text:
Pitot tube
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Aircraft use pitot tubes to measure airspeed. The example, from an Airbus A380, combines a pitot tube (right) with a static port and an angle-of-attack vane (left). Air-flow is right to left.
Types of pitot tubes
Pitot tube on Kamov Ka-26 helicopter
A Pitot tube on a Renault Formula One car
Location of Pitot tubes on a Boeing 777
A Pitot (/ˈpiːtoʊ/ PEE-toh) tube, also known as Pitot probe, is a pressure measurement instrument used to measure fluid flow velocity. The pitot tube was invented by the French engineer Henri Pitot in the early 18th century[1] and was modified to its modern form in the mid-19th century by French scientist Henry Darcy.[2] It is widely used to determine the airspeed of an aircraft, water speed of a boat, and to measure liquid, air and gas flow velocities in certain industrial applications. The pitot tube is used to measure the local flow velocity at a given point in the flow stream and not the average flow velocity in the pipe or conduit.[3] Errors induced due to the location of the measuring tube on the aircraft, and the effect of localised airflow upon it, are known as "position errors" and need to be factored into resultant calculations.
Contents
[hide]
1 Theory of operation
2 Aircraft
3 Industry applications
4 See also
5 References
6 External links
Theory of operation[edit]
The basic pitot tube consists of a tube pointing directly into the fluid flow. As this tube contains fluid, a pressure can be measured; the moving fluid is brought to rest (stagnates) as there is no outlet to allow flow to continue. This pressure is the stagnation pressure of the fluid, also known as the total pressure or (particularly in aviation) the pitot pressure.
The measured stagnation pressure cannot itself be used to determine the fluid flow velocity (airspeed in aviation). However, Bernoulli's equation states:
Stagnation pressure = static pressure + dynamic pressure
Which can also be written
p t = p s + ( ρ u 2 2 ) . {\displaystyle p_{t}=p_{s}+\left({\frac {\rho u^{2}}{2}}\right)\,.}
Solving that for flow velocity gives
u = 2 ( p t − p s ) ρ , {\displaystyle u={\sqrt {\frac {2(p_{t}-p_{s})}{\rho }}}\,,}
where
u {\displaystyle u} is the flow velocity;
p t {\displaystyle p_{t}} is the stagnation or total pressure;
p s {\displaystyle p_{s}} is the static pressure;
and ρ {\displaystyle \rho } is the fluid density.
NOTE: The above equation applies only to fluids that can be treated as incompressible. Liquids are treated as incompressible under almost all conditions. Gases under certain conditions can be approximated as incompressible. See Compressibility.
The dynamic pressure, then, is the difference between the stagnation pressure and the static pressure. The dynamic pressure is then determined using a diaphragm inside an enclosed container. If the air on one side of the diaphragm is at the static pressure, and the other at the stagnation pressure, then the deflection of the diaphragm is proportional to the dynamic pressure.
In aircraft, the static pressure is generally measured using the static ports on the side of the fuselage. The dynamic pressure measured can be used to determine the indicated airspeed of the aircraft. The diaphragm arrangement described above is typically contained within the airspeed indicator, which converts the dynamic pressure to an airspeed reading by means of mechanical levers.
Instead of separate pitot and static ports, a pitot-static tube (also called a Prandtl tube) may be employed, which has a second tube coaxial with the pitot tube with holes on the sides, outside the direct airflow, to measure the static pressure.[4]
If a liquid column manometer is used to measure the pressure difference Δ p ≡ p t − p s {\displaystyle \Delta p\equiv p_{t}-p_{s}} ,
Δ h = Δ p ρ l g , {\displaystyle \Delta h={\frac {\Delta p}{\rho _{l}g}}\,,}
where
Δ h {\displaystyle \Delta h} is the height difference of the columns;
ρ l {\displaystyle \rho _{l}} is the density of the liquid in the manometer;
g is the standard acceleration due to gravity.
Therefore,
u = 2 Δ h ρ l g ρ . {\displaystyle u={\sqrt {\frac {2\,\Delta h\,\rho _{l}g}{\rho }}}\,.}
Aircraft[edit]
Main article: Pitot-static system
A pitot-static system is a system of pressure-sensitive instruments that is most often used in aviation to determine an aircraft's airspeed, Mach number, altitude, and altitude trend. A pitot-static system generally consists of a pitot tube, a static port, and the pitot-static instruments.[5] Errors in pitot-static system readings can be extremely dangerous as the information obtained from the pitot static system, such as airspeed, is potentially safety-critical.
Several commercial airline incidents and accidents have been traced to a failure of the pitot-static system. Examples include Austral Líneas Aéreas Flight 2553, Northwest Airlines Flight 6231, and one of the two X-31s.[6] The French air safety authority BEA said that pitot tube icing was a contributing factor in the crash of Air France Flight 447 into the Atlantic Ocean.[7] In 2008 Air Caraïbes reported two incidents of pitot tube icing malfunctions on its A330s.[8]
Birgenair Flight 301 had a fatal pitot tube failure which investigators suspected was due to insects creating a nest inside the pitot tube; the prime suspect is the black and yellow mud dauber wasp.
Aeroperú Flight 603 had a pitot-static system failure due to the cleaning crew leaving the static port blocked with tape.
Industry applications[edit]
Pitot tube from an F/A-18
Weather instruments at Mount Washington Observatory. Pitot tube static anemometer is on the right.
