This book contains not only more than 400 sea shanties but as much of their history as Stan Hugill could collect in his extraordinary career as sailor, scholar, author, artist, and inspiration to new generations of sea-music enthusiasts and performers.

A wealth of texts of British and Anglo/North American folksong has long been accessible in both published and archival sources. For two centuries these texts have energized scholarship. Yet in the past three decades this material has languished, as literary theory has held sway over textual study. In this crusading book Roger deV. Renwick argues that the business of folksong scholars is to explain folksong: folklorists must liberate the material's own voice rather than impose theories that are personally compelling or appealing. To that end, Renwick presents a case study in each of five essays to demonstrate the scholarly value of approaching this material through close readings and comparative analysis. In the first, on British traditional ballads in the West Indies, he shows how even the best of folklorists can produce an unconvincing study when theory is overvalued and texts are slighted. In the second he navigates the many manifestations of a single Anglo/American ballad, "The Rambling Boy," to reveal striking differences between a British diasporic strain on the one hand and a southern American, post-Civil War strain on the other. The third essay treats the poetics of a very old, extremely widespread, but never before formalized trans-Atlantic genre, the catalogue. Next is Renwick's claim that recentering folksong studies in our rich textual databanks requires that canonical items be identified accurately. He argues that "Oh, Willie," a song thought to be a simple variety of "Butcher's Boy," is in fact a distinct composition. In the final essay Renwick looks at the widespread popularity of "The Crabfish," sung today throughout the English-speaking world but with roots in a naughty tale found in both continental Europe and Asia. With such specific case studies as these, Renwick justifies his argument that the basic tenets of folklore textual scholarship continue to yield new insights.

This volume provides a historical overview of the development and role of Anglo-Canadian folklore studies in Canada and their relationship to similar research conducted with respect to French Canadians, minority groups within Canada, within the wider Canadian context, and at the international level.

Reference guide to poetry anthologies with descriptions and evaluations of each anthology.

A weathered manuscript discovered among old papers was the foundation of this powerful book. James H. Williams’ spellbinding recollections of his adventures before the mast in sailing-ship days bring alive again that gruelling but romantic era on the seas. Though he called himself a common sailor, James H. Williams (1864-1927) was a most uncommon man. An African-American seaman with reddish hair, he left his Massachusetts home to go to sea at the age of eleven. Yet in spite of his limited formal education, he, wrote in later life with a verve and color that many professional writers would envy. Although he had once killed a man in escaping from a hell-ship at Hong Kong, Williams possessed a high sense of moral virtue. A practical man who survived countless storms and two major shipwrecks, he instinctively sought out the ships of masts and spars in an age in which the merchant marine was making its transition from sail to steam. Within him, too, burned a reforming fervor so intense that he became an uncompromising—and highly effective—enemy of all who preyed upon the common seaman. Vivid, salty, and enlivened by an unfailing sense of humor, James H. Williams’ reminiscences form a remarkable chronicle of life and adventure under sail and along the waterfronts of deep-water ports from America to China. Here are the thrill of the whale hunt and the terror of a boat’s crew as an infuriated whale capsizes them. Here are episodes of hardship and the brutality of bucko captains and mates that belied the beauty of taut, queenly ships. Here, too, are magnificent accounts of sailing ships and the stalwart men who manned them; of heroic deeds; of exotic anchorages and boisterous sprees ashore; of the immensity of the sea and its awe-inspiring gales and typhoons; of shipwreck in the English Channel on a bitter winter night; of drifting on a spar in the lonely South Atlantic and surviving for three months on an uninhabited island.

"Claire Campbell draws from recent work in cultural history, landscape studies in geography and art history, and environmental history to explore what happens when external agendas confront local realities - a story central to the Canadian experience. Explorers, fishers, artists, and park planners all were forced to respond to the unique contours of this inland sea; their encounters defined a regional identity even as they constructed a popular image for the Bay in the national imagination."--Jacket.

Since 1980, The Tape-Recorded Interview has been an essential resource for folklorists and oral historians--indeed, for anyone who uses a tape recorder in field research. Now, Sandy Ives has updated this manual to reflect the current preferences in tape-recording technology and equipment. When this book was first published, the reel-to-reel recorder was the favored format for fieldwork. Because the cassette recorder has almost completely replaced it, Ives has revised the first chapter, "How a Tape Recorder Works," accordingly and has included a useful discussion of the differences between analog and digital recording. He has also added a brief section on video, updated the bibliography, and reworked his original comments on tape cataloging and transcription. As in the first edition, Ives's emphasis is on documenting the lives of common men and women. He offers a careful, step-by-step tour through the collection process--finding informants, making advance preparations, conducting the actual interview, obtaining a release--and then describes the procedures for processing the taped interview and archiving such materials for future use. He also gives special treatment to such topics as recording music, handling group interviews, and using photographs or other visual material during interviews.

Now in paperback, an entertaining and enlightening compendium at the intersection of two great British folk traditions: song and encounters with the law. At the heart of traditional songs rest the concerns of ordinary people. And folk throughout the centuries have found themselves entangled with the law: abiding by it, breaking it, and being caught and punished by it. Who Killed Cock Robin? is an anthology of just such songs compiled by one of Britain’s most senior judges, Stephen Sedley, and best-loved folk singers, Martin Carthy. The songs collected here are drawn from manuscripts, broadsides, and oral tradition. They are grouped according to the various categories of crime and punishment, from Poaching to the Gallows. Each section contains a historical introduction, and every song is presented with a melody, lyrics, and an illuminating commentary that explores its origins and sources. Together, they present unique, sometimes comic, often tragic, and always colorful insight into the past, while preserving an important body of song for future generations.