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Modernity
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Modernity, a topic in the humanities and social sciences, is both a historical period (the modern era), as well as the ensemble of particular socio-cultural norms, attitudes and practices that arose in the wake of the Renaissance—in the "Age of Reason" of 17th-century thought and the 18th-century "Enlightenment". Some commentators consider the era of modernity to have ended by 1930, with World War II in 1945, or the 1980s or 1990s; the following era is called postmodernity. The term "contemporary history" is also used to refer to the post-1945 timeframe, without assigning it to either the modern or postmodern era. (Thus "modern" may be used as a name of a particular era in the past, as opposed to meaning "the current era".)
Depending on the field, "modernity" may refer to different time periods or qualities. In historiography, the 17th and 18th centuries are usually described as early modern, while the long 19th century corresponds to "modern history" proper. While it includes a wide range of interrelated historical processes and cultural phenomena (from fashion to modern warfare), it can also refer to the subjective or existential experience of the conditions they produce, and their ongoing impact on human culture, institutions, and politics (Berman 2010, 15–36).
As an analytical concept and normative ideal, modernity is closely linked to the ethos of philosophical and aesthetic modernism; political and intellectual currents that intersect with the Enlightenment; and subsequent developments such as existentialism, modern art, the formal establishment of social science, and contemporaneous antithetical developments such as Marxism. It also encompasses the social relations associated with the rise of capitalism, and shifts in attitudes associated with secularisation and post-industrial life (Berman 2010, 15–36).
In the view of Michel Foucault (1975) (classified as a proponent of postmodernism though he himself rejected the "postmodernism" label, considering his work as a "a critical history of modernity"—see, e.g., Call 2002, 65), "modernity" as a historical category is marked by developments such as a questioning or rejection of tradition; the prioritization of individualism, freedom and formal equality; faith in inevitable social, scientific and technological progress, rationalization and professionalization, a movement from feudalism (or agrarianism) toward capitalism and the market economy, industrialization, urbanization and secularization, the development of the nation-state, representative democracy, public education (etc) (Foucault 1977, 170–77).
In the context of art history, "modernity" (modernité) has a more limited sense, "modern art" covering the period of c. 1860–1970. Use of the term in this sense is attributed to Charles Baudelaire, who in his 1864 essay "The Painter of Modern Life", designated the "fleeting, ephemeral experience of life in an urban metropolis", and the responsibility art has to capture that experience. In this sense, the term refers to "a particular relationship to time, one characterized by intense historical discontinuity or rupture, openness to the novelty of the future, and a heightened sensitivity to what is unique about the present" (Kompridis 2006, 32–59).
Contents
1 Etymology
2 Phases
3 Definition
3.1 Political
3.2 Sociological
3.3 Cultural and philosophical
3.4 Secularization
3.5 Scientific
3.6 Artistic
3.7 Theological
4 Defined
5 See also
6 Notes
7 References
8 Further reading
9 External links
Etymology[edit]
The Late Latin adjective modernus, a derivation from the adverb modo "presently, just now", is attested from the 5th century, at first in the context of distinguishing the Christian era from the pagan era. In the 6th century, Cassiodorus appears to have been the first writer to use modernus "modern" regularly to refer to his own age (O'Donnell 1979, 235 n9). The terms antiquus and modernus were used in a chronological sense in the Carolingian era. For example, a magister modernus referred to a contemporary scholar, as opposed to old authorities such as Benedict of Nursia. In early medieval usage, modernus referred to authorities younger than pagan antiquity and the early church fathers, but not necessarily to the present day, and could include authors several centuries old, from about the time of Beda, i.e. referring to the time after the foundation of the Order of Saint Benedict and/or the fall of the Western Roman Empire (Hartmann 1973, passim).
The Latin adjective was adopted in Middle French, as moderne, by the 15th century, and hence, in the early Tudor period, into Early Modern English. The early modern word meant "now existing", or "pertaining to the present times", not necessarily with a positive connotation. Shakespeare uses modern in the sense of "every-day, ordinary, commonplace".
The word entered wide usage in the context of the late 17th-century quarrel of the Ancients and the Moderns within the Académie française, debating the question of "Is Modern culture superior to Classical (Græco–Roman) culture?" In the context of this debate, the "ancients" (anciens) and "moderns" (modernes) were proponents of opposing views, the former believing that contemporary writers could do no better than imitate the genius of classical antiquity, while the latter, first with Charles Perrault (1687), proposed that more than a mere "Renaissance" of ancient achievements, the "Age of Reason" had gone beyond what had been possible in the classical period. The term modernity, first coined in the 1620s, in this context assumed the implication of a historical epoch following the Renaissance, in which the achievements of antiquity were surpassed (Delanty 2007).
Phases[edit]
Modernity has been associated with cultural and intellectual movements of 1436–1789 and extending to the 1970s or later (Toulmin 1992, 3–5).
According to Marshall Berman (1982, 16–17), modernity is periodized into three conventional phases (dubbed "Early," "Classical," and "Late," respectively, by Peter Osborne (1992, 25)):
Early modernity: 1500–1789 (or 1453–1789 in traditional historiography)
Classical modernity: 1789–1900 (corresponding to the long 19th century (1789–1914) in Hobsbawm's scheme)
Late modernity: 1900–1989
In the second phase Berman draws upon the growth of modern technologies such as the newspaper, telegraph and other forms of mass media. There was a great shift into modernization in the name of industrial capitalism. Finally in the third phase, modernist arts and individual creativity marked the beginning of a new modernist age as it combats oppressive politics, economics as well as other social forces including mass media (Laughey 2007, 30).[citation needed]
Some authors, such as Lyotard and Baudrillard,[citation needed] believe that modernity ended in the mid- or late 20th century and thus have defined a period subsequent to modernity, namely Postmodernity (1930s/1950s/1990s–present). Other theorists, however, regard the period from the late 20th century to the present as merely another phase of modernity; Zygmunt Bauman (1989)[page needed] calls this phase "liquid" modernity, Giddens (1998)[page needed] labels it "high" modernity (see High modernism).
Definition[edit]
Political[edit]
Politically, modernity's earliest phase starts with Niccolò Machiavelli's works which openly rejected the medieval and Aristotelian style of analyzing politics by comparison with ideas about how things should be, in favour of realistic analysis of how things really are. He also proposed that an aim of politics is to control one's own chance or fortune, and that relying upon providence actually leads to evil. Machiavelli argued, for example, that violent divisions within political communities are unavoidable, but can also be a source of strength which law-makers and leaders should account for and even encourage in some ways (Strauss 1987).
Machiavelli's recommendations were sometimes influential upon kings and princes, but eventually came to be seen as favoring free republics over monarchies (Rahe 2006, 1). Machiavelli in turn influenced Francis Bacon (Kennington 2004, chapt. 4[page needed]), Marchamont Needham (Rahe 2006, chapt. 1[page needed]), James Harrington (Rahe 2006, chapt. 1[page needed]), John Milton (Bock, Skinner, and Viroli 1990, chapt. 11[page needed]), David Hume (Rahe 2006, chapt. 4[page needed]), and many others (Strauss 1958).
