Relevant bibliographies by topics / Long John Silver

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Academic literature on the topic 'Long John Silver'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Long John Silver"

1

Mendelson, Michael. "Can Long John Silver Save the Humanities?" Children's Literature in Education 41, no. 4 (August 3, 2010): 340–54. http://dx.doi.org/10.1007/s10583-010-9113-0.

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Hill, Richard J., and Laura Eidam. "From Braemar to Hollywood: The American Appropriation of Robert Louis Stevenson’s Pirates." Humanities 9, no. 1 (January 11, 2020): 10. http://dx.doi.org/10.3390/h9010010.

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The pirate tropes that pervade popular culture today can be traced in large part to Robert Louis Stevenson’s 1883 novel, Treasure Island. However, it is the novel’s afterlife on film that has generated fictional pirates as we now understand them. By tracing the transformation of the author’s pirate captain, Long John Silver, from N. C. Wyeth’s illustrations (1911) through the cinematic performances of Wallace Beery (1934) and Robert Newton (1950), this paper demonstrates that the films have created a quintessentially “American pirate”—a figure that has necessarily evolved in response to differences in medium, the performances of the leading actors, and filmgoers’ expectations. Comparing depictions of Silver’s dress, physique, and speech patterns, his role vis-à-vis Jim Hawkins, each adaptation’s narrative point of view, and Silver’s departure at the end of the films reveals that while the Silver of the silver screen may appear to represent a significant departure from the text, he embodies a nuanced reworking of and testament to the author’s original.
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EICH, STEFAN. "JOHN LOCKE AND THE POLITICS OF MONETARY DEPOLITICIZATION." Modern Intellectual History 17, no. 1 (June 29, 2018): 1–28. http://dx.doi.org/10.1017/s1479244318000185.

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During the Coinage Crisis of 1695, John Locke successfully advocated a full recoinage without devaluation by insisting on silver money's “intrinsick value.” The Great Recoinage has ever since been seen as a crucial step toward the Financial Revolution and it was long regarded as Locke's most consequential achievement. This article places Locke's intervention in the context of the postrevolutionary English state at war and reads his monetary pamphlets as an integral, if largely neglected, part of his political philosophy. Instead of taking Locke's insistence on “intrinsick value” itself at face value, I argue that it was precisely money's fragile conventionality that threatened its role as a societal bond of trust. In response to this fragility and corruptibility, Locke tied money by fiat to an initially arbitrary but unalterable quantity of metal. While Locke's argument contributed to the modern naturalization of money, it arose from a paradoxical political act of monetary depoliticization.
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4

Honaker, Lisa. ""'One Man to Rely On': Long John Silver and the Shifting Character of Victorian Boys' Fiction"." Journal of Narrative Theory 34, no. 1 (2004): 27–53. http://dx.doi.org/10.1353/jnt.2004.0003.

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5

Kelly, Patrick. "'Monkey' Business." Locke Studies 9 (December 31, 2009): 139–65. http://dx.doi.org/10.5206/ls.2009.909.

