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Academic literature on the topic 'Ship captains – Fiction'
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Journal articles on the topic "Ship captains – Fiction"
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Abdul Aziz, Sohaimi, and Fatiha Che Mat. "Arena Wati as a Ship Captain: A Textual Analysis of Memoir Arena Wati Enda Gulingku." Malay Literature 27, no. 2 (December 1, 2014): 262–83. http://dx.doi.org/10.37052/ml.27(2)no4.
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Arena Wati (1925-2009), is well-known by the Award of Malaysian National Laureate, which he received in 1988 for his outstanding contributions to the development of Malay literature. However he was also the captain of a sailing ship. His familial origins as sailors of Makassar, South Sulawesi, Indonesia have greatly influenced his writings. This article is a scrutiny of a work by Arena Wati in his capacity as a ship captain in relation to two functions, namely “as a trader” and “as a navigator”. The approach to the text is through a qualitative content analysis, that is, interpretation and evaluation of messages associated with the text under study, namely, Arena Wati’s memoir entitled Memoir Arena Wati Enda Gulingku (1991). Based on his successful implementation of both the functions mentioned, the analysis reveals that Arena Wati is an accomplished navigator. His knowledge of the maritime trade and the navigation he practiced establishes that Arena Wati’s greatness as a ship captain is equal to his greatness as a fiction writer. Keywords: ship captain, sailor, trader, maritime, navigator
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Tierney, Scott. "Meat is Meat." After Dinner Conversation 5, no. 2 (2024): 59–74. http://dx.doi.org/10.5840/adc20245216.
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How do we decide what meat is acceptable to eat? In this philosophical short story fiction, a crew of over a 100 are onboard a ship, and slowly starving. The captain is worried they might all starve before finding their way to shoreline. They try fishing off the side of the boat, the but seas are uncharacteristically empty, that is, until they net a mermaid. As the unconscious mermaid hangs upside down the cook, the captain, and key members of the crew try to decide what to do with her, or “it” as the captain prefer they call her. It’s unclear if she is able to speak or understand them, as she is unconscious. A few of the crew argue against eating her, or at least telling the whole crew about her and giving them each the choice. The captain, however, is unwavering and insists that “meat is meat” and they should get to work planning dinner.
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Marotta, Melanie A. "The science fiction horror: Alien, George R. R. Martin's Nightflyers and the surveillance of women." Northern Lights: Film & Media Studies Yearbook 17, no. 1 (November 1, 2019): 57–70. http://dx.doi.org/10.1386/nl_00005_1.
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Abstract The subgenre of the science fiction horror has a lengthy history, one that is purported to begin with Mary Shelley's novel, Frankenstein (1818). In Shelley's novel, the body is a space in which a man enacts his ambitions. Significantly, the female voice that was so prominent in the novel disappears in later adaptations including Danny Boyle's National Theatre production examined here. In the science fiction horror film of the later twentieth century, the monstrosity appears famously in what is now a franchise. Ridley Scott directs Alien (1979), a renowned haunted ship mystery (territory of the horrific). When she is not defending herself from attacks, Ripley must contend with her objectification by Ash, the corporation's representative and by the rest of the crew. A new addition to the science fiction horror subgenre is Syfy channel's adaptation of George R. R. Martin's Nightflyers. Unbeknownst to the crew of the Nightflyer, the former captain of the ship, Cynthia, has had her consciousness transferred to the ship and she is watching everyone. Like Ripley, the Nightflyer's female characters ‐ Agatha, Melantha and Cynthia ‐ are subjected to others' fear of the unknown, namely the changing roles for women and how that will impact their societal construction. Here, I will examine the body on display. This essay is primarily interested in the female characters and whether or not they are empowered or violated by the act of looking or violated.
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Федотова and Oksana Fedotova. "Forms of Representation of Inner States of Fiction Characters." Modern Communication Studies 5, no. 5 (October 17, 2016): 64–67. http://dx.doi.org/10.12737/21934.
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The paper shows that the author of English language narrative discourse can discuss with his/her readers such topics as inner state of fiction characters. It presents forms of representation of inner state of fiction characters. Firstly, the inner state of a character is described in contexts without metaphor. In this case, the main markers are verbs of mental state, names of emotions, physical representation of emotions, taste perception. Secondly, the inner state of fiction characters is represented via another situation. In this case, the comparison can be either direct or literal. Desperation is compared with a nightmare, beating into the wall, with the sense that the walls are closing in on a hero. Unreality of events is compared with the theatre where everything is make-belief. Thirdly, the inner state of a character is represented via comparison with a person who is experiencing similar feelings: The character can feel like a condemned prisoner, or like a captain of a sinking ship. Finally the inner state of heroes is represented via conceptual metaphor.