Important modern political doctrines which stem from the new Machiavellian realism include Mandeville's influential proposal that "Private Vices by the dextrous Management of a skilful Politician may be turned into Publick Benefits" (the last sentence of his Fable of the Bees), and also the doctrine of a constitutional "separation of powers" in government, first clearly proposed by Montesquieu. Both these principles are enshrined within the constitutions of most modern democracies. It has been observed that while Machiavelli's realism saw a value to war and political violence, his lasting influence has been "tamed" so that useful conflict was deliberately converted as much as possible to formalized political struggles and the economic "conflict" encouraged between free, private enterprises (Rahe 2006, chapt. 5[page needed]; Mansfield 1989).
Starting with Thomas Hobbes, attempts were made to use the methods of the new modern physical sciences, as proposed by Bacon and Descartes, applied to humanity and politics (Berns 1987). Notable attempts to improve upon the methodological approach of Hobbes include those of John Locke (Goldwin 1987), Spinoza (Rosen 1987), Giambattista Vico (1984, xli), and Rousseau (1997, part 1). David Hume made what he considered to be the first proper attempt at trying to apply Bacon's scientific method to political subjects (Hume & 1896 [1739], intro.), rejecting some aspects of the approach of Hobbes.
Modernist republicanism openly influenced the foundation of republics during the Dutch Revolt (1568–1609) (Bock, Skinner, and Viroli 1990, chapt. 10,12[page needed]), English Civil War (1642–1651) (Rahe 2006, chapt. 1[page needed]), American Revolution (1775–1783) (Rahe 2006, chapt. 6–11[page needed]), the French Revolution (1789–1799), and the Haitian revolution (1791–1804). (Orwin and Tarcov 1997, chapt. 8[page needed]).
A second phase of modernist political thinking begins with Rousseau, who questioned the natural rationality and sociality of humanity and proposed that human nature was much more malleable than had been previously thought. By this logic, what makes a good political system or a good man is completely dependent upon the chance path a whole people has taken over history. This thought influenced the political (and aesthetic) thinking of Immanuel Kant, Edmund Burke and others and led to a critical review of modernist politics. On the conservative side, Burke argued that this understanding encouraged caution and avoidance of radical change. However more ambitious movements also developed from this insight into human culture, initially Romanticism and Historicism, and eventually both the Communism of Karl Marx, and the modern forms of nationalism inspired by the French Revolution, including, in one extreme, the German Nazi movement (Orwin and Tarcov 1997, chapt. 4[page needed]).
On the other hand, the notion of modernity has been contested also due to its Euro-centric underpinnings. This is further aggravated by the re-emergence of non-Western powers. Yet, the contestations about modernity are also linked with Western notions of democracy, social discipline, and development (Regilme 2012, 96).
Sociological[edit]
Cover of the original German edition of Max Weber's The Protestant Ethic and the Spirit of Capitalism
In sociology, a discipline that arose in direct response to the social problems of "modernity" (Harriss 2000, 325), the term most generally refers to the social conditions, processes, and discourses consequent to the Age of Enlightenment. In the most basic terms, Anthony Giddens describes modernity as
...a shorthand term for modern society, or industrial civilization. Portrayed in more detail, it is associated with (1) a certain set of attitudes towards the world, the idea of the world as open to transformation, by human intervention; (2) a complex of economic institutions, especially industrial production and a market economy; (3) a certain range of political institutions, including the nation-state and mass democracy. Largely as a result of these characteristics, modernity is vastly more dynamic than any previous type of social order. It is a society—more technically, a complex of institutions—which, unlike any preceding culture, lives in the future, rather than the past (Giddens 1998, 94).
Other writers have criticized such definitions as just being a listing of factors. They argue that modernity, contingently understood as marked by an ontological formation in dominance, needs to be defined much more fundamentally in terms of different ways of being.
The modern is thus defined by the way in which prior valences of social life ... are reconstituted through a constructivist reframing of social practices in relation to basic categories of existence common to all humans: time, space, embodiment, performance and knowledge. The word 'reconstituted' here explicitly does not mean replaced. (James 2015, 51–52)
This means that modernity overlays earlier formations of traditional and customary life without necessarily replacing them.
Cultural and philosophical[edit]
The era of modernity is characterised socially by industrialisation and the division of labour and philosophically by "the loss of certainty, and the realization that certainty can never be established, once and for all" (Delanty 2007). With new social and philosophical conditions arose fundamental new challenges. Various 19th-century intellectuals, from Auguste Comte to Karl Marx to Sigmund Freud, attempted to offer scientific and/or political ideologies in the wake of secularisation. Modernity may be described as the "age of ideology." (Calinescu 1987, 2006).
For Marx, what was the basis of modernity was the emergence of capitalism and the revolutionary bourgeoisie, which led to an unprecedented expansion of productive forces and to the creation of the world market. Durkheim tackled modernity from a different angle by following the ideas of Saint-Simon about the industrial system. Although the starting point is the same as Marx, feudal society, Durkheim emphasizes far less the rising of the bourgeoisie as a new revolutionary class and very seldom refers to capitalism as the new mode of production implemented by it. The fundamental impulse to modernity is rather industrialism accompanied by the new scientific forces. In the work of Max Weber, modernity is closely associated with the processes of rationalization and disenchantment of the world. (Larraín 2000, 13)
Critical theorists such as Theodor Adorno and Zygmunt Bauman propose that modernity or industrialization represents a departure from the central tenets of the Enlightenment and towards nefarious processes of alienation, such as commodity fetishism and the Holocaust (Adorno 1973,[page needed]; Bauman 1989). Contemporary sociological critical theory presents the concept of "rationalization" in even more negative terms than those Weber originally defined. Processes of rationalization—as progress for the sake of progress—may in many cases have what critical theory says is a negative and dehumanising effect on modern society. (Adorno 1973,[page needed]; Bauman 2000)
Enlightenment, understood in the widest sense as the advance of thought, has always aimed at liberating human beings from fear and installing them as masters. Yet the wholly enlightened earth radiates under the sign of disaster triumphant. (Adorno 1973, 210)
What prompts so many commentators to speak of the 'end of history', of post-modernity, 'second modernity' and 'surmodernity', or otherwise to articulate the intuition of a radical change in the arrangement of human cohabitation and in social conditions under which life-politics is nowadays conducted, is the fact that the long effort to accelerate the speed of movement has presently reached its 'natural limit'. Power can move with the speed of the electronic signal – and so the time required for the movement of its essential ingredients has been reduced to instantaneity. For all practical purposes, power has become truly exterritorial, no longer bound, or even slowed down, by the resistance of space (the advent of cellular telephones may well serve as a symbolic 'last blow' delivered to the dependency on space: even the access to a telephone market is unnecessary for a command to be given and seen through to its effect. (Bauman 2000, 10)
Consequent to debate about economic globalization, the comparative analysis of civilizations, and the post-colonial perspective of "alternative modernities," Shmuel Eisenstadt introduced the concept of "multiple modernities" (Eisenstadt 2003; see also Delanty 2007). Modernity as a "plural condition" is the central concept of this sociologic approach and perspective, which broadens the definition of "modernity" from exclusively denoting Western European culture to a culturally relativistic definition, thereby: "Modernity is not Westernization, and its key processes and dynamics can be found in all societies" (Delanty 2007).
