Twenty Thousand Leagues Under the Sea
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Stuart Chases's Use of Jules Verne's the Mysterious Island, (1874)
University of Rhode Island DigitalCommons@URI Special Collections Publications (Miscellaneous) Special Collections 2006 Stuart Chases's Use of Jules Verne's The ysM terious Island, (1874) Richard Vangermeersch Follow this and additional works at: http://digitalcommons.uri.edu/sc_pubs Part of the Library and Information Science Commons Recommended Citation Vangermeersch, Richard, "Stuart Chases's Use of Jules Verne's The ysM terious Island, (1874)" (2006). Special Collections Publications (Miscellaneous). Paper 6. http://digitalcommons.uri.edu/sc_pubs/6 This Text is brought to you for free and open access by the Special Collections at DigitalCommons@URI. It has been accepted for inclusion in Special Collections Publications (Miscellaneous) by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Stuart Chases’s Use Of Jules Verne’s The Mysterious Island, (1874) December 2006 Richard Vangermeersch P.O. Box 338 Kingston, RI 02881 401-783-8853 2 Stuart Chases’s Use Of Jules Verne’s The Mysterious Island, (1874) There are two very specific reasons why this piece was researched and written. The first is a continuation of my work done on Stuart Chase (various publications). I am still hopeful my efforts will inspire an historian to do a 1000 page biography on Stuart Chase. The second is further example why my idea of using Verne’s book as the basis for a one-day management seminar is worth trying. I’ve explored this idea with a number of friends and hope that this piece will take at least one of them to try this idea. I am classifying this as a casual piece and have no interest in this being written for a vigorous academic review. -
Captain Nemo/Lt-General Pitt Rivers and Cleopatra's Needle
Free Press. Stocking, G. W. Jr. 1984. Introduction. In G. W. Stocking Jr. (ed.) Functionalism Historicized: Essays on British Social Anthropology. Madison: University of Wisconsin Press. Stocking, G. W. Jr. 1987. Victorian Anthropology. London: Collier Macmillan. Sweet, R. 2004 . Antiquaries: The Discovery of the Past in Eighteenth-Century Britain. London: Hambledon & London. Captain Nemo/Lt-General Pitt Rivers and Cleopatra’s Needle — A Story of Flagships Christopher Evans ([email protected]) Recently re-reading Verne’s 20,000 Leagues Beneath the Sea for our children I was struck by the marked similarities between the novel’s elusive protagonist, Captain Nemo, and the renowned later 19th century British archaeologist, Lt.-General Pitt Rivers. Could they have been the same person? How could something so seemingly blatant have gone unnoticed? These questions are, of course, only raised in a spirit of academic tongue-in-check. Yet, in an ethos of ‘learning through amusement’ (itself directly relevant to the themes of this study), exploring the parallels between these two ‘heroic’ individuals provides insights into the nature of 19th century science, Victorian edification and disciplinary institutionalisation (e.g. Levine 1986). This eclectic contribution will, moreover, be introduced with the third component of its headline title – Cleopatra’s Needle – as this provides an appropriately quasi- nautical parable on the project of 19th century archaeology and the problem of ‘deep time’ (Murray 1993). Cleopatra’s Voyage The transhipment of the -
Lusardi 1999- Blackbeard Shipwreck Project with a Note on Unloading A