In industry, the flow velocities being measured are often those flowing in ducts and tubing where measurements by an anemometer would be difficult to obtain. In these kinds of measurements, the most practical instrument to use is the pitot tube. The pitot tube can be inserted through a small hole in the duct with the pitot connected to a U-tube water gauge or some other differential pressure gauge for determining the flow velocity inside the ducted wind tunnel. One use of this technique is to determine the volume of air that is being delivered to a conditioned space.
The fluid flow rate in a duct can then be estimated from:
Volume flow rate (cubic feet per minute) = duct area (square feet) × flow velocity (feet per minute)
Volume flow rate (cubic meters per second) = duct area (square meters) × flow velocity (meters per second)
In aviation, airspeed is typically measured in knots.
In weather stations with high wind speeds, the pitot tube is modified to create a special type of anemometer called pitot tube static anemometer.[9]
See also[edit]
Air data boom
Altimeter
Annubar
Anti-icing
Atmospheric icing
Calibrated airspeed
Deicing
Flow measurement
Gyrocompass
Icing conditions
Kiel probe
Mach number
Piezometer
Pitot-static system
Position error
Stagnation pressure
True airspeed
References[edit]
Notes
Jump up ^ Pitot, Henri (1732). "Description d'une machine pour mesurer la vitesse des eaux courantes et le sillage des vaisseaux" (PDF). Histoire de l'Académie royale des sciences avec les mémoires de mathématique et de physique tirés des registres de cette Académie: 363–376. Retrieved 2009-06-19.
Jump up ^ Darcy, Henry (1858). "Note relative à quelques modifications à introduire dans le tube de Pitot" (PDF). Annales des Ponts et Chaussées: 351–359. Retrieved 2009-07-31.
Jump up ^ Geankoplis, C.J. (2003). Transport processes and separation process principles (includes unit operations) (4th ed.). New Jersey: Prentice Hall.
Jump up ^ "How Aircraft Instruments Work." Popular Science, March 1944, pp. 116.
Jump up ^ Willits, Pat, ed. (2004) [1997]. Guided Flight Discovery - Private Pilot. Abbot, Mike Kailey, Liz. Jeppesen Sanderson. pp. 2–48–2–53. ISBN 0-88487-333-1.
Jump up ^ NASA Dryden news releases. (1995)
Jump up ^ "Training flaws exposed in Rio-Paris crash report". Reuters. 5 July 2012. Retrieved 5 October 2012.
Jump up ^ Daly, Kieran (11 June 2009). "Air Caraibes Atlantique memo details pitot icing incidents". Flight International. Retrieved 19 February 2012.
Jump up ^ "Instrumentation: Pitot Tube Static Anemometer, Part 1". Mount Washington Observatory. Retrieved 14 July 2014.
Bibliography
Kermode, A.C. (1996) [1972]. Mechanics of Flight. Barnard, R.H. (Ed.) and Philpott, D.R. (Ed.) (10th ed.). Prentice Hall. pp. 63–67. ISBN 0-582-23740-8.
Pratt, Jeremy M. (2005) [1997]. The Private Pilot's Licence Course: Principles of Flight, Aircraft General Knowledge, Flight Performance and Planning (3rd ed.). gen108–gen111. ISBN 1-874783-23-3.
Tietjens, O.G. (1934). Applied Hydro- and Aeromechanics, based on lectures of L. Prandtl, Ph.D. Dove Publications, Inc. pp. 226–239. ISBN 0-486-60375-X.
Saleh, J.M. (2002). Fluid Flow Handbook. McGraw-Hill Professional.
External links[edit]
Wikimedia Commons has media related to Pitot tube.
3D animation of the Pitot Tube Differential Pressure Flow Measuring Principle
How 18th Century Technology Could Down an Airliner (wired.com)

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text:
Pericardium
From Wikipedia, the free encyclopedia
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2016) (Learn how and when to remove this template message)
For the Traditional Chinese medicine description, see Pericardium (Chinese medicine).
"Pericard" redirects here. For the footballer, see Vincent Pericard.
Pericardium
Walls of the heart, showing pericardium at right.
Posterior wall of the pericardial sac, showing the lines of reflection of the serous pericardium on the great vessels
Details
Artery
Pericardiacophrenic artery
Nerve
Phrenic nerve
Identifiers
Latin
Pericardium
Greek
περίκάρδιον
MeSH
A07.541.795
TA
A12.1.08.001
FMA
9869
Anatomical terminology
[edit on Wikidata]
The pericardium (from the Greek περί, "around" and κάρδιον, "heart") is a double-walled sac containing the heart and the roots of the great vessels. The pericardial sac has two layers, a serous layer and a fibrous layer. It encloses the pericardial cavity which contains pericardial fluid.
The pericardium fixes the heart to the mediastinum, gives protection against infection, and provides the lubrication for the heart.
Contents
[hide]
1 Structure
1.1 Fibrous pericardium
1.2 Serous pericardium
1.3 Anatomical relationships
2 Functions
3 Clinical significance
4 Additional images
5 See also
6 References
7 External links
Structure[edit]
The pericardium is a tough double layered fibroserous sac which covers the heart.[1] The space between the two layers of serous pericardium (see below), the pericardial cavity, is filled with serous fluid which protects the heart from any kind of external jerk or shock. There are two layers to the pericardial sac: the outermost fibrous pericardium and the inner serous pericardium.
