I am the Flying Dutchman
If someone brought up the Flying Dutchman in a conversation that I have expertly steered to reach the topic, or we are playing a game of ‘Degrees of Wiki’ that I got to choose the subjects to connect, then the first connection someone from my generation may be inclined to make is to…
...Spongebob. [Episodes: Shanghaied (1&3) and Scaredy Pants (2)]
Or, ...
Either way, we don't have a green ghost with a sock on his ghostly tail nor the cannon shooting, kraken controlling, Davy Jones as the captain of the Flying Dutchman (until Will Turner took his place). In our world the Flying Dutchman is often known as the dead man and crew from the Netherlands and sometimes the ship itself. The men who made their own deals to 'live' forever.
But what, at least, I didn’t think of, or forgot about, was another Disney link; the ship painting hanging in the spooky hall of flashing lightning and changing paintings portion of the Haunted Mansion’s line.
According to the Haunted Mansion wiki page on fandom.com [such an historical source], this painting, done by Marc Davis does indeed portray the legendary ghost ship. If one were to have the time and inclination to do so, one could follow the white rabbit down the hole of stories behind why paintings are hung in certain rides and their lines, because there are A LOT of “tin-foil hat” theories on what the hidden secrets are. But this article is going to look at the legend that this is based on. Not necessarily a REAL ship, but the tale that seems to be a historic commentary all of its own. It looks like the art and the legend shows its hand as a historic look at the Dutch masters and Marine Art.
Sometimes simply called the Pirate Ship or the Ghost Ship, or even, strangely, The Black Pearl from before the deal between Capt. Jack Sparrow and Davy Jones, which is why it’s not black, nor flying the right colours. The changing ‘Flying Dutchman’ has partly updated (Fandom, n.d.) for the Pirates connection for the first time since its hanging in 1969.
But looking at the only version I know, this work and the backstory that grew along with it is reminiscent of "marine art", a specific genre of figurative art that was very popular in the centuries of age of sail in the 17th-19th centuries (West, 1997). Like with scrimshaw, this is specially tied to the romantic notion of beautiful life on the sea, and even the terror and tragedy that goes with it. As I've been searching and reading through journals and books, there has been so much more in depth complitatitive work than I ever would have thought. This only small bit that I can think to add is the extra horror that has evolved along with the genre. The colonialism, or rather the obvious look at European colonialism as a genocidal, sickening, maddening, and horrific act of a way too long time period. And the way the Flying Dutchman myth has, at least somewhat, reflected either that change or just who's telling the story.
THE PAINTING DUTCHMEN
But why the "Dutchman"?
In Early Netherlandish painting there were two lost miniatures in the Turin-Milan Hours, probably by Jan van Eyck in about 1420 (example of one is below, bottom half of a page).
Over time we are shown a huge leap in the depictions of the sea and its weather. Of the seashore scene called The Prayer on the Shore (or Duke William of Bavaria at the Seashore or the Sovereign's prayer etc.) (Clark, 1949).
Kenneth Clark says: "The figures in the foreground are in the chivalric style of the de Limbourgs; but the sea shore beyond them is completely outside the fifteenth-century range of responsiveness, and we see nothing like it again until Jacob van Ruisdael's beach-scenes of the mid-17th century"(Clark, 1949: 31-32). There was also a true seascape, the Voyage of St Julian & St Martha, (Kren & McKendrick, 2003), but both pages were destroyed in a fire in 1904, and only survive in black and white photographs [like the one above]. Then for the rest of the 15th century illuminated manuscript painting was the main medium of marine painting. In the next century the Netherlandish tradition of the "world landscape" or a painting from very high viewpoint making a panoramic view, pioneered by Joachim Patinir in the 1520s, begins to include a wide expanse of water in a rather similar way to the paintings on Greek Vases, religious paintings, wood cuts, etc. These newer paintings were essentially landscapes with the pretense of being historic paintings with small figures usually representing a religious subject. Along with the strong marine elements which transform them into landscape paintings.
