Mary Ann Christian (1793-1866) was the only daughter of chief Bounty mutineer Fletcher Christian and his Tahitian consort Mauatua who settled on Pitcairn Island in 1790. After a violent first decade, and one death to a natural cause, the male population was reduced to a sole male survivor – John Adams. This created a female- dominated milieu within which Many Ann Christian operated with a strong degree of agency across social hierarchies involving island and empire actors, and spatially with her on- and off-island movements. While still a teenager, Mary Ann Christian became the inspiration for Mary Russell Mitford’s exquisite protagonist in Christina: The Maid of the South Seas: A Poem (1811). Almost three decades later, Lieutenant Lowry visiting from the Sparrowhawk dubbed her a cantankerous “old maid” for her concern that girls aged 13, 14, and 15 were too young for marriage; male dominance had reasserted itself. Primary and other credible sources, including demographics, document the events surrounding Herstory.
{"title":"Mary Ann Christian, Exercising Social and Spatial Agency: An isolated island case","authors":"D. Albert","doi":"10.21463/shima.140","DOIUrl":"https://doi.org/10.21463/shima.140","url":null,"abstract":"Mary Ann Christian (1793-1866) was the only daughter of chief Bounty mutineer Fletcher Christian and his Tahitian consort Mauatua who settled on Pitcairn Island in 1790. After a violent first decade, and one death to a natural cause, the male population was reduced to a sole male survivor – John Adams. This created a female- dominated milieu within which Many Ann Christian operated with a strong degree of agency across social hierarchies involving island and empire actors, and spatially with her on- and off-island movements. While still a teenager, Mary Ann Christian became the inspiration for Mary Russell Mitford’s exquisite protagonist in Christina: The Maid of the South Seas: A Poem (1811). Almost three decades later, Lieutenant Lowry visiting from the Sparrowhawk dubbed her a cantankerous “old maid” for her concern that girls aged 13, 14, and 15 were too young for marriage; male dominance had reasserted itself. Primary and other credible sources, including demographics, document the events surrounding Herstory.","PeriodicalId":51896,"journal":{"name":"Shima-The International Journal of Research into Island Cultures","volume":"108 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88053723","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Morgawr is a sea monster that is reputed to swim along the southern coast of Cornwall, Britain's far south west peninsula. It draws on the belief held by many that prehistoric creatures survive, thriving in deep waters. Unlike many cryptids that derive from a foundation of folk tradition, the Morgawr began as a hoax. Originally part of a prank in 1976, stories of the cryptid have evolved, attracting enthusiasts in Cornwall, but also internationally thanks to the Internet. The creation of the Morgawr and then its subsequent development as an expression of folklore allows for a consideration of how it fits into the idea of the folkloresque, a term advanced by Foster and Tolbert to describe cultural expressions that draw on folklore for inspiration, mimicking tradition but representing something that is distinct. While folk traditions are the bedrock of the folkloresque, the two are distinct. In the case of the Morgawr, a faux tradition seems to have inspired genuine belief.
{"title":"Morgawr and the Folkloresque (A study of a whopping fish tale)","authors":"R. James","doi":"10.21463/shima.123","DOIUrl":"https://doi.org/10.21463/shima.123","url":null,"abstract":"The Morgawr is a sea monster that is reputed to swim along the southern coast of Cornwall, Britain's far south west peninsula. It draws on the belief held by many that prehistoric creatures survive, thriving in deep waters. Unlike many cryptids that derive from a foundation of folk tradition, the Morgawr began as a hoax. Originally part of a prank in 1976, stories of the cryptid have evolved, attracting enthusiasts in Cornwall, but also internationally thanks to the Internet. The creation of the Morgawr and then its subsequent development as an expression of folklore allows for a consideration of how it fits into the idea of the folkloresque, a term advanced by Foster and Tolbert to describe cultural expressions that draw on folklore for inspiration, mimicking tradition but representing something that is distinct. While folk traditions are the bedrock of the folkloresque, the two are distinct. In the case of the Morgawr, a faux tradition seems to have inspired genuine belief.","PeriodicalId":51896,"journal":{"name":"Shima-The International Journal of Research into Island Cultures","volume":"11 2 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86251711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mermaid-As-Device: Toponymy, Language and Linguistics","authors":"J. Nash","doi":"10.21463/shima.145","DOIUrl":"https://doi.org/10.21463/shima.145","url":null,"abstract":"","PeriodicalId":51896,"journal":{"name":"Shima-The International Journal of Research into Island Cultures","volume":"188 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75630806","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the first Greek film to give a central role to the concept of the mermaid: Georges Skalenakis’ 1987 direct-to-video feature Gorgona (‘Mermaid’). Although actually concerning an all-human female, Gorgona attaches to her many traits of both the internationally common half-fish/half-woman creature (known in Greek as γοργόνα/gorgona) and the mermaid sister (also known as γοργόνα) in the legend of Alexander the Great. The article identifies the video-film’s allusions to these fishtailed figures and argues that the film produced an updated mermaid image that responded to other national and foreign audiovisual conceptions of the mermaid of the 1980s and enriched the star persona of its female lead, Eleni Filini, with a mythic quality and national symbolism.