Fibrous pericardium[edit]
The fibrous pericardium is the most superficial layer of the pericardium. It is made up of dense and loose connective tissue,[2] which acts to protect the heart, anchoring it to the surrounding walls, and preventing it from overfilling with blood. It is continuous with the outer adventitial layer of the neighboring great blood vessels.
Serous pericardium[edit]
The serous pericardium, in turn, is divided into two layers, the parietal pericardium, which is fused to and inseparable from the fibrous pericardium, and the visceral pericardium, which is part of the epicardium. Both of these layers function in lubricating the heart to prevent friction during heart activity.
The visceral layer extends to the beginning of the great vessels (the large blood vessels serving the heart) becoming one with the parietal layer of the serous pericardium. This happens at two areas: where the aorta and pulmonary trunk leave the heart and where the superior vena cava, inferior vena cava and pulmonary veins enter the heart.[3]
In between the parietal and visceral pericardial layers there is a potential space called the pericardial cavity, which contains a supply of lubricating serous fluid known as the pericardial fluid.
When the visceral layer of serous pericardium comes into contact with heart (not the great vessels) it is known as the epicardium. The epicardium is the layer immediately outside of the heart muscle proper (the myocardium).[3] The epicardium is largely made of connective tissue and functions as a protective layer. During ventricular contraction, the wave of depolarization moves from the endocardial to the epicardial surface.
Anatomical relationships[edit]
A transverse section of the thorax, showing the contents of the middle and the posterior mediastinum. The pleural cavity and the pericardial cavity are exaggerated since normally there is no space between the pleurae or between the pericardium and heart. Pericardium is also known as cardiac epidermis.
The pericardial cavity in this image is labeled d and is part of the inferior mediastium. Here we can see it's relation to the superior mediastinum a, the pleural cavities c, and the diaphragm e.

Surrounds heart and bases of pulmonary artery and aorta.
Deep to sternum and anterior chest wall.
The right phrenic nerve passes to the right of the pericardium.
The left phrenic nerve passes over the pericardium of the left ventricle.
Pericardial arteries supply blood to the dorsal portion of the pericardium.
Functions[edit]
Sets heart in mediastinum and limits its motion
Protects it from infections coming from other organs (such as lungs)
Prevents excessive dilation of the heart in cases of acute volume overload
Lubricates the heart
Clinical significance[edit]
Inflammation of the pericardium is called pericarditis. This condition typically causes chest pain that spreads to the back that is worsened by lying flat. In patients suffering with pericarditis, a pericardial friction rub can often be heard when listening to the heart with a stethoscope. Pericarditis and is often caused by a viral infection (glandular fever, cytomegalovirus, or coxsackievirus), or more rarely with a bacterial infection, but may also occur following a myocardial infarction. Pericarditis is usually a short-lived condition that can be successfully treated with painkillers, anti-inflammatories, and colchicine. In some cases, pericarditis can become a long-term condition causing scarring of the pericardium which restricts the heart's movement, known as constrictive pericarditis. Constrictive pericarditis is sometimes treated by surgically removing the pericardium in a procedure called a pericardiectomy.[4]
Fluid can build up within the pericardial sack, referred to as a pericardial effusion. Pericardial effusions often occur secondary to pericarditis, kidney failure, or tumours, and frequently do not cause any symptoms. However, large effusions or effusions which accumulate rapidly can compress the heart in a condition known as cardiac tamponade, causing breathlessness and potentially fatal low blood pressure. Fluid can be removed from the pericardial space for diagnosis or to relieve tamponade using a syringe in a procedure called pericardiocentesis.[5] For cases of recurrent pericardial effusion, an operation to create a hole between the pericardial and pleural spaces can be performed, known as a pericardial fenestration.
Additional images[edit]
Cutaway illustration of pericardial sac
Fibrous pericardium
See also[edit]
This article uses anatomical terminology; for an overview, see Anatomical terminology.
Pericardial sinus
Pericardiocentesis
References[edit]
Jump up ^ Dorland's (2012). Dorland's Illustrated Medical Dictionary (32nd ed.). Elsevier Saunders. p. 1412. ISBN 978-1-4160-6257-8.
Jump up ^ Tortora, Gerard J.; Nielsen, Mark T. (2009). Principles of Human Anatomy (11th ed.). John Wiley & Sons. pp. 84–5. ISBN 978-0-471-78931-4.
^ Jump up to: a b Laizzo, P.A. (2009). Handbook of Cardiac Anatomy, Physiology, and Devices (2nd ed.). Humana Press. pp. 125–8. ISBN 978-1-60327-371-8.
Jump up ^ Byrne, John G; Karavas, Alexandros N; Colson, Yolonda L; Bueno, Raphael; Richards, William G; Sugarbaker, David J; Goldhaber, Samuel Z (2002). "Cardiac Decortication (Epicardiectomy) for Occult Constrictive Cardiac Physiology After Left Extrapleural Pneumonectomy". Chest. 122 (6): 2256–9. doi:10.1378/chest.122.6.2256. PMID 12475875.
Jump up ^ Davidson's 2010, pp. 638–639.