The Dutch Golden Age is agreed to be from the decades beginning in the 1580s and until the French invasion of the Netherlands (called at the time, The Dutch Republic) in 1672 known to the Dutch as Rampjaar, the Disaster Year (Swart, 1969). The Dutch Golden Age of painting (mostly counted as being part of the Baroque Period (Hochstrasser, 2004) could be dated to be between the 1570s to 1702 (Slive & Rosenberg, 1995) with the 'Dutch Masters', beginning as small guilds and growing into a school of art, which is continuously studied and marveled at to this day. The primary painting genres through the still lifes is demonstrated with portraits, historical paintings, everyday life, and landscapes, with the maritime art being extremely popular (Slive & Rosenberg, 1995: 213-216), especially as a manifestation and celebration of Dutch, and of the broader European colonialism (Andeweg, 2015: 187-205).
Famous artists from this genre included Jan Porcellis, Simon de Vlieger, Jan van de Cappelle, Hendrick Dubbels, Abraham Storck, along with Willem van de Velde the Elder and his son as the leading masters of the later decades. At this time the paintings tended, at the beginning of the 18th century, to make the ship the subject, instead in tonal works of earlier decades the emphasis had been on the sea and the weather (Slive & Rosenberg, 1995: 220-224). They left for London in 1672, leaving the master of heavy seas, the German-born Ludolf Bakhuizen, as the leading artist still in the area (Franits, 2004). From the small pictures of Salomon van Ruysdael with little boats and reed-banks to the large Italianate landscapes of Aelbert Cuyp the works varied in their time, the romanticism of the ocean continued through the 18th century and the Romantic Age.
Peter Brueghel, Naval Battle in the Gulf of Naples, (The Harbour of Naples), (1558).
The Embarkation of Henry VIII at Dover, (16th century), unknown author. Queen's collection at Hampton Court.
Hendrick Cornelisz Vroom, (1617) Dutch Ships Ramming Spanish Galleys off the Flemish Coast in October 1602.
Rembrandt, The Storm on the Sea of Galilee (1633).
Salomon van Ruisdael,View of Deventer Seen from the North-West (1657)
Willem van de Velde the Elder's, The Capture of the Royal Prince during the Four Days' Battle, (1666).
Ludolf Bakhuizen, Dutch warships in trouble off Gibraltar, a real incident of 1690s ships running aground - The 'Ridderschap' and 'Hollandia' in trouble in the Street of Gibraltar 1-3 March 1694 (1708).
Claude Joseph Vernet, The Shipwreck, (1772).
William Hodges, The Resolution and Adventure in Matavai Bay (Tahiti), (1776).
J. M. W. Turner, The Slave Ship, (1840). Museum of Fine Arts, Boston. Slavers throwing overboard the Dead and Dying
Ivan (Hovhannes) Aivazovsky, The Ninth Wave, (1850).
The Dutch Republic relied on trade by sea for its exceptional wealth and it was extremely good at holding that power. They had naval wars with Britain and other nations during the period, and constant trade competition and the trade practices of the Dutch East India Company. And with the land was crisscrossed by rivers and canals along with the perfect coastline on the Northern edges, it is no surprise that the genre of maritime life and painting was enormously popular, and was therefore, maritime power was taken to new heights in the period and inspired Dutch artists. As with landscapes, the move from the artificial elevated view typical of earlier marine painting was a crucial step (Slive & Rosenberg, 1995: 213-216). Pictures of sea battles told the stories of a Dutch navy at the peak of its glory, though today it is usually the more tranquil scenes that are in high esteem. Ships are normally depicted at sea, with dock scenes surprisingly absent even though the surrounding land was often much more prevalent in the older maritime paintings from prior to the 1560s (Franits, 2004: 1). Even the art itself seems to depict the alteration of colonialist attitudes, focusing not on places but the sea itself [one can only hope].