Secularization[edit]
Modernity, or the Modern Age, is typically defined as a post-traditional,[citation needed] and post-medieval historical period (Heidegger 1938, 66–67, 66–67). Central to modernity is emancipation from religion, specifically the hegemony of Christianity, and the consequent secularization. Modern thought repudiates the Judeo-Christian belief in the Biblical God as a mere relic of superstitious ages (Fackenheim 1957, 272-73; Husserl 1931,[page needed]).[note 1] It all started with Descartes' revolutionary methodic doubt, which transformed the concept of truth in the concept of certainty, whose only guarantor is no longer God or the Church, but Man's subjective judgement (Alexander 1931, 484-85; Heidegger 1938,[page needed]).[note 2]
Theologians have tried to cope with their worry that Western modernism has brought the world to no longer being well-disposed towards Christianity (Kilby 2004, 262, 262; Davies 2004, 133, 133; Cassirer 1944, 13–14 13–14).[note 3] Modernity aimed towards "a progressive force promising to liberate humankind from ignorance and irrationality" (Rosenau 1992, 5).
Scientific[edit]
Main article: Modern science
In the 16th and 17th centuries, Copernicus, Kepler, Galileo and others developed a new approach to physics and astronomy which changed the way people came to think about many things. Copernicus presented new models of the solar system which no longer placed humanity's home, on Earth, in the centre. Kepler used mathematics to discuss physics and described regularities of nature this way. Galileo actually made his famous proof of uniform acceleration in freefall using mathematics (Kennington 2004, chapt. 1,4[page needed]).
Francis Bacon, especially in his Novum Organum, argued for a new experimental based approach to science, which sought no knowledge of formal or final causes, and was therefore materialist, like the ancient philosophy of Democritus and Epicurus. But he also added a theme that science should seek to control nature for the sake of humanity, and not seek to understand it just for the sake of understanding. In both these things he was influenced by Machiavelli's earlier criticism of medieval Scholasticism, and his proposal that leaders should aim to control their own fortune (Kennington 2004, chapt. 1,4[page needed]).
Influenced both by Galileo's new physics and Bacon, René Descartes argued soon afterward that mathematics and geometry provided a model of how scientific knowledge could be built up in small steps. He also argued openly that human beings themselves could be understood as complex machines (Kennington 2004, chapt. 6[page needed]).
Isaac Newton, influenced by Descartes, but also, like Bacon, a proponent of experimentation, provided the archetypal example of how both Cartesian mathematics, geometry and theoretical deduction on the one hand, and Baconian experimental observation and induction on the other hand, together could lead to great advances in the practical understanding of regularities in nature (d'Alembert & 2009 [1751]; Henry 2004).
Artistic[edit]
Main article: Modern art
After modernist political thinking had already become widely known in France, Rousseau's re-examination of human nature led to a new criticism of the value of reasoning itself which in turn led to a new understanding of less rationalistic human activities, especially the arts. The initial influence was upon the movements known as German Idealism and Romanticism in the 18th and 19th century. Modern art therefore belongs only to the later phases of modernity (Orwinand Tarcov 1997, chapt. 2,4[page needed]).
For this reason art history keeps the term "modernity" distinct from the terms Modern Age and Modernism – as a discrete "term applied to the cultural condition in which the seemingly absolute necessity of innovation becomes a primary fact of life, work, and thought". And modernity in art "is more than merely the state of being modern, or the opposition between old and new" (Smith 2009).
In the essay "The Painter of Modern Life" (1864), Charles Baudelaire gives a literary definition: "By modernity I mean the transitory, the fugitive, the contingent" (Baudelaire 1964, 13).
Advancing technological innovation, affecting artistic technique and the means of manufacture, changed rapidly the possibilities of art and its status in a rapidly changing society. Photography challenged the place of the painter and painting. Architecture was transformed by the availability of steel for structures.
Theological[edit]
From theologian Thomas C. Oden's perspective, "modernity" is marked by "four fundamental values" (Hall 1990):
"Moral relativism (which says that what is right is dictated by culture, social location, and situation)"
"Autonomous individualism (which assumes that moral authority comes essentially from within)"
"Narcissistic hedonism (which focuses on egocentric personal pleasure)"
"Reductive naturalism (which reduces what is reliably known to what one can see, hear, and empirically investigate)"
Modernity rejects anything "old" and makes "novelty ... a criterion for truth." This results in a great "phobic response to anything antiquarian." In contrast, "classical Christian consciousness" resisted "novelty" (Hall 1990).
Defined[edit]
Of the available conceptual definitions in sociology, modernity is "marked and defined by an obsession with 'evidence'," visual culture, and personal visibility (Leppert 2004, 19). Generally, the large-scale social integration constituting modernity, involves[citation needed] the:
increased movement of goods, capital, people, and information among formerly discrete populations, and consequent influence beyond the local area
increased formal social organization of mobile populaces, development of "circuits" on which they and their influence travel, and societal standardization conducive to socio-economic mobility
increased specialization of the segments of society, i.e., division of labor, and area inter-dependency
increased level of excessive stratification in terms of social life of a modern man
Increased state of dehumanisation, dehumanity, unionisation, as man became embittered about the negative turn of events which sprouted a growing fear.
man became a victim of the underlying circumstances presented by the modern world
Increased competitiveness amongst people in the society (survival of the fittest) as the jungle rule sets in.
See also[edit]
Buddhist modernism
Hypermodernity
Industrialization
Islam and modernity
Late modernity
Mass society
Modern Orthodox Judaism
Modernisation
Modernism (Roman Catholicism)
Mythopoeic thought
Postmodernity
Rationalization (sociology)
Second modernity
Traditional society
Transmodernity
Urbanization
Notes[edit]
Jump up ^ Quotation from Fackenheim 1967, 272–73:
But there does seem to be a necessary conflict between modern thought and the Biblical belief in revelation. All claims of revelation, modern science and philosophy seem agreed, must be repudiated, as mere relics of superstitious ages. ... [to a modern phylosopher] The Biblical God...was a mere myth of bygone ages.
Quotation from Husserl 1931,[page needed]:
When, with the beginning of modern times, religious belief was becoming more and more externalized as a lifeless convention, men of intellect were lifted by a new belief, their great belief in an autonomous philosophy and science.
Jump up ^ Quotation from Heidegger 1938[page needed]:
The essence of modernity can be seen in humanity's freeing itself from the bonds of Middle Ages... Certainly the modern age has, as a consequence of the liberation of humanity, introduced subjectivism and indivisualism. ... For up to Descartes... The claim [of a self-supported, unshakable foundation of truth, in the sense of certainty] originates in that emancipation of man in which he frees himself from obligation to Christian revelational truth and Church doctrine to a legislating for himself that takes its stand upon itself.
