text
stringlengths 1
3.86k
|
|---|
The town had descended into lawlessness with a number of saloons , brothels , dancing halls , and widespread gambling . The town had no law enforcement officers , and the local government officials had become bar keepers . Governor West had extended prohibition laws , Some local residents had appealed to the state government for assistance. but they were widely ignored in Copperfield . Over half the residents of the town had signed a petition , addressed to West , alleging that saloons owned by the mayor and City Council members were selling liquor to minors and staying open later than their posted hours . Governor West responded by ordering county officials to restore order , close the saloons , and force the resignations of the corrupt city leaders by December 25 , 1913 . |
County officials did not take care of the problem , so West sent Hobbs , hoping the presence of a woman would prevent any outbreak of violence . Hobbs was a petite woman standing 5 feet 4 inches ( 1 @.@ 63 m ) tall and weighing less than 100 pounds ( 45 kg ) . She was dispatched with orders to restore order and to implement martial law if necessary . While Hobbs was traveling to Eastern Oregon , both she and Governor West were coy with reporters about the presence of the militia men , suggesting that Hobbs might be acting alone . |
The saloon keepers , who received word that Hobbs was accompanied by law enforcement officers only shortly before her arrival , greeted her by dressing up the town with bunting , blue and pink ribbons , and flowers . A town meeting was arranged at 2 : 30 p.m. on January 3 . Hobbs renewed the call for the resignation of city officials , but was the request was refused . Hobbs ' escorts then arrested the city leaders and ordered Lawson to declare martial law . It was the first time in Oregon since the Civil War that martial law was put into effect . |
Soon the town was disarmed and order restored , with the gambling equipment and weapons confiscated , and the saloons closed down . Hobbs then left Lawson in charge and caught the 4 : 00 p.m. train out of town that same day . The residents did not openly resist Hobbs or the militia men , although nearly all were armed and had been prepared to offer non @-@ violent resistance . She stopped at the county seat in Baker City to officially remove the town 's officials in front of a judge before returning to the state capitol in Salem . The Baker County Circuit Court quickly enjoined the militia from holding the town under martial law ; Sheriff Rand began assembling a posse to carry out the court order . Governor West requested a hearing , seeking Rand 's temporary removal from office , and appointed Hobbs to represent the State as special counsel . |
The actions of the governor were later challenged in court , with Hobbs and West among the defendants . The saloon keepers sought remuneration for liquor they claimed was confiscated during the period of martial law . The Baker County circuit court determined the governor 's actions were within his powers , and the Oregon Supreme Court ultimately concurred . |
These events made Hobbs the most famous woman in Oregon at that time . Hobbs also made national and international news for these events . Writer Stewart Holbrook reported : |
= = Later life = = |
After the Copperfield affair , Hobbs continued as Governor West 's secretary until the end of his term in 1915 . She visited the Union County town of Cove in February 1914 , also to investigate complaints about a saloon . A local election had declared the town " dry , " but a county election had declared the entire county " wet . " On advice of a judge , the mayor of Cove stated that he was unable to determine whether the saloon was legal or not , but expressed deference to the governor 's wishes . Hobbs did not order the saloon closed down . |
She then moved to Portland and practiced law . Women 's rights groups promoted Hobbs as a candidate to run for governor , but she never ran for office . Within a few years Fern Hobbs became the commissioner of Oregon State Industrial Accident Commission , working on getting taxes due on the Oregon & California Lands . In 1917 , with the United States entering World War I , she began a long association with the Red Cross . From 1917 to 1922 she worked in Europe , including time spent as the chief of the casualty division in Paris , France . In that position Hobbs was responsible for notifying dead soldiers ' next of kin . She returned to Europe in the 1930s , working in the Rhine Valley when it was occupied by France . |
Upon returning to Oregon , Hobbs worked as a secretary for the Oregon Journal newspaper . She retired in 1948 as the secretary to the paper 's business manager . Fern Hobbs died on April 10 , 1964 , at the age of 80 , and was buried at the Hillsboro Pioneer Cemetery in Hillsboro , Oregon . |
The Oregon writer Stewart Holbrook interviewed her in the early 1950s , a few years after her retirement , observing that she " still weighs 104 pounds . Her eyes are clear and blue behind her glasses . There is not a gray hair on her head . She lives as quietly as she has always lived , except for those dreadful few days so long ago [ concerning Copperfield ] . " Holbrook noted during his interview that " the subject of Copperfield bores her " and concluded his account of her as follows : |
= Jessie Stephen = |
Jessie Stephen , MBE ( 19 April 1893 – 12 June 1979 ) was a twentieth @-@ century British suffragette , labour activist and local councillor . She grew up in Scotland and won a scholarship to train as a teacher . Family finances dictated otherwise , leading to her becoming a domestic worker at the age of 15 . She became involved in national labour issues as a teenager , via organisations such as the Independent Labour Party and the Women 's Social and Political Union . After moving to Lancashire and London she visited the United States and Canada , where she held meetings with the public including migrant English domestic workers . |
Stephen later become more involved in formal political parties , being elected as a local councillor and standing as a candidate in general elections . After moving to Bristol she became the first woman president of Bristol Trades Council . She was appointed MBE in 1977 and her life is commemorated by a blue plaque in Bristol . |
