Archaeology, or archeology (from Greek , ''archaiologia'' – , ''arkhaīos'', "ancient"; and , ''-logiā'', "-logy"), is the study of human society, primarily through the recovery and analysis of the material culture and environmental data that they have left behind, which includes artifacts, architecture, biofacts and cultural landscapes (the archaeological record). Because archaeology employs a wide range of different procedures, it can be considered to be both a science and a humanity, and in the United States it is thought of as a branch of anthropology, although in Europe it is viewed as a separate discipline.

Archaeology studies human history from the development of the first stone tools in eastern Africa 3.4 million years ago up until recent decades. It is of most importance for learning about prehistoric societies, when there are no written records for historians to study, making up over 99% of total human history, from the Palaeolithic until the advent of literacy in any given society. Archaeology has various different goals, which range from studying human evolution to cultural evolution and understanding culture history.

The discipline involves surveyance, excavation and eventually analysis of data collected to learn more about the past. In broad scope, archaeology relies on cross-disciplinary research. It draws upon anthropology, history, art history, classics, ethnology, geography, geology, linguistics, physics, information sciences, chemistry, statistics, paleoecology, paleontology, paleozoology, paleoethnobotany, and paleobotany.

Archaeology developed out of antiquarianism in Europe during the 19th century, and has since become a discipline practiced across the world. Since its early development, various specific sub-disciplines of archaeology have developed, including maritime archaeology, feminist archaeology and archaeoastronomy, and numerous different scientific techniques have been developed to aid archaeological investigation. Nonetheless, today, archaeologists face many problems, ranging from dealing with pseudoarchaeology to the looting of artifacts and opposition to the excavation of human remains.

Purpose

The purpose of archaeology is to learn more about past societies and the development of the human race. Over 99% of the history of humanity has occurred within prehistoric cultures, who did not make use of writing, thereby not leaving written records about themselves that we can study today. Without such written sources, the only way to learn about prehistoric societies is to use archaeology. Many important developments in human history occurred during prehistory, including the evolution of humanity during the Palaeolithic period, when the hominins developed from the australopithecines through to the early homos in Africa and finally into modern ''Homo sapiens''. Archaeology also sheds light on many of humanity's technological advances, for instance the ability to use fire, the development of stone tools, the discovery of metallurgy, the beginnings of religion and the creation of agriculture. Without archaeology, we would know nothing of these evolutionary and technological changes in humanity that pre-date writing.

However, it is not only prehistoric, pre-literate cultures that can be studied using archaeology but historic, literate cultures as well, through the sub-discipline of historical archaeology. For many literate cultures, such as Ancient Greece and Mesopotamia, their surviving records are often incomplete and biased to some extent. In many societies, literacy was restricted to the elite classes, such as the clergy or the bureaucracy of court or temple. The literacy even of aristocrats has sometimes been restricted to deeds and contracts. The interests and world-view of elites are often quite different from the lives and interests of the populace. Writings that were produced by people more representative of the general population were unlikely to find their way into libraries and be preserved there for posterity. Thus, written records tend to reflect the biases, assumptions, cultural values and possibly deceptions of a limited range of individuals, usually a small fraction of the larger population. Hence, written records cannot be trusted as a sole source. The material record may be closer to a fair representation of society, though it is subject to its own biases, such as sampling bias and differential preservation.

Theory

There is no one singular approach to archaeological theory that has been adhered to by all archaeologists. When archaeology developed in the late 19th century, the first approach to archaeological theory to be practiced was that of cultural-history archaeology, which held the goal of explaining why cultures changed and adapted rather than just highlighting the fact that they did, therefore emphasizing historical particularism. In the early 20th century, many archaeologists who studied past societies with direct continuing links to existing ones (such as those of Native Americans, Siberians, Mesoamericans etc.) followed the direct historical approach, compared the continuity between the past and contemporary ethnic and cultural groups. In the 1960s, an archaeological movement largely led by American archaeologists like Lewis Binford and Kent Flannery arose that rebelled against the established cultural-history archaeology. They proposed a "New Archaeology", which would be more "scientific" and "anthropological", with hypothesis testing and the scientific method very important parts of what became known as processual archaeology.

In the 1980s, a new postmodern movement arose led by the British archaeologists Michael Shanks, Christopher Tilley, Daniel Miller, and Ian Hodder, which has become known as post-processual archaeology. It questioned processualism's appeals to scientific positivism and impartiality, and emphasised the importance of a more self-critical theoretical reflexivity. However, this approach has been criticized by processualists as lacking scientific rigor, and the validity of both processualism and post-processualism is still under debate. Meanwhile, another theory, known as historical processualism has emerged seeking to incorporate a focus on process and post-processual archaeology's emphasis of reflexivity and history.

Archaeological theory now borrows from a wide range of influences, including neo-Darwinian evolutionary thought, phenomenology, postmodernism, agency theory, cognitive science, Functionalism, gender-based and Feminist archaeology, and Systems theory.

Methods

An archaeological investigation usually involves several distinct phases, each of which employs its own variety of methods. Before any practical work can begin however, a clear objective as to what the archaeologists are looking to achieve must be agreed upon. This done, a site is surveyed to find out as much as possible about it and the surrounding area. Second, an excavation may take place to uncover any archaeological features buried under the ground. And, third, the data collected from the excavation is studied and evaluated in an attempt to achieve the original research objectives of the archaeologists. It is then considered good practice for the information to be published so that it is available to other archaeologists and historians, although this is sometimes neglected.

Survey

A modern archaeological project often begins with a survey. Regional survey is the attempt to systematically locate previously unknown sites in a region. Site survey is the attempt to systematically locate features of interest, such as houses and middens, within a site. Each of these two goals may be accomplished with largely the same methods.