Jump up ^ Quotation from Kilby 2004, 262:
... a cluster of issues surrounding the assessment of modernity and of the apologetic task of theology in modernity. Both men [Rahner and Balthasar] were deeply concerned with apologetics, with the question of how to present Christianity in a world which is no longer well-disposed towards it. ... both thought that modernity raised particular problems for being a believing Christian, and therefore for apologetics.
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Kompridis, Nikolas. 2006. "The Idea of a New Beginning: A Romantic Source of Normativity and Freedom". In Philosophical Romanticism, edited by Nikolas Kompridis, 32–59. Abingdon, UK and New York: Routledge. ISBN 0-415-25643-7 (hbk) ISBN 0-415-25644-5 (pbk) ISBN 0-203-50737-1 (ebk)
Larraín, Jorge. 2000. "Identity and Modernity in Latin America". Cambridge, UK: Polity; Malden, MA: Blackwell. ISBN 0-7456-2623-8 (cloth); ISBN 0-7456-2624-6 (pbk).
Laughey, Dan. 2007. Key Themes in Media Theory. New York: University Open Press.
Leppert, Richard. 2004. "The Social Discipline of Listening." In Aural Cultures, edited by Jim Drobnick, 19–35. Toronto: YYZ Books; Banff: Walter Phillips Gallery Editions. ISBN 0-920397-80-8.
Mandeville, Bernard. 1714. The Fable of the Bees, or, Private Vices, Publick Benefits. London: Printed for J. Roberts. Ninth edition, as The Fable of the Bees, or, Private Vices, Public Benefits ... with an Essay on Charity and Charity-Schools and a Search into the Nature of Society, to Which Is Added, a Vindication of the Book from the Aspersions Contained in a Presentment of the Grand Jury of Middlesex, and an Abusive Letter to the Lord C.. Edinburgh: Printed for W. Gray and W. Peter, 1755.
Mansfield, Harvey. 1989. Taming the Prince. The Johns Hopkins University Press.[full citation needed]
Norris, Christopher. 1995. "Modernism." In The Oxford Companion to Philosophy, edited by Ted Honderich, 583. Oxford and New York: Oxford University Press. ISBN 978-0-19-866132-0.
O'Donnell, James J. 1979. Cassiodorus. Berkeley, California: University of California Press. ISBN 0-520036-46-8.
Orwin, Clifford, and Nathan Tarcov. 1997. The Legacy of Rousseau. Chicago: University of Chicago Press. ISBN 0-226-63855-3 (cloth); ISBN 0-226-63856-1 (pbk).
Osborne, Peter. 1992. "Modernity Is a Qualitative, Not a Chronological, Category: Notes on the Dialectics of Differential Historical Time". In Postmodernism and the Re-reading of Modernity, edited by Francis Barker, Peter Hulme, and Margaret Iversen. Essex Symposia, Literature, Politics, Theory. Manchester: Manchester University Press. ISBN 0-7190-3745-X.
Rahe, Paul A. 2006. Machiavelli's Liberal Republican Legacy. Cambridge and New York: Cambridge University Press. ISBN 978-0-521-85187-9.
Regilme, Salvador Santino F., Jr. 2012. "Social Discipline, Democracy, and Modernity: Are They All Uniquely 'European'?". Hamburg Review of Social Sciences 6, no. 3 / 7. no. 1:94–117. (Archive from 24 May 2013, accessed 6 December 2017.)
Rosen, Stanley. 1987. "Benedict Spinoza". In History of Political Philosophy, third edition, edited by Leo Strauss and Joseph Cropsey, 456–475. Chicago: University of Chicago Press.
Rosenau, Pauline Marie. 1992. Post-modernism and the Social Sciences: Insights, Inroads, and Intrusions. Princeton, N.J.: Princeton University Press. ISBN 0-691-08619-2 (cloth) ISBN 0-691-02347-6 (pbk).
Rousseau, Jean-Jacques. 1997. The Discourses and Other Political Writings, edited and translated by Victor Gourevitch. Cambridge Texts in the History of Political Thought. Cambridge and New York: Cambridge University Press. ISBN 0-521-41381-8 (cloth); ISBN 0-521-42445-3 (pbk).
Saul, John Ralston. 1992. Voltaire's Bastards: The Dictatorship of Reason in the West. New York: Free Press; Maxwell Macmillan International. ISBN 0-02-927725-6.
Smith, Terry. “Modernity”. Grove Art Online. Oxford Art Online. (Subscription access, accessed September 21, 2009).
Strauss, Leo. 1958. Thoughts on Machiavelli. Chicago: University of Chicago Press. ISBN 0-226-77702-2.
Strauss, Leo. 1987. "Niccolò Machiavelli". In History of Political Philosophy, third edition, edited by Leo Strauss and Joseph Cropsey, 296–317. Chicago: University of Chicago Press. ISBN 0-226-77708-1 (cloth); ISBN 0-226-77710-3 (pbk).
Toulmin, Stephen Edelston. 1990. Cosmopolis: The Hidden Agenda of Modernity. New York: Free Press. ISBN 0-02-932631-1. Paperback reprint 1992, Chicago: University of Chicago Press. ISBN 0-226-80838-6.
Vico, Giambattista. 1984. The New Science of Giambattista Vico: Unabridged Translation of the Third Edition (1744), with the Addition of "Practice of the New Science, edited by Thomas Goddard Bergin and Max Harold Fisch. Cornell Paperbacks. Ithaca: Cornell University Press. ISBN 0-8014-9265-3 (pbk).
Further reading[edit]
Adem, Seifudein. 2004. "Decolonizing Modernity: Ibn-Khaldun and Modern Historiography." In Islam: Past, Present and Future, International Seminar on Islamic Thought Proceedings, edited by Ahmad Sunawari Long, Jaffary Awang, and Kamaruddin Salleh, 570–87. Salangor Darul Ehsan, Malaysia: Department of Theology and Philosophy, Faculty of Islamic Studies, Universiti Kebangsaan Malaysia.
Arendt, Hannah. 1958. "The Origins Of Totalitarianism" Cleavland: World Publishing Co. ISBN 0-8052-4225-2
Buci-Glucksmann, Christine. 1994. Baroque Reason: The Aesthetics of Modernity. Thousand Oaks, Calif: Sage Publications. ISBN 0-8039-8975-X (cloth) ISBN 0-8039-8976-8 (pbk)
Carroll, Michael Thomas. 2000. Popular Modernity in America: Experience, Technology, Mythohistory. SUNY Series in Postmodern Culture. Albany: State University of New York Press. ISBN 0-7914-4713-8 (hc) ISBN 0-7914-4714-6 (pbk)
Corchia, Luca. 2008. "Il concetto di modernità in Jürgen Habermas. Un indice ragionato." The Lab's Quarterly/Il Trimestrale del Laboratorio 2:396ff. ISSN 2035-5548.