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The publication of the ‘College’ letters in Esmond de Beer’s magnificent edition of Locke’s correspondence cast important new light on how William III’s government came to adopt the plan for the Great Recoinage of 1696—involvement with which had long been regarded as the philosopher’s most significant foray into practical politics. These letters, written by John Freke on behalf of Locke’s friend Edward Clarke (one of the Junto Whig managers in the Commons), in the course of the fifteen months from the setting up of a committee for the reform of the coinage in January 1694/5 to the end of March 1696, transformed the picture of how the ministry reached its decision on recoinage. They revealed serious divisions between Locke’s patron, the Lord Keeper, Sir John Somers, and Charles Montague, the Chancellor of the Exchequer, over how to implement the recoinage. These related not only to the question whether to maintain the existing sterling silver standard of 5s. 2d. per ounce, or devalue, but also to the terms and timing of withdrawing the clipped coin which by late 1695 constituted the bulk of the circulating medium and whose increasing unacceptability threatened public confidence in the currency. This more complex narrative replaced the long dominant view (classically formulated by Macaulay) of harmonious co-operation between Montague and Somers and their advisers Locke and Newton, already challenged by Ming-Hsun Li’s revelation in 1940 that Newton had actually recommended devaluation. The new interpretation, advanced in de Beer’s notes to the Locke Correspondence and elaborated in my introduction to Locke on Money, depended on the identification of the politician termed ‘the Monkey’ in the ‘College’ correspondence as Charles Montague. Together with other evidence, the ‘College’s’ cryptic references to the Monkey suggested that despite sponsoring the legislation for carrying out the 1696 Recoinage on retentionist principles, Montague had personally favoured a policy of devaluation. And that he subsequently attempted, in association with the rest of the Treasury Commission, to force through a devaluation of silver in February and March 1696 by retaining a high value for guineas, a move that ultimately proved unsuccessful.
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Knoepflmacher, U. C. "BOY-ORPHANS, MESMERIC VILLAINS, AND FILM STARS: INSCRIBINGOLIVER TWISTINTOTREASURE ISLAND." Victorian Literature and Culture 39, no. 1 (December 7, 2010): 1–25. http://dx.doi.org/10.1017/s1060150310000240.

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Oliver Twist,the early novelwhich a twenty-five-year-old Charles Dickens published serially from 1837 to 1839, revised in the 1840s, and featured in the public readings he offered from 1867 until his death in 1870, might well have inspired the thirty-two-year-old Robert Louis Stevenson before he serialized his own first novel,Treasure Island, in 1882. There are, after all, remarkable similarities between the two texts. For each dramatizes a young boy's immersion in a counter-world headed by villains who defy the norms of a dubious patriarchal order. What is more, the strong spell that thieves like Fagin and Bill Sikes and pirates like Billy Bones and Long John Silver exert over the innocents they mesmerize infects readers of each narrative as well as viewers of their many cinematic adaptations. We thus face a quandary. Despite our empathy with little Oliver and with his adolescent counterpart Jim Hawkins, we may question each boy's reintegration into an order whose fissures have been radically exposed.
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7

Christensen, Samantha. "How Did Long John Silver Lose His Leg? and Twenty-Six Other Mysteries of Children's Literature. Dennis Butts and Peter Hunt. Cambridge: Lutterworth, 2013. 154 pages." International Research in Children's Literature 7, no. 2 (December 2014): 213–15. http://dx.doi.org/10.3366/ircl.2014.0133.

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8

Fitriana, Sisca, and Ida Lisdawati. "THE MORPHOLOGICAL ANALYSIS BETWEEN BACK FORMATION AND CLIPPING ON TREASURE ISLAND NOVEL." PROJECT (Professional Journal of English Education) 3, no. 6 (November 13, 2020): 730. http://dx.doi.org/10.22460/project.v3i6.p730-736.

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This study aims to analyze the use of clipping and back formation in a novel titled Treasure Island Novel by Robert Louis Stevenson. The subject of this research is to focus on the introduction of the characters involved in this novel. The novel tells from a first-person perspective that Robert Louis Stevenson is Jim, who takes many important decisions. Other characters in this story are Squire Trelawney, Doctor Livesey, an old captain named Billy Bones, Long John Silver who has a cruel character and Black Dog captain, a blind pew and his gang. This research was conducted using descriptive quantitative methods and to process data using the frequency formula from the Guttman theory frequency. The findings of the analysis showed that the clipping frequency was 79,63% and the back formation frequency was 20,37%. The results show that in the Treasure Island Novel clipping the most dominant appeared. In the novel there are 54 sentences included in clipping and back formation, 43 sentences included in clipping and 11 sentences included in back formation. Robert Louis Stevenson in writing the Treasure Island Novel is only small part of the word that uses the process of cutting or reducing words called the process of clipping and back formation. The word that appears most in clipping is Bill (Billy Bone) and in back formation is mate (soulmate). Keywords: Back Formation, Clipping, Morphosyntax, Word Formation
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9

