by Gordon Murray. Ryan produced a total of 86 five-minute-long episodes for the BBC, shot in black-and-white film, but later transferring to colour. Ryan used a real-time technique of animation in which cardboard cutouts of the characters were laid on painted backgrounds and moved with levers. The characters' voices were provided by Peter Hawkins. The last series of Pugwash shorts by Ryan was produced in 1975.
Although there are many anachronisms in the series, the book The Battle of Bunkum Bay gives some useful clues as to the era in which the stories are set. In this book, the King of Great Britain strongly resembles George I and the King of France resembles Louis XIV, suggesting that this story took place in 1714–15. However, one of the few direct references to a date is in the original TV series is the episode 'Pirate of the Year' where Pugwash enters the "Pirate of the Year contest 1775"
A number of spin-off books were written by John Ryan, who in the 1980s drew three new Pugwash comic-strip storybooks: The Secret of the San Fiasco, The Battle of Bunkum Bay and The Quest for the Golden Handshake.
A related book by John Ryan was Admiral Fatso Fitzpugwash, in which it is revealed that Pugwash had a medieval ancestor who was First Sea Lord, but who was terrified of water.
Episodes
Prior to the 1974–1975 series, the first generation of Captain Pugwash episodes were filmed in black and white and were first shown on British TV between 1957 and 1966. These early episodes numbered a total of 87 episodes, with the producers using the production codes CP001 to CP087; the later 30 episodes, from the second generation of the series, were produced in colour between 16 September 1974 and 11 July 1975. Captain Pugwash was also sold to various overseas TV stations, including Australia's ABC Television. There the show was screened during weekday afternoons in the 1970s and '80s.
The rights to Captain Pugwash were purchased by The Britt Allcroft Company, which since 1997 has issued a number of digital and part computer-animated cartoon films based on the Pugwash character, set on the island of "Montebuffo", "somewhere in the Spanish Main". Peter Hawkins did not provide the voices, HIT Entertainment instead employing character actor James Saxon.
A DVD containing 'All 30 heroic high sea adventures from the second-generation colour 1974–1975 series (156 minutes running time) was given away with the Sunday Times on 20 January 2008.
Characters
A screen-used hand-painted Pugwash card 'puppet' from the 1950s when the series was filmed in black and white
Captain Pugwash
The pompous but likeable captain of the Black Pig. Although he boasts of being the "bravest buccaneer", he is actually quite cowardly and stupid. His greed often gets him into trouble. Nevertheless, he usually wins the day – either with the help of Tom the Cabin Boy or by sheer luck. Despite being a pirate, he is rarely seen committing any acts of piracy.
Master Mate
A somewhat dopey character, who has a tendency to use malapropisms and to mispronounce common words. He has a teddy bear in his bunk and is quite mild-mannered. It is not entirely clear why he is the mate, as he does not appear to have any authority over the rest of the crew. He was present in the first ever Pugwash story, in which he was depicted as being constantly sleepy. Pugwash's adenoidal pronunciation of this character's name appears to be the main source of the urban legend about characters' sexually suggestive names.[2]
Barnabas
The most aggressive of the pirates, but in reality just as harmless. He is quite rebellious and grumpy, and is perhaps marginally more intelligent than Willy, the Mate or the Captain. He was not present in the 1997 series.
Willy
A simple sailor from Wigan. He appears to be the youngest crew member (apart from Tom). He is a gentle soul, and is against using violence. He does, however, have the occasional brainwave and has been the crew's saviour (admittedly sometimes more by luck than by design). "Just you wait till we get back to Wigan – we won't half have a 'tail' to tell!"
Tom the Cabin Boy
It might be argued that without Tom, Pugwash would have been sunk long ago. He is the most intelligent and resourceful member of the crew, the only one who can cook and the only one who can actually sail a ship. Although Pugwash would never admit it, Tom's ability to think up schemes is probably the only thing that prevents him from being a total failure as a pirate. The rest of the crew also found they were unable to operate without Tom, after he left with the captain when the crew mutinied. Tom is an expert concertina player, despite this being a 19th-century anachronism for an 18th-century pirate, and part of his repertoire is The Trumpet Hornpipe (the Captain Pugwash theme).
He was portrayed with a Home Counties accent in the first television adaptation, and with an Irish accent in the 1997 series.