The Blackbeard Shipwreck Project, 1999: With a Note on Unloading a Cannon By: Wayne R. Lusardi NC Underwater Archaeological Conservation Laboratory Institute of Marine Sciences 3431 Arendell Street Morehead City, North Carolina 28557 Lusardi ii Table of Contents Introduction..........................................................................................................................................1 1999 Field Season.................................................................................................................................1 Figure 1: Two small cast-iron cannons during removal of concretion and associated ballast stones. ...................................................................................................................................1 The Artifacts .........................................................................................................................................2 Ship Parts and Equipment...................................................................................................................2 Arms...................................................................................................................................................2 Figure 2: Weight marks on breech of cannon C-21..............................................................3 Figure 3: Contents of cannon C-19 included three iron drift pins, a solid round shot and three wads of cordage.........................................................................................................3 -
The Pirates' Code
The Pirates’ Code Scan to watch an instructional video! Components Legend Legend Legend Dread Legend Dread Dread Pirate Sure-fire Dread Pirate Sure-fire Pirate Sure-fire Pirate - Buccaneer Sure fire Buccaneer Buccaneer Buccaneer Swash 1 Market Mat Swash Buckler Swash Buckler Swash Buckler Buckler Corsair Corsair Corsair Corsair Pirate Pirate Pirate Pirate Sea Dog Sea Dog Sea Dog Repair Sea Dog Repair Repair Extort Repair Extort : Extort Cannons: Extort Cannons: Cannons: Rigging 1 Cannons Rigging 1 Rigging 1 1 Rigging 1 1 2 Port Tokens 1 1 4 Legend Mats 4 Helm Mats 16 Map Cards 8 8 6 6 6 4 4 4 2 2 2 1-4 1-4 1-3 1-3 1-3 1-2 1-2 1-2 . Cpt. Carmen RougeCpt Morgan Whitecloud FRONTS . Francisco de Guerra Cpt. Magnus BoltCpt BACKS 11 Merchant Cards 4 Double-Sided Captain Cards Alice O’Malice 1 Doc Blockley Lisa Legacy Sydney Sweetwater Buck Cannon Betty Blunderbuss Eliza Lucky Ursula Bane Willow Watch Taylor Truenorth Quartermaster Quigley Jolly Rodge Silent Seamus Lieutenant Flint Raina Rumor Black-Eyed Brutus Pale Pim 2 Salty Pete 2 Cutter Fang BACKS Sara Silver Jack “Fuse” Rogers Chopper Donovan Sally Suresight FRONTS Tina Trickshot 24 Crew Cards BACKS BACKS FRONTS 20 Search Tokens FRONTS 20 Order Tokens (5 in 4 colors) 2 4 Pirate Ships (in 4 colors) 2 Merchant Ships (in 2 colors) 1 Navy Ship 4 Captains (in 4 colors) 16 Deckhands 4 Legend Tokens 12 Treasures (4 in 4 colors) (in 4 colors) (3 in 4 colors) 1 Booty Bag 40 Booty Crates 4 Gold 3 Dice 12 Sure-fire Tokens (10 in 4 colors) Doubloons Prologue You helm a notorious pirate ship in the swashbuckling days of yore. -
Islands in the Screen: the Robinsonnade As Television Genre Des Îles À L’Écran : La Robinsonnade Comme Genre Télévisuel Paul Heyer
Document generated on 09/24/2021 6:24 p.m. Cinémas Revue d'études cinématographiques Journal of Film Studies Islands in the Screen: The Robinsonnade as Television Genre Des îles à l’écran : la robinsonnade comme genre télévisuel Paul Heyer Fictions télévisuelles : approches esthétiques Article abstract Volume 23, Number 2-3, Spring 2013 The island survivor narrative, or robinsonnade, has emerged as a small but significant television genre over the past 50 years. The author considers its URI: https://id.erudit.org/iderudit/1015187ar origins as a literary genre and the screen adaptations that followed. Emphasis DOI: https://doi.org/10.7202/1015187ar is placed on how “island TV” employed a television aesthetic that ranged from an earlier conventional approach, using three cameras, studio locations, and See table of contents narrative resolution in each episode, to open-ended storylines employing a cinematic style that exploits the new generation of widescreen televisions, especially with the advent of HDTV. Two case studies centre the argument: Gilligan’s Island as an example of the former, more conventional aesthetic, and Publisher(s) Lost as an example of the new approach. Although both series became Cinémas exceedingly popular, other notable programs are considered, two of which involved Canadian production teams: Swiss Family Robinson and The Mysterious Island. Finally, connections are drawn between robinsonnades and ISSN the emerging post-apocalyptic genre as it has moved from cinema to television. 1181-6945 (print) 1705-6500 (digital) Explore this journal Cite this article Heyer, P. (2013). Islands in the Screen: The Robinsonnade as Television Genre. Cinémas, 23(2-3), 121–143. -