Survey was not widely practiced in the early days of archaeology. Cultural historians and prior researchers were usually content with discovering the locations of monumental sites from the local populace, and excavating only the plainly visible features there. Gordon Willey pioneered the technique of regional settlement pattern survey in 1949 in the Viru Valley of coastal Peru, and survey of all levels became prominent with the rise of processual archaeology some years later.

Survey work has many benefits if performed as a preliminary exercise to, or even in place of, excavation. It requires relatively little time and expense, because it does not require processing large volumes of soil to search out artifacts. (Nevertheless, surveying a large region or site can be expensive, so archaeologists often employ sampling methods.) As with other forms of non-destructive archaeology, survey avoids ethical issues (of particular concern to descendant peoples) associated with destroying a site through excavation. It is the only way to gather some forms of information, such as settlement patterns and settlement structure. Survey data are commonly assembled into maps, which may show surface features and/or artifact distribution.

The simplest survey technique is surface survey. It involves combing an area, usually on foot but sometimes with the use of mechanized transport, to search for features or artifacts visible on the surface. Surface survey cannot detect sites or features that are completely buried under earth, or overgrown with vegetation. Surface survey may also include mini-excavation techniques such as augers, corers, and shovel test pits. If no materials are found, the area surveyed is deemed sterile.

Aerial survey is conducted using cameras attached to airplanes, balloons, or even Kites. A bird's-eye view is useful for quick mapping of large or complex sites. Aerial photographs are used to document the status of the archaeological dig. Aerial imaging can also detect many things not visible from the surface. Plants growing above a buried man made structure, such as a stone wall, will develop more slowly, while those above other types of features (such as middens) may develop more rapidly. Photographs of ripening grain, which changes colour rapidly at maturation, have revealed buried structures with great precision. Aerial photographs taken at different times of day will help show the outlines of structures by changes in shadows. Aerial survey also employs infrared, ground-penetrating radar wavelengths, LiDAR and thermography.

Geophysical survey can be the most effective way to see beneath the ground. Magnetometers detect minute deviations in the Earth's magnetic field caused by iron artifacts, kilns, some types of stone structures, and even ditches and middens. Devices that measure the electrical resistivity of the soil are also widely used. Archaeological features whose electrical resistivity contrasts with that of surrounding soils can be detected and mapped. Some archaeological features (such as those composed of stone or brick) have higher resistivity than typical soils, while others (such as organic deposits or unfired clay) tend to have lower resistivity.

Although some archaeologists consider the use of metal detectors to be tantamount to treasure hunting, others deem them an effective tool in archaeological surveying. Examples of formal archaeological use of metal detectors include musketball distribution analysis on English Civil War battlefields, metal distribution analysis prior to excavation of a 19th century ship wreck, and service cable location during evaluation. Metal detectorists have also contributed to archaeology where they have made detailed records of their results and refrained from raising artifacts from their archaeological context. In the UK, metal detectorists have been solicited for involvement in the Portable Antiquities Scheme.

Regional survey in underwater archaeology uses geophysical or remote sensing devices such as marine magnetometer, side-scan sonar, or sub-bottom sonar.

Excavation

Archaeological excavation existed even when the field was still the domain of amateurs, and it remains the source of the majority of data recovered in most field projects. It can reveal several types of information usually not accessible to survey, such as stratigraphy, three-dimensional structure, and verifiably primary context.

Modern excavation techniques require that the precise locations of objects and features, known as their provenance or provenience, be recorded. This always involves determining their horizontal locations, and sometimes vertical position as well (also see Primary Laws of Archaeology). Likewise, their association, or relationship with nearby objects and features, needs to be recorded for later analysis. This allows the archaeologist to deduce which artifacts and features were likely used together and which may be from different phases of activity. For example, excavation of a site reveals its stratigraphy; if a site was occupied by a succession of distinct cultures, artifacts from more recent cultures will lie above those from more ancient cultures.

Excavation is the most expensive phase of archaeological research, in relative terms. Also, as a destructive process, it carries ethical concerns. As a result, very few sites are excavated in their entirety. Again the percentage of a site excavated depends greatly on the country and "method statement" issued. In places 90% excavation is common. Sampling is even more important in excavation than in survey. It is common for large mechanical equipment, such as backhoes (JCBs), to be used in excavation, especially to remove the topsoil (overburden), though this method is increasingly used with great caution. Following this rather dramatic step, the exposed area is usually hand-cleaned with trowels or hoes to ensure that all features are apparent.

The next task is to form a site plan and then use it to help decide the method of excavation. Features dug into the natural subsoil are normally excavated in portions to produce a visible archaeological section for recording. A feature, for example a pit or a ditch, consists of two parts: the cut and the fill. The cut describes the edge of the feature, where the feature meets the natural soil. It is the feature's boundary. The fill is what the feature is filled with, and will often appear quite distinct from the natural soil. The cut and fill are given consecutive numbers for recording purposes. Scaled plans and sections of individual features are all drawn on site, black and white and colour photographs of them are taken, and recording sheets are filled in describing the context of each. All this information serves as a permanent record of the now-destroyed archaeology and is used in describing and interpreting the site.

Analysis

Once artifacts and structures have been excavated, or collected from surface surveys, it is necessary to properly study them, to gain as much data as possible. This process is known as post-excavation analysis, and is usually the most time-consuming part of the archaeological investigation. It is not uncommon for the final excavation reports on major sites to take years to be published.

At its most basic, the artifacts found are cleaned, cataloged and compared to published collections, to classify them typologically and to identify other sites with similar artifact assemblages. However, a much more comprehensive range of analytical techniques are available through archaeological science, meaning that artifacts can be dated and their compositions examined. The bones, plants and pollen collected from a site can all be analyzed (using the techniques of zooarchaeology, paleoethnobotany, and palynology), while any texts can usually be deciphered.