Cut-Throat Jake
Captain Pugwash's fearsome arch-enemy, captain of the Flying Dustman (a pun on the Flying Dutchman combined with a reference to the occupation of dustman). When he is not scheming to bring about Pugwash's downfall, he is a rather more competent pirate than his enemy, and always seems to have plenty of treasure. He speaks with a stereotypical West Country accent, and is easily recognisable by his eye patch and enormous black beard.
Characters added in the later series
Jonah
This character replaced pirate Barnabas, who featured in the earlier series. His catchphrase is "No good will come of this, mark my words!" Jonah appears to be of a Jamaican origin. He is the tallest of the crew as he often hits his head on the ceiling of the ship's lower deck. He is also one of the strongest of the crew as he serves as the Black Pig's carpenter.
Governor of Portobello
This character lives at the top of the island in a mansion covered in vines. He talks very quietly and his head of guard, Lt. Scratchwood, usually acts as a megaphone. He is deeply in love with Donna Bonanza and attends to her every need.
Maggie Lafayette
This pirate queen appeared in the second series when she hijacked the captain's ship to escape from the authorities.
Swine
An Australian pirate who works for Jake. He almost always has a mug of grog in his hand. This character appeared in the original series, but never spoke, nor was he named.
Stinka
A Mexican who works for Jake who speaks little English. He repeats everything that Jake says, annoying him greatly. Again, this character was an unnamed, unspeaking character in the earlier series.
Lieutenant Scratchwood
The voice for the governor and the law for the town of Portobello. In charge of the guard and collecting taxes, he also spends his time chasing thieves.
Pugwashisms
Captain Pugwash is renowned for his exclamations, owing something to the style of Captain Haddock in The Adventures of Tintin:
"Dolloping doubloons/dolphins!"
"Coddling catfish!"
"Lolloping landlubbers!"
"Suffering seagulls!"
"Staggering stalactites!"
"Nautical nitwits!"
"Plundering porpoises!"
"Kipper me capstans!"
"Tottering turtles!"
"Dithering dogfish!"
"Scuttling cuttlefish!"
"Stuttering starfish!"
"Blistering barnacles!"
"Shuddering sharks!"
Cut-Throat Jake has occasionally been known to utter the similar exclamation, "Scupper me skull-and-crossbones!"
Theme
The series had a memorable signature tune The Trumpet Hornpipe which was played by accordionist Tom Edmundson and arranged by Philip Lane. He had learned the tune from Jimmy Shand. The tune appears to have been popular from the mid-19th century, but its composer and country of origin are unknown. In the United States it is known as the Thunder Hornpipe. Other background music was provided by BBC music arranger and pianist Johnny Pearson.
Captain Pugwash books
Captain Pugwash: A Pirate Story (1957)
Pugwash Aloft (1960)
Pugwash and the Ghost Ship (1962)
Pugwash in the Pacific (1963)
Pugwash and the Sea Monster (1976)
Captain Pugwash and the Ruby (1976)
Captain Pugwash and the Treasure Chest (1976)
Captain Pugwash and the New Ship (1976)
Captain Pugwash and the Elephant (1976)
The Captain Pugwash Cartoon Book (1977)
Pugwash and the Buried Treasure (1980)
Pugwash the Smuggler (1982)
Captain Pugwash and the Fancy Dress Party (1982)
Captain Pugwash and the Mutiny (1982)
Pugwash and the Wreckers (1984)
Pugwash and the Midnight Feast (1984)
The Secret of the San Fiasco (1985)
The Battle of Bunkum Bay (1985)
The Quest of the Golden Handshake (1985)
Captain Pugwash and the Pigwig (1991)
Captain Pugwash and the Huge Reward (1991)
The books were 32 pages each, alternating two pages full colour and two pages black, blue and white, by Puffin Books.
Television episodes
1974–75 series
Down The Hatch
Cannon Ball
Monster Ahoy
Mouse Amidships
Showboat
Flood Tide
Pirate Picnic
Fishmeal
Mutiny On The Black Pig
The Great Bank Robbery
A Shot Across The Bows
Wedding Bells
Stung!
