Sir Joseph Banks
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H.M.S. Bounty on April 27, 1789, She Was an Unrated, Unassuming Little
On April 27, 1789, she was an unrated, unassuming little ship halfway through a low-priority agricultural mission for the Royal Navy. A day later, she was launched into immortality as the H.M.S. Bounty site of history’s most famous mutiny. THE MISSION THE SHIP THE MUTINY Needless to say, it was never supposed to be Yes, it had sails and masts, Originally constructed For reasons having to do with the weather and this much trouble. but Bounty didn’t carry as the bulk cargo hauler the life cycle of breadfruit Royal Navy Lt. enough guns to be rated Bethia, the vessel was trees, the Bounty’s stay William Bligh was as a warship and therefore renamed and her masts in the tropical paradise commissioned to take could not officially be called and rigging completely of Tahiti stretched to the newly outfitted a “ship” — only an armed redesigned to Lt. Bligh’s five months. 24 days Bounty to the island transport. own specifications. after weighing anchor of Tahiti to pick up By any reckoning, Bounty to begin the arduous some breadfruit trees. was very small for the voyage home, Christian These were then to be mission it was asked — brandishing a bayonet carefully transported to perform and the and screaming “I am in to the West Indies, dangerous waters it hell!” — led 18 mutineers into Bligh’s cabin and where it was hoped would have to sail. Breadfruit. that their starchy, packed him off the ship. William Bligh, in melon-like fruit Bligh responded by cementing his place in naval a picture from his would make cheap history with a 4,000-mile journey, in an memoir of the mutiny. -
Captain Bligh
www.goglobetrotting.com THE MAGAZINE FOR WORLD TRAVELLERS - SPRING/SUMMER 2014 CANADIAN EDITION - No. 20 CONTENTS Iceland-Awesome Destination. 3 New Faces of Goway. 4 Taiwan: Foodie's Paradise. 5 Historic Henan. 5 Why Southeast Asia? . 6 The mutineers turning Bligh and his crew from the 'Bounty', 29th April 1789. The revolt came as a shock to Captain Bligh. Bligh and his followers were cast adrift without charts and with only meagre rations. They were given cutlasses but no guns. Yet Bligh and all but one of the men reached Timor safely on 14 June 1789. The journey took 47 days. Captain Bligh: History's Most Philippines. 6 Misunderstood Globetrotter? Australia on Sale. 7 by Christian Baines What transpired on the Bounty Captain’s Servant on the HMS contact with the Hawaiian Islands, Downunder Self Drive. 8 Those who owe everything they is just one chapter of Bligh’s story, Monmouth. The industrious where a dispute with the natives Spirit of Queensland. 9 know about Captain William Bligh one that for the most-part tells of young recruit served on several would end in the deaths of Cook Exploring Egypt. 9 to Hollywood could be forgiven for an illustrious naval career and of ships before catching the attention and four Marines. This tragedy Ecuador's Tren Crucero. 10 thinking the man was a sociopath. a leader noted for his fairness and of Captain James Cook, the first however, led to Bligh proving him- South America . 10 In many versions of the tale, the (for the era) clemency. Bligh’s tem- European to set foot on the east self one of the British Navy’s most man whose leadership drove the per however, frequently proved his coast of Australia. -
Endeavour Anniversary
Episode 10 Teacher Resource 28th April 2020 Endeavour Anniversary Students will investigate Captain Endeavour History Cook’s voyage to Australia on 1. When did the Endeavour set sail from England? board the HMB Endeavour. Students will explore the impact 2. Who led the voyage of discovery on the Endeavour? that British colonisation had on 3. Describe James Cook’s background. the lives of Aboriginal and Torres 4. What did Cook study that would help him to become a ship’s Strait Islander Peoples. captain? 5. Fill in the missing words: By the 18th Century, _________________ had been mapping the globe for centuries, claiming HASS – Year 4 ______________ and resources as their own. (Europeans and land) The journey(s) of AT LEAST ONE 6. Who was Joseph Banks? world navigator, explorer or trader 7. Why did Banks want to travel on the Endeavour? up to the late eighteenth century, including their contacts with other 8. The main aim of the voyage was to travel to… societies and any impacts. 9. What rare event was the Endeavour crew aiming to observe? 10. What was their secret mission? The nature of contact between 11. Who was Tupaia? Aboriginal and Torres Strait Islander Peoples and others, for 12. After leaving Tahiti, where did the Endeavour go? example, the Macassans and the 13. What happen in April 1770? Europeans, and the effects of 14. Complete the following sentence. Australia was known to Europeans these interactions on, for at the time as New___________________. (Holland) example, people and environments. 15. Describe the first contact with Indigenous people. -