External links[edit]
Anatomy photo:21:st-1500 at the SUNY Downstate Medical Center - "Mediastinum: Pericardium (pericardial sac)"
thoraxlesson4 at The Anatomy Lesson by Wesley Norman (Georgetown University) (heartpericardium)
Atlas image: ht_pericard2 at the University of Michigan Health System - "MRI of chest, lateral view"
[hide]
v
t
e
Anatomy of the heart
General
Surface
base
apex
sulci
coronary
interatrial
anterior interventricular
posterior interventricular
borders
right
left
Internal
atria
interatrial septum
pectinate muscles
terminal sulcus
ventricles
interventricular septum
trabeculae carneae
chordae tendineae
papillary muscle
valves
cusps
atrioventricular septum
cardiac skeleton
intervenous tubercle
Chambers
Right heart
(venae cavae, coronary sinus) → right atrium (atrial appendage, fossa ovalis, limbus of fossa ovalis, crista terminalis, valve of inferior vena cava, valve of coronary sinus) → tricuspid valve → right ventricle (infundibulum, moderator band/septomarginal trabecula) → pulmonary valve → (pulmonary artery and pulmonary circulation)
Left heart
(pulmonary veins) → left atrium (atrial appendage) → mitral valve → left ventricle → aortic valve (aortic sinus) → (aorta and systemic circulation)
Layers
Endocardium
heart valves
Myocardium
Conduction system
cardiac pacemaker
SA node
Bachmann's bundle
AV node
bundle of His
bundle branches
Purkinje fibers
Pericardial cavity
pericardial sinus
Pericardium
fibrous pericardium
sternopericardial ligaments
serous pericardium
epicardium/visceral layer
fold of left vena cava
Blood supply
Circulatory system
Coronary circulation
Coronary arteries
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text:
The Crab with the Golden Claws
From Wikipedia, the free encyclopedia
Jump to: navigation, search
The Crab with the Golden Claws
(Le Crabe aux pinces d'or)
Cover of the English edition
Date
1941 (black and white)
1943 (colour)
Series
The Adventures of Tintin
Publisher
Casterman
Creative team
Creator
Hergé
Original publication
Published in
Le Soir Jeunesse (supplement to Le Soir), then Le Soir
Date of publication
17 October 1940 – 18 October 1941
Language
French
Translation
Publisher
Methuen
Date
1958
Translator
Leslie Lonsdale-Cooper
Michael Turner
Chronology
Preceded by
King Ottokar's Sceptre (1939)
Land of Black Gold (1939) (abandoned)
Followed by
The Shooting Star (1942)
The Crab with the Golden Claws (French: Le Crabe aux pinces d'or) is the ninth volume of The Adventures of Tintin, the comics series by Belgian cartoonist Hergé. The story was serialised weekly in Le Soir Jeunesse, the children's supplement to Le Soir, Belgium's leading francophone newspaper, from October 1940 to October 1941 amidst the German occupation of Belgium during World War II. Partway through serialisation, Le Soir Jeunesse was cancelled and the story began to be serialised daily in the pages of Le Soir. The story tells of young Belgian reporter Tintin and his dog Snowy, who travel to Morocco to pursue a gang of international opium smugglers.
The Crab with the Golden Claws was published in book form shortly after its conclusion. Hergé continued The Adventures of Tintin with The Shooting Star, while the series itself became a defining part of the Franco-Belgian comics tradition. In 1943, Hergé coloured and redrew the book in his distinctive ligne-claire style for Casterman's republication. The Crab with the Golden Claws introduces the recurring character Captain Haddock, who became a major fixture of the series. The book is the first Tintin adventure published in the United States and the first to be adapted into a motion picture. The Crab with the Golden Claws was adapted for the 1956 Belvision Studios animation Hergé's Adventures of Tintin, for the 1991 Ellipse/Nelvana animated series The Adventures of Tintin, and for the 2011 film directed by Steven Spielberg.
Contents
[hide]
1 Synopsis
2 History
2.1 Background
2.2 Publication
3 Critical analysis
4 Adaptations
5 In popular culture
6 References
6.1 Notes
6.2 Footnotes
6.3 Bibliography
7 External links
Synopsis[edit]
Tintin is informed by Thomson and Thompson of a case involving the ramblings of a drunken man, later killed, found with a scrap of paper from what appears to be a tin of crab meat with the word "Karaboudjan" scrawled on it. His subsequent investigation and the kidnapping of a Japanese man interested in giving him a letter leads Tintin to a ship called the Karaboudjan, where he is abducted by a syndicate of criminals who have hidden opium in the crab tins. Tintin escapes from his locked room after Snowy chews through his bonds and Tintin knocks out a man sent to bring him food, leaving the man bound and gagged in the room. Tintin encounters Captain Haddock, an alcoholic sea captain, who is manipulated by his first mate, Allan, and is unaware of his crew's criminal activities. Tintin hides in the locker under the bed and defeats Jumbo, the sailor left in the cabin, while Allan thinks Tintin has climbed out of the porthole back into the storeroom. He blows open the storeroom door, then finding it empty goes back to the Captain's room, where he finds Jumbo tied to a chair and gagged. Escaping the ship in a lifeboat after sending a radio message to the police about the cargo, a seaplane tries to attack them. Tintin and the Captain hijack the plane, tie up the pilots, and try to reach Spain. Haddock's drunken behaviour in a storm causes them to crash-land in the Sahara, where the crew escapes.[1]
After trekking across the desert and nearly dying of dehydration, Tintin and Haddock are rescued and taken to a French outpost, where they hear on the radio the storm sunk the Karaboudjan. They travel to a Moroccan port, and along the way are attacked by Tuareg tribesmen, defending themselves with French MAS-36 rifles. At the port, members of his old crew kidnap the Captain after he recognises their disguised Karaboudjan. Tintin meets Thomson and Thompson who got his message, and they learn that the wealthy merchant Omar ben Salaad sold the crab tins; Tintin tells Thomson and Thompson to discreetly investigate. Tintin tracks down the gang and saves the Captain, but they both become intoxicated by the fumes from wine barrels breached in a shootout with the villains. Haddock chases a gang-member from the cellar to an entrance behind a bookcase in Salaad's house. Upon sobering up, Tintin discovers a necklace of a crab with golden claws on the now-subdued owner of the wine cellar, Omar ben Salaad, and realizes that he is the leader of the drug cartel. Allan steals a boat and tries escaping, but Tintin captures him. The police arrest the gang and free the Japanese man, who introduces himself as Bunji Kuraki, a police detective who was trying to warn Tintin of the group he was up against. He had been investigating the sailor on Haddock's crew who drowned; the sailor was on the verge of bringing him opium before he was eliminated. Turning on the radio, Tintin learns that, thanks to him, the entire organisation of the Crab with the Golden Claws is behind bars.[2]
History[edit]
Background[edit]
"It is certain that Raymond de Becker [editor of Le Soir] sympathized with the National Socialist system ... I admit that I believed myself that the future of the West could depend on the New Order. For many people democracy had proven deceptive, and the New Order brought fresh hope. In Catholic circles such views were widely held. Given everything that happened, it was naturally a terrible error to have believed even for an instant in the New Order."