Crouch, Christopher. 2000. "Modernism in Art Design and Architecture," New York: St. Martins Press. ISBN 0-312-21830-3 (cloth) ISBN 0-312-21832-X (pbk)
Davies, Oliver. 2004. "The Theological Aesthetics". In The Cambridge Companion to Hans Urs von Balthasar, edited by Edward T. Oakes and David Moss, 131–42. Cambridge and New York: Cambridge University Press. ISBN 0-521-89147-7.
Eisenstadt, Shmuel Noah. 2003. Comparative Civilizations and Multiple Modernities, 2 vols. Leiden and Boston: Brill.
Everdell, William R. 1997. The First Moderns: Profiles in the Origins of Twentieth-Century Thought. Chicago: University of Chicago Press. ISBN 0-226-22480-5 (cloth); ISBN 0-226-22481-3 (pbk).
Gaonkar, Dilip Parameshwar (ed.). 2001. Alternative Modernities. A Millennial Quartet Book. Durham: Duke University Press. ISBN 0-8223-2703-1 (cloth); ISBN 0-8223-2714-7 (pbk)
Giddens, Anthony. 1990. The Consequences of Modernity. Stanford: Stanford University Press. ISBN 0-8047-1762-1 (cloth); ISBN 0-8047-1891-1 (pbk); Cambridge, UK: Polity Press in association with Basil Blackwell, Oxford. ISBN 0-7456-0793-4
Horváth, Ágnes, 2013. Modernism and Charisma. Houndmills, Basingstoke: Palgrave Macmillan. ISBN 9781137277855 (cloth)
Jarzombek, Mark. 2000. The Psychologizing of Modernity: Art, Architecture, History. Cambridge: Cambridge University Press.
Kolakowsi, Leszek. 1990. Modernity on Endless Trial. Chicago: University of Chicago Press. ISBN 0-226-45045-7
Kopić, Mario. Sekstant. Belgrade: Službeni glasnik. ISBN 978-86-519-0449-6
Latour, Bruno. 1993. We Have Never Been Modern, translated by Catherine Porter. Cambridge, MA: Harvard University Press. ISBN 0-674-94838-6 (hb) ISBN 0-674-94839-4 (pbk.)
Perreau-Saussine, Emile. 2005. ""Les libéraux face aux révolutions: 1688, 1789, 1917, 1933"" (PDF). (457 KB). Commentaire no. 109 (Spring): 181–93.
Vinje, Victor Condorcet. 2017. The Challenges of Modernity. Nisus Publications.[full citation needed]
Wagner, Peter. 1993. A Sociology of Modernity: Liberty and Discipline. Routledge: London. ISBN 9780415081863
Wagner, Peter. 2001. Theorizing Modernity. Inescapability and Attainability in Social Theory. SAGE: London. ISBN 978-0761951476
Wagner, Peter. 2008. Modernity as Experience and Interpretation: A New Sociology of Modernity. Polity Press: London. ISBN 978-0-7456-4218-5
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Gideon's Way
From Wikipedia, the free encyclopedia
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Gideon's Way
Created by
John Creasey
Starring
John Gregson
Alexander Davion
Theme music composer
Edwin Astley
Composer(s)
Edwin Astley
Country of origin
United Kingdom
Original language(s)
English
No. of series
1
No. of episodes
26 (list of episodes)
Production
Producer(s)
Robert S. Baker
Monty Berman
Running time
50 min.
Production company(s)
New World Production
Distributor
ITC Entertainment
Release
Original network
ITV
Picture format
35 mm film 4:3 B/W
Audio format
Mono
Original release
18 March 1965 – 10 May 1966
Gideon's Way is a British television crime series made by ITC Entertainment and broadcast for ITV in 1965/66, based on the novels by John Creasey (as J. J. Marric).[1] The series was made at Elstree Studios in twin production with The Saint television series, which likewise was produced by Robert S. Baker. It stars John Gregson in the title role as Commander George Gideon of Scotland Yard, with Alexander Davion as his assistant, Detective Chief Inspector David Keen, Reginald Jessup as Det. Superintendent LeMaitre (nicknamed Lemmy), Ian Rossiter as Detective Chief Superintendent Joe Bell and Basil Dignam as Commissioner Scott-Marle.[2] The show did not acknowledge any help from Scotland Yard or any other police force or advisor.
Contents
1 Synopsis
2 Production notes
3 Guest Stars
4 DVD
5 Episode list
6 Broadcasters
6.1 Australia
7 References
8 External links
Synopsis[edit]
Daphne Anderson starred as Gideon's wife, Kate; their three children were played by Giles Watling as younger son Malcolm, Richard James as elder son Matthew (who seemed to have a lot of new girlfriends), and Andrea Allan as daughter Pru. Unusually for police stories, Gideon was shown as a family man at home though urgent phone calls from his bosses tend to disrupt family plans too often. However, he did admit in "State Visit" that his wife had walked out on him for a while years ago when he put the job first and her second. They live in an expensive detached house in Tufnell Park.
Production notes[edit]
There was extensive location shooting in mid-sixties London, with fast-paced action and strong story lines, which made the series very popular in its day.[3] The show was broadcast in the United States under the title Gideon CID. There were different starting titles for the American series, showing incidents of violent crime while the British titles just introduced the main characters. The theme music was composed by Edwin Astley. In scoring the incidental music, Astley re-used some of the cues from The Saint on which he was also working; in turn material composed for this series he used again in The Baron, which followed a year later.
There was much location filming and the show gave an authentic view of London in 1964/65: whole streets with only a few parked cars, children playing in the street and police walking their beats.[citation needed] In "The Rhyme and the Reason", there is a chase across a bomb site (now New Covent Garden market), an area of destruction left from WWII aerial bombing raids. A door key on a string, which can be reached through a letterbox, is shown. Many characters smoked in the shows, including the stars.
Guest Stars[edit]
Many well-known British actors appear in guest roles, including Keith Baxter, George Cole, Harry Fowler, Gordon Jackson, Ronald Lacey, Anton Rodgers, Rosemary Leach, Richard Carpenter and John Hurt. There was an early role for Donald Sutherland in the episode "The Millionaire's Daughter". Several actors, including Mike Pratt, Jean Marsh and Kay Walsh, appear twice in the series, cast in different roles.
DVD[edit]
The series was released on Region 2 DVD by Network Video in August 2005.
Episode list[edit]
Filmed June 1964 - May 1965 on location and at Elstree Studios. Fifteen episodes (#101 - #115 below) were filmed by December 1964, after which the cast and crew were allowed a week's break before filming on the second batch of eleven episodes (#116 - #126 below) began on 11 January 1965.
Airdate[4] is for ATV Midlands. ITV[5] regions varied date and order.