The Low Countries. Jaargang 11
The Low Countries. Jaargang 11 bron The Low Countries. Jaargang 11. Stichting Ons Erfdeel, Rekkem 2003 Zie voor verantwoording: http://www.dbnl.org/tekst/_low001200301_01/colofon.php © 2011 dbnl i.s.m. 10 Always the Same H2O Queen Wilhelmina of the Netherlands hovers above the water, with a little help from her subjects, during the floods in Gelderland, 1926. Photo courtesy of Spaarnestad Fotoarchief. Luigem (West Flanders), 28 September 1918. Photo by Antony / © SOFAM Belgium 2003. The Low Countries. Jaargang 11 11 Foreword ριστον μν δωρ - Water is best. (Pindar) Water. There's too much of it, or too little. It's too salty, or too sweet. It wells up from the ground, carves itself a way through the land, and then it's called a river or a stream. It descends from the heavens in a variety of forms - as dew or hail, to mention just the extremes. And then, of course, there is the all-encompassing water which we call the sea, and which reminds us of the beginning of all things. The English once labelled the Netherlands across the North Sea ‘this indigested vomit of the sea’. But the Dutch went to work on that vomit, systematically and stubbornly: ‘... their tireless hands manufactured this land, / drained it and trained it and planed it and planned’ (James Brockway). As God's subcontractors they gradually became experts in living apart together. Look carefully at the first photo. The water has struck again. We're talking 1926. Gelderland. The small, stocky woman visiting the stricken province is Queen Wilhelmina. Without turning a hair she allows herself to be carried over the waters. -
Divers Things: Collecting the World Under Water
Hist. Sci., xlix (2011) DIVERS THINGS: COLLECTING THE WORLD UNDER WATER James Delbourgo Rutgers University I do not pretend to have been to the bottom of the sea. Robert Boyle, 1670 matter out of place Consider the following object as shown in an early eighteenth-century engraving (Figure 1). It is a piece of wood — not a highly worked thing, not ingeniously wrought, though it is an artefact of human labour rather than a natural body. Or is it? In the engraving, the piece of wood disappears: it is visible towards the bottom of the image, a sober pointed stump, but it is quickly subsumed by a second, enveloping entity that swirls about it in an embroidering corkscrew. What elements are here intertwin- ing? The legend beneath the engraving identifies the artefact thus: “Navis, prope Hispaniolam ann Dom 1659. Naufragium passae, asser, a clavo ferreo transfixus, corallio aspero candicante I. B. Obsitus, & a fundo maris anno 1687 expiscatus.” It describes a stake or spar from a ship wrecked off Hispaniola in 1659, which is transfixed by both an iron bolt and rough whitish coral, fished out of the depths in 1687. This collector’s item is neither the cliché of exemplarily beautiful coral nor straightforwardly a historical relic, but an intertwining of the two: the “transfixing” of a remnant of maritime technology by an aquatic agent. It exhibits the very proc- ess of encrustation. The spar is juxtaposed with the image of a jellyfish, and more proximately, engravings of Spanish silver coins, also encrusted with coral: “Nummus argenteus Hispanicus … incrustatus”, one of the labels reads.1 Still another illustra- tion, in a separate engraving, bears the legend “Frustum ligni e mari atlantico erutum cui adhaerescunt conchae anatiferae margine muricata” — a piece of “drift wood beset with bernecle [sic] shells”. -