{"title":"Mermaid Allusions and Star Promotion in the Greek Video-Film Gorgona (1987)","authors":"P. Mini","doi":"10.21463/shima.143","DOIUrl":"https://doi.org/10.21463/shima.143","url":null,"abstract":"This article examines the first Greek film to give a central role to the concept of the mermaid: Georges Skalenakis’ 1987 direct-to-video feature Gorgona (‘Mermaid’). Although actually concerning an all-human female, Gorgona attaches to her many traits of both the internationally common half-fish/half-woman creature (known in Greek as γοργόνα/gorgona) and the mermaid sister (also known as γοργόνα) in the legend of Alexander the Great. The article identifies the video-film’s allusions to these fishtailed figures and argues that the film produced an updated mermaid image that responded to other national and foreign audiovisual conceptions of the mermaid of the 1980s and enriched the star persona of its female lead, Eleni Filini, with a mythic quality and national symbolism.","PeriodicalId":51896,"journal":{"name":"Shima-The International Journal of Research into Island Cultures","volume":"31 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78813769","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During her fieldwork in Jamaica in the 1920s, the American anthropologist Martha Warren Beckwith was told by an interviewee that he had seen a river mumma sitting by a pool near St Ann’s Bay, combing her long hair. The river mumma, a form of duppy or spirit, was said to inhabit ponds, lakes and rivers. Not only was she believed to be guardian of such bodies of water, but she was also accredited with the ability to cause and end droughts, bestow the power to heal and to wreak revenge. In this article I examine the folklore and spiritual beliefs surrounding the river mumma in 19th and 20th Century Jamaica and look at where her origins may lie. There is a particular emphasis on material from the late post-emancipation era as this was a time of an awakening interest in Jamaican folk cultures and a number of influential ethnographic accounts, such as Thomas Bainbury’s Jamaica Superstitions (1894) and Martha Warren Beckwith’s Black Roadways (1929), were published.