These techniques frequently provide information that would not otherwise be known and therefore contribute greatly to the understanding of a site.

Virtual archaeology

Some time around 1995 archaeologists started using computer graphics to build virtual 3D models of sites such as the throne room of an ancient Assyrian palace or ancient Rome. This is done by collecting normal photographs and using computer graphics to build the virtual 3D model. In more general terms, computers can be used to recreate the environment and conditions of the past, such as objects, buildings, landscapes and even ancient battles. Computer simulation can be used to simulate the living conditions of an ancient community and to see how it would have reacted to various scenarios (such as how much food to grow, how many animals to slaughter, etc.) Computer-built topographical models have been combined with astronomical calculations to verify whether or not certain structures (such as pillars) were aligned with astronomical events such as the sun's position at a solstice.

Academic sub-disciplines

As with most academic disciplines, there are a very large number of archaeological sub-disciplines characterised by a specific method or type of material (e.g., lithic analysis, music, archaeobotany), geographical or chronological focus (e.g. Near Eastern archaeology, Islamic archaeology, Medieval archaeology), other thematic concern (e.g. maritime archaeology, landscape archaeology, battlefield archaeology), or a specific archaeological culture or civilisation (e.g. Egyptology, Indology, Sinology).

Historical archaeology

Historical archaeology is the study of cultures with some form of writing.

In England, archaeologists have uncovered the long-lost layouts of medieval villages abandoned after the crises of the 14th century and the equally lost layouts of 17th century parterre gardens swept away by a change in fashion. In downtown New York City archaeologists have exhumed the 18th century remains of the African burial ground.

Ethnoarchaeology

Ethnoarchaeology is the archaeological study of living people. The approach gained notoriety during the emphasis on middle range theory that was a feature of the processual movement of the 1960s. Early ethnoarchaeological research focused on hunting and gathering or foraging societies. Ethnoarchaeology continues to be a vibrant component of post-processual and other current archaeological approaches. Ethnoarchaeology is the use of ethnography to increase and improve analogs, which are then used as analogies to interpret the archaeological record. In short, ethnoarchaeology is the application of ethnography to archaeology.

Experimental archaeology

Experimental archaeology represents the application of the experimental method to develop more highly controlled observations of processes that create and impact the archaeological record. In the context of the logical positivism of processualism with its goals of improving the scientific rigor of archaeological epistemologies the experimental method gained importance. Experimental techniques remain a crucial component to improving the inferential frameworks for interpreting the archaeological record.

Archaeometry

Archaeometry is a field of study that aims to systematize archaeological measurement. It emphasizes the application of analytical techniques from physics, chemistry, and engineering. It is a lively field of research that frequently focuses on the definition of the chemical composition of archaeological remains for source analysis. Archaeometry also investigates different spatial characteristics of features, employing such methods as space syntax and geodesy, which can be analyzed using computer-based geographic information system technologies. A relatively nascent subfield is that of archaeological materials, designed to enhance understanding of prehistoric and non-industrial culture through scientific analysis of the structure and properties of materials associated with human activity.

Cultural resources management

While archaeology can be done as a pure science, it can also be an applied science, namely the study of archaeological sites that are threatened by development. In such cases, archaeology is a subsidiary activity within Cultural resources management (CRM), also called heritage management in the United Kingdom. Today, CRM accounts for most of the archaeological research done in the United States and much of that in western Europe as well. In the US, CRM archaeology has been a growing concern since the passage of the National Historic Preservation Act (NHPA) of 1966, and most taxpayers, scholars, and politicians believe that CRM has helped preserve much of that nation's history and prehistory that would have otherwise been lost in the expansion of cities, dams, and highways. Along with other statutes, the NHPA mandates that projects on federal land or involving federal funds or permits consider the effects of the project on each archaeological site.

The application of CRM in the United Kingdom is not limited to government-funded projects. Since 1990 PPG 16 has required planners to consider archaeology as a material consideration in determining applications for new development. As a result, numerous archaeological organisations undertake mitigation work in advance of (or during) construction work in archaeologically sensitive areas, at the developer's expense.

In England, ultimate responsibility of care for the historic environment rests with the Department for Culture, Media and Sport in association with English Heritage. In Scotland, Wales and Northern Ireland, the same responsibilities lie with Historic Scotland, Cadw and the Northern Ireland Environment Agency respectively.

Among the goals of CRM are the identification, preservation, and maintenance of cultural sites on public and private lands, and the removal of culturally valuable materials from areas where they would otherwise be destroyed by human activity, such as proposed construction. This study involves at least a cursory examination to determine whether or not any significant archaeological sites are present in the area affected by the proposed construction. If these do exist, time and money must be allotted for their excavation. If initial survey and/or test excavation indicates the presence of an extraordinarily valuable site, the construction may be prohibited entirely. CRM is a thriving entity, especially in the United States and Europe where archaeologists from private companies and all levels of government engage in the practice of their discipline.

Cultural resources management has, however, been criticized. CRM is conducted by private companies that bid for projects by submitting proposals outlining the work to be done and an expected budget. It is not unheard-of for the agency responsible for the construction to simply choose the proposal that asks for the least funding. CRM archaeologists face considerable time pressure, often being forced to complete their work in a fraction of the time that might be allotted for a purely scholarly endeavor. Compounding the time pressure is the vetting process of site reports that are required (in the US) to be submitted by CRM firms to the appropriate State Historic Preservation Office (SHPO). From the SHPO's perspective there is to be no difference between a report submitted by a CRM firm operating under a deadline, and a multi-year academic project. The end result is that for a Cultural Resource Management archaeologist to be successful, they must be able to produce academic quality documents at a corporate world pace.