REDISCOVERING CIVIL WAR CLASSICS: Jules Verne's Civil War
Civil War Book Review Spring 2007 Article 4 REDISCOVERING CIVIL WAR CLASSICS: Jules Verne's Civil War David Madden Follow this and additional works at: https://digitalcommons.lsu.edu/cwbr Recommended Citation Madden, David (2007) "REDISCOVERING CIVIL WAR CLASSICS: Jules Verne's Civil War," Civil War Book Review: Vol. 9 : Iss. 2 . Available at: https://digitalcommons.lsu.edu/cwbr/vol9/iss2/4 Madden: REDISCOVERING CIVIL WAR CLASSICS: Jules Verne's Civil War Feature Essay Spring 2007 Madden, David REDISCOVERING CIVIL WAR CLASSICS: Jules Verne's Civil War. Jules Verne's Civil War The Blockade Runners (1871) by Jules Verne The Mysterious Island (1875) by Jules Verne North Against South (1887) by Jules Verne Do you know where and when Nemo, inventor and captain of the famed Nautilus submarine, died? I suppose I should first answer your own question: What has that question to do with the American Civil War? You probably didn't know, as I didn't know until a few days ago, that Jules Verne wrote two Civil War novels within ten years of the end of the war: The Blockade Runners (1871) and The Mysterious Island (1875), a sequel to Twenty Thousand Leagues Under the Sea (1870). Twelve years later, this French admirer of President Lincoln and General Grant published a third Civil War novel, North Against South. Answer: It was on Mysterious Island that Captain Nemo died. Although it was later published, illustrated, and is even now in print, The Blockade Runners is often not even listed as one of Verne's nearly 100 books, probably because it is really a 76-page novella first published in a book as an add-on to A Floating City (1871). -
Going on the Account: Examining Golden Age Pirates As a Distinct
GOING ON THE ACCOUNT: EXAMINING GOLDEN AGE PIRATES AS A DISTINCT CULTURE THROUGH ARTIFACT PATTERNING by Courtney E. Page December, 2014 Director of Thesis: Dr. Charles R. Ewen Major Department: Anthropology Pirates of the Golden Age (1650-1726) have become the stuff of legend. The way they looked and acted has been variously recorded through the centuries, slowly morphing them into the pirates of today’s fiction. Yet, many of the behaviors that create these images do not preserve in the archaeological environment and are just not good indicators of a pirate. Piracy is an illegal act and as a physical activity, does not survive directly in the archaeological record, making it difficult to study pirates as a distinct maritime culture. This thesis examines the use of artifact patterning to illuminate behavioral differences between pirates and other sailors. A framework for a model reflecting the patterns of artifacts found on pirate shipwrecks is presented. Artifacts from two early eighteenth century British pirate wrecks, Queen Anne’s Revenge (1718) and Whydah (1717) were categorized into five groups reflecting behavior onboard the ship, and frequencies for each group within each assemblage were obtained. The same was done for a British Naval vessel, HMS Invincible (1758), and a merchant vessel, the slaver Henrietta Marie (1699) for comparative purposes. There are not enough data at this time to predict a “pirate pattern” for identifying pirates archaeologically, and many uncontrollable factors negatively impact the data that are available, making a study of artifact frequencies difficult. This research does, however, help to reveal avenues of further study for describing this intriguing sub-culture. -
20,000 Leagues Under the Sea