LEGENDS OF THE FD
Different versions of the European maritime legend:
The Flying Dutchman (Dutch: De Vliegende Hollander) is a legendary ghost ship, which was said to never be able to make port, doomed to sail the oceans forever for various reasons. Although there is no definitive legend the myth likely originated from the 17th-century, the latter part of Golden Age of the Dutch East India Company (VOC) (Brook, 2010; Sayle, 2001; Hagel & Brown, 2013; Taylor, 2013) and Dutch maritime power (Glete, 2001; Chua, 2009; Schultz, 2019). The oldest version of the legend that is still surviving has been dated to the late 18th century, even though the scholarship was worked on too late to have recorded the true original (Peltzer, 2004:137). According to the legend, if hailed by another ship, the crew of the Flying Dutchman was said to try to send messages to land, or to people long dead. And continuing purported sightings from the 19th and 20th centuries claimed that the ship glowed with a ghostly light. In ocean lore, the sight of this phantom ship is a portent of doom or a signal imminent disaster to seamen. From 1795 onwards The Flying Dutchman was said to be a ship commanded by a captain condemned to eternally sail the seas. It has long been the principal ghost ship legend among mariners and has inspired several works. Depending on who actually started the myth it may all be based on jealousy and nationalism, especially because there is a tradition of holding long-standing grudges throughout the centuries in Europe and England. They were competitors and enemies, everyone wanted to rule the world.
In the most common origin story, Vanderdecken, the ship's captain, gambles his salvation on a pledge to sail around the Cape of Good Hope during a storm and so is condemned to that course for eternity, which makes up the plot of the opera Der fliegende Holländer (1843) by the German composer Richard Wagner. No matter the version, there are points that are touched on. These points, according to Peltzer (2004: 138) are:
a sea captain,
a reason that the captain has the curse, "a leitmotif of the legend",
a ship that's not able to come ashore,
the phantom ship that sails without a living crew,
that they are "doomed for all eternity".
The first print reference to the ship appears in Travels in various part of Europe, Asia and Africa during a series of thirty years and upward by John MacDonald (1790): "The weather was so stormy that the sailors said they saw the Flying Dutchman. The common story is that this Dutchman came to the Cape in distress of weather and wanted to get into harbour but could not get a pilot to conduct her and was lost and that ever since in very bad weather her vision appears."
Another legend depicts a Captain Falkenberg sailing forever through the North Sea, instead of around Cape Horn, playing at dice for his soul with the devil. The dice-game motif recurs in the Rime of the Ancient Mariner (1798) by the English poet Samuel Taylor Coleridge; the mariner sights a phantom ship on which Death and Life in Death play dice to win him. In either case of these alterations, there is less skill, boastfulness, and pride involved than the original tale, and more just the stupidity of gambling (like when the crewmates play for years of service in PoTC Dead Man's Chest). The Scottish writer Sir Walter Scott 'adapted' the legend in his narrative poem Rokeby (1813); murder is committed on shipboard, and plague breaks out among the crew, closing all ports to the ship. Like the "based on a true story" movies, this seems to, however, only keeping threads of the original.