The annual ratio of open academic archaeology positions (inclusive of Post-Doc, temporary, and non tenure track appointments) to the annual number of archaeology MA/MSc and PhD students is grossly disproportionate. This dearth of academic positions causes a predictable excess of well educated individuals who join the ranks of the following year's crop of non-academically employed archaeologists. Cultural Resource Management, once considered an intellectual backwater for individuals with "strong backs and weak minds" has reaped the benefit of this massive pool of well educated professionals. This results in CRM offices increasingly staffed by advance degreed individuals with a track record of producing scholarly articles but who have the notches on their trowels to show they have been in the trenches as a shovelbum.

History of archaeology

Flavio Biondo, an Italian Renaissance humanist historian, created a systematic and documented guide to the ruins and topography of ancient Rome in the early 15th century for which he has been called an early founder of archaeology. Ciriaco de' Pizzicolli or Cyriacus of Ancona (31 July 1391 — 1453/55) was a restlessly itinerant Italian humanist who came from a prominent family of merchants in Ancona. Ciriaco traveled all around the Eastern Mediterranean, noting down his archaeological discoveries in his day-book, ''Commentaria,'' that eventually filled six volumes. He has been called ''father of archaeology''.

After that, modern archaeology has its origins in the antiquarianism of Europe in the mid-19th century, where it developed soon after the scientific advancement of geology, which had shown that the Earth was billions rather than thousands of years old, as was then commonly believed. Soon after this, in 1859, Charles Darwin's ''On the Origin of Species'' was published, outlining his theory of evolution, eventually leading scientists to believe that humanity was in fact millions of years old, thereby providing a time limit within which the burgeoning archaeological movement could study. Meanwhile, in 1836 the Danish historian Christian Jürgensen Thomsen published ''A Ledetraad til Nordisk Oldkyndighed'' (''Guideline to Scandinavian Antiquity'') translated into English in 1848, in which he proposed the idea that collections of European artifacts from prehistory could be divided up into a three age system: the Stone Age, Bronze Age and Iron Age.Thomsen was not the first scholar to propose the three age system (that idea dated back to Greek and Roman thinkers), but he was the first to apply these categories to material culture, and with that innovation came significant advances in the concept of seriation, or stylistic changes through time.

It was these three concepts of human antiquity, evolution and the Three-Age system that are often thought of as the building blocks for modern archaeology.

Soon the early archaeologists began to investigate various areas around the world, with the study of ancient Aegean civilization being stimulated by the excavations of Heinrich Schliemann at Troy, and of Arthur Evans at Crete, whilst John Lloyd Stephens was a pivotal figure in the rediscovery of Maya civilization throughout Central America. However, the methodologies employed by these archaeologists were highly flawed by today's standards, often having a eurocentric bias, and many early European archaeologists often relied on anthropological and ethnographic accounts provided by the likes of Edward Tylor and Lewis Henry Morgan, thereby comparing contemporary "savage" peoples like the Native Americans with the historical peoples of Europe who lived in similar societies. Soon the new discipline of archaeology spread to North America, where it was taken up by figures like Samuel Haven and William Henry Holmes, who excavated ancient Native American monuments.

Further advancements in archaeological field methodology arose in the late 19th century. One of the pioneering figures in this was Augustus Pitt Rivers, who meticulously excavated on Cranborne Chase in southern England, emphasising that it was not only items of beauty or value that should be recorded but mundane items as well; he therefore helped to differentiate archaeology from antiquarianism. Other important archaeologists who further refined the discipline in the late 19th and early 20th centuries were Flinders Petrie (who excavated in Egypt and Palestine), Sir Mortimer Wheeler (India), Dorothy Garrod (the Middle East), Max Uhle (Peru) and Alfred Kidder (Mexico). Further adaptation and innovation in archaeology continued throughout the 20th century, in particular in the 1960s, when maritime archaeology was popularised by George Bass, urban archaeology became more prevalent with redevelopment in many European cities, and rescue archaeology was developed as a result of increasing commercial development.

Archaeology has been portrayed in the mainstream media in sensational ways. This has its advantages and disadvantages. Many practitioners point to the childhood excitement of Indiana Jones films as the inspiration for them to enter the field. Archaeologists are also very much reliant on public support, the question of exactly who they are doing their work for is often discussed.

Current issues and controversy

Public archaeology

Motivated by a desire to halt looting, curb pseudoarchaeology, and to help preserve archaeological sites through education and fostering public appreciation for the importance of archaeological heritage, archaeologists are mounting public-outreach campaigns. They seek to stop looting by combatting people who illegally take artifacts from protected sites, and by alerting people who live near archaeological sites of the threat of looting. Common methods of public outreach include press releases, and the encouragement of school field trips to sites under excavation by professional archaeologists. Public appreciation of the significance of archaeology and archaeological sites often leads to improved protection from encroaching development or other threats.

One audience for archaeologists' work is the public. They increasingly realize that their work can benefit non-academic and non-archaeological audiences, and that they have a responsibility to educate and inform the public about archaeology. Local heritage awareness is aimed at increasing civic and individual pride through projects such as community excavation projects, and better public presentations of archaeological sites and knowledge. The U.S.Dept. of Agriculture, Forest Service(USFS) operates a volunteer archaeology and historic preservation program called the Passport in Time (PIT). Volunteers work with professional USFS archaeologists and historians on national forests throughout the U.S. Volunteers are involved in all aspects of professional archaeology under expert supervision.