= = Biography = = |
In the early 20th century , some printers began using one and a half interword spaces ( an " en quad " ) to separate sentences . This standard continued in use , to some extent , into the 1990s . |
Magazines , newspapers , and books began to adopt the single space convention in the United States in the 1940s and in the United Kingdom in the 1950s . Typists did not move to single spacing simultaneously . The average writer still relied on the typewriter to create text — with its inherent mechanical spacing limitations . |
Technological advances began affecting sentence spacing methods . In 1941 , IBM introduced the Executive , a typewriter capable of proportional spacing — which had been used in professional typesetting for hundreds of years . This innovation broke the hold that the monospaced font had on the typewriter — reducing the severity of its mechanical limitations . By the 1960s , electronic phototypesetting systems ignored runs of white space in text . This was also true of the World Wide Web , as HTML normally ignores additional spacing , although in 2011 the CSS 2 @.@ 1 standard officially added an option that can preserve additional spaces . In the 1980s , desktop publishing software provided the average writer with more advanced formatting tools . By the late 20th century , literature on the written word had begun to adjust its guidance on sentence spacing . |
= = Modern literature = = |
= = = Typography = = = |
Early positions on typography ( the " arrangement and appearance of text " ) supported traditional spacing techniques in English publications . In 1954 , Geoffrey Dowding 's book , Finer Points in the Spacing and Arrangement of Type , underscored the widespread shift from a single enlarged em space to a standard word space between sentences . |
With the advent of the computer age , typographers began deprecating double spacing , even in monospaced text . In 1989 , Desktop Publishing by Design stated that " typesetting requires only one space after periods , question marks , exclamation points , and colons " , and identified single sentence spacing as a typographic convention . Stop Stealing Sheep & Find Out How Type Works ( 1993 ) and Designing with Type : The Essential Guide to Typography ( 2006 ) both indicate that uniform spacing should be used between words , including between sentences . |
More recent works on typography weigh in strongly . Ilene Strizver , founder of the Type Studio , says , " Forget about tolerating differences of opinion : typographically speaking , typing two spaces before the start of a new sentence is absolutely , unequivocally wrong . " The Complete Manual on Typography ( 2003 ) states that " The typewriter tradition of separating sentences with two word spaces after a period has no place in typesetting " and the single space is " standard typographic practice " . The Elements of Typographic Style ( 2004 ) advocates a single space between sentences , noting that " your typing as well as your typesetting will benefit from unlearning this quaint [ double spacing ] Victorian habit . " |
David Jury 's book , About Face : Reviving the Rules of Typography ( 2004 ) — published in Switzerland — clarifies the contemporary typographic position on sentence spacing : |
Word spaces , preceding or following punctuation , should be optically adjusted to appear to be of the same value as a standard word space . If a standard word space is inserted after a full point or a comma , then , optically , this produces a space of up to 50 % wider than that of other word spaces within a line of type . This is because these punctuation marks carry space above them , which , when added to the adjacent standard word spaces , combines to create a visually larger space . Some argue that the " additional " space after a comma and full point serves as a " pause signal " for the reader . But this is unnecessary ( and visually disruptive ) since the pause signal is provided by the punctuation mark itself . |
= = = Style and language guides = = = |
= = = = Style guides = = = = |
Early style guides for typesetting used a wider space between sentences than between words – " traditional spacing " , as shown in the illustration to the right . During the 20th century , style guides commonly mandated two spaces between sentences for typewritten manuscripts , which were used prior to professionally typesetting the work . As computer desktop publishing became commonplace , typewritten manuscripts became less relevant and most style guides stopped making distinctions between manuscripts and final typeset products . In the same period , style guides began changing their guidance on sentence spacing . The 1969 edition of the Chicago Manual of Style used em spaces between sentences in its text ; by the 2003 edition it had changed to single sentence spacing for both manuscript and print . By the 1980s , the United Kingdom 's Hart 's Rules ( 1983 ) had shifted to single sentence spacing . Other style guides followed suit in the 1990s . Soon after the beginning of the 21st century , the majority of style guides had changed to indicate that only one word space was proper between sentences . |
Modern style guides provide standards and guidance for the written language . These works are important to writers since " virtually all professional editors work closely with one of them in editing a manuscript for publication . " Late editions of comprehensive style guides , such as the Oxford Style Manual ( 2003 ) in the United Kingdom and the Chicago Manual of Style ( 2010 ) in the United States , provide standards for a wide variety of writing and design topics , including sentence spacing . The majority of style guides now prescribe the use of a single space after terminal punctuation in final written works and publications . A few style guides allow double sentence spacing for draft work , and the Gregg Reference Manual makes room for double and single sentence spacing based on author preferences . Web design guides do not usually provide guidance on this topic , as " HTML refuses to recognize double spaces altogether . " These works themselves follow the current publication standard of single sentence spacing . |