The Golden Trail
Diamonds On Ice
Birthday Cake
Witches Brew
Six Foot Deep
Riddle Of The Rubies
Pirate Of The Year
Easy Money
The Plank
A Fair Exchange
Voyage Of Discovery
Smugglers Cove
The Flying Buccaneer
Island Of The Dodos
Caught In The Act
A Tell Tale Tail
Off With His Head
1997 series
The Stowaway Sheep
The Portobello Plague
The Doubledealing Duchess
The Emperor's New Clothes
The Boat Race
The Dingly Dangly Crab
Chest Of Drawers
The Vanishing Ship
Hot Chocolate
The Fat Cat
The Pandemonium Parrot
The Brush With Art
A Hair-Raising Day
Fiddle De Diamonds
The Melodious Mermaid
The Titanic Teapot
The New Cabin Boy
Treasure Trail
Peppercorn Pistols
Sticky Moments
Muddling Monsters
The Megamango Monkeys
King Pugwash
The Devil's Dog
Perfumes Of Arabia
The Admiral's Fireworks
Libel case regarding double entendres
There is a persistent urban legend, repeated by the now defunct UK newspaper the Sunday Correspondent, that ascribes sexually suggestive names – such as Master Bates, Seaman Staines, and Roger (meaning "have sex with") the Cabin Boy – to Captain Pugwash's characters, and indicating that the captain's name was a slang Australian term for oral sex.[3] The origin of this myth is likely due to student rag mags from the 1970s.[4]
John Ryan successfully sued both the Sunday Correspondent and The Guardian newspapers in 1991 for printing this legend as fact.[5]
Film
In May 2017, a live-action film adaptation was announced, directed by John Hay and starring Nick Frost as Captain Pugwash and Jason Flemyng in an unknown role. Production is set to begin in 2018, with the plot following Captain Pugwash travelling to Botany Bay, where he eventually finds himself at the helm of The Black Pig on a mission to rescue Tom the Cabin Boy's father, who is marooned on a volcanic island.[6]
See also
List of animated television series
References
Jump up ^ Pilling, Jayne (2001). 2D and Beyond. Animation. Hove: RotoVision. ISBN 2-88046-445-5.
Jump up ^ snopes (23 January 2016). "'Captain Pugwash' Double Meanings : snopes.com". snopes.
Jump up ^ Davies, Ben (24 July 2009). "Pugwash author's legacy". BBC Online. Archived from the original on 28 April 2018. Retrieved 7 December 2012.
Jump up ^ "John Ryan – Telegraph". The Daily Telegraph. 24 July 2009. Archived from the original on 12 November 2012. Retrieved 7 December 2012.
Jump up ^ "Pugwash!". Snopes.
Jump up ^ Solutions, Powder Blue Internet Business. "Battling barnacles! Nick Frost to play Captain Pugwash : News 2017 : Chortle : The UK Comedy Guide". www.chortle.co.uk. Archived from the original on 15 September 2017. Retrieved 28 April 2018.
External links
Pugwash website by HIT Entertainment
Captain Pugwash (1957)' on IMDb
The Adventures of Captain Pugwash on IMDb
Captain Pugwash Interactive Storybook
Toonhound Captain Pugwash page
Captain Pugwash at Nostalgia Central
Captain Pugwash at Don Markstein's Toonopedia. Archived from the original on 9 April 2012.
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Feminist anthropology
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Feminist anthropology is a four-field approach to anthropology (archeological, biological, cultural, linguistic) that seeks to transform research findings, anthropological hiring practices, and the scholarly production of knowledge, using insights from feminist theory.[1] Simultaneously, feminist anthropology challenges essentialist feminist theories developed in Europe and America. While feminists practiced cultural anthropology since its inception (see Margaret Mead and Hortense Powdermaker), it was not until the 1970s that feminist anthropology was formally[citation needed] recognized as a subdiscipline of anthropology. Since then, it has developed its own subsection of the American Anthropological Association – the Association for Feminist Anthropology – and its own publication, Voices.
