{"title":"弗兰克·耶比的《金鹰》中的加勒比海盗","authors":"J. Lowe","doi":"10.2307/j.ctv11sn6d3.9","DOIUrl":null,"url":null,"abstract":"This essay argues that Frank Yerby’s 1948 costume drama, The Golden Hawk, offers a prime example of a transnational/circumCaribbean novel. Concurrently, however, it is also a carefully researched historical novel, one that builds on the formulas of both the romance and the adventure tale, while mining the then-current popularity of the pirate novel and film. Issues of race, gender, and nation figure prominently in this critique, as well as histories of Haiti, Columbia, and Caribbean piracy.","PeriodicalId":246124,"journal":{"name":"The Southern Quarterly","volume":"30 2 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2018-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Pirates of the Caribbean in Frank Yerby's The Golden Hawk\",\"authors\":\"J. Lowe\",\"doi\":\"10.2307/j.ctv11sn6d3.9\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This essay argues that Frank Yerby’s 1948 costume drama, The Golden Hawk, offers a prime example of a transnational/circumCaribbean novel. Concurrently, however, it is also a carefully researched historical novel, one that builds on the formulas of both the romance and the adventure tale, while mining the then-current popularity of the pirate novel and film. Issues of race, gender, and nation figure prominently in this critique, as well as histories of Haiti, Columbia, and Caribbean piracy.\",\"PeriodicalId\":246124,\"journal\":{\"name\":\"The Southern Quarterly\",\"volume\":\"30 2 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-11-30\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Southern Quarterly\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2307/j.ctv11sn6d3.9\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Southern Quarterly","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2307/j.ctv11sn6d3.9","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Pirates of the Caribbean in Frank Yerby's The Golden Hawk
This essay argues that Frank Yerby’s 1948 costume drama, The Golden Hawk, offers a prime example of a transnational/circumCaribbean novel. Concurrently, however, it is also a carefully researched historical novel, one that builds on the formulas of both the romance and the adventure tale, while mining the then-current popularity of the pirate novel and film. Issues of race, gender, and nation figure prominently in this critique, as well as histories of Haiti, Columbia, and Caribbean piracy.
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