Hergé, 1973[3]
As the Belgian army clashed with the invading Germans in May 1940, Hergé and his wife fled by car to France along with tens of thousands of other Belgians, first staying in Paris and then heading south to Puy-de-Dôme, where they remained for six weeks.[4] On 28 May, Belgian King Leopold III officially surrendered the country to the German army to prevent further killing; a move that Hergé agreed with. Germany placed Belgium under occupation. Hergé followed the king's request that all civilians who had fled the country return; he arrived back in Brussels on 30 June.[5] There, he found that an officer of the German army's Propagandastaffel occupied his house, and he also faced financial trouble, as he owed back taxes yet was unable to access his financial reserves (his fee due from Casterman eventually arrived).[6] All Belgian publications were now under the control of the German occupying force. The Catholic publication Le Vingtième Siècle and its supplement Le Petit Vingtième, where Hergé had always worked serialising The Adventures of Tintin, no longer had permission to continue publication. Land of Black Gold, the story that Hergé had been serialising there, had to be abandoned.[7][a] Victor Matthys, the Rexist editor of Le Pays Réel, offered Hergé employment as a cartoonist, but Hergé perceived Le Pays Réel as an explicitly political publication and thus declined the position.[8]
Instead, he accepted a position with Le Soir, Belgium's largest Francophone daily newspaper. Confiscated from its original owners, the German authorities permitted Le Soir to reopen under the directorship of Belgian editor Raymond de Becker, although it remained firmly under Nazi control, supporting the German war effort and espousing anti-Semitism.[9][b] After joining Le Soir on 15 October, Hergé created its new children's supplement, Le Soir Jeunesse. Appointed editor of this supplement, he was aided by old friend Paul Jamin and the cartoonist Jacques Van Melkebeke.[11] The first issue of Le Soir Jeunesse was published with a large announcement across the cover: "Tintin et Milou sont revenus!" ("Tintin and Snowy are Back!").[12] Some Belgians were upset that Hergé was willing to work for a newspaper controlled by the occupying Nazi administration; he received an anonymous letter from "the father of a large family" asking him not to work for Le Soir, fearing that The Adventures of Tintin would now be used to indoctrinate children in Nazi ideology, and that as a result "They will no longer speak of God, of the Christian family, of the Catholic ideal ... [How] can you agree to collaborate in this terrible act, a real sin against Spirit?"[13] Hergé however was heavily enticed by the size of Le Soir's readership, which reached 600,000, far more than what Le Vingtième Siècle had been able to accomplish.[14] Faced with the reality of Nazi oversight, Hergé abandoned the overt political themes that had pervaded much of his earlier work, instead adopting a policy of neutrality.[15] Without the need to satirise political types, Harry Thompson observed that "Hergé was now concentrating more on plot and on developing a new style of character comedy. The public reacted positively."[16]
Publication[edit]
A 1943 copy of Le Soir dating to the occupation
The Crab with the Golden Claws began serialisation in Le Soir Jeunesse on 17 October 1940.[17] However, on 8 May 1941, a paper shortage caused by the ongoing war led to the Le Soir Jeunesse being reduced to four pages, with the length of the weekly Tintin strip being cut by two-thirds. Several weeks later, on 3 September 1941, the supplement disappeared altogether, with The Crab with the Golden Claws being moved into Le Soir itself in September, where it became a daily strip. As a result, Hergé was forced to alter the pace at which his narrative moved, as he had to hold the reader's attention at the end of every line.[18] As with earlier Adventures of Tintin, the story was later serialised in France in the Catholic newspaper Cœurs Vaillants from 21 June 1942.[17]
Following serialisation, Casterman collected together and published the story in book form in 1941; the last black-and-white Tintin volume to be released. For this collected edition, Hergé thought of renaming the story, initially considering The Red Crab (to accompany earlier adventures The Blue Lotus and The Black Island) before re-settling on Le Crabe aux pinces d'or (The Crab with the Golden Claws).[19] Hergé became annoyed that Casterman then sent the book to the printers without his final approval.[20] Nevertheless, as a result of Le Soir's publicity, book sales markedly increased, to the extent that most of the prior Adventures of Tintin were reprinted as a result.[21] German authorities made two exceptions: No reprinting of Tintin in America or The Black Island because they were set in the United States and Britain respectively, both of which were in conflict with Germany.[22]
The serial introduced the character of Captain Haddock. Haddock made his first appearance in Le Soir adjacent to an advert for the anti-Semitic German film, Jud Süß.[23] Hergé chose the name "Haddock" for the character after his wife, Germaine Remi, mentioned "a sad English fish" during a meal.[24] The inclusion of the Japanese police detective Bunji Kuraki as an ally of Tintin's in this story was probably designed to counterbalance Hergé's portrayal of the Japanese as the antagonists in his earlier story, The Blue Lotus, particularly given that the occupying government was allied with Japan at the time.[25] The use of Morocco as a setting was likely influenced by The White Squadron by French writer Joseph Peyré, which Hergé had read and seen the film in 1936.[15] The depiction of the French Foreign Legion in North Africa was possibly influenced by P. C. Wren's novel Beau Geste (1925) or its cinematic adaptations in 1926, 1928, and 1939.[26]
When the book was published in America, Hergé was asked to redraw scenes that depicted the mixing of black and white races. Initially, Jumbo was black (left), while in the redrawn edition he is white (right).