The European Union 's Interinstitutional Style Guide ( 2008 ) indicates that single sentence spacing is to be used in all European Union publications — encompassing 23 languages . For the English language , the European Commission 's English Style Guide ( 2010 ) states that sentences are always single @-@ spaced . The Style Manual : For Authors , Editors and Printers ( 2007 ) , first published in 1966 by the Commonwealth Government Printing Office of Australia , stipulates that only one space is used after " sentence @-@ closing punctuation " and that " Programs for word processing and desktop publishing offer more sophisticated , variable spacing , so this practice of double spacing is now avoided because it can create distracting gaps on a page . " |
National languages not covered by an authoritative language academy typically have multiple style guides — only some of which may discuss sentence spacing . This is the case in the United Kingdom . The Oxford Style Manual ( 2003 ) and the Modern Humanities Research Association 's MHRA Style Guide ( 2002 ) state that only single spacing should be used . In Canada , both the English and French language sections of the Canadian Style , A Guide to Writing and Editing ( 1997 ) , prescribe single sentence spacing . In the United States , many style guides — such as the Chicago Manual of Style ( 2003 ) — allow only single sentence spacing . The most important style guide in Italy , Il Nuovo Manuale di Stile ( 2009 ) , does not address sentence spacing , but the Guida di Stile Italiano ( 2010 ) , the official guide for Microsoft translation , tells users to use single sentence spacing " instead of the double spacing used in the United States " . |
= = = = Language guides = = = = |
Some languages , such as French and Spanish , have academies that set language rules . Their publications typically address orthography and grammar as opposed to matters of typography . Style guides are less relevant for such languages , as their academies set prescriptive rules . For example , the Académie française publishes the Dictionnaire de l 'Académie française for French speakers worldwide . The 1992 edition does not provide guidance on sentence spacing , but is single @-@ sentence @-@ spaced throughout — consistent with historical French spacing . The Spanish language is similar . The most important body within the Association of Spanish Language Academies , the Real Academia Española , publishes the Diccionario de la Lengua Española , which is viewed as prescriptive for the Spanish language worldwide . The 2001 edition does not provide sentence spacing guidance , but is itself single sentence spaced . The German language manual Empfehlungen des Rats für Deutsche Rechtschreibung ( " Recommendations of the Council for German Orthography " ) ( 2006 ) does not address sentence spacing . The manual itself uses one space after terminal punctuation . Additionally , the Duden , the German language dictionary most commonly used in Germany , indicates that double sentence spacing is an error . |
= = = Grammar guides = = = |
A few reference grammars address sentence spacing , as increased spacing between words is punctuation in itself . Most do not . Grammar guides typically cover terminal punctuation and the proper construction of sentences — but not the spacing between sentences . Moreover , many modern grammar guides are designed for quick reference and refer users to comprehensive style guides for additional matters of writing style . For example , the Pocket Idiot 's Guide to Grammar and Punctuation ( 2005 ) points users to style guides such as the MLA Style Manual for consistency in formatting work and for all other " editorial concerns " . The Grammar Bible ( 2004 ) states that " The modern system of English punctuation is by no means simple . A book that covers all the bases would need to be of considerable breadth and weight and anyone interested in such a resource is advised to consult the Chicago Manual of Style . " |
= = Digital age = = |
In the computer era , spacing between sentences is handled in several different ways by various software packages . Some systems accept whatever the user types , while others attempt to alter the spacing , or use the user input as a method of detecting sentences . Computer @-@ based word processors , and typesetting software such as troff and TeX , allow users to arrange text in a manner previously only available to professional typesetters . |
The text editing environment in Emacs uses a double space following a period to identify the end of sentences unambiguously ; the double space convention prevents confusion with periods within sentences that signify abbreviations . How Emacs recognizes the end of a sentence is controlled by the settings sentence @-@ end @-@ double @-@ space and sentence @-@ end . The vi editor also follows this convention ; thus , it is relatively easy to manipulate ( jump over , copy , delete ) whole sentences in both emacs and vi . |
The Unix typesetter program troff uses two spaces to mark the end of a sentence . This allows the typesetter to distinguish sentence endings from abbreviations and to typeset them differently . Early versions of troff , which only typeset in fixed width fonts , would automatically add a second space between sentences , which were detected based on the combination of terminal punctuation and a line feed . |
Microsoft Word does not treat sentences differently by default , but the grammar checking can be set to prefer a specific number of spaces between sentences . |
On some modern touch @-@ screen platforms , including Android and iOS , typing two spaces in a row is automatically interpreted to mean the end of a sentence , and a period is automatically inserted . However , only one space is retained . |
Multiple spaces are eliminated by default in most World Wide Web content , regardless of whether they are associated with sentences or not . There are options for preserving spacing , such as the CSS white @-@ space property , and the < pre > tag . Twitter retains extra spaces in user input on their website . HTML also includes several other space entities which are not collapsed , such as an em space , an en space , and a non @-@ breaking space . Some unicode space characters are also not collapsed on the web . |