The next literary reference appears in Chapter VI of A Voyage to Botany Bay (1795) (also known as 'A Voyage to New South Wales'), which was attributed to George Barrington. "I had often heard of the superstition of sailors respecting apparitions and doom, but had never given much credit to the report; it seems that some years since a Dutch man-of-war was lost off the Cape of Good Hope, and every soul on board perished; her consort weathered the gale, and arrived soon after at the Cape. Having refitted, and returning to Europe, they were assailed by a violent tempest nearly in the same latitude. In the night watch some of the people saw, or imagined they saw, a vessel standing for them under a press of sail, as though she would run them down: one in particular affirmed it was the ship that had foundered in the former gale, and that it must certainly be her, or the apparition of her; but on its clearing up, the object, a dark thick cloud, disappeared. Nothing could do away the idea of this phenomenon on the minds of the sailors; and, on their relating the circumstances when they arrived in port, the story spread like wildfire, and the supposed phantom was called the Flying Dutchman. From the Dutch the English seamen got the infatuation, and there are very few Indiamen, but what has some one on board, who pretends to have seen the apparition." (Barrington, 2004: 30)
And another written reference involves the motif of the punishment of eternal sailing as penance for a crime, in Scenes of Infancy (Edinburgh, 1803) by John Leyden (1775–1811).:
"It is a common superstition of mariners, that, in the high southern latitudes on the coast of Africa, hurricanes are frequently ushered in by the appearance of a spectre-ship, denominated the Flying Dutchman ... The crew of this vessel are supposed to have been guilty of some dreadful crime, in the infancy of navigation; and to have been stricken with pestilence ... and are ordained still to traverse the ocean on which they perished, till the period of their penance expire" (Leyden, 1803).
There are many more examples of all the times the Flying Dutchman appears in print, including the German opera, written by Richard Wagner and debuting in 1843. Der fliegende Holländer added a more sympathetic protagonist, more characters, and the heartbreaking fictitious backstory of the legend.
EXAMPLE OF A GHOST SHIP:
A Repeating Mirage of False Genre Fiction
A broken, derelict ship, found adrift with missing crew or a literal ghostly vessel. A lot of examples of sighting, dating from the age of sail even to today, but that’s a hole as deep as the Mariana Trench.
The scientific explanation for this ghostly phenomenon is often mirages on the open sea.
This example of 'looming and similar refraction phenomena' aka a superior mirage or Fata Morgana (the Italian phrase for mirage) came from Round-about Rambles in Lands of Fact and Fancy, a 19th century book illustration, which shows "grossly misleading fictional versions of superior mirages. Actual mirages can never be that far above the horizon, and a superior mirage can never increase the length of an object as shown on the right." (Wiki Commons). And, according to William Latham (1798) is an abnormally large refraction of the object that increases the apparent elevation of the distant objects and sometimes allows an observer to see objects that are located below the horizon under normal conditions. Like in the desert or on the pavement on a hot day the land or standing (floating in this case) objects will look broken up, like there is water, or like they are floating. Obviously this would make 'em much more spooky-looking when you can't see things clearly, especially on the seemingly empty horizon.
1) A Fata Morgana seen from the coast of Queensland. Photograph by: Timpaananen (2012)
2) "In this mirage, at least three separate images of a boat are visible. The real one at the bottom and the uppermost one are in the upright position, whereas the one in the middle is inverted." Photograph by: Brocken Inaglory (2008).
As the weary traveler sees
In desert or prairie vast,
Blue lakes, overhung with trees
That a pleasant shadow cast;
— Henry Wadsworth Longfellow, Fata Morgana (1873)
According to Peltzer (2004), one reason the legend was so popular and spread so quickly had to do with the ship being a "symbol for a time in transition" (137). From people's fear of change of the new modern enlightenment ideals and the scientific progress and industrialization going on around them (137). Because people don't often feel like they have any say in their changing environment, some act as with detrimental characteristics, rationalizing poor actions any way they can to make-sense of change (143). Further stories that influenced poor behaviour, such as the 13th century story called The Wandering Jew. He was described as an immortal Jewish man who taunted Jesus on the path to the crucifiction and was forced to forever roam the Earth in the first chapter of Curious Myths of the Middle Ages in which Sabine Baring-Gould attributed the earliest extant mention of the myth to Matthew the Parisian. Another early extant manuscript containing the legend is the Flores Historiarum by Roger of Wendover, where it appears in the part for the year 1228, under the title Of the Jew Joseph who is still alive awaiting the last coming of Christ (Jacobs, 1911; Wendover, 1849: 175; Wendover, 1849). The origins of the legend are extremely uncertain, but one element is the story in Genesis of Cain, was issued a similar punishment—to wander the Earth, scavenging and never reaping, although without the related punishment of endlessness. According to Jehoshua Gilboa, many commentators have pointed to Hosea 9:17 as a statement of the notion of the "eternal/wandering Jew" (Sweeney, Cotter, Walsh, Franke, 2000: 102). And obviously in the medieval through the colonial time periods, apparently everything has to come back to the Bible. [Like with unknown archaeological contexts, the common and old way of thinking is that if it's unidentifiable artifact it's probably religious. It's not always.] Building the story from these older connections just rings antisemitic to myself and others, such as Dale, 1991: 359 and McClatchie, 2012: 877-892.