20世纪20年代，美国人类学家玛莎·沃伦·贝克威斯(Martha Warren Beckwith)在牙买加进行实地考察时，一位受访者告诉她，他看到一位河妈妈坐在圣安湾(St Ann 's Bay)附近的一个游泳池旁，梳理着她的长发。河妈是一种小精灵或精灵，据说栖息在池塘、湖泊和河流中。她不仅被认为是这些水体的守护者，而且还被认为有能力引起和结束干旱，赋予治愈和复仇的力量。在这篇文章中，我研究了19世纪和20世纪牙买加的木乃伊河周围的民间传说和精神信仰，并看看她的起源可能在哪里。书中特别强调了后解放时代后期的材料，因为这是人们对牙买加民间文化兴趣觉醒的时期，许多有影响力的民族志作品都出版了，比如托马斯·班伯里的《牙买加迷信》(1894)和玛莎·沃伦·贝克威斯的《黑色道路》(1929)。
{"title":"“The Waters Were Made for Her”: River Mumma beliefs in 19th and 20th century Jamaican ethnographic accounts","authors":"Hilary Sparkes","doi":"10.21463/shima.141","DOIUrl":"https://doi.org/10.21463/shima.141","url":null,"abstract":"During her fieldwork in Jamaica in the 1920s, the American anthropologist Martha Warren Beckwith was told by an interviewee that he had seen a river mumma sitting by a pool near St Ann’s Bay, combing her long hair. The river mumma, a form of duppy or spirit, was said to inhabit ponds, lakes and rivers. Not only was she believed to be guardian of such bodies of water, but she was also accredited with the ability to cause and end droughts, bestow the power to heal and to wreak revenge. In this article I examine the folklore and spiritual beliefs surrounding the river mumma in 19th and 20th Century Jamaica and look at where her origins may lie. There is a particular emphasis on material from the late post-emancipation era as this was a time of an awakening interest in Jamaican folk cultures and a number of influential ethnographic accounts, such as Thomas Bainbury’s Jamaica Superstitions (1894) and Martha Warren Beckwith’s Black Roadways (1929), were published.","PeriodicalId":51896,"journal":{"name":"Shima-The International Journal of Research into Island Cultures","volume":"11 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87965767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since European and, specifically, Anglo-Irish colonisation in the late 1700s, a number of Australian locations have been given the name ‘mermaid.’ This article examines the principal derivations of these place names – including those relating to the voyages of the HMC Mermaid around Australia’s coastline in the early 1800s – and some of the manners in which these names have been represented in signage, place branding, commercial applications and/or public discourse. In providing this critical survey, the article examines the inscription of a traditional European folkloric entity (and modern media representations of it) into Australian public culture and, in some instances, the related impact of these on destination branding.
{"title":"Shipped Ashore: The origins and deployment of mermaid place names in Australia and related visual representations","authors":"P. Hayward, C. Fleury","doi":"10.21463/shima.115","DOIUrl":"https://doi.org/10.21463/shima.115","url":null,"abstract":"Since European and, specifically, Anglo-Irish colonisation in the late 1700s, a number of Australian locations have been given the name ‘mermaid.’ This article examines the principal derivations of these place names – including those relating to the voyages of the HMC Mermaid around Australia’s coastline in the early 1800s – and some of the manners in which these names have been represented in signage, place branding, commercial applications and/or public discourse. In providing this critical survey, the article examines the inscription of a traditional European folkloric entity (and modern media representations of it) into Australian public culture and, in some instances, the related impact of these on destination branding.","PeriodicalId":51896,"journal":{"name":"Shima-The International Journal of Research into Island Cultures","volume":"89 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84450107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mercultures II","authors":"Philip Hayward","doi":"10.21463/shima.139","DOIUrl":"https://doi.org/10.21463/shima.139","url":null,"abstract":"","PeriodicalId":51896,"journal":{"name":"Shima-The International Journal of Research into Island Cultures","volume":"12 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74103781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the visual representation and function of the folkloric Scandinavian nix in the manga series Oblivion High (2012–2014) published by the manga studio Ms Mandu. The aim of the research is to investigate how a well-known folkloric image develops and to consider the nix’s portrayal of masculinity. The article is a critical cultural study based on feminist and queer perspectives on visual culture and folklore studies. The article concludes that the nix in Oblivion High must update his desirability through spectacular clothing and change of musical instrument to meet the contemporary Western heteronormative masculinity ideals. His weakness to the metal iron ties into the nix’s association to fairies and the construction of the nix’s underwater realm is connected to Norse mythology with the appearance of Aino from the Finish national epos Kalevala, Nornorna and hints of the Norse god Odin. Furthermore, the androgynous art style of shōjo manga (a sub-genre aimed at female teenage readers) creates a heterosexual female gaze pattern, while the imagery of a bishōnen (beautiful boy) connects the character Nix to the literary trope of the ‘pretty boy,’ leaving hegemonic masculinity unchallenged.