In the UK, popular archaeology programs such as ''Time Team'' and ''Meet the Ancestors'' have resulted in a huge upsurge in public interest. Where possible, archaeologists now make more provisions for public involvement and outreach in larger projects than they once did, and many local archaeological organizations operate within the Community archaeology framework to expand public involvement in smaller-scale, more local projects. Archaeological excavation, however, is best undertaken by well-trained staff that can work quickly and accurately. Often this requires observing the necessary health and safety and indemnity insurance issues involved in working on a modern building site with tight deadlines. Certain charities and local government bodies sometimes offer places on research projects either as part of academic work or as a defined community project. There is also a flourishing industry selling places on commercial training excavations and archaeological holiday tours.

Archaeologists prize local knowledge and often liaise with local historical and archaeological societies, which is one reason why Community archaeology projects are starting to become more common. Often archaeologists are assisted by the public in the locating of archaeological sites, which professional archaeologists have neither the funding, nor the time to do.

Pseudoarchaeology

Pseudoarchaeology is an umbrella term for all activities that claim to be archaeological but in fact violate commonly accepted and scientific archaeological practices. It includes much fictional archaeological work (discussed above), as well as some actual activity. Many non-fiction authors have ignored the scientific methods of processual archaeology, or the specific critiques of it contained in post-processualism.

An example of this type is the writing of Erich von Däniken. His 1968 book, ''Chariots of the Gods?'', together with many subsequent lesser-known works, expounds a theory of ancient contacts between human civilisation on Earth and more technologically advanced extraterrestrial civilisations. This theory, known as palaeocontact theory, or Ancient astronaut theory, is not exclusively Däniken's, nor did the idea originate with him. Works of this nature are usually marked by the renunciation of well-established theories on the basis of limited evidence and the interpretation of evidence with a preconceived theory in mind.

Looting

Looting of archaeological sites is an ancient problem. For instance, many of the tombs of the Egyptian pharaohs were looted during antiquity. Archaeology stimulates interest in ancient objects, and people in search of artifacts or treasure cause damage to archaeological sites. The commercial and academic demand for artifacts unfortunately contributes directly to the illicit antiquities trade. Smuggling of antiquities abroad to private collectors has caused great cultural and economic damage in many countries whose governments lack the resources and or the will to deter it. Looters damage and destroy archaeological sites, denying future generations information about their ethnic and cultural heritage. Indigenous peoples especially lose access to and control over their 'cultural resources', ultimately denying them the opportunity to know their past.

Popular consciousness often associates looting with poor Third World countries, but this is a false assumption. A lack of financial resources and political will are chronic worldwide problems inhibiting more effective protection of archaeological sites. Many Native American Indians today, such as Vine Deloria, Jr., consider any removal of cultural artifacts from a Native American Indian site to be theft, and much of professional archaeology as academic looting.

In 1937 W. F. Hodge the Director of the Southwest Museum in Los Angeles CA, released a statement that the museum would no longer purchase or accept collections from looted contexts. The first conviction of the transport of artifacts illegally removed from private property under the Archaeological Resources Protection Act (ARPA; Public Law 96-95; 93 Statute 721; ) was in 1992 in the State of Indiana.

Descendant peoples

In the United States, examples such as the case of Kennewick Man have illustrated the tensions between Native Americans and archaeologists, which can be summarized as a conflict between a need to remain respectful toward sacred burial sites and the academic benefit from studying them. For years, American archaeologists dug on Indian burial grounds and other places considered sacred, removing artifacts and human remains to storage facilities for further study. In some cases human remains were not even thoroughly studied but instead archived rather than reburied. Furthermore, Western archaeologists' views of the past often differ from those of tribal peoples. The West views time as linear; for many natives, it is cyclic. From a Western perspective, the past is long-gone; from a native perspective, disturbing the past can have dire consequences in the present.

As a consequence of this, American Indians attempted to prevent archaeological excavation of sites inhabited by their ancestors, while American archaeologists believed that the advancement of scientific knowledge was a valid reason to continue their studies. This contradictory situation was addressed by the Native American Graves Protection and Repatriation Act (NAGPRA, 1990), which sought to reach a compromise by limiting the right of research institutions to possess human remains. Due in part to the spirit of postprocessualism, some archaeologists have begun to actively enlist the assistance of indigenous peoples likely to be descended from those under study.

Archaeologists have also been obliged to re-examine what constitutes an archaeological site in view of what native peoples believe to constitute sacred space. To many native peoples, natural features such as lakes, mountains or even individual trees have cultural significance. Australian archaeologists especially have explored this issue and attempted to survey these sites to give them some protection from being developed. Such work requires close links and trust between archaeologists and the people they are trying to help and at the same time study.

While this cooperation presents a new set of challenges and hurdles to fieldwork, it has benefits for all parties involved. Tribal elders cooperating with archaeologists can prevent the excavation of areas of sites that they consider sacred, while the archaeologists gain the elders' aid in interpreting their finds. There have also been active efforts to recruit aboriginal peoples directly into the archaeological profession.

Repatriation

:''See Repatriation and reburial of human remains'' A new trend in the heated controversy between First Nations groups and scientists is the repatriation of native artifacts to the original descendants. An example of this occurred June 21, 2005, when community members and elders from a number of the 10 Algonquian nations in the Ottawa area convened on the Kitigan Zibi reservation near Maniwaki, Quebec, to inter ancestral human remains and burial goods — some dating back 6,000 years. It was not determined, however, if the remains were directly related to the Algonquin people who now inhabit the region. The remains may be of Iroquoian ancestry, since Iroquoian people inhabited the area before the Algonquin. Moreover, the oldest of these remains might have no relation at all to the Algonquin or Iroquois, and belong to an earlier culture who previously inhabited the area.

The remains and artifacts, including jewelry, tools and weapons, were originally excavated from various sites in the Ottawa Valley, including Morrison and the Allumette Islands. They had been part of the Canadian Museum of Civilization's research collection for decades, some since the late 19th century. Elders from various Algonquin communities conferred on an appropriate reburial, eventually deciding on traditional redcedar and birchbark boxes lined with redcedar chips, muskrat and beaver pelts.