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Turner, Jonathan. "Leviathan." After Dinner Conversation 3, no. 8 (2022): 51–78. http://dx.doi.org/10.5840/adc20223875.
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Is Hobbes right, in that, life is “solitary, poor, nasty, brutish, and short?” Will resource scarcity always revert us to our most animalistic nature? In this work of space travel ethical short story fiction, the space cruise liner the narrator is on is hit by a rock. It is severely damaged and some of the crew is injured. They are slowly moving to their destination via “dead reckoning” but the ship will run out of water long before they arrive. At first, the captain decides to do a first round of killing, both by volunteers and by lottery, to save resources. Riots break out as a second lottery happens and water is rationed to just one liter per person, per day. The narrator is a second-class passenger on the ship, but largely built, so he volunteers to serve as security detail. He ends up killing a passenger who fights back during the lottery. As the situation worsens, gangs form on the ship. The narrator is brought in by a gang, but is later kicked out for being sympathetic to others. All seems lost when the ship’s doctor realizes he can filter the blood of the dead and use it to supplement their water supplies.
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Minyailo, R. V., and N. V. Minyailo. "METAPHORICAL PERSONIFICATION IN UKRAINIAN TRANSLATIONS OF THE PROSE JOSEPH CONRAD." Opera in linguistica ukrainiana, no. 29 (November 9, 2022): 186–96. http://dx.doi.org/10.18524/2414-0627.2022.29.262404.
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The study of the original and translated marine novels is still relevant. Considering the longevity of Ukrainian marine language creativity and the endless arsenal of native language tools for translating English marine novels, the purpose of the given article is to explore the features of metaphorical personification in Ukrainian translations of Joseph Conradʼs novels «The Shadow-Line» by Olha Fyra and «Typhoon» by Mykola Roshkivskyi; to find the semantic bases of the idiostyle in these texts, to classify the types of semantic detailing of the humanized realities of the sea element. The research methodology consisted of a continuous sample of contexts with metaphorical personification of marine realities in the given novels and further semantic analysis of selected units, which consisted of distinguishing and detailing their semantic bases. In the researched texts, the semantic bases of marine personification are a ship, which has an inseparable «spiritual-bodily» connection with the captain; wind (storm, typhoon) – a fierce emotional enemy of the sailor; waves – aggressive and frantic; sea as a «twin» of man in appearance, behavior, state of mind. The semantic components of ʻdeificationʼ, ʻadmirationʼ, ʻcharmʼ, ʻemotionʼ, ʻprotectionʼ, ʻtrustʼ, ʻdelicacyʼ, ʻcompassionʼ, ʻdreaminessʼ, ʻanxietyʼ in the artistic and figurative representation of the wind and its varieties – ʻmadnessʼ, ʻrageʼ, ʻforceʼ, ʻcunningʼ, ʻinsidiousnessʼ, ʻangerʼ, ʻsufferingʼ, ʻdisappointmentʼ; for waves – ʻaggressionʼ, ʻhateʼ, ʻfrenityʼ; for the sea – ʻscarsʼ, ʻlonelinessʼ, ʻstupid shawlʼ, ʻdestructionʼ. In the special semantic content of marine images in J. Conradʼs idiostyle, one could see the symbiosis of his practical experience as a ship captain and the subtle lyrical psychology of the romantic son of Podillia, which was organically represented by translators. The texts under study include the condensed marine personification – integrally intertwined in artistic and figurative expressions of integral metaphorical features of the main components of the sea and navigation. The prospects of future researches lie in comparison studies of linguostylistic instruments in English and in translated (Ukrainian) marine fiction.
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Boëthius, Ulf. "”Hinner vi inte ta en grogg tillsammans, innan ångaren sjunker?”." Barnboken, June 18, 2021. http://dx.doi.org/10.14811/clr.v44.581.