本文探讨了民间传说中的斯堪的纳维亚nix在manga studio Ms Mandu出版的《Oblivion High》(2012-2014)系列漫画中的视觉表现和功能。这项研究的目的是调查一个众所周知的民间形象是如何发展的，并考虑尼克斯的男子气概的写照。本文是一项基于女性主义和酷儿视角的视觉文化和民俗研究的批判性文化研究。文章的结论是，遗忘高中的尼克斯必须通过华丽的服装和改变乐器来更新他的欲望，以满足当代西方异性恋规范的男子气概理想。他对金属铁的弱点与尼克斯与仙女的联系联系在一起，而尼克斯水下王国的建设与挪威神话有关，芬兰国家史诗《卡勒瓦拉》、《诺诺》中的阿伊诺的出现和挪威神奥丁的暗示有关。此外，shōjo漫画(一种针对女性青少年读者的子类型)的雌雄同体艺术风格创造了一种异性恋女性的凝视模式，而bishōnen(漂亮男孩)的形象将角色尼克斯与“漂亮男孩”的文学修辞联系起来，使霸道的男子气概不受挑战。
{"title":"A Mythological Nudist Lost in Swedish Suburbia: A study of the Nix’s masculinity and media-loric function in the manga series Oblivion High","authors":"Olle Jilkén","doi":"10.21463/shima.134","DOIUrl":"https://doi.org/10.21463/shima.134","url":null,"abstract":"This article explores the visual representation and function of the folkloric Scandinavian nix in the manga series Oblivion High (2012–2014) published by the manga studio Ms Mandu. The aim of the research is to investigate how a well-known folkloric image develops and to consider the nix’s portrayal of masculinity. The article is a critical cultural study based on feminist and queer perspectives on visual culture and folklore studies. The article concludes that the nix in Oblivion High must update his desirability through spectacular clothing and change of musical instrument to meet the contemporary Western heteronormative masculinity ideals. His weakness to the metal iron ties into the nix’s association to fairies and the construction of the nix’s underwater realm is connected to Norse mythology with the appearance of Aino from the Finish national epos Kalevala, Nornorna and hints of the Norse god Odin. Furthermore, the androgynous art style of shōjo manga (a sub-genre aimed at female teenage readers) creates a heterosexual female gaze pattern, while the imagery of a bishōnen (beautiful boy) connects the character Nix to the literary trope of the ‘pretty boy,’ leaving hegemonic masculinity unchallenged.","PeriodicalId":51896,"journal":{"name":"Shima-The International Journal of Research into Island Cultures","volume":"10 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88817932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article builds upon recent research on early modern Anglo-American maritime culture to demonstrate how mariners used shared mermaid iconography (such as spaces, symbolism, objects, superstitions, and songs) to cultivate an ‘imagined community’ that linked their lives at sea to that on land, and vice versa. Ships and taverns were key to such efforts, as these public spheres – themselves branded by mermaid iconography – served as well-recognised nodes of maritime identity-ways. Ultimately, early modern Anglo-American sailors claimed mermaid iconography as critical symbols of maritime culture that transcended space and time, thereby helping diverse constituents of global empires to create connections wherever they travelled.
{"title":"Mermaid Iconography and Early Modern Anglo-American Maritime Culture","authors":"Vaughn Scribner","doi":"10.21463/shima.113","DOIUrl":"https://doi.org/10.21463/shima.113","url":null,"abstract":"This article builds upon recent research on early modern Anglo-American maritime culture to demonstrate how mariners used shared mermaid iconography (such as spaces, symbolism, objects, superstitions, and songs) to cultivate an ‘imagined community’ that linked their lives at sea to that on land, and vice versa. Ships and taverns were key to such efforts, as these public spheres – themselves branded by mermaid iconography – served as well-recognised nodes of maritime identity-ways. Ultimately, early modern Anglo-American sailors claimed mermaid iconography as critical symbols of maritime culture that transcended space and time, thereby helping diverse constituents of global empires to create connections wherever they travelled.","PeriodicalId":51896,"journal":{"name":"Shima-The International Journal of Research into Island Cultures","volume":"160 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76488159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Few and Far Between: The distribution of mermaid, siren and sirena place names across the United States of America","authors":"Vaughn Allan","doi":"10.21463/shima.138","DOIUrl":"https://doi.org/10.21463/shima.138","url":null,"abstract":"","PeriodicalId":51896,"journal":{"name":"Shima-The International Journal of Research into Island Cultures","volume":"32 3 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86354541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：