Contents
[hide]
1 History
2 Feminist archaeology
3 Relationship with feminism
4 The 'double difference'
5 See also
6 Notes
7 Further reading
8 External links
History[edit]
Feminist anthropology has unfolded through three historical phases beginning in the 1970s: the anthropology of women, the anthropology of gender, and finally feminist anthropology.[2]
Prior to these historical phases, feminist anthropologists trace their genealogy to the late 19th century.[3] Erminnie Platt Smith, Alice Cunningham Fletcher, Matilda Coxe Stevenson, Frances Densmore—many of these women were self-taught anthropologists and their accomplishments faded and heritage erased by the professionalization of the discipline at the turn of the 20th century.[4] Prominent among early women anthropologists were the wives of 'professional' men anthropologists, some of whom facilitated their husbands research as translators and transcriptionists. Margery Wolf, for example, wrote her classic ethnography "The House of Lim" from experiences she encountered following her husband to northern Taiwan during his own fieldwork.[5]
While anthropologists like Margaret Mead and Ruth Benedict are canonical representatives of the next stage in the history of feminist anthropology, the true theoretical pioneers of the field were women of color and ethnic women anthropologists. Hortense Powdermaker, for example, a contemporary of Mead's who studied with British anthropological pioneer Bronislaw Malinowski conducted political research projects in a number of then a-typical settings: reproduction and women in Melanesia (Powdermaker 1933), race in the American South (Powdermaker 1939), gender and production in Hollywood (1950), and class-gender-race intersectionality in the African Copper Belt (Powdermaker 1962). Similarly, Zora Neale Hurston, a student of Franz Boas, the father of American anthropology, experimented with narrative forms beyond the objective ethnography that characterized the proto/pseudo- scientific writings of the time. Other African American women made similar moves at the junctions of ethnography and creativity, namely Katherine Dunham and Pearl Primus, both of whom studied dance in the 1940s. Also important to the later spread of Feminist anthropology within other subfields beyond cultural anthropology was physical anthropologist Caroline Bond Day and archeologist Mary Leakey.
The anthropology of women, introduced through Peggy Golde's "Women in the Field" and Michelle Rosaldo and Louise Lamphere's edited volume Woman, Culture, and Society, attempted to recuperate women as distinct cultural actors otherwise erased by male anthropologists' focus on men's lives as the universal character of a society. Male anthropologists, Golde argued specifically, rarely have access to women in tribes and societies because of the sexual threat they pose to these women.[6] As such, they receive the stories of men about women in instances when women are present at all. The male anthropologists' ignorance and the indigenous men's domination congeal to create instances where, according to Rosaldo and Lamphere, the asymmetry between women and men becomes universal.[dubious – discuss] A second anthropology of women would arise out of American engagements with Friedrich Engels' The Origin of the Family, Private Property and the State, arguing that this universal asymmetry was not timeless, but a product of capitalist relations that came to dominate the global mode of production through colonialism.[7] As both approaches grew more vocal in their critique of male ethnographers' descriptions as one-sided, an 'add women and mix' approach to ethnography became popular, whereby women were not necessarily described at detail, but mentioned as part of the wider culture.[8][9]
In the wake of Gayle Rubin and her critique of "the sex/gender system," the anthropology of women transformed into an anthropology of gender. Gender was a set of meanings and relationships related to but not isomorphic with biological sex. Women was not a universal community or category that was self-evident.[10] Following the rise of women of color feminism, the anthropology of gender critiqued the early goals of first-wave feminists and anthropologists as overly concerned with bourgeois social ambitions. It did so through a move from documenting the experience of women as a universal population to interpreting the place of gender in broader patterns of meaning, interaction, and power. This includes the work of women anthropologists Henrietta Moore and Ethel Albert. Moore contended that anthropology, even when carried out by women, tended to "[order] the world into a male idiom [. . .] because researchers are either men or women trained in a male oriented discipline".[11] Anthropology's theoretical architecture and practical methods, Moore argued, were so overwhelmingly influenced by sexist ideology (anthropology was commonly termed the "study of man" for much of the twentieth century) that without serious self-examination and a conscious effort to counter this bias, anthropology could not meaningfully represent female experience.
Today, feminist anthropology has grown out of the anthropology of gender to encompass the study of the female body as it intersects with or is acted upon by cultural, medical, economic, and other forces.[12] This includes the expansion of feminist politics beyond cultural anthropology to physical anthropology, linguistic anthropology, and archeology, as well as feminist anthropology becoming a site for connecting cultural studies, history, literature, and ethnic studies.