Whereas Hergé's use of Chinese in The Blue Lotus was correct, the Arabic script employed in The Crab with the Golden Claws was intentionally fictitious.[27] Many of the place names featured in the series are puns: the town of Kefheir was a pun on the French Que faire? ("what is to be done?") while the port of Bagghar derives from the French baggare (scrape, or fight).[27] The name of Omar ben Salaad is a pun meaning "Lobster Salad" in French.[28]
In February 1942, Casterman suggested to Hergé that his books be published in a new format; 62-pages rather than the former 100 to 130 pages, and now in full colour rather than black-and-white.[29] He agreed to this, and in 1943 The Crab with the Golden Claws was re-edited and coloured for publication as an album in 1944.[30] Due to the changes in how the adventure had been serialised at Le Soir, the album at this juncture was only 58 pages long, and thus Hergé filled the missing pages with four full-page colour frames, thus bringing it up to the standard 62-page format.[31]
In the 1960s, The Crab with the Golden Claws, along with King Ottokar's Sceptre, became the first Tintin adventures published in the United States, in Little Golden Books.[32] However, Casterman, working with the American publisher Western Publishing, made a number of changes: Jumbo, the sailor who Tintin leaves bound and gagged in Captain Haddock's cabin, as well as another man who beats Haddock in the cellar, could not be black Africans as depicted in the original; these were changed to a white sailor and an Arab due to the American publisher's concerns depicting blacks and whites mixing together.[33] The accompanying text was not changed, however, and Haddock still refers to the man who beat him as a "Negro".[33] Also by request of the Americans, scenes of Haddock drinking directly from bottles of whiskey on the lifeboat and the plane were blanked out, keeping only the text.[34] The edited albums later had their blanked areas redrawn by Hergé to be more acceptable, and they appear this way in published editions around the world.[32] Casterman republished the original black-and-white version of the story in 1980, as part of the fourth volume in their Archives Hergé collection.[17] In 1989, they then published a facsimile version of that first edition.[17]
Critical analysis[edit]
Hergé biographer Benoît Peeters described the story as a "rebirth" for The Adventures of Tintin and described the addition of Haddock as "a formidable narrative element", one which "profoundly changed the spirit of the series".[35] Elsewhere, he asserts that it is Haddock's appearance which "makes this book so memorable" and that he is tempted to define the book by that character's début.[36] Fellow biographer Pierre Assouline commented that The Crab with the Golden Claws had "a certain charm" stemming from its use of "exoticism and colonial nostalgia, for the French especially, evoking their holdings in North Africa."[37] Michael Farr asserted that the arrival of Haddock was the most "remarkable" element of the story, offering the series "tremendous new potential".[38] He also thought that the dream sequences reflected the popularity of surrealism at the time, and that the influence of cinema, in particular the films of Alfred Hitchcock, is apparent in the story.[39]
Jean-Marc Lofficier and Randy Lofficier described the story as "a thinly-disguised remake of Cigars of the Pharaoh", an Adventure of Tintin which had been first serialised in 1934. Both feature the smuggling of opium, in crab tins and cigars respectively, and "desert treks, hostile tribes and, at the end, the infiltrating of a secret underground lair."[26] They also opined that artistically, the story represented "a turning point in Hergé's career", because he had to switch to a daily format in Le Soir, although as a result of this they felt that the final third of the story "seems rushed".[26] Stating that the inclusion of a Japanese detective investigating drug smuggling in the Mediterranean makes no sense within the context of 1940s Europe, they ultimately awarded the story three out of five stars.[40]
"As a fun exercise, try to do a 'vulgar' scan of the whole oeuvre. You will pick up on the scenes in The Crab with the Golden Claws where Haddock, delirious with dehydration, pictures Tintin as a bottle of champagne ready to gush and Tintin, himself dreaming that he has been trapped inside a bottle, screams as the Captain, wielding a giant corkscrew, penetrates and screws him."