= = Controversy = = |
James Felici , author of the Complete Manual of Typography , says that the topic of sentence spacing is " the debate that refuses to die ... In all my years of writing about type , it 's still the question I hear most often , and a search of the web will find threads galore on the subject " . This subject is still widely debated today . |
Many people are opposed to single sentence spacing for various reasons . Some state that the habit of double spacing is too deeply ingrained to change . Others claim that additional space between sentences improves the aesthetics or readability of text . Proponents of double sentence spacing also state that some publishers may still require double @-@ spaced manuscript submissions from authors . A key example noted is the screenwriting industry 's monospaced standard for screenplay manuscripts , Courier , 12 @-@ point font , although some works on screenwriting indicate that Courier is merely preferred – proportional fonts may be used . Some reliable sources state simply that writers should follow their particular style guide , but proponents of double spacing caution that publishers ' guidance takes precedence , including those that ask for double sentence spaced manuscripts . |
One of the most popular arguments against wider sentence spacing is that it was created for monospaced fonts of the typewriter , and is no longer needed with modern proportional fonts . However , proportional fonts existed together with wide sentence spacing for centuries before the typewriter , and remained for decades after its invention . When the typewriter was first introduced , typists were most commonly taught to use three spaces between sentences . This gradually shifted to two spaces , while the print industry remained unchanged in its wide em @-@ spaced sentences . Some sources now state it is acceptable for monospaced fonts to be single spaced today , although other references continue to specify double spacing for monospaced fonts . The double space typewriter convention has been taught in schools in typing classes , and that remains the practice in many cases . Some voice concerns that students will later be forced to relearn how to type . |
Most style guides indicate that single sentence spacing is proper for final or published work today , and most publishers require manuscripts to be submitted as they will appear in publication — single sentence spaced . Writing sources typically recommend that prospective authors remove extra spaces before submitting manuscripts , although other sources state that publishers will use software to remove the spaces before final publication . |
= = Effects on readability and legibility = = |
Claims abound regarding the legibility and readability of the single and double sentence spacing methods — by proponents on both sides . Supporters of single spacing assert that familiarity with the current standard in books , magazines , and the Web enhances readability , that double spacing looks strange in text using proportional fonts , and that the " rivers " and " holes " caused by double spacing impair readability . Proponents of double sentence spacing state that the extra space between sentences enhances readability by providing clearer breaks between sentences and making text appear more legible , particularly noting the very small visual difference between a dot and a comma . |
However , typographic opinions are typically anecdotal with no basis in evidence . " Opinions are not always safe guides to legibility of print " , and when direct studies are conducted , anecdotal opinions — even those of experts — can turn out to be false . Text that seems legible ( visually pleasing at first glance ) may be shown to actually impair reading effectiveness when subjected to scientific study . |
= = = Studies = = = |
Direct studies on sentence spacing include those by Loh , Branch , Shewanown , and Ali ( 2002 ) ; Clinton , Branch , Holschuh , and Shewanown ( 2003 ) ; and Ni , Branch , and Chen ( 2004 ) , with results favoring neither single , double , nor triple spacing . The 2002 study tested participants ' reading speed for single and double sentence spaced passages of on @-@ screen text . The authors stated that " the ' double space group ' consistently took longer time to finish than the ' single space ' group " but concluded that " there was not enough evidence to suggest that a significant difference exists . " The 2003 and 2004 studies analyzed on @-@ screen single , double , and triple spacing . In both cases , the authors stated that there was insufficient evidence to draw a conclusion . Ni , Branch , Chen , and Clinton conducted a similar study in 2009 using identical spacing variables . The authors concluded that the " results provided insufficient evidence that time and comprehension differ significantly among different conditions of spacing between sentences " . |
= The Crab with the Golden Claws = |
The Crab with the Golden Claws ( French : Le Crabe aux pinces d 'or ) is the ninth volume of The Adventures of Tintin , the comics series by Belgian cartoonist Hergé . The story was serialised weekly in Le Soir Jeunesse , the children 's supplement to Le Soir , Belgium 's leading francophone newspaper , from October 1940 to October 1941 amidst the German occupation of Belgium during World War II . Partway through serialisation , Le Soir Jeunesse was cancelled and the story began to be serialised daily in the pages of Le Soir . The story tells of young Belgian reporter Tintin and his dog Snowy , who travel to Morocco to pursue a gang of international opium smugglers . |
The Crab with the Golden Claws was published in book form shortly after its conclusion . Hergé continued The Adventures of Tintin with The Shooting Star , while the series itself became a defining part of the Franco @-@ Belgian comics tradition . In 1943 , Hergé coloured and redrew the book in his distinctive ligne @-@ claire style for Casterman 's republication . The Crab with the Golden Claws introduces the recurring character Captain Haddock , who became a major fixture of the series . The book is the first Tintin adventure published in the United States and the first to be adapted into a motion picture . The Crab with the Golden Claws was adapted for the 1956 Belvision Studios animation Hergé 's Adventures of Tintin , for the 1991 Ellipse / Nelvana animated series The Adventures of Tintin , and for the 2011 film directed by Steven Spielberg . |