Mutiny on the Bounty: a Piece of Colonial Historical Fiction Sylvie Largeaud-Ortega University of French Polynesia
4 Nordhoff and Hall’s Mutiny on the Bounty: A Piece of Colonial Historical Fiction Sylvie Largeaud-Ortega University of French Polynesia Introduction Various Bounty narratives emerged as early as 1790. Today, prominent among them are one 20th-century novel and three Hollywood movies. The novel,Mutiny on the Bounty (1932), was written by Charles Nordhoff and James Norman Hall, two American writers who had ‘crossed the beach’1 and settled in Tahiti. Mutiny on the Bounty2 is the first volume of their Bounty Trilogy (1936) – which also includes Men against the Sea (1934), the narrative of Bligh’s open-boat voyage, and Pitcairn’s Island (1934), the tale of the mutineers’ final Pacific settlement. The novel was first serialised in the Saturday Evening Post before going on to sell 25 million copies3 and being translated into 35 languages. It was so successful that it inspired the scripts of three Hollywood hits; Nordhoff and Hall’s Mutiny strongly contributed to substantiating the enduring 1 Greg Dening, ‘Writing, Rewriting the Beach: An Essay’, in Alun Munslow & Robert A Rosenstone (eds), Experiments in Rethinking History, New York & London, Routledge, 2004, p 54. 2 Henceforth referred to in this chapter as Mutiny. 3 The number of copies sold during the Depression suggests something about the appeal of the story. My thanks to Nancy St Clair for allowing me to publish this personal observation. 125 THE BOUNTY FROM THE BEACH myth that Bligh was a tyrant and Christian a romantic soul – a myth that the movies either corroborated (1935), qualified -
Kamay Botany Bay National Park Planning Considerations
NSW NATIONAL PARKS & WILDLIFE SERVICE Kamay Botany Bay National Park Planning Considerations environment.nsw.gov.au © 2020 State of NSW and Department of Planning, Industry and Environment With the exception of photographs, the State of NSW and Department of Planning, Industry and Environment are pleased to allow this material to be reproduced in whole or in part for educational and non-commercial use, provided the meaning is unchanged and its source, publisher and authorship are acknowledged. Specific permission is required for the reproduction of photographs. The Department of Planning, Industry and Environment (DPIE) has compiled this report in good faith, exercising all due care and attention. No representation is made about the accuracy, completeness or suitability of the information in this publication for any particular purpose. DPIE shall not be liable for any damage which may occur to any person or organisation taking action or not on the basis of this publication. Readers should seek appropriate advice when applying the information to their specific needs. All content in this publication is owned by DPIE and is protected by Crown Copyright, unless credited otherwise. It is licensed under the Creative Commons Attribution 4.0 International (CC BY 4.0), subject to the exemptions contained in the licence. The legal code for the licence is available at Creative Commons. DPIE asserts the right to be attributed as author of the original material in the following manner: © State of New South Wales and Department of Planning, Industry -
Hawkesworth's Voyages and the Literary Influence on Erasmus
Hawkesworth’s Voyages and the Literary Influence on Erasmus Darwin’s The Loves of the Plants Ayako WADA* Erasmus Darwin (1731-1802), famously known as a grandfather of Charles Darwin (1809-82), was a talented man of multiple disciplines as Desmond King-Hele breaks down his achievements into four spheres ‘as a doctor, an inventor and technologist, a man of science and a writer’.1 While he was a physician by profession, he was also a founder of the Lunar Society of Birmingham, the human network of which, including such pioneering engineers as Matthew Boulton (1728-1809) and James Watt (1736-1819), accelerated the Industrial Revolution. Also, Darwin was a believer in biological evolution, the rudimentary idea of which was made explicit in Zoonomia (1794-96). 2 As for Darwin’s literary achievements, in spite of its short-lived success, The Botanic Garden (1791) made him most popular during the 1790s and saw ‘four English editions along with separate Irish and American printings by 1799 … translated into French, Portuguese, Italian, and German’ as Alan Bewell summarised.3 Although King-Hele indicates how English Romantic poets were indebted to Darwin,4 they are also known to have been both attracted and repulsed by his poetics, as revealed in their writings.5 The purpose of this article is to illuminate the still imperfectly understood aspect of Darwin’s most influential work entitled The Loves of the Plants (1789)—first published as the second part of The Botanic Garden (1791)—in terms of its link to An Account of the Voyages (1773), edited by his immediate predecessor, John Hawkesworth (1720-73). -