Now, an inconspicuous rock mound marks the reburial site where close to 80 boxes of various sizes are buried, no further scientific study is possible. Although negotiations were at times tense between the Kitigan Zibi community and museum, they were able to reach agreement.

Kennewick Man is another repatriation candidate that has been the source of heated debate.

See also

List of archaeological periods

List of archaeological sites sorted by country

List of archaeologists

List of Russian archaeologists

List of prominent paleoethnobotanists

Archaeoacoustics

Archaeoastronomy

Archaeobiology

Archaeology of religion and ritual

Area of archaeological potential

Biblical archaeology

Dating methodology (archaeology)

Dump digging

GIS in archaeology

Graduate Programs in Archaeology

Grave robbing

Harris matrix

Historical Digging

Intellectual property issues in cultural heritage (IPinCH)

Kite aerial photography

Lost cities

Palaeoarchaeology

Virtual artifact

Xenoarchaeology

References

Footnotes

Bibliography

Further reading

Archaeology (magazine)

C. U. Larsen - ''Sites and Monuments'' (1992)

Colin Renfrew & Paul Bahn - ''Archaeology: theories, methods and practice'' 2nd edition (1996)

David Hurst Thomas - ''Archaeology'' 3rd. edition (1998)

Glyn Daniel - ''A Short History of Archaeology'' (1991)

International Journal of South American Archaeology - IJSA (magazine)

Internet Archaeology e-journal

Kevin Greene - ''Introduction to Archaeology'' (1983)

Lewis Binford - ''New Perspectives in Archaeology'' (1968) ISBN 0-202-33022-2

Robert J. Sharer & Wendy Ashmore - ''Archaeology: Discovering our Past'' 2nd edition (1993)

Thomas Hester, Harry Shafer, and Kenneth L. Feder - ''Field Methods in Archaeology'' 7th edition (1997)

Alison Wylie - ''Thinking From Things: Essays in the Philosophy of Archaeology'', University of California Press, Berkeley CA, 2002

Smekalova T. N., Voss O., Smekalov S. L. "Magnetic Surveying in Archaeology. More than 10 years of using the Overhauser GSM-19 gradiometer", Wormianum 2008.

Bruce Trigger - "A History of Archaeological Thought" 2nd. edition (2007)

Ian Hodder & Scott Hutson - "Reading the Past" 3rd. edition (2003)

Adrian Praetzellis - "Death by Theory", AltaMira Press (2000). ISBN 0-7425-0359-3 / 9780742503595

External links

Archaeology Daily News

Archaeology Times | The top archaeology news from around the world

400,000 records of archaeological sites and architecture in England

NPS Archeology Program: Visit Archeology (Archeology travel guides)

Great Archaeology

Archaeological news updated daily

Council for British Archaeology

Fasti Online - an online database of archaeological sites

Kite Aerial Photographers - Archaeology

The Archaeology Division of the American Anthropological Association

The Archaeological Institute of America

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US Forest Service Volunteer program ''Passport in Time''

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King Arthur is a legendary British leader of the late 5th and early 6th centuries, who, according to Medieval histories and romances, led the defence of Britain against Saxon invaders in the early 6th century. The details of Arthur's story are mainly composed of folklore and literary invention, and his historical existence is debated and disputed by modern historians. The sparse historical background of Arthur is gleaned from various sources, including the ''Annales Cambriae'', the ''Historia Brittonum'', and the writings of Gildas. Arthur's name also occurs in early poetic sources such as ''Y Gododdin''.

The legendary Arthur developed as a figure of international interest largely through the popularity of Geoffrey of Monmouth's fanciful and imaginative 12th-century ''Historia Regum Britanniae'' (''History of the Kings of Britain''). Some Welsh and Breton tales and poems relating the story of Arthur date from earlier than this work; in these works, Arthur appears either as a great warrior defending Britain from human and supernatural enemies or as a magical figure of folklore, sometimes associated with the Welsh Otherworld, Annwn. How much of Geoffrey's ''Historia'' (completed in 1138) was adapted from such earlier sources, rather than invented by Geoffrey himself, is unknown.

Although the themes, events and characters of the Arthurian legend varied widely from text to text, and there is no one canonical version, Geoffrey's version of events often served as the starting point for later stories. Geoffrey depicted Arthur as a king of Britain who defeated the Saxons and established an empire over Britain, Ireland, Iceland, Norway and Gaul. Many elements and incidents that are now an integral part of the Arthurian story appear in Geoffrey's ''Historia'', including Arthur's father Uther Pendragon, the wizard Merlin, Arthur's wife Guinevere, the sword Excalibur, Arthur's conception at Tintagel, his final battle against Mordred at Camlann and final rest in Avalon. The 12th-century French writer Chrétien de Troyes, who added Lancelot and the Holy Grail to the story, began the genre of Arthurian romance that became a significant strand of medieval literature. In these French stories, the narrative focus often shifts from King Arthur himself to other characters, such as various Knights of the Round Table. Arthurian literature thrived during the Middle Ages but waned in the centuries that followed until it experienced a major resurgence in the 19th century. In the 21st century, the legend lives on, not only in literature but also in adaptations for theatre, film, television, comics and other media.