= = Synopsis = = |
Tintin is informed by Thomson and Thompson of a case involving the ramblings of a drunken man , later killed , found with a scrap of paper from what appears to be a tin of crab meat with the word " Karaboudjan " scrawled on it . His subsequent investigation and the kidnapping of a Japanese man interested in giving him a letter leads Tintin to a ship called the Karaboudjan , where he is abducted by a syndicate of criminals who have hidden opium in the crab tins . Tintin escapes from his locked room after Snowy chews through his bonds and Tintin knocks out a man sent to bring him food , leaving the man bound and gagged in the room . Tintin encounters Captain Haddock , an alcoholic sea captain , who is manipulated by his first mate , Allan , and is unaware of his crew 's criminal activities . Tintin hides in the locker under the bed and defeats Jumbo , the sailor left in the cabin , while Allan thinks Tintin has climbed out of the porthole back into the storeroom . He blows open the storeroom door , then finding it empty goes back to the Captain 's room , where he finds Jumbo tied to a chair and gagged . Escaping the ship in a lifeboat after sending a radio message to the police about the cargo , a seaplane tries to attack them . Tintin and the Captain hijack the plane , tie up the pilots , and try to reach Spain . Haddock 's drunken behaviour in a storm causes them to crash @-@ land in the Sahara , where the crew escapes . |
After trekking across the desert and nearly dying of dehydration , Tintin and Haddock are rescued and taken to a French outpost , where they hear on the radio the storm sunk the Karaboudjan . They travel to a Moroccan port , and along the way are attacked by Tuareg tribesmen , defending themselves with French MAS @-@ 36 rifles . At the port , members of his old crew kidnap the Captain after he recognises their disguised Karaboudjan . Tintin meets Thomson and Thompson who got his message , and they learn that the wealthy merchant Omar ben Salaad sold the crab tins ; Tintin tells Thomson and Thompson to discreetly investigate . Tintin tracks down the gang and saves the Captain , but they both become intoxicated by the fumes from wine barrels breached in a shootout with the villains . Haddock chases a gang @-@ member from the cellar to an entrance behind a bookcase in Salaad 's house . Upon sobering up , Tintin discovers a necklace of a crab with golden claws on the now @-@ subdued owner of the wine cellar , Omar ben Salaad , and realizes that he is the leader of the drug cartel . Allan steals a boat and tries escaping , but Tintin captures him . The police arrest the gang and free the Japanese man , who introduces himself as Bunji Kuraki , a police detective who was trying to warn Tintin of the group he was up against . He had been investigating the sailor on Haddock 's crew who drowned ; the sailor was on the verge of bringing him opium before he was eliminated . Turning on the radio , Tintin learns that , thanks to him , the entire organisation of the Crab with the Golden Claws is behind bars . |
= = History = = |
= = = Background = = = |
As the Belgian army clashed with the invading Germans in May 1940 , Hergé and his wife fled by car to France along with tens of thousands of other Belgians , first staying in Paris and then heading south to Puy @-@ de @-@ Dôme , where they remained for six weeks . On 28 May , Belgian King Leopold III officially surrendered the country to the German army to prevent further killing ; a move that Hergé agreed with . Germany placed Belgium under occupation . Hergé followed the king 's request that all civilians who had fled the country return ; he arrived back in Brussels on 30 June . There , he found that an officer of the German army 's Propagandastaffel occupied his house , and he also faced financial trouble , as he owed back taxes yet was unable to access his financial reserves ( his fee due from Casterman eventually arrived ) . All Belgian publications were now under the control of the German occupying force . The Catholic publication Le Vingtième Siècle and its supplement Le Petit Vingtième , where Hergé had always worked serialising The Adventures of Tintin , no longer had permission to continue publication . Land of Black Gold , the story that Hergé had been serialising there , had to be abandoned . Victor Matthys , the Rexist editor of Le Pays Réel , offered Hergé employment as a cartoonist , but Hergé perceived Le Pays Réel as an explicitly political publication and thus declined the position . |
Instead , he accepted a position with Le Soir , Belgium 's largest Francophone daily newspaper . Confiscated from its original owners , the German authorities permitted Le Soir to reopen under the directorship of Belgian editor Raymond de Becker , although it remained firmly under Nazi control , supporting the German war effort and espousing anti @-@ Semitism . After joining Le Soir on 15 October , Hergé created its new children 's supplement , Le Soir Jeunesse . Appointed editor of this supplement , he was aided by old friend Paul Jamin and the cartoonist Jacques Van Melkebeke . The first issue of Le Soir Jeunesse was published with a large announcement across the cover : " Tintin et Milou sont revenus ! " ( " Tintin and Snowy are Back ! " ) . Some Belgians were upset that Hergé was willing to work for a newspaper controlled by the occupying Nazi administration ; he received an anonymous letter from " the father of a large family " asking him not to work for Le Soir , fearing that The Adventures of Tintin would now be used to indoctrinate children in Nazi ideology , and that as a result " They will no longer speak of God , of the Christian family , of the Catholic ideal ... [ How ] can you agree to collaborate in this terrible act , a real sin against Spirit ? " Hergé however was heavily enticed by the size of Le Soir 's readership , which reached 600 @,@ 000 , far more than what Le Vingtième Siècle had been able to accomplish . Faced with the reality of Nazi oversight , Hergé abandoned the overt political themes that had pervaded much of his earlier work , instead adopting a policy of neutrality . Without the need to satirise political types , Harry Thompson observed that " Hergé was now concentrating more on plot and on developing a new style of character comedy . The public reacted positively . " |