Captain Cook's Voyages
National Library of Ireland Prints and Drawings Collection List Captain Cook Voyages Plate Collection Collection comprised of plates showing the Voyages of Captain Cook, which form part of the Joly Collection held by the Department of Prints and Drawings. The collection also contains prints from a number of different publications relating to Cook’s voyages. Compiled by Prints and Drawings Department 2008 Joly Collection – Captain Cook’s Voyages Introduction This list details the plates showing the Voyages of Captain Cook, which form part of the Joly Collection held by the Department of Prints and Drawings. The collection contains prints from a number of different publications relating to Cook’s voyages. The plates have been divided by the volume they relate to, and then arranged, where possible, in the order they are found in the printed work. The plates in this collection cover the three voyages of Captain Cook; 1768-71, 1772-5 and 1776-9. On each voyage Cook was accompanied by a different artist, and it is on their drawings that the plates are based. On the first voyage Captain Cook was accompanied by Sydney Parkinson, who died shortly before the end of the voyage. William Hodges replaced Parkinson on the second voyage and the third voyage was covered by John Webber. Sydney Parkinson’s Illustrations, 1773 These plates come from A Journal of a Voyage to the South Seas, in his Majesty’s Ship, the Endeavour faithfully transcribed from the papers of the late Sydney Parkinson published in London in 1773. It covers the first voyage of Captain Cook, the set is complete except for Plate XXV Map of the Coast of New Zealand discovered in the Years 1769 and 1770 . -
'Classification' of the Late Eighteenth Century Pacific
Empirical Power, Imperial Science: Science, Empire, and the ‘Classification’ of the Late Eighteenth Century Pacific A Thesis Submitted to the College of Graduate and Postdoctoral Studies In Partial Fulfillment of the Requirements For the Degree of Master of Arts in History University of Saskatchewan Saskatoon By Justin Wyatt Voogel Ó Copyright Justin Wyatt Voogel, September 2017 All Rights Reserved Permission to Use In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis/dissertation in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other uses of materials in this thesis in whole or part should be addressed to: Head of the Department of History Arts and Science Admin Commons Room 522, Arts Building University of Saskatchewan Saskatoon, Saskatchewan S7N 5A5 Canada i Abstract The Pacific of the mid eighteenth century was far removed from what it would become by the first decade of the nineteenth. -
Artistic Endeavour – Room Brochure
Contemporary botanical artists’ response to the legacy of Banks, Solander and Parkinson Front cover: Anne Hayes, Banksia serrata, old man banksia, gabiirr (Guugu Yimithirr), 2017, watercolour on paper, 63 x 45 cm Pages 2–3: Penny Watson, Goodenia rotundifolia, round leaved goodenia, 2018, watercolour on paper, 26 x 43 cm Pages 5 and 9: Ann Schinkel, Bauera capitata, dog rose, (details), 2019, watercolour on paper, 26 x 15 cm Page 7: Florence Joly, Melaleuca viminalis, weeping bottlebrush, garra (group name, Yuggara), (detail), 2019, graphite, colour pencil on paper, 33 x 66 cm Pages 10–11: Minjung Oh, Pleiogynium timorense, Burdekin plum, (detail), 2018, watercolour on paper, 59 x 46 cm © The artists and authors For information on the exhibition tour, go to the M&G QLD website http://www.magsq.com.au/cms/page.asp?ID=10568 BASQ website www.botanicalartqld.com.au Artistic Endeavour is an initiative of the Botanical Artists’ Society of Queensland in partnership with Museums & Galleries Queensland. This project has been assisted by the Australian Government’s Visions of Australia program; the Queensland Government through the Visual Arts and Craft Strategy, an initiative of the Australian, state and territory governments; and the Regional Arts Development Fund, a partnership between the Queensland Government and Moreton Bay Regional Council to support local arts and culture in regional Queensland. Proudly supported by Moreton Bay Regional Council and sponsored by IAS Fine Art Logistics and Winsor & Newton. Artists Artistic Endeavour Gillian Alfredson Artistic Endeavour: Contemporary botanical artists’ response Catherin Bull to the legacy of Banks, Solander and Parkinson marks the 250th Edwin Butler anniversary of the HMB Endeavour voyage along the east coast of Australia. -
An Analysis of Historical and Contemporary Tattooing Practices Among Members of the Military Community