Shaw, J. T., R. Weinzierl, and J. W. Finger. "Evaluation of Efficacy of Selected Conventional and Experimental Insecticides and Bt Hybrids for Control of Corn Earworm and European Corn Borer on Sweet Corn, 1997." Arthropod Management Tests 23, no. 1 (January 1, 1998): 99–100. http://dx.doi.org/10.1093/amt/23.1.99a.

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Abstract The tests were arranged in a RCB design with four replications. Each plot consisted of four rows, each being 30 inches wide and 50 ft long. Thirty-foot-wide alleys were established between the four replications. Insecticides were applied to the middle two rows of each plot, leaving two untreated rows between adjoining plots. Twelve insecticide treatments were compared with two Br-sweet corn hybrids (Heritage Bt and Bonus Bt) and their non-Bt isolines to two untreated controls. The 12 chemical treatments and the two untreated checks were planted with the Silver King variety sweet corn. Two untreated check plots were included in each replication and were averaged for the ANOVA. Treatments were applied very four to five days beginning on 8 Aug at 8% silk. All insecticide treatments were applied with a modified John Deere 6000 high-clearance vehicle (HCV) with a rear-mounted boom. Six Conejet (TX VS-8) hollow-cone nozzles (three per row) were calibrated to deliver 30.1 gpa at 40 psi and a speed of 2.5 mph, utilizing a compressed air system. Four nozzles (two per row) were attached to drops and directed the spray towards the ear zone area, a third nozzle (one per row) was mounted directly over the row with the spray being directed into the whorl (tassel) area.
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10

Traver, John C. "Hero or villain? Moral ambiguity and narrative structure under the Comics Code in 1950s Superman stories." Studies in Comics 10, no. 2 (November 1, 2019): 255–76. http://dx.doi.org/10.1386/stic_00005_1.

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Abstract This article explores the decades-long influence of the Comics Code on American comic books’ storytelling form by identifying the interpretive processes underlying the Code’s application and adapting the Code as a theoretical model for approaching the narrative structure and implied ethical stance within 1950s Superman comics. Instead of treating the Comics Code as a series of regulations seemingly interpreted arbitrarily, this article explores how interpretive issues were framed by figures such as Charles Murphy, Leonard Darvin and John Goldwater to identify ‘the spirit and intent of the Code’ and resolve challenges such as distinguishing between the ‘spirit’ and ‘letter’ of the Code, identifying interpretive authority outside the Code, weighing past interpretive precedent and locating authorial ‘intent’. Ambiguities and aporia within the Code’s language demanded that administrators reconstruct the Code’s possible meanings and conceptualize ‘justice’ by distinguishing between the Code’s general preferences and actual prohibitions, resolving terminological nuance and prioritizing conflicting stipulations. Administrators’ efforts to balance competing stipulations regarding characters’ physical unattractiveness, criminality, justice and institutional authority shaped comics’ storytelling form and perpetuated ambiguities that comic creators could ‐ intentionally or unintentionally ‐ exploit. Where Silver Age DC Comics have often been viewed as sacrificing psychological complexity to plotting and social conformity, this article argues that the plotting intricacy in several 1950s Comics-Code era Superman comics in fact enabled writers to present a more complex rendering of moral issues. Where the Comics Code explicitly forbade that ‘crimes’ be ‘presented in such a way as to create sympathy for the criminal’, the Comics Code’s own textually unstable meaning ‐ coupled with the narrative complexity of the stories’ plotting, shifting points of view and situational and dramatic irony ‐ enabled 1950s Superman writers to create sympathy for a supposed ‘criminal’, depict the frequent inaccuracy of assumed knowledge and introduce moral ambiguity, all while arguably ‘following’ the Code.
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Books on the topic "Long John Silver"

1

Dorison, Xavier. Long John Silver. Paris: Dargaud, 2010.