Debated historicity

The historical basis for the King Arthur legend has long been debated by scholars. The first datable mention of King Arthur is in a 9th century Latin text. One school of thought, citing entries in the ''Historia Brittonum'' (''History of the Britons'') and ''Annales Cambriae'' (''Welsh Annals''), sees Arthur as a genuine historical figure, a Romano-British leader who fought against the invading Anglo-Saxons sometime in the late 5th to early 6th century. The ''Historia Brittonum'', a 9th-century Latin historical compilation attributed in some late manuscripts to a Welsh cleric called Nennius, lists twelve battles that Arthur fought. These culminate in the Battle of Mons Badonicus, or Mount Badon, where he is said to have single-handedly killed 960 men. Recent studies, however, question the reliability of the ''Historia Brittonum'' as a source for the history of this period.

The other text that seems to support the case for Arthur's historical existence is the 10th-century ''Annales Cambriae'', which also link Arthur with the Battle of Mount Badon. The ''Annales'' date this battle to 516–518, and also mention the Battle of Camlann, in which Arthur and Medraut (Mordred) were both killed, dated to 537–539. These details have often been used to bolster confidence in the ''Historia'''s account and to confirm that Arthur really did fight at Mount Badon. Problems have been identified, however, with using this source to support the ''Historia Brittonum'''s account. The latest research shows that the ''Annales Cambriae'' was based on a chronicle begun in the late 8th century in Wales. Additionally, the complex textual history of the ''Annales Cambriae'' precludes any certainty that the Arthurian annals were added to it even that early. They were more likely added at some point in the 10th century and may never have existed in any earlier set of annals. The Mount Badon entry probably derived from the ''Historia Brittonum''.

This lack of convincing early evidence is the reason many recent historians exclude Arthur from their accounts of sub-Roman Britain. In the view of historian Thomas Charles-Edwards, "at this stage of the enquiry, one can only say that there may well have been an historical Arthur [but ...] the historian can as yet say nothing of value about him". These modern admissions of ignorance are a relatively recent trend; earlier generations of historians were less sceptical. Historian John Morris made the putative reign of Arthur the organising principle of his history of sub-Roman Britain and Ireland, ''The Age of Arthur'' (1973). Even so, he found little to say about a historical Arthur.

Partly in reaction to such theories, another school of thought emerged which argued that Arthur had no historical existence at all. Morris's ''Age of Arthur'' prompted archaeologist Nowell Myres to observe that "no figure on the borderline of history and mythology has wasted more of the historian's time". Gildas' 6th-century polemic ''De Excidio et Conquestu Britanniae'' (''On the Ruin and Conquest of Britain''), written within living memory of Mount Badon, mentions the battle but does not mention Arthur. Arthur is not mentioned in the ''Anglo-Saxon Chronicle'' or named in any surviving manuscript written between 400 and 820. He is absent from Bede's early 8th-century ''Ecclesiastical History of the English People'', another major early source for post-Roman history that mentions Mount Badon. Historian David Dumville has written: "I think we can dispose of him [Arthur] quite briefly. He owes his place in our history books to a 'no smoke without fire' school of thought ... The fact of the matter is that there is no historical evidence about Arthur; we must reject him from our histories and, above all, from the titles of our books."

Some scholars argue that Arthur was originally a fictional hero of folklore—or even a half-forgotten Celtic deity—who became credited with real deeds in the distant past. They cite parallels with figures such as the Kentish totemic horse-gods Hengest and Horsa, who later became historicised. Bede ascribed to these legendary figures a historical role in the 5th-century Anglo-Saxon conquest of eastern Britain. It is not even certain that Arthur was considered a king in the early texts. Neither the ''Historia'' nor the ''Annales'' calls him "''rex''": the former calls him instead "''dux bellorum''" (leader of battles) and "''miles''" (soldier).

Historical documents for the post-Roman period are scarce, so a definitive answer to the question of Arthur's historical existence is unlikely. Sites and places have been identified as "Arthurian" since the 12th century, but archaeology can confidently reveal names only through inscriptions found in secure contexts. The so-called "Arthur stone", discovered in 1998 among the ruins at Tintagel Castle in Cornwall in securely dated 6th-century contexts, created a brief stir but proved irrelevant. Other inscriptional evidence for Arthur, including the Glastonbury cross, is tainted with the suggestion of forgery. Although several historical figures have been proposed as the basis for Arthur, no convincing evidence for these identifications has emerged.

Name

The origin of the name Arthur remains a matter of debate. Some suggest it is derived from the Roman ''nomen gentile'' (family name) ''Artōrius'', of obscure and contested etymology (but possibly of Messapic or Etruscan origin). Some scholars have suggested it is relevant to this debate that the legendary King Arthur's name only appears as ''Arthur'', or ''Arturus'', in early Latin Arthurian texts, never as ''Artōrius'' (though it should be noted that Classical Latin Artōrius became Arturius in some Vulgar Latin dialects). However, this may not say anything about the origin of the name ''Arthur'', as ''Artōrius'' would regularly become ''Art(h)ur'' when borrowed into Welsh.

Another possibility is that it is derived from a Brittonic patronym ''*Arto-rīg-ios'' (the root of which, ''*arto-rīg-'' "bear-king" is to be found in the Old Irish personal name ''Art-ri'') via a Latinized form Artōrius. Less likely is the commonly proposed derivation from Welsh ''arth'' "bear" + (g)wr "man" (earlier ''*Arto-uiros'' in Brittonic); there are phonological difficulties with this theory—notably that a Brittonic compound name ''*Arto-uiros'' should produce Old Welsh ''*Artgur'' and Middle/Modern Welsh ''*Arthwr'' and not ''Arthur'' (in Welsh poetry the name is always spelled ''Arthur'' and is exclusively rhymed with words ending in ''-ur'' - never words ending in ''-wr'' - which confirms that the second element cannot be ''[g]wr'' "man").

An alternative theory, which has gained only limited acceptance among professional scholars, derives the name Arthur from Arcturus, the brightest star in the constellation Boötes, near Ursa Major or the Great Bear. Classical Latin ''Arcturus'' would also have become ''Art(h)ur'' when borrowed into Welsh, and its brightness and position in the sky led people to regard it as the "guardian of the bear" (which is the meaning of the name in Ancient Greek) and the "leader" of the other stars in Boötes.