Episode #
Prod #
Title
Directed by
Written by
Original airdate
Filmed
1
106 "State Visit" John Moxey Jim O'Connolly 18 March 1965 (1965-03-18) Aug - Sept 1964
Based on a storyline in Gideon's March. Alfie Bass portrays an elderly German Jew, Max Fischer, who has suffered at the hands of the Nazis in WWII. There is a state visit by the German President and, as a chemist, he gets his hands on 10 oz of nitro-glycerine. Enough to kill his target and possibly hundreds more at the parade in Whitehall where Gideon's wife and son are also watching. Also features Gerald Harper as Deputy Commissioner Rae Cox, David Lodge as Morris and Julian Holloway as Jim Richards.
2
102 "The 'V' Men" Cyril Frankel Alan Falconer 25 March 1965 (1965-03-25) mid July 1964
Mirroring the anti-fascist marches of the time and based on a storyline in Gideon's Vote, this features Sir Arthur Vane's fascist V-Party who are opposed by the anything but peaceful Peace Party. Someone is trying to kill Vane (Roland Culver). Also features Christine Finn as Marjorie Bennett, Bryan Marshall as Braithwaite, Peter Russell as John Hamilton and Inigo Jackson as Leo Samson.
3
107 "The Firebug" Roy Ward Baker David Chantler 1 April 1965 (1965-04-01) September 1964
Based on a storyline in Gideon's Fire (1961). George Cole plays a man whose wife and young daughter died in a house fire. He starts setting fires to make people take notice of the danger of fire but after killing four people (including a PC), he goes onto bigger fires, setting fire to a paint warehouse. He then gets hold of four sticks of dynamite. Also features Edward Dentith as Det. Insp. Dillon, Aubrey Richards as Det. Sgt. Steve Brady, Joby Blanshard as Bill White and Martin Boddey as Chief Officer Carmichael.
4
109 "The Big Fix" James Hill Jack Whittingham 8 April 1965 (1965-04-08) late September 1964
Based on a storyline in Gideon's Risk. Gamblers pay big money to people to dope horses so they lose, and kill them if the horse wins. After a favourite has lost, Gideon tries to stop it happening again. Stars Michael Ripper as Joe Short, Penelope Horner as Janet Middleton, Maurice Hedley as Col. Alec Middleton, Robert Brown as Bill Campbell and Griffith Davies as Jimmy.
5
112 "The Housekeeper" Leslie Norman David Chantler 15 April 1965 (1965-04-15) late October 1964
Based on a storyline in Gideon's Month. A housekeeper (Kay Walsh) looks after old men and murders them for their money. She has her new victim lined up after electrician and ex-con (Harry Fowler) finds her previous victim. Also features John Dearth as Det. Supt. Warr and Richard Davies as the Postman.
6
108 "The Ladykiller" Leslie Norman David Chantler 22 April 1965 (1965-04-22) Sept. 1964
Based on a storyline in Gideon's Month. A man marries rich women who die apparently accidentally soon afterwards, so C.I. David Keen investigates. Gideon takes a back seat in this story. Stars Ray Barrett as Robert Carne, Rosemary Leach as Marion Grove, Timothy Bateson as Parker, Howard Lang as Sgt. Fowler and John Tate as Bert Macey.
7
103 "To Catch a Tiger" Leslie Norman Iain MacCormck 29 April 1965 (1965-04-29) July 1964
Based on a storyline in Gideon's Risk. An employee's theft gives Gideon a chance to reopen an old murder case but he finds himself up against a formidable lawyer, Sir Percy Richmond (Raymond Huntley). Also features Norman Bird as Supt. Fred Lee, Glyn Houston as Det. Sgt. Carmichael and Patsy Smart as Mrs. Samuels.
8
111 "Big Fish, Little Fish" Cyril Frankel Alan Falconer 6 May 1965 (1965-05-06) Oct. 1964
Based on a storyline in Gideon's Month. This story is about petty theft and children taught to steal by mothers from hell. Mark 'Frisky' Lee (Maxwell Shaw) is seen to be the head of organised crime around the Petticoat Lane area of London and makes enemies easier than friends. When he is murdered, Gideon and local cop, Superintendent Bill Hemmingway uncover thieves, a fence and a murderer. Also stars Sydney Tafler as Gabriel Lyon, Angela Baddeley as Mrs. Clark and Harry Towb as Ted Cowan.
9
105 "The White Rat" Roy Ward Baker Harry W. Junkin 13 May 1965 (1965-05-13) Aug. 1964
Based on a storyline in Gideon's Staff. Something of a love story. Sgt Sid Taylor who walked a beat with Gideon when they were PCs and taught him a lot is after an albino criminal (Ray McAnally) and his gang. A number of things go wrong and the criminal is cornered on a ship but threatens a massive explosion if they try to take him. Also starred Dermot Kelly as Fingers and Richard Beale as Capt. Vanner.
10
115 "How to Retire without Really Working" George Pollock Norman Hudis 20 May 1965 (1965-05-20) Nov-Dec. 1964
Based on a storyline in Gideon's Lot. Gideon defuses a gun siege where a small-time crook went out of his league in the hope of a big robbery before retiring. Meanwhile, a couple in their fifties (Eric Barker and Joyce Grant) who have lived a life of petty crime try to do the same thing with a big wages snatch but Gideon has his eye on them. Gideon portrays the friendly cop in this episode, trying to help criminals who are obviously on the downward path. Also starred William Mervyn as Mr. Pater, Charles Lloyd-Pack as Mr. Hunter and Henry McGee as Mark Martinson.
11
117 "Subway to Revenge" Roy Ward Baker Norman Hudis 27 May 1965 (1965-05-27) Jan, 1965
Based on a storyline in Gideon's Ride. On a crowded platform, John Stewart (Bryan Pringle) tries to push James Lane (Donald Churchill) in front of a train, but he is saved by co-worker Ellen Winters (Anne Lawson). He wants nothing to do with it but she takes it to the police. Another attempt is made to push him in front of a bus. Again he does not seem to be interested that someone is trying to murder him and though Ellen is obviously in love with him, he gets angry with her over it and wants nothing to do with her. Then suddenly they are in love. Pringle it turns out lost a fiancée when she tried to steal £5,000 from a company and when caught, committed suicide by jumping in front of an Underground train so he is now busy killing those responsible. There is a background story about a wages snatch. Also features Esmond Knight as Robson and Don McKillop as the Foreman.
12
122 "The Great Plane Robbery" Leslie Norman Alan Falconer 3 June 1965 (1965-06-03) Mar-Apr 1965
New storyline. £1,000,000 worth of gold is stolen from a Russian Aeroflot plane at a small airfield. The brains behind it, Barley (George Baker) has an alibi, which is just too good. There are complications when the driver of a decoy van is picked up and is obviously in on it. It all begins to fall apart when one of the men, Dobson (Edwin Richfield) is burned by molten gold being recast. Lured by the £100,000 reward, a bent doctor treating him phones the police who follow Barley and others to Tilbury where he plans to escape by boat. Also features George Murcell as Kautsky and Reg Lye as Dr. Hill.