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2

Mathieu, Lauffray, ed. Long John Silver. Paris: Dargaud, 2007.

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3

Barnes, Peter. The real Long John Silver: And other plays. London: Faber, 1986.

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The real Long John Silver and other plays: Barnes' People III. London: Faber and Faber, 1986.

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5

Larsson, Björn. Long John Silver: Den äventyrliga och sannfärdiga berättelsen om mitt fria liv och leverne som lyckoriddare och mänsklighetens fiende. Stockholm: Norstedt, 1995.

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1850-1894, Stevenson Robert Louis, ed. Under the black flag: The early life, adventures and pyracies of the famous Long John Silver before he lost his leg. London: Oberon, 2006.

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7

Larsson, Björn. Long John Silver: The true and eventful history of my life of liberty and adventure as a gentleman of fortune & enemy to mankind. London: Panther, 2000.

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8

Larsson, Björn. Long John Silver: The true and eventful history of my life of liberty and adventure as a gentleman of fortune & enemy to mankind. London: Harvill, 1999.

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9

Larsson, Björn. Long John Silver: The true and eventful history of my life of liberty and adventure as a gentleman of fortune and enemy to mankind. London: Harvill Press, 2000.

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10

Robert Louis Stevenson. Treasure Island. New York: Bantam Books, 1992.

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Book chapters on the topic "Long John Silver"

1

"LONG JOHN SILVER." In Fabulous Monsters, 195–200. Yale University Press, 2019. http://dx.doi.org/10.2307/j.ctvnwbztx.36.

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"LONG JOHN SILVER." In Through Many Windows, 55–65. Routledge, 2017. http://dx.doi.org/10.4324/9781315271859-10.

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Agyei-Baah, Adjei. "The Long John Silver." In Best New African Poets 2019 Anthology, 26. Mwanaka Media and Publishing, 2020. http://dx.doi.org/10.2307/j.ctv1b74285.15.

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Butts, Dennis. "Did John Masefield Ever Meet Hitler or Stalin?" In How Did Long John Silver Lose his Leg, 96–100. The Lutterworth Press, 2013. http://dx.doi.org/10.2307/j.ctt1cg4kq3.22.

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Butts, Dennis. "How Long John Silver Lost His Leg and Acquired a Parrot." In How Did Long John Silver Lose his Leg, 35–38. The Lutterworth Press, 2013. http://dx.doi.org/10.2307/j.ctt1cg4kq3.10.

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"Front Matter." In How Did Long John Silver Lose his Leg, 1–4. The Lutterworth Press, 2013. http://dx.doi.org/10.2307/j.ctt1cg4kq3.1.

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Butts, Dennis. "The Moon, the French Chef and the Missionary Textual Revisions by H. Rider Haggard." In How Did Long John Silver Lose his Leg, 39–44. The Lutterworth Press, 2013. http://dx.doi.org/10.2307/j.ctt1cg4kq3.11.

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Hunt, Peter. "How Did Bevis Grow Ten Years in Fifty-Eight Days?" In How Did Long John Silver Lose his Leg, 45–49. The Lutterworth Press, 2013. http://dx.doi.org/10.2307/j.ctt1cg4kq3.12.

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Hunt, Peter. "How Much Gold Was in Pevensey Castle?" In How Did Long John Silver Lose his Leg, 50–54. The Lutterworth Press, 2013. http://dx.doi.org/10.2307/j.ctt1cg4kq3.13.

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Hunt, Peter. "Would Bobbie’s Train Have Stopped in Time?" In How Did Long John Silver Lose his Leg, 55–58. The Lutterworth Press, 2013. http://dx.doi.org/10.2307/j.ctt1cg4kq3.14.

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