= = = Publication = = = |
The Crab with the Golden Claws began serialisation in Le Soir Jeunesse on 17 October 1940 . However , on 8 May 1941 , a paper shortage caused by the ongoing war led to the Le Soir Jeunesse being reduced to four pages , with the length of the weekly Tintin strip being cut by two @-@ thirds . Several weeks later , on 3 September 1941 , the supplement disappeared altogether , with The Crab with the Golden Claws being moved into Le Soir itself in September , where it became a daily strip . As a result , Hergé was forced to alter the pace at which his narrative moved , as he had to hold the reader 's attention at the end of every line . As with earlier Adventures of Tintin , the story was later serialised in France in the Catholic newspaper Cœurs Vaillants from 21 June 1942 . |
Following serialisation , Casterman collected together and published the story in book form in 1941 ; the last black @-@ and @-@ white Tintin volume to be released . For this collected edition , Hergé thought of renaming the story , initially considering The Red Crab ( to accompany earlier adventures The Blue Lotus and The Black Island ) before re @-@ settling on Le Crabe aux pinces d 'or ( The Crab with the Golden Claws ) . Hergé became annoyed that Casterman then sent the book to the printers without his final approval . Nevertheless , as a result of Le Soir 's publicity , book sales markedly increased , to the extent that most of the prior Adventures of Tintin were reprinted as a result . German authorities made two exceptions : No reprinting of Tintin in America or The Black Island because they were set in the United States and Britain respectively , both of which were in conflict with Germany . |
The serial introduced the character of Captain Haddock . Haddock made his first appearance in Le Soir adjacent to an advert for the anti @-@ Semitic German film , Jud Süß . Hergé chose the name " Haddock " for the character after his wife , Germaine Remi , mentioned " a sad English fish " during a meal . The inclusion of the Japanese police detective Bunji Kuraki as an ally of Tintin 's in this story was probably designed to counterbalance Hergé 's portrayal of the Japanese as the antagonists in his earlier story , The Blue Lotus , particularly given that the occupying government was allied with Japan at the time . The use of Morocco as a setting was likely influenced by The White Squadron by French writer Joseph Peyré , which Hergé had read and seen the film in 1936 . The depiction of the French Foreign Legion in North Africa was possibly influenced by P. C. Wren 's novel Beau Geste ( 1925 ) or its cinematic adaptations in 1926 , 1928 , and 1939 . |
Whereas Hergé 's use of Chinese in The Blue Lotus was correct , the Arabic script employed in The Crab with the Golden Claws was intentionally fictitious . Many of the place names featured in the series are puns : the town of Kefheir was a pun on the French Que faire ? ( " what is to be done ? " ) while the port of Bagghar derives from the French baggare ( scrape , or fight ) . The name of Omar ben Salaad is a pun meaning " Lobster Salad " in French . |
In February 1942 , Casterman suggested to Hergé that his books be published in a new format ; 62 @-@ pages rather than the former 100 to 130 pages , and now in full colour rather than black @-@ and @-@ white . He agreed to this , and in 1943 The Crab with the Golden Claws was re @-@ edited and coloured for publication as an album in 1944 . Due to the changes in how the adventure had been serialised at Le Soir , the album at this juncture was only 58 pages long , and thus Hergé filled the missing pages with four full @-@ page colour frames , thus bringing it up to the standard 62 @-@ page format . |
In the 1960s , The Crab with the Golden Claws , along with King Ottokar 's Sceptre , became the first Tintin adventures published in the United States , in Little Golden Books . However , Casterman , working with the American publisher Western Publishing , made a number of changes : Jumbo , the sailor who Tintin leaves bound and gagged in Captain Haddock 's cabin , as well as another man who beats Haddock in the cellar , could not be black Africans as depicted in the original ; these were changed to a white sailor and an Arab due to the American publisher 's concerns depicting blacks and whites mixing together . The accompanying text was not changed , however , and Haddock still refers to the man who beat him as a " Negro " . Also by request of the Americans , scenes of Haddock drinking directly from bottles of whiskey on the lifeboat and the plane were blanked out , keeping only the text . The edited albums later had their blanked areas redrawn by Hergé to be more acceptable , and they appear this way in published editions around the world . Casterman republished the original black @-@ and @-@ white version of the story in 1980 , as part of the fourth volume in their Archives Hergé collection . In 1989 , they then published a facsimile version of that first edition . |
= = Critical analysis = = |
Hergé biographer Benoît Peeters described the story as a " rebirth " for The Adventures of Tintin and described the addition of Haddock as " a formidable narrative element " , one which " profoundly changed the spirit of the series " . Elsewhere , he asserts that it is Haddock 's appearance which " makes this book so memorable " and that he is tempted to define the book by that character 's début . Fellow biographer Pierre Assouline commented that The Crab with the Golden Claws had " a certain charm " stemming from its use of " exoticism and colonial nostalgia , for the French especially , evoking their holdings in North Africa . " Michael Farr asserted that the arrival of Haddock was the most " remarkable " element of the story , offering the series " tremendous new potential " . He also thought that the dream sequences reflected the popularity of surrealism at the time , and that the influence of cinema , in particular the films of Alfred Hitchcock , is apparent in the story . |