Feminist archaeology[edit]
Feminist archaeology initially emerged in the late 1970s and early 80s, along with other objections to the epistemology espoused by the processual school of archaeological thought, such as symbolic and hermeneutic archaeologies. Margaret Conkey and Janet Spector’s 1984 paper Archaeology and the Study of Gender summed up the feminist critique of the discipline at that time: that archaeologists were unproblematically overlaying modern-day, Western gender norms onto past societies, for example in the sexual division of labor; that contexts and artifacts attributed to the activities of men, such as projectile point production and butchering at kill sites, were prioritized in research time and funding; and that the very character of the discipline was constructed around masculine values and norms. For example, women were generally encouraged to pursue laboratory studies instead of fieldwork (although there were exceptions throughout the history of the discipline)[13] and the image of the archaeologist was centered around the rugged, masculine, “cowboy of science”.[14]
Recently, feminists in archeology have started to confront the issue of sexual assault during "field work" through scholarly research on the social life of archeologists.[15] The Biological Anthropology Field Experiences Web Survey, open to bioarcheologists, primatologists, and other subfields, revealed that 19% of women are sexually assaulted during fieldwork, with 59% of anthropologists—male and female—experiencing sexual harassment.[16]
Relationship with feminism[edit]
The relationships of feminist anthropology with other strands of academic feminism are uneasy. By concerning themselves with the different ways in which different cultures constitute gender, feminist anthropology can contend that the oppression of women is not universal. Henrietta Moore argued that the concept of "woman" is insufficiently universal to stand as an analytical category in anthropological enquiry: that the idea of 'woman' was specific to certain cultures, and not a human universal. For some feminists, anthropologist Michelle Rosaldo wrote, this argument contradicted a core principle of their understanding of relations between men and women.[17] Contemporary feminist anthropologist Marilyn Strathern argues that anthropology, which must deal with difference rather than seeking to erase it, is not necessarily harmed by this disagreement, but notes nonetheless that feminist anthropology faces resistance.[9]
Anthropology engages often with feminists from non-Western traditions, whose perspectives and experiences can differ from those of white European and American feminists. Historically, such 'peripheral' perspectives have sometimes been marginalized and regarded as less valid or important than knowledge from the western world. Feminist anthropologists have claimed that their research helps to correct this systematic bias in mainstream feminist theory.[citation needed] On the other hand, anthropologists' claims to include and engage with such other perspectives have in turn been criticised - local people are seen as the producers of local knowledge, which only the western anthropologist can convert into social science theory.[citation needed] Because feminist theorists come predominantly from the west, and do not emerge from the cultures they study (some of which have their own distinct traditions of feminism, like the grassroots feminism of Latin America), their ideas about feminism may contain western-specific assumptions that do not apply simply to the cultures they investigate. Rosaldo criticizes the tendency of feminists to treat other contemporary cultures as anachronistic, to see other parts of the world as representing other periods in western history - to say, for example, that gender relations in one country are somehow stuck at a past historical stage of those in another. Western feminists had, Rosaldo said, viewed women elsewhere as “ourselves undressed and the historical specificity of their lives and of our own becomes obscured”.[17] Anthropology, Moore argued, by speaking about and not for women, could overcome this bias.
Marilyn Strathern characterised the sometimes antagonistic relationship between feminism and anthropology as self-sustaining, since “each so nearly achieves what the other aims for as an ideal relation with the world.".[9] Feminism constantly poses a challenge to the androcentric orthodoxy from which anthropology emerges; anthropology undermines the ethnocentricism of feminism.
The 'double difference'[edit]
Feminist anthropology, Rayna Rapp argues, is subject to a 'double difference' from mainstream academia. It is a feminist tradition – part of a branch of scholarship, sometimes marginalized as an offshoot of postmodernism and deconstructionism and concerned with the experiences of women – who are marginalized by an androcentric orthodoxy. At the same time it addresses non-Western experience and concepts, areas of knowledge deemed peripheral to the knowledge created in the west. It is thus doubly marginalized.
Moore argues that some of this marginalization is self-perpetuating. By insisting on adhering exclusively to the 'female point of view', feminist anthropology constantly defines itself as 'not male' and therefore as inevitably distinct from, and marginal to, mainstream anthropology. Feminist anthropology, Moore says, effectively ghettoizes itself. Strathern argues that feminist anthropology, as a tradition posing a challenge to the mainstream, can never fully integrate with that mainstream: it exists to critique, to deconstruct, and to challenge.