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”How about a drink together, before the ship sinks?” Fact and Fiction in Erik Pallin’s Kaparkaptenen på Emden
The First World War gave rise to a surge of war novels, many of which were aimed at a young audience. These novels can be characterized as adventure stories with boys as their main target group. Swedish author Erik Pallin’s Kaparkaptenen på Emden: Romantiserad skildring från det stora världskriget 1914 (The Privateer Captain of Emden: Romanticized Depiction from the Great World War in 1914) was published in December 1914. It is not only one of the first Swedish youth novels about the war, but also one of the most intriguing as the tension between reality and fiction is particularly strong in Pallin’s novel. It tells the story of the German cruiser Emden whose raids in the Indian Ocean attracted much attention from journalists and authors. The article investigates how Pallin depicted the war for his young readers, focusing on the relationship between fact and fiction. The analysis shows that Pallin, much like the journalists reporting on Emden, transforms Emden’s warfare into heroic adventure tales and portrays Emden’s captain as a charismatic hero who symbolizes the male ideal of the time. The analysis concludes that Kaparkaptenen på Emden to some extent can be considered a “newsreel novel” (Paris), but that Pallin also romanticizes Emden’s warfare to appeal to his young readers. Rather than depicting the atrocities of real-life war, Pallin presents the war as an adventure with idyllic, romantic, and comical elements. The novel’s happy ending, with the war coming to an end, suggests that Pallin wished to take a stance against the war, but it can also be read as a strategy used to appeal to his young audience by offering them a story of hope.
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Polkinghorne, Sarah. "The Watch That Ends The Night: Voices From The Titanic by A. Wolf." Deakin Review of Children's Literature 1, no. 4 (April 16, 2012). http://dx.doi.org/10.20361/g2w013.
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Wolf, Allan. The Watch That Ends The Night: Voices From The Titanic. Somerville, MA: Candlewick, 2011. Print. If you are searching for a way to mark April 14, 2012, the 100th anniversary of the RMS Titanic’s striking of the iceberg, consider settling into a comfortable chair with The Watch That Ends The Night: Voices From The Titanic. You may wish to choose a chair with secure footing on solid ground. Formally, The Watch That Ends The Night is a novel consisting of poems, primarily in free verse, along with a variety of other styles suiting the two dozen “voices” who tell the story. This book stands out in large part thanks to Wolf’s resonant crafting of these voices. We hear from the crew, including an engine room man, a violinist, and the Captain himself. We hear from a range of passengers, including some of the richest and some of the poorest. We hear from men working in the aftermath of the collision, including a sailor on board the RMS Carpathia, the ship that rescued the Titanic’s survivors. The observations of a Nova Scotian undertaker, tasked with cataloguing the bodies and effects of the dead, are interspersed throughout, providing suspense despite the familiarity of the narrative. We read the wireless transmissions, most of which, Wolf mentions, are real: “From: RMS Titanic. To: All Ships at Sea. […] I require immediate assistance”. Wolf enriches the reader’s experience further by giving voice to the ominous perspective of the iceberg: “The lookouts on her mast can’t make me out”. Even “The Ship Rat” appears, scurrying along on a quest for survival whose symbolic importance increases as events unfold. Taken individually, each poem is an engaging insight into a particular perspective at a given moment within the voyage. Taken as a whole, Wolf’s poems build the tension that befits this story while capturing the stratification and diversity that existed on the ship in its time. The back matter is wonderful. Wolf provides details on each character and clarifies what is fact and what is fiction. There is also an extensive bibliography. The Watch That Ends The Night: Voices From The Titanic has many potential classroom applications. Hopefully, many young adult and adult readers will also read it purely for enjoyment. Highly recommended: 4 out of 4 starsReviewer: Sarah PolkinghorneSarah is a Public Services Librarian at the University of Alberta. She enjoys all sorts of books.
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Rossella, Pirro. "Star Trek: between scientific technology and reality, a leadership model in healthcare management." Journal of Advanced Health Care, November 30, 2021. http://dx.doi.org/10.36017/jahc2111-005.
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Few tv series or movies can be considered as a source of inspiration for everyday life, both in the workplace and not. Star Trek is the most striking example of this since it touches the deepest chords of the human soul by addressing philosophical, spiritual, political and strategic issues. At the command of the Enterprise, the spaceship, we meet Kirk or Picard, to name a few of the most famous commanders of Star Trek, at the "command" of radiology we will meet the Coordinator, a leading figure for his team of technicians. Far from space ships or aliens, the TSRM Coordinator must interface with his technical staff, know how to communicate with them and with other health workers and make important decisions often in "red alert" conditions as unfortunately still happens during the COVID-19. The world is experiencing a time of crisis as the global COVID-19 pandemic has affected the way we live, work and interact with each other on a global scale. It might be science fiction, but Star Trek can help us practice our basic leadership skills in preparation for real crises. In fact, the Star Trek captains provide examples of the potential for communication, patience and dedication in the service of leadership. With this job I tried to describe how team-working, the importance of communication and the figure of the leader in Star Trek can be an inspiration in the Management for the health professions and how the technology of this famous science fiction serie can predict and anticipate the future of our technical profession.
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Pirro, Rossella. "Star Trek: between scientific technology and reality, a leadership model in healthcare management." Journal of Advanced Health Care 3, no. 3 (November 30, 2021). http://dx.doi.org/10.36017/jahc202133146.