There is more discussion of these behaviours in Weick's 1995 book Sensemaking in Organizations. These prejudices are also included within the Dutchman's captain making a deal with the devil in the 1843 “The Flying Dutchman” opera written by Richard Wagner that was also mentioned above (McClatchie, 2012).
PAINTING THE GHOST
There are heaps of real ships that are still missing. Sometimes they wash up or we find them while using various sonars or LiDar to map the ocean and lake floors. Whether they be legends or the mundane row boats that are left on the mud a bit too long, finding the skeleton poking out from the depths is a wondrous sight.
Ships and boats have been included in art from almost the earliest times, but marine art only began to become a distinct genre, with specialized artists, towards the end of the Middle Ages, mostly in the form of the "ship portrait" a type of work that is still popular and concentrates on depicting a single vessel. As landscape art emerged during the Renaissance, what might be called the marine landscape became a more important element in works, but pure seascapes were rare until later.
Maritime art, especially marine painting – as a particular genre separate from landscape – really began with Dutch Golden Age painting in the 17th century.[3][4][5] Marine painting was a major genre within Dutch Golden Age painting, reflecting the importance of overseas trade and naval power to the Dutch Republic, and saw the first career marine artists, who painted little else. In this, as in much else, specialist and traditional marine painting has largely continued Dutch conventions to the present day.
With Romantic art, the sea and the coast was reclaimed from the specialists by many landscape painters, and works including no vessels became common for the first time.
Claude Monet, The Seine at Port-Villez, 1894
Isaac Levitan, Lake. Russia, created between 1899-1900
Winslow Homer, Summer Squall, 1904
George Bellows, West Wind, 1913
A distinct tradition begins to re-emerge in Early Netherlandish painting, with two lost miniatures in the Turin-Milan Hours, probably by Jan van Eyck in about 1420, for some time such "ship portraits" were confined to prints and drawings, and typically showed the ship with no crew, even if under sail. Strictly speaking "maritime art" should always include some element of human seafaring, whereas "marine art" would also include pure seascapes with no human element, though this distinction was not always observed in practice.
*There are so many more examples of beautiful artwork featuring the Flying Dutchman, I highly recommend googling Flying Dutchman paintings.*
And the curse goes on and on at sea And the curse goes on and on for them and me
"Day after day, day after day We stuck nor breath nor motion As idle as a painted ship upon a painted ocean Water, water everywhere and All the boards did shrink Water, water everywhere nor any drop to drink."
There calls the mariner There comes a ship over the line But how can she sail with no wind in her sails and no tide?
See... onward she comes Onward she nears out of the sun See, she has no crew She has no life, wait but here's two
Death and she life in death They throw their dice for the crew She wins the mariner and he belongs to her now Then, crew one by one They drop down dead, 200 She, she, life in death She lets him live, her chosen one .
.
. The curse it lives on in their eyes The mariner he wished he'd die .
.