13
118 "Gang War" Quentin Lawrence David Chantler 10 June 1965 (1965-06-10) Jan-Feb. 1965
Based on a storyline in Gideon's Night. Jerry Blake (Ronald Lacey) is moving in on Frank Romano's (Ray Brooks) small-business protection racket. Both are leaders of gangs of young men and trouble is brewing. But Romano's wife, Lollo (Jane Merrow) is unhappy with their lifestyle and uses an old boyfriend to arrange the snatch of over £400,000 of old money meant for burning. Romano joins up with Blake to do the robbery while their gangs do a fake rumble to lure the police elsewhere. Also features Donald Morley as Supt. Browning and Will Stampe as Tony Mazzo.
14
101 "The Tin God" John Gilling Harry W. Junkin 17 June 1965 (1965-06-17) 29 June to early July 1964
Based on a storyline in Gideon's Week. Derren Nesbitt plays violent gangster Benson who has escaped from jail and who is idolised by his son Syd (Michael Cashman), but hates his wife Ruby (Jennifer Wilson) for putting him in jail. Before he escapes from the country Benson wants to kill Ruby. Also features John Hurt as his accomplice.
15
119 "The Alibi Man" Cyril Frankel Iain MacCormick 24 June 1965 (1965-06-24) Feb. 1965
Based on a storyline in Gideon's March. Famous racing driver Jack Hedley has been fiddling the books and is caught by his accountant Geoffrey Palmer, whom he kills to keep him quiet. Mechanic Eric Little (James Culliford) gives him an alibi because he owes his life to him. Gideon investigates and Hedley's mistress Marjorie needs to die too. A rare case where the murderer gets away with it. Also features Michael Collins as Det. Supt. Brown, Keith Anderson as Det. Insp. Elmhurst, Jennifer Daniel as Marjorie Bellman and James Culliford as Eric Little.
16
116 "The Wall" Leslie Norman David Chantler 16 September 1965 (1965-09-16) Jan. 1965
From a storyline in Gideon's Night. A young couple, Michael and Netta Penn (Richard Carpenter and Ann Bell) dream of escaping from their dingy lodgings and curmudgeonly, drunken landlord and his wife (John Barrie and Megs Jenkins). A lucky football pools win appears to be their way out, but the greedy landlord accidentally kills Penn before his wife learns of the win and hides the body so he can steal Penn's winnings. Netta is made to believe he has left her. A chance encounter with Gideon on another case leads Netta to plead that he locate her missing husband.
17
121 "The Thin Red Line" Cyril Frankel Iain MacCormick 3 February 1966 (1966-02-03) March 1965
New storyline. The famous Balaclava regimental silver is going missing, pieces at a time, from the Highlanders' London HQ with fakes being put in their place. Gideon is called in by the elderly General (Finlay Currie) to find out who is doing it but comes up against regimental pride and secrecy. Keen goes to Amsterdam and Paris (library footage used) to find out where the silver is being copied and sold off. The result is a shock to Gideon. Also stars Allan Cuthbertson as Major Donald Ross, Gordon Jackson as Sgt. McKinnon and Donald Pickering as Bookie Barton-Smith.
18
126 "A Perfect Crime" Leslie Norman Alan Falconer 10 February 1966 (1966-02-10) May 1965
Based on a storyline in Gideon's Fire (1961). Patrick Allen plays someone who socially mixes with rich people and finds out when they are away so he and his accomplice (Patrick Bedford) can steal their jewels. Bedford is caught when a cop on a bike sees a car at a rich place where the owners have asked him to keep a watch on it as they are away. His wife Sandra (Jean Marsh) tries to blackmail Allen so he kills her, which leads to Gideon being publicly accused of attacking Bedford by his very nasty lawyer as they close in on Allen, who is ready to flee the country. Also stars Ann Lynn as Ann Beaumont, Alec Mango as Hartz and Richard Davies as Taxi Driver.
19
124 "The Millionaire's Daughter" Cyril Frankel Norman Hudis 17 February 1966 (1966-02-17) April 1965
Based on a storyline in Gideon's Lot. A con man, Alan Blake (Don Borisenko), arrives by ship from America with the millionaire Hendersons (David Bauer and Lois Maxwell) and their daughter Nina (Lans Traverse). Along with confederates he kidnaps Nina in London and they hold her for a million-dollar ransom. The newspapers get hold of the story and Blake decides to get out while he can, tricking Mrs Henderson out of $500,000 worth of jewellery. This means that the daughter is now left with the homicidal Philip Guest (Donald Sutherland) who wants to kill her as she has seen their faces. Also stars Harold Goodwin as the Shopkeeper and Alec Ross as Frank Simmons.
20
110 "Morna" Cyril Frankel Alan Falconer 24 February 1966 (1966-02-24) Oct. 1964
New storyline. Morna Copthorne's (Angela Douglas) body is found by a lake. Gideon is asked to go to the small village of Wendley (this case unusually did not feature London) to sort the matter out, as her father Sir Robert (Ronald Adam) is a big name at the Ministry of Defence. She is the girl everyone loved so how did she die? As Gideon and Keen interview witnesses, including Morna's American schoolfriend Lydia (Alita Naughton) and her fiance Michael (Norman Bowler) about her past, a new picture emerges of a young rich girl out of control. Johnny Sekka plays the charismatic nightclub proprietor Chay, and his portrayal reflects the racial tensions of the time. Also stars Kay Walsh as headmistress Harriet Bright, John Justin as her husband Leonard and Shelagh Fraser as Lady Copthorne.
21
125 "Boy With Gun" Jeremy Summers Iain MacCormick 3 March 1966 (1966-03-03) May 1965
New storyline. A tale of boys gone wrong. Chris Kirk (Howard Knight) has been mothered too much but his father, Police Surgeon Doctor Kirk (Anthony Bate) is overbearing. When cornered by three leather-coated, knife-wielding yobs who want to steal the shotgun his father bought him, Chris shoots one. Believing he has murdered him, he goes on the run and meets a boy who has escaped from Borstal. They go to his brother's place so he can arrange their escape from the country but the shot boy's father (George Sewell) finds out and wants to kill the kid who shot his son. A powerful story filmed mainly around London's East End. Also features Michael Craze as Vince Kelly, Michael Standing as Chaz Kelly and Royston Tickner as Charlie Berry.
22
114 "Fall High, Fall Hard" Leslie Norman Malcolm Hulke 15 April 1966 (1966-04-15) Nov 1964
Based on a storyline in Gideon's Fire (1961). A big construction company is owned by two men. Honest Donald Houston finds out his crooked partner Victor Maddern has hired men to intimidate and kill people to further their business. Houston's character wants to do something about it so others decide to kill him. Also stars Glyn Houston as Det. Sgt. Carmichael, Mike Pratt as Jenson, Gordon Gostelow as Thompson, Clifford Earl as Sgt. Bailey and Michael Robbins as Smith.
23
120 "The Prowler" Robert Tronson Harry W. Junkin 22 April 1966 (1966-04-22) March 1965
Based on a storyline in Gideon's Night. This occurs in the thick fogs of the time, due to most people using coal fires to keep warm, and the episode tries for a creepy atmosphere. The girlfriend of a young man (David Collings) has committed suicide causing him to become mentally unbalanced and he now attacks girls at night and cuts off some of their hair as a souvenir. One girl fights back and scratches him and as the police close in, he visits an unsuspecting girlfriend to hide at her place.