Tom McCarthy, 2006[41]
Literary critic Jean-Marie Apostolidès of Stanford University, in a psychoanalytical review of The Crab with the Golden Claws, commented that this book witnessed Tintin's "real entrance into the community of human beings" as he gains an "older brother" in Haddock.[42] He also believed that the recurring image of alcohol throughout the story was symbolic of sexuality. In particular, he believed that there was a strong homoerotic subtext between Haddock and Tintin, represented in the two delirious sequences; in one, Haddock envisions Tintin as a champagne bottle frothing at the top (thereby symbolising an ejaculating penis), while in the other, Tintin dreams that he is trapped inside a bottle, with Haddock about to stick a corkscrew into him (thereby symbolising sexual penetration). However, Apostolidès notes, in both instances the pair are prevented from realising their sexual fantasies.[43] Literary critic Tom McCarthy concurred with Apostolidès on this point, also highlighting what he perceived as homoerotic undertones to these two scenes.[41] He also noted that in this Adventure, the manner in which a chance finding of a tin can on a Belgian street leads Tintin into the story is representative of the recurring theme of "Tintin the detective" found throughout the series.[44]
Adaptations[edit]
In 1947, the first Tintin motion picture was created: the stop motion-animated feature film The Crab with the Golden Claws, faithfully adapted by producer Wilfried Bouchery for Films Claude Misonne.[45] It was first shown at the ABC Cinema on 11 January 1947 for a group of invited guests. It was screened publicly only once, on 21 December of that year, before Bouchery declared bankruptcy and fled to Argentina.[46]
In 1957, the animation company Belvision Studios produced a string of colour adaptations based upon Hergé's original comics, adapting eight of the Adventures into a series of daily five-minute episodes. The Crab with the Golden Claws was the fifth such story to be adapted, being directed by Ray Goossens and written by Greg, himself a well-known cartoonist who in later years would become editor-in-chief of Tintin magazine.[47]
In 1991, a second animated series based upon The Adventures of Tintin was produced, this time as a collaboration between the French studio Ellipse and the Canadian animation company Nelvana. Adapting 21 of the stories into a series of episodes, each 42 minutes long, with most stories spanning two episodes, The Crab with the Golden Claws was the seventh story produced in the series. Directed by Stéphane Bernasconi, critics have praised the series for being "generally faithful", with compositions having been actually directly taken from the panels in the original comic book.[48]
A motion capture adventure film titled The Adventures of Tintin: The Secret of the Unicorn directed by Steven Spielberg and produced by Peter Jackson was released in the US on 21 December 2011 and in Europe at the end of October 2011.[49] Parts of the movie are taken from The Crab with the Golden Claws including the meeting and first adventures of Tintin and Captain Haddock, the Karaboudjan, the flight to Bagghar, and the crab cans (although the plot involving the smuggled opium was not adapted).[50] A video-game tie-in to the movie was released October 2011.[51]
In popular culture[edit]
In The Simpsons episode In the Name of the Grandfather Bart Simpson makes a derogatory remark about Belgium, causing his mother Marge to threaten him with "taking his Tintins away", whereupon Bart clutches a copy of the Tintin album The Crab with the Golden Claws to his chest, promising he'll behave.[52][53][54][55]
References[edit]
Notes[edit]
Jump up ^ Land of Black Gold would be successfully re-attempted ten years later, in 1950.
Jump up ^ Le Soir as published during the occupation was known by Belgians as Le Soir volé (The Stolen Soir) as it was published without the approval of its original owners, Rossel & Cie, who regained ownership after the Liberation.[10]
Footnotes[edit]
Jump up ^ Hergé 1958, pp. 1–28.
Jump up ^ Hergé 1958, pp. 29–62.
Jump up ^ Peeters 2012, pp. 117–118.
Jump up ^ Assouline 2009, p. 66; Goddin 2009, p. 69; Peeters 2012, pp. 111–112.
Jump up ^ Assouline 2009, p. 67; Goddin 2009, p. 70; Peeters 2012, pp. 112–113.
Jump up ^ Peeters 2012, pp. 113–114.
Jump up ^ Assouline 2009, pp. 68–69; Goddin 2009, p. 70; Peeters 2012, p. 114.
Jump up ^ Peeters 2012, pp. 114–115.
Jump up ^ Assouline 2009, pp. 70–71; Peeters 2012, pp. 116–118.
Jump up ^ Assouline 2009, p. 70; Couvreur 2012.
Jump up ^ Assouline 2009, p. 72; Peeters 2012, pp. 120–121.
Jump up ^ Farr 2001, p. 92; Assouline 2009, p. 72; Peeters 2012, p. 121.
Jump up ^ Goddin 2009, p. 73; Assouline 2009, p. 72.
Jump up ^ Assouline 2009, p. 73; Peeters 2012.
^ Jump up to: a b Thompson 1991, p. 99; Farr 2001, p. 95.
Jump up ^ Thompson 1991, p. 99.
^ Jump up to: a b c d Lofficier & Lofficier 2002, p. 45.
Jump up ^ Peeters 1989, p. 66; Thompson 1991, p. 102; Lofficier & Lofficier 2002, p. 45; Assouline 2009, p. 78; Peeters 2012, p. 125.