. And revenge is still sought, penance starts again Cast into a trance and the nightmare carries on
Now the curse is finally lifted And the mariner sights his home Spirits go from the long dead bodies Form their own light and the mariner's left alone
And then a boat came sailing towards him It was a joy he could not believe The pilot's boat, his son and the hermit Penance of life will fall onto him
And the ship it sinks like lead into the sea And the hermit shrives the mariner of his sins
The mariner's bound to tell of his story To tell this tale wherever he goes To teach God's word by his own example That we must love all things that God made
And the wedding guest's a sad and wiser man And the tale goes on and on and on.
Source: Musixmatch
Songwriters: S. Harris
Rime of the Ancient Mariner (Live at Long Beach Arena) [1998 Remaster] lyrics © Iron Maiden Publishing Overseas Ltd., Iron Maiden Publ. Overseas Ltd., Iron Maiden Llp
CONCLUSION
Nowadays we are [hopefully, FINALLY] not strangers to looking back at the past to recognize what was wrong with actions of the enforced leaders of the expanding European society [at least some people]. The colonial sailors, dealing in slavery and building colonies, really were making deals with the devil. Not literally of course, but with their horrific actions. History isn't a pretty picture, it is full of complexity and art can comment on what is important. It's all propaganda, just like the pictures on the fake-scary walls in Disneyland there is a facade of perfection over horror and tragic death. Luckily, the continuously evolving folkloric tales like the characters in the Flying Dutchman story have gotten called out, and shown for their horror and turned in what would make us laugh, since comedy is supposed to be just tragedy+time. But, when we look at art through history, maybe we can throw in some critical thinking and self awareness too.
Work Cited
Andeweg, A. (2015). Manifestations of the Flying Dutchman: On Materializing Ghosts and (Not) Remembering the Colonial Past. Cultural History, 4(2), 187-205.
Barrington, George (2004) [1795], Voyage to Botany Bay, Sydney University Press.
Brook, T. (2010). Vermeer's hat: The seventeenth century and the dawn of the global world. Profile Books.
Chua, A. (2009). Day of Empire: how hyperpowers rise to global dominance--and why they fall. Anchor.
Clark, S. K. M. (1949). Landscape into art, xix+ 147 pp. London: J. Murray.
Franits, W. E. (2004). Dutch seventeenth-century genre painting: its stylistic and thematic evolution. Yale University Press.
Glete, Jan (2001), 'The Dutch Navy, Dutch State Formation and the Rise of Dutch Maritime Supremacy'. (Paper for the Anglo-American Conference for Historians: The Sea, 4–6 July 2001, University of London, Institute of Historical Research).
Hagel, J., & Brown, J. S. (2013). Institutional innovation: Creating smarter organizations to scale learning. Deloitte Center for the Edge, 12(5), 1-22.
Hochstrasser, J. (2004). Still life and trade in the Dutch Golden Age. Yale University Press.
Jacobs, Joseph (1911). "Jew, The Wandering" . In Chisholm, Hugh (ed.). Encyclopædia Britannica. 15 (11th ed.). Cambridge University Press. p. 362.
Kren, T., & McKendrick, S. (2003). Illuminating the Renaissance: the triumph of Flemish manuscript painting in Europe. Getty Publications.
Longfellow, HW, 'Fata Morgana' in Birds of Passage: Flight The Third, ed. . cited in 1850, The Complete Poetical Works of Henry Wadsworth Longfellow, George E. Wood, New York. Original Sources, retrieved 25 June 2021, from http://www.originalsources.com/Document.aspx?DocID=F9NXJ2W9U9FTFUE.
Lunsford, Virginia W.: Piracy and Privateering in the Golden Age Netherlands. (New York: Palgrave Macmillan, 2005), p. 69.
McClatchie, S. (2012). The Flying Dutchman, the Wandering Jew, and Wagner’s Anti-Semitism. University of Toronto Quarterly, 81(4), 877-892.
MacDonald, J. (1790). Travels, in Various Parts of Europe, Asia, and Africa: During a Series of Thirty Years and Upwards. author, and sold.