Jean @-@ Marc Lofficier and Randy Lofficier described the story as " a thinly @-@ disguised remake of Cigars of the Pharaoh " , an Adventure of Tintin which had been first serialised in 1934 . Both feature the smuggling of opium , in crab tins and cigars respectively , and " desert treks , hostile tribes and , at the end , the infiltrating of a secret underground lair . " They also opined that artistically , the story represented " a turning point in Hergé 's career " , because he had to switch to a daily format in Le Soir , although as a result of this they felt that the final third of the story " seems rushed " . Stating that the inclusion of a Japanese detective investigating drug smuggling in the Mediterranean makes no sense within the context of 1940s Europe , they ultimately awarded the story three out of five stars . |
Literary critic Jean @-@ Marie Apostolidès of Stanford University , in a psychoanalytical review of The Crab with the Golden Claws , commented that this book witnessed Tintin 's " real entrance into the community of human beings " as he gains an " older brother " in Haddock . He also believed that the recurring image of alcohol throughout the story was symbolic of sexuality . In particular , he believed that there was a strong homoerotic subtext between Haddock and Tintin , represented in the two delirious sequences ; in one , Haddock envisions Tintin as a champagne bottle frothing at the top ( thereby symbolising an ejaculating penis ) , while in the other , Tintin dreams that he is trapped inside a bottle , with Haddock about to stick a corkscrew into him ( thereby symbolising sexual penetration ) . However , Apostolidès notes , in both instances the pair are prevented from realising their sexual fantasies . Literary critic Tom McCarthy concurred with Apostolidès on this point , also highlighting what he perceived as homoerotic undertones to these two scenes . He also noted that in this Adventure , the manner in which a chance finding of a tin can on a Belgian street leads Tintin into the story is representative of the recurring theme of " Tintin the detective " found throughout the series . |
= = Adaptations = = |
In 1947 , the first Tintin motion picture was created : the stop motion @-@ animated feature film The Crab with the Golden Claws , faithfully adapted by producer Wilfried Bouchery for Films Claude Misonne . It was first shown at the ABC Cinema on 11 January 1947 for a group of invited guests . It was screened publicly only once , on 21 December of that year , before Bouchery declared bankruptcy and fled to Argentina . |
In 1957 , the animation company Belvision Studios produced a string of colour adaptations based upon Hergé 's original comics , adapting eight of the Adventures into a series of daily five @-@ minute episodes . The Crab with the Golden Claws was the fifth such story to be adapted , being directed by Ray Goossens and written by Greg , himself a well @-@ known cartoonist who in later years would become editor @-@ in @-@ chief of Tintin magazine . |
In 1991 , a second animated series based upon The Adventures of Tintin was produced , this time as a collaboration between the French studio Ellipse and the Canadian animation company Nelvana . Adapting 21 of the stories into a series of episodes , each 42 minutes long , with most stories spanning two episodes , The Crab with the Golden Claws was the seventh story produced in the series . Directed by Stéphane Bernasconi , critics have praised the series for being " generally faithful " , with compositions having been actually directly taken from the panels in the original comic book . |
A motion capture adventure film titled The Adventures of Tintin : The Secret of the Unicorn directed by Steven Spielberg and produced by Peter Jackson was released in the US on 21 December 2011 and in Europe at the end of October 2011 . Parts of the movie are taken from The Crab with the Golden Claws including the meeting and first adventures of Tintin and Captain Haddock , the Karaboudjan , the flight to Bagghar , and the crab cans ( although the plot involving the smuggled opium was not adapted ) . A video @-@ game tie @-@ in to the movie was released October 2011 . |
= = In popular culture = = |
In The Simpsons episode In the Name of the Grandfather Bart Simpson makes a derogatory remark about Belgium , causing his mother Marge to threaten him with " taking his Tintins away " , whereupon Bart clutches a copy of the Tintin album The Crab with the Golden Claws to his chest , promising he 'll behave . |
= L.A.M.B. = |
L.A.M.B. is a fashion line by American singer Gwen Stefani , the lead vocalist of the rock band No Doubt . The line manufactures apparel and fashion accessories . It was founded in 2003 and made its runway debut in 2004 . The fashion line manufactures accessories like shoes , watches , bags and a fragrance called " L. " The name is an acronym of her debut solo album Love . Angel . Music . Baby . |
The line is influenced by a variety of fashions cultures , including Guatemalan , Japanese , Indian and Jamaican styles . Stefani came from a family of seamstresses . This further inspired her to launch her own fashion line . The line achieved popularity among celebrities and is worn by stars such as Teri Hatcher , Nicole Kidman , Paris Hilton and Stefani herself . The fashion line made a runway debut in the spring collection of 2004 and achieved mainstream success at New York Fashion Week in 2005 . It currently makes an annual gross income of $ 90 million . The line , as well as the fashion shows , were well received by critics and appreciated the indulgence of a celebrity into the fashion world . An additional fashion line was launched by Stefani called Harajuku Lovers . |
In late 2014 Stefani announced she would be producing an animated series that was based on the characters Love , Angel , Music and Baby . The series , Kuukuu Harajuku follows the Harajuku Girls , known together as HJ5 , as they fight evil and try to pursue their music career . |
