This growing international problem is a key factor in geopolitical tensions in the South China Seapiracy off the Horn of Africaand the deadly narco-trade across Latin America.
As someone who just finished her doctoral dissertation on nineteenth-century Anglo-American sea narratives, I met the show with hackles up — and ended up crossing over to the dark side. What is it about piracy that has captured our collective imaginary for at least three-hundred years now? Nassau, the self-governed colony on New Providence Island in the Bahamas circais populated with the rogues of the Earth.
Inn- and brothel-keepers, bootleggers, prostitutes and exiles, slaves in various stages of reclaiming Commentary antithesis about piracy freedom, buccaneers, murderers and idealistic megalomaniacs all find themselves infesting the same burrow, foraging their way through another day.
Bringing together fact and fiction is a trait of the genre: Black Sails adds another, Commentary antithesis about piracy dimension, not only by fictionalising history and refictionalising Treasure Island, but by being a twenty-first-century commentary on both.
The series pays successful tribute to the wider hypertext of sea tales, where it rubs elbows with the Hakluyts, Columbuses, Melvilles and Conrads of sea narration.
Flint is Ahabesque in his obsession with Spanish gold and ferociousness against the British Admiralty as cause of his trauma; he also reeks of Kurtz in attempting to redeem cruelty with philosophy. Another trait of the genre is spectrality: It can take many forms: Belatedness allows for clarity of historical perspective from the safe vantage point of the narrating present.
But it also creates a quintessential ghost tale, summoning back to life that which was dead and buried. The rogues of Black Sails are ghosts of themselves: Instead of setting up a hierarchy to be either climbed or disrupted, as do other outlaw-type series involving supposedly affable mobsters, bikers, drug dealers and the like, the maritime world of Black Sails is made up of overlapping semantic fields whose boundaries are painfully tested against one another.
Women are viciously reminded that they are women, slaves that they are slaves, prostitutes that they are prostitutes; the memento mori particularly hovers over the brows of pirate captains as they validate or lose their legitimacy on the hour, elected and deposed by their own crews in direct response to their leadership skills.
However, if the narrative delimits its characters to bitter historical plausibilities, it also authorises them to fight against them with any means necessary: The institutions and hierarchies established in the series by land-based societies such as England or Spain ensure separation between degrees of power; in Nassau, there are no untouchables.
Ships, fortresses, brothels, information, freedom and lives change hands in constant competition: The ship has been a longstanding archetype in the Western cultural circle, including its microcosmic and macrocosmic dimensions, from the ship of state to ship-as-state, from the ship of Theseus to the ship of fools.
In other words, they are tied to the law. What the pirate ship does is something entirely different. It introduces a new semantic matrix. Pirate captains in Black Sails are voted in and out of position with a degree of participatory democracy that our contemporary citizenship can only dream of, while political and economic mistakes are sanctioned with a swiftness unseen in state governments.
For every ship of fools expelled from society to the ends of the Earth, pirates raise a Randall character, embracing and protecting its traumatised and its insane. It is misguided to think of piracy as either illegal, or lawless.
Defining any practice against the law means that one can only ever occupy one position, either the good or the bad side of it. Piracy cancels out this semantic matrix, and imposes its own, where the law of the land, of kings and empires is not a rigid boundary, but a supple one, to be used as a porous membrane.
The pirate code is far from lawlessness: Loyalty and betrayal, survival and greed, are part of these codified practices, yet they are not opposed to one another, but part of the same assemblage, often occurring in one and the same gesture.
If the ship is the heterotopia of society, its other space, the place of its self-sameness and self-difference defined against the law, then piracy is its unthought.
Not its negation, antithesis, or its other, but its own unthinkable: The existence of a different possible maritime world, with its own form of seamanship and governance, by no means more noble even if more equitable in appeasing its monsters, destabilises the self-righteousness of civilized society.
A Charles Town scene at the end of Season 2 shows a hanged dead pirate next to a wooden cage of Black slaves about to be sold, exposing the hypocrisy behind what society considers to be legal and illegal.
It is one route among many.
Black Sails has a lot stacked against it: Instead of giving in, the series actually utilises these constrictions to carve out its own politics of gender and sexuality, its own approach to dealing with trauma, and a geopolitics where every action immediately meets its reaction:Illegal fishing.
Yes, Fishing. This growing international problem is a key factor in geopolitical tensions in the South China Sea, piracy off the Horn of Africa, and the deadly narco-trade across.
Bad things go on and Faraday, who himself seems a bit Aspie-like himself, may turn out to be the antithesis of “The Good Doctor”. The heir apparent is a young man horribly scarred and physically ruined by war, Roderick Ayres (Tom Poulter).
Secondary sources are written later, and can include commentary on and interpretation of primary sources.
Firsthand information about piracy is relatively rare, and scholars often pull from the same texts when compiling their data.  ἄνδρεσσι μελ́ησει: a formula usually put into the mouth of a man speaking to a woman and contrasting the two sexes: Il.
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