Full textAbstract:
Few tv series or movies can be considered as a source of inspiration for everyday life, both in the workplace and not.Star Trek is the most striking example of this since it touches the deepest chords of the human soul by addressingphilosophical, spiritual, political and strategic issues. At the command of the Enterprise, the spaceship, we meet Kirkor Picard, to name a few of the most famous commanders of Star Trek, at the “command” of radiology we will meetthe Coordinator, a leading figure for his team of technicians. Far from space ships or aliens, the TSRM Coordinatormust interface with his technical staff, know how to communicate with them and with other health workers andmake important decisions often in “red alert” conditions as unfortunately still happens during the COVID-19. Theworld is experiencing a time of crisis as the global COVID-19 pandemic has affected the way we live, work andinteract with each other on a global scale. It might be science fiction, but Star Trek can help us practice our basicleadership skills in preparation for real crises. In fact, the Star Trek captains provide examples of the potential forcommunication, patience and dedication in the service of leadership. With this job I tried to describe how teamworking, the importance of communication and the figure of the leader in Star Trek can be an inspiration in theManagement for the health professions and how the technology of this famous science fiction serie can predict andanticipate the future of our technical profession.
Books on the topic "Ship captains – Fiction"
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Drodge, Eldon. Jackman: The courage of Captain William Jackman, one of Newfoundland's greatest heroes. St. John's, NF: Jesperson Pub., 2000.
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Morris, Gilbert. The River Queen: Water Wheel #1. Nashville, Tenn: B&H Pub. Group, 2011.
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Dubé, Jasmine. Au bain capitaine! St. Hubert PQ: Les éditions du Raton Laveur, 1989.
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Verne, Jules. The survivors of the Chancellor. Rockville, Md: Tark Classic Fiction, 2008.
Find full textBook chapters on the topic "Ship captains – Fiction"
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Kerr, Matthew P. M. "Captain Marryat Repeats Himself." In The Victorian Novel and the Problems of Marine Language, 63–92. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192843999.003.0003.
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This chapter explores the under-studied popular marine fiction of Captain Frederick Marryat. Marryat’s sea-novels are shy of the element upon which they are set; he rarely focuses on the craft of sailing and describes the sea itself even less often. If, however, Marryat’s novels are not about the sea, sea-life defines their central characteristic: a multi-faceted repetitiveness. These texts repeat marine tropes that are already themselves repetitious, such as seasickness, heroic resurrection, and the revenant ghost ship. Tightly repetitive adherence to generic formulae is often deemed evidence of contrived or artificial writing. In the context of writing about the sea, though, repetition invites a competing reading: it is perhaps evidence of authenticity, of Marryat’s struggle to find a register appropriate to the ocean.
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Einboden, Jeffrey. "“The Runners”." In Jefferson's Muslim Fugitives, 123–34. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190844479.003.0012.
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This chapter describes the fanciful character “Mustapha Rub-a-Dub Keli Khan” created by early America’s leading fiction writer, Washington Irving. Mustapha is a Tripoli ship captain “held prisoner in New York.” Trapped behind enemy lines, he spies on the land of his captivity, writing home to his friend Asem. Mustapha’s concern, however, is America’s own “Bashaw”: Thomas Jefferson. Jefferson is pictured as a “grand” Sultan who “governs” a New World “empire.” Although Irving’s letters were facetious, they capitalized on serious anxieties confronting Jefferson’s America. Interweaving Islam and imprisonment, while sending covert reports of an American President to a “slave-driver” in North Africa, Irving’s parody cuts rather close to home, even though framed through a Muslim lens.
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LoBrutto, Vincent. "Adventures Not in Paradise." In Ridley Scott, 110–13. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177083.003.0012.
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White Squall is based on the book The Last Voyage of the Albatross, co-written by Chuck Gieg, who was a survivor of a prep school ship that sank during treacherous weather on the high seas. The voyage was planned to expose young men to different locales as they studied academic subjects during the trip. They also were part of the ship’s crew and learned to be seamen. White Squall is a rare successful re-creation of the early 1960s: the dawn of an era that saw much change but still maintained its innocence. Much of this picture was shot on a real schooner at sea. Scott directed many strong performances, especially from Jeff Bridges playing Captain Christopher “Skipper” Sheldon. The boys represent many different personality types and all are impacted by the voyage and the crew. The white squall event left many dead. In the real-life story, no punishment was given to the skipper, but Scott decided to end the film on a dramatic note so a fictional scene was created. Here the skipper faces a tribunal with his license at risk. The boys come to his aid with solid support and the issue is then resolved.