See also[edit]
Feminist sociology
Edwin Ardener
Louise Lamphere
Catherine Lutz
Phyllis Kaberry
Emily Martin
Henrietta Moore
Sherry Ortner
Michelle Rosaldo
Gayle Rubin
Sandra Morgen
Notes[edit]
Jump up ^ Brodkin, Karen; Morgen, Sandra; Hutchinson, Janis (2011). "Anthropology as White Public Space". American Anthropologist. 113 (4). doi:10.1111/j.1548-1433.2011.01368.x.
Jump up ^ Lewin, Ellen (2006). Feminist anthropology: a reader. Malden: Blackwell. ISBN 1405101962.
Jump up ^ Parezo, Nancy (1993). Hidden scholars: women anthropologists and the Native American Southwest. Albuquerque: University of New Mexico Press. ISBN 0826314287.
Jump up ^ Gacs, Ute D.; Kahn, Aisha; McIntyre, Jerrie; Weinberg, Ruth (1989). Women anthropologists: selected biographies. Champagne: University of Illinois Press. ISBN 0252060849.
Jump up ^ Rofel, Lisa (September 2003). "The outsider within: Margery Wolf and feminist anthropology". American Anthropologist. American Anthropological Association. 105 (3): 596–604. doi:10.1525/aa.2003.105.3.596.
Jump up ^ Golde, Peggy (1970). Women in the field: anthropological experiences. Los Angeles: University of California Press. ISBN 0520054229.
Jump up ^ Leacock, Eleanor (February 1983). "Interpreting the origins of gender inequality: Conceptual and historical problems". Dialectical Anthropology. Springer. 7 (4): 263–284. doi:10.1007/BF00249543.
Jump up ^ Schuller, Mark (September 2008). "Participation, more than add women and stir? A comparative case analysis in post-coup Haiti". Caribbean Review of Gender Studies. The University of the West Indies at St. Augustine, Trinidad and Tobago. 1 (2). Pdf.
^ Jump up to: a b c Strathern, Marilyn (Winter 1987). "An awkward relationship: The case of feminism and anthropology". Signs: Journal of Women in Culture and Society. University of Chicago Press via JSTOR. 12 (2): 276–292. JSTOR 3173986. doi:10.1086/494321.
Jump up ^ Lugones, María C.; Spelman, Elizabeth V. (1983). "Have we got a theory for you! Feminist theory, cultural imperialism and the demand for ‘the woman's voice’". Women's Studies International Forum. ScienceDirect. 6 (6): 573–581. doi:10.1016/0277-5395(83)90019-5.
Jump up ^ Moore, Henrietta L. (2013). Feminism and anthropology. Hoboken: Wiley. ISBN 9780745667997. OCLC 18259349.
Jump up ^ Visweswaran, Kamala (October 1997). "Histories of feminist ethnography". Annual Review of Anthropology. Annual Reviews. 26: 591–621. doi:10.1146/annurev.anthro.26.1.591.
Jump up ^ ^ Hays-Gilpin, 2000:92. Feminist Scholarship in Archaeology. Annals of the American Academy of Political and Social Science 571:89-106.
Jump up ^ ^ Gero, 1985:342. Sociopolitics and the Woman-at-Home Ideology. American Antiquity 50:342-50
Jump up ^ http://blogs.scientificamerican.com/context-and-variation/2013/04/13/safe13-field-site-chilly-climate-and-abuse/
Jump up ^ http://www.anthropology-news.org/index.php/2013/04/26/a-can-of-worms-worth-opening/
^ Jump up to: a b Rosaldo, M.Z. (1980). "The Use and Abuse of Anthropology: Reflections on Feminism and Cross-Cultural Understanding". Signs. 5 (3): 389–417. ISSN 0097-9740. doi:10.1086/493727.
Further reading[edit]
Duley, Margot I. and Mary I. Edwards. (1986) The Cross-Cultural Study of Women: A Comprehensive Guide. New York, NY: Feminist Press. ed. by Margot I. Duley ... (1986). The cross-cultural study of women : a comprehensive guide. New York: Feminist Pr. ISBN 0-935312-45-5. OCLC 9784721. CS1 maint: Extra text: authors list (link)
Moore, Henrietta L. (1996) The Future of Anthropological Knowledge, London; New York: Routledge, edited by Henrietta Moore. (1996). The future of anthropological knowledge. London: Routledge. ISBN 0-415-10786-5. OCLC 32924172. CS1 maint: Extra text: authors list (link)
Nicholson, L. (1982). "Article Review on Rosaldo’s 'The Use and Abuse of Anthropology'". Signs. 7 (42): 732–735. ISSN 0097-9740.