20,000 Leagues Under the Sea By Jules Verne 1 Part One. o Chapter 1: A Shifting Reef o Chapter 2: Pro and Con o Chapter 3: I Form My Resolution o Chapter 4: Ned Land o Chapter 5: At A Venture o Chapter 6: At Full Steam o Chapter 7: An Unknown Species of Whale o Chapter 8: Mobilis in Mobili o Chapter 9: Ned Land's Tempers o Chapter 10: The Man of the Seas o Chapter 11: All by Electricity o Chapter 12: Some Figures o Chapter 13: The Black River o Chapter 14: A Note of Invitation o Chapter 15: A Walk On the Bottom of the Sea o Chapter 16: A Submarine Forest o Chapter 17: Four Thousand Leagues Under the Pacific o Chapter 18: Vanikoro o Chapter 19: Torres Straits o Chapter 20: A Few Days on Land o Chapter 21: Captain Nemo's Thunderbolt o Chapter 22: "Aegri Somnia" o Chapter 23: The Coral Kingdom Part Two. o Chapter 1: The Indian Ocean o Chapter 2: A Novel Proposal of Captain Nemo's o Chapter 3: A Pearl of Ten Millions o Chapter 4: The Red Sea o Chapter 5: The Arabian Tunnel o Chapter 6: The Grecian Archipelago o Chapter 7: The Mediterranean In Forty-Eight Hours o Chapter 8: Vigo Bay o Chapter 9: A Vanished Continent o Chapter 10: The Submarine Coal-Mines o Chapter 11: The Sargasso Sea 2 o Chapter 12: Cachalots and Whales o Chapter 13: The Iceberg o Chapter 14: The South Pole o Chapter 15: Accident or Incident o Chapter 16: Want of Air o Chapter 17: From Cape Horn to the Amazon o Chapter 18: The Poulps o Chapter 19: The Gulf Stream o Chapter 20: From Latitude 47@ 24' to Longitude 17@ 28' o Chapter 21: A Hecatomb o Chapter 22: The Last Words of Captain Nemo o Chapter 23: Conclusion 3 Part One. -
Crossroads of Courage Season Two Fiction
COURAGE AT THE CROSSROADS Season 2: Here Dead We Lie By Matt Goetz The blond youth ran over the muddy soil, sliding down one side of a The haze drifted, and Holden spotted the shooter. A woman amid the wet crater and clambering up the opposite side. When he emerged, he trees on the Khadoran side of the battlefield pointed her scoped rifle darted from the soot-black trunk of one tree to the next in short, erratic at Planter’s running form. sprints. The trencher helmet he wore was too big, and jostled on his “I see her,” Holden said. head so much he was forced to hold it in place with a free hand. “Shoot! He’s almost there!” Holden kept his rifle trained on the boy, just above the heavy bouncing pack he wore. The occasional lump of coal spilled out of Holden was aiming when something emerged from the rolling the pack’s top when he hurdled a stone or fallen tree. clouds. It looked like a soldier in a disheveled uniform, but its face was wrong. Its skin was papery and grey, its eyes and mouth “Come on,” Holden whispered. three black and withered holes. It lurched forward like a drunken The boy, Planter, wove toward the inert form of a Sentinel warjack. puppeteer’s marionette. Despite its lack of eyes, it fixed Holden with Planter was within fifteen yards of the warjack’s steel and brass body those black pits, and with one hand it made an entreating gesture to when the Khadorans took their first shot. -
Privateering in the Colonial Chesapeake
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1989 Privateering in the Colonial Chesapeake David Alan Lester College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the United States History Commons Recommended Citation Lester, David Alan, "Privateering in the Colonial Chesapeake" (1989). Dissertations, Theses, and Masters Projects. Paper 1539625540. https://dx.doi.org/doi:10.21220/s2-vcme-3217 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. PRIVATEERING IN THE COLONIAL CHESAPEAKE A Thesis Presented to The Faculty of the Department of History The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by David Lester 1989 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts • /!// r (a Author Approved, August 1989 A xLuUL James L. Axtell Thaddeus W. Tate 'ames P. Whittenburg ii TABLE OF CONTENTS Page ABSTRACT ................................................ iv INTRODUCTION ........................................... 2 CHAPTER I. THE ECONOMICS OF PRIVATEERING ............. 4 CHAPTER II. THE REGULATION OF PRIVATEERING ............ 2 4 CONCLUSION .............................................. 50 BIBLIOGRAPHY......................................... .. 5 7 iii ABSTRACT This study focuses on the economic and legal aspects of the involvement of privately owned vessels from the Chesapeake Bay region in maritime warfare from their first use through the Revolution.