24
123 "The Reluctant Witness" Jeremy Summers Norman Hudis 26 April 1966 (1966-04-26) April 1965
Based on a storyline in Gideon's Risk. Red Carter (Mike Pratt) and brother Syd (David Gregory) buy wrecked cars then steal new cars of the same make and swap details and after a respray, sell them for lots of money. Tiny Bray, who spent four years in prison because of them, tries to get evidence of this; he is seen and is beaten by Syd and dies, but there is a witness (Audrey Nicholson). The police trick Syd into confessing but then the harder job begins of getting brother Red who is trying to kill the witness. Trevor Bannister plays the constable who is assigned to keep her alive for the trial. The climax of the show is when the villains are cornered and pull guns, and the police are unarmed. Gideon says that the average burglary nets only £71 whereas a car theft (2,484 stolen one month in 1965) gets £500. Also features Gretchen Franklin as Martha Bray and Jolyon Booth as Radio Man.
25
104 "The Rhyme and the Reason" John Gilling Jack Whittingham 3 May 1966 (1966-05-03) Aug. 1964
Based on a storyline in Gideon's Week. A young couple row and the girl is later found dead. All the evidence points to her Mod boyfriend. Gideon, as a friend of his sister, is asked to investigate. Stars Duncan Lamont as Divisional Supt. Smedd, Jo Rowbottom as Mary Rose and Edward Evans as Fred Norton. Filmed at various locations in Battersea.
26
113 "The Nightlifers" John Moxey Iain MacCormick 10 May 1966 (1966-05-10) Nov. 1964
New storyline. Four teens are led into a life of violence by Anton Rodgers who has upper-class pretensions and lives on a Chelsea houseboat with parties every night. Rodgers plays a contemptuous sadist whose idea of fun is hurting people, mirroring teen crime at the time. This was the last show to be broadcast and the series ended on a high note. Also starred Derek Fowlds as Tim Coles, Annette Andre as Sue Young, Jean Marsh as Elspeth McRae, Harry Locke as Joe Moss, Roddy McMillan as Det. Insp. Caldwell and Richard Hurndall as Mr. King.
Broadcasters[edit]
Australia[edit]
The Australian rights are held by the Nine Network who, over many decades, have shown numerous repeats in non-peak viewing times. Recently, that is from 2012 to 2017, there were numerous showings in the early hours of the morning on Gem, a Nine Network digital outlet, sometimes twice per morning. The Gideon's Way repeats alternate with re-screenings of another British series Danger Man, and of the Canadian program Seaway.
References[edit]
Jump up ^ "BFI Screenonline: Broadcasters and Industry Bodies > ITC".
Jump up ^ "Gideon's Way". TV.com. CBS Interactive.
Jump up ^ "Network ON AIR > Gideon's Way: The Complete Series :".
Jump up ^ Dates from ITC Episode guide issued with the Network DVD
Jump up ^ Before 1968 ATV transmitted weekdays in the Midlands and weekends in London. See History of ITV
External links[edit]
John Creasey brand owner Owatonna Media
Gideon's Way on IMDb
Retrieved from "https://en.wikipedia.org/w/index.php?title=Gideon%27s_Way&oldid=849403532"
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Tiptoe Through the Tulips
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2008) (Learn how and when to remove this template message)
Tip Toe Through the Tulips with Me
by Joe Burke & Al Dubin
Genre
Popular song from the 1929 film Gold Diggers of Broadway
Publisher
M. Witmark & Sons (New York)
"Tiptoe Through the Tulips", also known as "Tip Toe Through the Tulips with Me", is a popular song published in 1929. The song was written by Al Dubin (lyrics) and Joe Burke (music) and made popular by guitarist Nick Lucas.
Recording history[edit]
"Crooning Troubadour" Nick Lucas topped the US charts with "Tiptoe Through the Tulips" in 1929, after introducing the song in the musical "talkie" film Gold Diggers of Broadway. Lucas's recording held the #1 position for 10 weeks.[1] Other artists charted with the song in 1929, including Jean Goldkette (#5), Johnny Marvin (#11), and Roy Fox (#18).
The song was used in Sinkin' in the Bathtub, the first Looney Tunes cartoon short, in 1930. It is also heard in the opening scene of the 1945 film Confidential Agent.
The song was revived in 1967 by the California rock group The Humane Society and in 1968 by Tiny Tim, whose version charted at #17 that year, becoming his signature song, which he would continue to perform throughout his career. The song was also later covered by The Bonzo Dog Doo-Dah Band.
In popular culture[edit]
This article appears to contain trivial, minor, or unrelated references to popular culture. Please reorganize this content to explain the subject's impact on popular culture, using references to reliable sources, rather than simply listing appearances. Unsourced material may be challenged and removed. (April 2017)
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2017) (Learn how and when to remove this template message)
The song is sung by Dr. Smith and again by the Robot in the Lost in Space episode "Space Circus"[2]
The song is mentioned in the 1997 book Harry Potter and the Philosopher's Stone.[3] Vernon Dursley hums the song while boarding up small cracks around the front and back doors of his house so he can stop letters from Hogwarts reaching Harry.
Comedian Otto Waalkes sang a version, similar to that from Tiny Tim in his program Otto[4]
In The Witcher 3: Wild Hunt, the phrase "I like to tiptoe through the tulips" is one of Geralt's speech options for the pass-phrase to enter the Putrid Grove in Novigrad (though not the correct one).[5]
In the 2011 film Wrecked, the song is played on the radio.[6]
The song is featured in the 2010 horror film Insidious.[7]
References[edit]
Jump up ^ CD liner notes: Chart-Toppers of the Twenties, 1998 ASV Ltd.
Jump up ^ "Lost in Space Memories | Episodes". Pythononline.co.uk. Retrieved 2016-10-02.
Jump up ^ Harry Potter and the Philosopher's Stone, p. 34, Scholastic Corporation, ISBN 0-7475-3269-9
Jump up ^ "Otto Waalkes "Tip Toe through the Tulips" 1973". YouTube. 2013-10-28. Retrieved 2016-10-02.
Jump up ^ "ChristopherOdd "Let's Play The Witche r 3: Wild Hunt - Part 43"". YouTube. 2015-06-19.
Jump up ^ https://www.youtube.com/watch?v=HGu8YwQa8no&list=PLC2C9BFC77856C976&index=145. Missing or empty |title= (help)
Jump up ^ http://whatculture.com/film/10-great-but-unexpected-uses-of-music-in-movies. Missing or empty |title= (help)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Tiptoe_Through_the_Tulips&oldid=858878106"
Categories:
Songs with lyrics by Al Dubin
Songs with music by Joe Burke (composer)
1929 songs
1968 singles
Songs about plants
Novelty songs
Tiny Tim (musician) songs
Hidden categories:
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This page was last edited on 10 September 2018, at 06:45 (UTC).
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