Moore, Jason W. (2010). "'Amsterdam is Standing on Norway' Part II: The Global North Atlantic in the Ecological Revolution of the Long Seventeenth Century," Journal of Agrarian Change, 10, 2, p. 188–227
Pelzer, P. (2004). The Flying Dutchman and the discontents of modernity. Myths, Stories, and Organizations: Premodern Narratives for Our Times, Oxford University Press, Oxford, 137-50.
Sayle, M. (2001). Japan Goes Dutch. London Review of Books, 23(7), 3-7.
Schultz, Isaac (24 October 2019). "The World's Most Famous Ghost Ship Is an Enduring Symbol of Empire". Atlas Obscura.
Slive, S., & Rosenberg, J. (1995). Dutch Painting 1600-1800. New Haven: Yale University Press.
Swart, Koenraad Wolter (1969). The miracle of the Dutch Republic as seen in the seventeenth century. London: H.K.Lewis & Co Ltd.
Sweeney, Marvin Alan; Cotter, David W.; Walsh, Jerome T.; Franke, Chris (October 2000). The Twelve Prophets: Micah, Nahum, Habakkuk, Zephaniah, Haggai, Zechariah, Malachi. Liturgical Press. p. 102. ISBN978-0-8146-5095-0.
Taylor, B. (2013). The rise and fall of the largest corporation in history. Business Insider, 6.
Wallerstein, Immanuel (2011). The Modern World-System II: Mercantilism and the Consolidation of the European World-Economy, 1600–1750. (New York: Academic Press, 1980), p. 43–44.
Wendover, Roger of (1849). De Joseph, qui ultimum Christi adventum adhuc vivus exspectat (in Latin). p. 175.
Wendover, Roger of (1849). Roger of Wendover's Flowers of history, Comprising the history of England from the descent of the Saxons to A.D. 1235; formerly ascribed to Matthew Paris. London. hdl:2027/yale.39002013002903.
Further Reading
Dale, S. M. (1991). The Flying Dutchman dichotomy: The international right to leave v. the sovereign right to exclude. Dick. J. Int'l L., 9, 359.
Fitzball, E. (1829). The Flying Dutchman. Chadwyck-Healey.
Gabriel, Y. (2004). Myths, Stories, and Organizations: Premodern Narratives for Our Times. United Kingdom: OUP Oxford.
McClatchie, S. (2012). The Flying Dutchman, the Wandering Jew, and Wagner’s Anti-Semitism. University of Toronto Quarterly, 81(4), 877-892.
McDonald, W. (1987). THE FLYING DUTCHMAN. The Centennial Review,31(2), 185-187. Retrieved June 26, 2021, from http://www.jstor.org/stable/23738514.
Pollock, E. A. (2014). Popular Culture, Piracy, and Outlaw Pedagogy: A Critique of the Miseducation of Davy Jones. Netherlands: SensePublishers.
Rose, K. W. (1988). The politics of social reform in Cleveland, 1945-1967: civil rights, welfare rights, and the response of civic leaders (Doctoral dissertation, Case Western Reserve University).
Skoptsov, M., 2013. Evoking History through Fantasy: Pirates of the Caribbean and the Myths of the Golden Age. In: K. Morey, ed., Bringing History to Life Through Film The Art of Cinematic Storytelling. [online] United States: Rowman & Littlefield Publishers, pp.183-202. Available at: <https://www.google.com/books/edition/Bringing_History_to_Life_through_Film/B3lfAgAAQBAJ?hl=en&gbpv=1>.
Weick, K. E. (1995). Sensemaking in organizations (Vol. 3). Sage.
West, G. (2001). Dickens and The Flying Dutchman. The Dickensian, 97(453), 43.
West, R.V. (1997). Contemporary American Marine Art: An Exhibition. 1st ed. Seattle, WA: American Society of Marine Artists and the Frye Museum, Seattle in association with the University of Washington Press.