= = History = = |
Stefani first came face to face with designing clothes when she and her mother would sew clothes for themselves when she was young . Stefani comes from a long line of seamstresses , as even her great @-@ grandmother would sew clothes . Stefani made most of the things she wore onstage during concerts . When she became successful and began to tour constantly , she felt she lost her way . Then she met the stylist Andrea Lieberman . Lieberman introduced her to haute couture clothing . Later Lieberman became her creative consultant and Zaldy Goco took over as the head designer . Goco later parted ways with L.A.M.B. |
L.A.M.B. started out as a collaboration with LeSportsac in 2003 . The name L.A.M.B. is an acronym which stands for Love . Angel . Music . Baby . , which is also the name of Stefani 's first solo album . |
= = Products = = |
The fashion line manufactures clothes , shoes , bags and a fragrance called " L " . The brand started out as a line for women but claims the track items are unisex . The clothes were manufactured by Ska Girl LLC , which was founded in 2003 by Ken Erman , president of L.A.M.B. While for its other products , L.A.M.B has been more of a collaborative fashion line . Now the line is teaming up with another manufacturer , which explains why the official website is down . |
L.A.M.B joined with Royal Elastics for the shoe line . Stefani is widening her footwear line for adults to include boots and stilettos . L.A.M.B collaborated with Coty Inc. for the fragrance and with LeSportsac for handbags in 2003 . Stefani went on to design a new line of handbags with Shifter and Partners in 2006 . The bags feature LeSportsac 's signature rip @-@ stop nylon along with a variety of antiqued metal hardware , leather trims and colorful linings . Stefani plans to design lingerie as well as make @-@ up products for L.A.M.B. L.A.M.B. partnered with Vestal Group on a line of women 's watches . The line consists of 39 timepieces . |
L.A.M.B. products are relatively expensive , with apparel priced $ 55 to $ 1100 , handbags priced $ 80 to $ 825 , and watches priced $ 125 to $ 995 . |
= = = Fragrance = = = |
Coty Inc. announced a global licensing agreement with Stefani , to develop and market fragrances for L.A.M.B. Catherine Walsh , senior vice president , American Fragrances , Coty Prestige , said in a statement - " From the packaging to the bottle design to the distinctive scent itself , we will be working very closely with Stefani to ensure that her signature fragrance captures her rare spirit , style and warmth , " Stefani said , " Creating a fragrance is one of the most prestigious things a designer can do . " |
The fragrance called " L " was launched in September , 2007 at Soho House in New York . Stefani worked with perfumer Harry Fremont to develop the scent . Stefani described the fragrance as " it 's another thing you can wear and another thing I can be part of creatively . I created it for myself -- it 's like me shrunk into a box . " The perfume is a blend of the aromas of hyacinth , white freesia , fresh pear , violet , jasmine , rose , lily , sweet pea , orange blossom , peach , frangipani , heliotrope and musk . The perfume is available in 50 ml and 100 ml bottles . |
= = Promotion and fashion shows = = |
Stefani frequently refers to her clothing line in her music , as one of the brand 's promotional strategies . Stefani refers to her clothing line in her songs " Wind It Up , " " Harajuku Girls , " and " Crash " ( which even incorporates the brand 's slogan , " I want you all over me like L.A.M.B. " ) . Stefani is often seen wearing her own designs , especially when making public appearances . A thirty @-@ second commercial directed by Sophie Muller was also released to promote the brand 's fragrance . |
L.A.M.B. has participated in the Spring / Summer 2006 , 2007 , and 2008 New York Fashion Weeks . Stefani described her first line , which debuted on September 16 , 2005 , as " a little Sound of Music , some Orange County chola girl , some Rasta , and a bit of The Great Gatsby . " The highlights of the show were purple cars bouncing using hydraulics while Stefani 's song " Wind It Up " made its debut as the models walked the runway . |
For Spring / Summer 2007 , Stefani opted for a presentation rather than a catwalk show . The models , all donning identical blond wigs , wore designs Stefani said were inspired by Michelle Pfeiffer 's role as Elvira Hancock in the 1983 Scarface . The show included some of Stefani 's trademark tracksuits and extensively referenced prints from Guatemala , India , and Japan . On September 5 , 2007 , L.A.M.B opened New York 's Spring / Summer 2008 Mercedes @-@ Benz Fashion Week . The collection " looked like the sixties as seen by someone who grew up in the eighties " and incorporated influences from Stefani 's ska roots . Fashion week organizer Fern Mallis said that celebrity designers provided synergy and energy to the fashion industry , which made Stefani 's collection a desirable opener . |
= = Critical reception = = |
The line was mostly well received by critics and Stefani was appreciated for taking fashion seriously even though she is a celebrity . Fern Mallis of IMG praised the line and Stefani as well and said , " the L.A.M.B. line is clearly at the top of these lines and is as unique and individual as Gwen herself . " The shoes were well received by the critics , though considered to be pricey . Desiree Stimpert of About.com said , " ... these shoes aren 't for everyone , but will most definitely appeal to fans of Ms. Stefani 's music and fashion - sense . " Tim Stack of Entertainment Weekly said , " L.A.M.B. ' s embellished tracksuits , Rasta @-@ inspired knits , and gaucho @-@ heel combos deliver the edge " Nicole Phelps of Style.com said , " The collection , which looked like the sixties as seen by someone who grew up in the eighties , was altogether more wearable and on trend . " Fashion journalist Cathy Horyn of The New York Times differed and said , " If ever there was a reason for a pop star to concentrate on her vocal skills , it was Gwen Stefani 's fashion meltdown . " |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.