Reiter, Rayna R. (1975) ed. Toward an Anthropology of Women, Monthly Review Press: New York. edited by Rayna R. Reiter. (1975). Toward an anthropology of women. New York: Monthly Review Press. ISBN 0-85345-372-1. OCLC 1501926. CS1 maint: Extra text: authors list (link)
Bratton, A. (May 1998) Feminist Anthropology
Soga, K. “Feminist Anthropology” (15/12/03), Summary of McGee, R et al. (2004) Anthropological Theory: An Introductory History, New York: McGraw Hill.
Abu-Lughod, Lila (1986). Veiled sentiments: honor and poetry in a Bedouin society, University of California Press.
Abu-Lughod, Lila (1993). Writing Women's Worlds: Bedouin Stories. University of California Press.
Davis-Floyd, Robbie (1992/2003). Birth as an American rite of passage. Berkeley: University of California Press.
Ruth Behar and Deborah A. Gordon (eds.), Women Writing Culture. University of California Press, 1995.
Boddy, Janice (1990). Wombs and Alien Spirits: Women, Men, and the Zar Cult in Northern Sudan. University of Wisconsin Press.
Delaney, Carol. 1991. The Seed and the Soil: Gender and Cosmology in Turkish Village Society. University of California Press.
Gelya Frank, Venus on Wheels: Two Decades of Dialogue on Disability, Biography, and Being Female. University of California Press, 2000.
Carla Freeman, High Tech and High Heels: Women, Work, and Pink-Collar Identities in the Caribbean. Duke University Press, 2000.
Donna M. Goldstein, Laughter Out of Place: Race, Class, Violence, and Sexuality in a Rio Shantytown. University of California Press, 2003.
Hochschild, Arlie Russell (1983/2003). The managed heart: commercialization of human feeling. Berkeley, University of California Press.
Inhorn, Marcia Claire. 1994. Quest for conception: gender, infertility, and Egyptian medical traditions. University of Pennsylvania Press.
Kondo, Dorinne K. (1990). Crafting selves: power, gender, and discourses of identity in a Japanese workplace. Chicago:University of Chicago Press.
Layne, Linda L. (2003) Motherhood lost: a feminist account of pregnancy loss in America. New York: Routledge.
Lock, Margaret. (1993) Encounters with Aging: mythologies of menopause in Japan and North America. University of California Press.
Lutz, Catherine (1988). Unnatural emotions: everyday sentiments on a Micronesian atoll & their challenge to western theory. Chicago, University of Chicago Press.
Mahmood, Saba (2005). Politics of piety: the Islamic revival and the feminist subject. Princeton, NJ: Princeton University Press. ISBN 0-691-08695-8 (pb alk. paper).
Martin, Emily. 2001. The Woman in the Body: A Cultural Analysis of Reproduction. Boston: Beacon Press.
Moore, Henrietta L. (1988). Feminism and anthropology.Cambridge, UK, Polity Press.
Ong, Aihwa (1987). Spirits of resistance and capitalist discipline : factory women in Malaysia. Albany, State University of New York Press.
Radway, Janice A. (1991). Reading the romance : women, patriarchy, and popular literature. Chapel Hill, University of North Carolina Press.
Rapp, Rayna (2000). Testing Women, Testing the Fetus : The Social Impact of Amniocentesis in America. New York: Routledge.
Salzinger, Leslie (2003). Genders in production: making workers in Mexico's global factories. Berkeley: University of California Press.
Scheper-Hughes, Nancy (1992). Death without weeping: the violence of everyday life in Brazil. Berkeley, University of California Press.
Teman, Elly (2010). Birthing a Mother: the Surrogate Body and the Pregnant Self. Berkeley: University of California Press.
Tsing, Anna Lowenhaupt (1993). In the realm of the diamond queen : marginality in an out-of-the-way place. Princeton, Princeton University Press.
Diane L. Wolf (ed.), Feminist Dilemmas in Fieldwork. Westview Press, 1996.
Margery Wolf, A Thrice-Told Tale Feminism, Postmodernism, and Ethnographic Responsibility. Stanford University Press, 1992.
External links[edit]
Association for Feminist Anthropology
Overview of Feminist Anthropology
Anthropological Theories: Feminist Anthropology
Page on feminist anthropology from Indiana University
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