Jump up ^ Farr 2001, p. 95; Lofficier & Lofficier 2002, p. 45; Assouline 2009, p. 79.
Jump up ^ Peeters 2012, p. 126.
Jump up ^ Assouline 2009, p. 79; Peeters 2012, p. 126.
Jump up ^ Thompson 1991, p. 98.
Jump up ^ Peeters 2012, p. 124.
Jump up ^ Thompson 1991, p. 100; Assouline 2009, p. 74.
Jump up ^ Thompson 1991, p. 100.
^ Jump up to: a b c Lofficier & Lofficier 2002, p. 47.
^ Jump up to: a b Farr 2001, p. 95.
Jump up ^ Lofficier & Lofficier 2002, p. 46.
Jump up ^ Farr 2001, p. 95; Goddin 2009, p. 83.
Jump up ^ Farr 2001, p. 95; Lofficier & Lofficier 2002, p. 45.
Jump up ^ Thompson 1991, p. 102; Farr 2001, p. 95.
^ Jump up to: a b Owens 2004.
^ Jump up to: a b Thompson 1991, p. 103; Farr 2001, p. 96.
Jump up ^ Thompson 1991, p. 103; Farr 2001, p. 96; Owens 2004.
Jump up ^ Peeters 2012, pp. 124–126.
Jump up ^ Peeters 1989, p. 66.
Jump up ^ Assouline 2009, p. 73.
Jump up ^ Farr 2001, p. 92.
Jump up ^ Farr 2001, p. 96.
Jump up ^ Lofficier & Lofficier 2002, pp. 47–48.
^ Jump up to: a b McCarthy 2006, p. 109.
Jump up ^ Apostolidès 2010, p. 115.
Jump up ^ Apostolidès 2010, p. 118.
Jump up ^ McCarthy 2006, p. 18.
Jump up ^ Lofficier & Lofficier 2002, p. 87; Peeters 2012, p. 187.
Jump up ^ Peeters 2012, p. 188.
Jump up ^ Lofficier & Lofficier 2002, pp. 87–88.
Jump up ^ Lofficier & Lofficier 2002, p. 90.
Jump up ^ Peeters 2012, p. 340.
Jump up ^ The Daily Telegraph: Michael Farr 2011.
Jump up ^ IGN 2011.
Jump up ^ http://www.standaard.be/cnt/qm286jt7?word=kuifje
Jump up ^ http://www.radio1.be/programmas/mezzo/bart-simpson-belgi%C3%AB-hater
Jump up ^ http://www.7sur7.be/7s7/fr/1540/TV/article/detail/798094/2009/03/27/Tintin-chez-les-Simpson.dhtml
Jump up ^ http://www.nieuwsblad.be/cnt/gpi289ab4
Bibliography[edit]
Apostolidès, Jean-Marie (2010) [2006]. The Metamorphoses of Tintin, or Tintin for Adults. Jocelyn Hoy (translator). Stanford: Stanford University Press. ISBN 978-0-8047-6031-7.
Assouline, Pierre (2009) [1996]. Hergé, the Man Who Created Tintin. Charles Ruas (translator). Oxford and New York: Oxford University Press. ISBN 978-0-19-539759-8.
Couvreur, Daniel (22 June 2012). "Le strip perdu du "Soir volé"" [Lost Strip of "The Stolen Soir"]. Le Soir (in French). Belgium. Archived from the original on 18 October 2015. Retrieved 2 August 2014.
Farr, Michael (2001). Tintin: The Complete Companion. London: John Murray. ISBN 978-0-7195-5522-0.
Farr, Michael (17 October 2011). "The inspiration behind Steven Spielberg's Tintin". The Daily Telegraph. Archived from the original on 19 October 2011. Retrieved 31 January 2015.
Goddin, Philippe (2009). The Art of Hergé, Inventor of Tintin: Volume 2: 1937-1949. Michael Farr (translator). San Francisco: Last Gasp. ISBN 978-0-86719-724-2.
Hergé (1958) [1943]. The Crab with the Golden Claws. Leslie Lonsdale-Cooper and Michael Turner (translators). London: Egmont. ISBN 978-0-316-35833-0.
Lofficier, Jean-Marc; Lofficier, Randy (2002). The Pocket Essential Tintin. Harpenden, Hertfordshire: Pocket Essentials. ISBN 978-1-904048-17-6.
McCarthy, Tom (2006). Tintin and the Secret of Literature. London: Granta. ISBN 978-1-86207-831-4.
Owens, Chris (1 October 2004). "Tintin crosses the Atlantic: The Golden Press affair". Tintinologist.org. Archived from the original on 9 April 2014. Retrieved 2 August 2014.
Peeters, Benoît (1989). Tintin and the World of Hergé. London: Methuen Children's Books. ISBN 978-0-416-14882-4.
Peeters, Benoît (2012) [2002]. Hergé: Son of Tintin. Tina A. Kover (translator). Baltimore, Maryland: Johns Hopkins University Press. ISBN 978-1-4214-0454-7.
Thompson, Harry (1991). Tintin: Hergé and his Creation. London: Hodder and Stoughton. ISBN 978-0-340-52393-3.
"The Adventures of Tintin [The Game] Review". IGN. 8 December 2011. Archived from the original on 24 September 2012. Retrieved 6 February 2015.
External links[edit]
The Crab with the Golden Claws at the Official Tintin Website
The Crab with the Golden Claws at Tintinologist.org
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