Tattooing Identity: An analysis of historical and contemporary tattooing practices among members of the military community __________________________________________________________________ AN HONORS THESIS Presented to The Department of Anthropology The Colorado College _______________________________________________________________ By Victoria Frecentese May 2013 Approved: ____________________________ Date: __________________________________ ON MY HONOR I HAVE NEITHER GIVEN NOR RECEIVED UNAUTHORIZED AID ON THIS SENIOR THESIS ____________________________________ Victoria Frecentese ii Table of Contents Acknowledgements…………………………………………………………………………………..….. iv Abstract ………………………………………………………………………………………………………… v Introduction …………………………………………………………………………………….…………… 1 Evidence of Historical Body Modifications …………………..…………….…..…………… 1 Table 1: Timeline of major event in tattooing history …………………….. 2 Figure 1: Diagram of tattoos found on Bronze Age mummy, Ötzi ……. 4 Figure 2: Configuration of tattoos found on second mummy ……….…. 5 Figure 3: Depictions of the god Bes as evident in Egyptian tattoos …. 7 Figure 4: Depictions of fantastical beasts found on the Pazyryk warrior ………………………………………………………………………… 8 Contemporary Culture and Theory ……………………….………………...……………….. 15 Figure 5: Engraving of the New Zealand moko ……………..………………. 17 Figure 6: Diagram of the original tattaugraph machine…………………. 23 Figure 7: Original tattoo flash images from 1940 …………………………. 26 Methodology …………………………………………………………………………………………..…... 37 Results …………………………………………………………………………………………………...…… -
Globalizing the Routes of Breadfruit and Other Bounties
http://muse.jhu.edu/journals/journal_of_colonialism_and_colonial_history/v008/8.3deloughrey.html Globalizing the Routes of Breadfruit and Other Bounties Journal of Colonialism and Colonial History 8:3 | © 2008 Elizabeth DeLoughrey Globalizing the Routes of Breadfruit and Other Bounties Elizabeth DeLoughrey Cornell University 1. The eighteenth-century British quest for Tahitian breadfruit and the subsequent mutiny on the Bounty have produced a remarkable narrative legacy of maritime romance and revolution in print, film and the popular imagination. William Bligh’s first attempt to transport the Tahitian breadfruit to the Caribbean slave colonies in 1789 resulted in a well-known mutiny orchestrated by his first mate Fletcher Christian, the pursuit, capture, and court martial of the mutineers who returned to Tahiti, and the flight of Christian and his colleagues to Pitcairn Island where they established a troubled society of Europeans and Tahitians. As a historical narrative rehearsed almost exclusively on the Pacific stage, the breadfruit transplantation has been segregated from its Caribbean roots. Despite the loss of officers, crew, and one thousand breadfruit seedlings, the British government decided to repeat the attempt and successfully transplanted the tree to their slave colonies four years later.1 Here I focus on the colonial mania for what was popularly conceived as an icon of liberty, the breadfruit, and the British determination to transplant over three thousand of these Tahitian food trees to the Caribbean plantations to “feed the slaves.”2 Tracing the routes of the breadfruit from the Pacific to the Caribbean, I read this historical event as a globalization of the island tropics, particularly evident in human and plant migration, creolization, and consumption. -
Bernard Smith
7 Constructing “Pacific” Peoples1 Bernard Smith It is generally agreed that Cook’s three voyages greatly enhanced the economic and political power of Europe in the Pacific. But before such power could be fully exercised, certain basic sciences and tech- nologies, the efficient maidservants of power, had themselves to be enhanced. Cook’s voyages advanced astronomy, navigation, and car- tography or, as he might have put it, geographical science. But there were other sciences of less direct concern to the Admiralty enhanced by his voyages, and these contributed also in their time to European domination in the Pacific—namely natural history, meteorology, and the emergent science of ethnography. Important advances were made in all these sciences continually throughout the three voyages, but there were differences in emphasis. The first voyage is the botanical voyage, par excellence, the second is the meteorological voyage, and the third is the ethnographic voyage. These changing emphases were owing largely, though not entirely, to contingent factors. On the Endeavour voyage, Banks, Solander, and Parkinson, with their interests centered on botany, made a powerful team. On the second voyage, Cook himself, his astronomers Wales and Bayly, the two Forsters, and William Hodges were all deeply inter- ested in the changing conditions of wind and weather, light, and atmo- sphere as they traversed vast sections of the southern oceans. By the third voyage Cook had come to realize that both scientific and popular A longer version of this chapter was published in Imagining the Pacific: In the Wake of the Cook Voyages, by Bernard Smith (New Haven: Yale University Press, 1992), 193–221.