A similar first name is Old Irish ''Artúr'', which is believed to be derived directly from an early Old Welsh or Cumbric ''Artur''. The earliest historically attested bearer of the name is a son or grandson of Áedán mac Gabráin (d. AD 609),

Medieval literary traditions

The creator of the familiar literary persona of Arthur was Geoffrey of Monmouth, with his pseudo-historical ''Historia Regum Britanniae'' (''History of the Kings of Britain''), written in the 1130s. The textual sources for Arthur are usually divided into those written before Geoffrey's ''Historia'' (known as pre-Galfridian texts, from the Latin form of Geoffrey, ''Galfridus'') and those written afterwards, which could not avoid his influence (Galfridian, or post-Galfridian, texts).

Pre-Galfridian traditions

The earliest literary references to Arthur come from Welsh and Breton sources. There have been few attempts to define the nature and character of Arthur in the pre-Galfridian tradition as a whole, rather than in a single text or text/story-type. One recent academic survey that does attempt this, by Thomas Green, identifies three key strands to the portrayal of Arthur in this earliest material. The first is that he was a peerless warrior who functioned as the monster-hunting protector of Britain from all internal and external threats. Some of these are human threats, such as the Saxons he fights in the ''Historia Brittonum'', but the majority are supernatural, including giant cat-monsters, destructive divine boars, dragons, dogheads, giants and witches. The second is that the pre-Galfridian Arthur was a figure of folklore (particularly topographic or onomastic folklore) and localised magical wonder-tales, the leader of a band of superhuman heroes who live in the wilds of the landscape. The third and final strand is that the early Welsh Arthur had a close connection with the Welsh Otherworld, Annwn. On the one hand, he launches assaults on Otherworldly fortresses in search of treasure and frees their prisoners. On the other, his warband in the earliest sources includes former pagan gods, and his wife and his possessions are clearly Otherworldly in origin.

One of the most famous Welsh poetic references to Arthur comes in the collection of heroic death-songs known as ''Y Gododdin'' (''The Gododdin''), attributed to the 6th-century poet Aneirin. In one stanza, the bravery of a warrior who slew 300 enemies is praised, but it is then noted that despite this "he was no Arthur", that is to say his feats cannot compare to the valour of Arthur. ''Y Gododdin'' is known only from a 13th-century manuscript, so it is impossible to determine whether this passage is original or a later interpolation, but John Koch's view that the passage dates from a 7th-century or earlier version is regarded as unproven; 9th- or 10th-century dates are often proposed for it. Several poems attributed to Taliesin, a poet said to have lived in the 6th century, also refer to Arthur, although these all probably date from between the 8th and 12th centuries. They include "Kadeir Teyrnon" ("The Chair of the Prince"), which refers to "Arthur the Blessed", "Preiddeu Annwn" ("The Spoils of Annwn"), which recounts an expedition of Arthur to the Otherworld, and "Marwnat vthyr pen[dragon]" ("The Elegy of Uther Pen[dragon]"), which refers to Arthur's valour and is suggestive of a father-son relationship for Arthur and Uther that pre-dates Geoffrey of Monmouth. Other early Welsh Arthurian texts include a poem found in the ''Black Book of Carmarthen'', "Pa gur yv y porthaur?" ("What man is the gatekeeper?"). This takes the form of a dialogue between Arthur and the gatekeeper of a fortress he wishes to enter, in which Arthur recounts the names and deeds of himself and his men, notably Cei (Kay) and Bedwyr (Bedivere). The Welsh prose tale ''Culhwch and Olwen'' (c. 1100), included in the modern Mabinogion collection, has a much longer list of more than 200 of Arthur's men, though Cei and Bedwyr again take a central place. The story as a whole tells of Arthur helping his kinsman Culhwch win the hand of Olwen, daughter of Ysbaddaden Chief-Giant, by completing a series of apparently impossible tasks, including the hunt for the great semi-divine boar Twrch Trwyth. The 9th-century ''Historia Brittonum'' also refers to this tale, with the boar there named Troy(n)t. Finally, Arthur is mentioned numerous times in the ''Welsh Triads'', a collection of short summaries of Welsh tradition and legend which are classified into groups of three linked characters or episodes in order to assist recall. The later manuscripts of the Triads are partly derivative from Geoffrey of Monmouth and later continental traditions, but the earliest ones show no such influence and are usually agreed to refer to pre-existing Welsh traditions. Even in these, however, Arthur's court has started to embody legendary Britain as a whole, with "Arthur's Court" sometimes substituted for "The Island of Britain" in the formula "Three XXX of the Island of Britain". While it is not clear from the ''Historia Brittonum'' and the ''Annales Cambriae'' that Arthur was even considered a king, by the time ''Culhwch and Olwen'' and the Triads were written he had become ''Penteyrnedd yr Ynys hon'', "Chief of the Lords of this Island", the overlord of Wales, Cornwall and the North.

In addition to these pre-Galfridian Welsh poems and tales, Arthur appears in some other early Latin texts besides the ''Historia Brittonum'' and the ''Annales Cambriae''. In particular, Arthur features in a number of well-known ''vitae'' ("Lives") of post-Roman saints, none of which are now generally considered to be reliable historical sources (the earliest probably dates from the 11th century). According to the ''Life of Saint Gildas'', written in the early 12th century by Caradoc of Llancarfan, Arthur is said to have killed Gildas' brother Hueil and to have rescued his wife Gwenhwyfar from Glastonbury. In the ''Life of Saint Cadoc'', written around 1100 or a little before by Lifris of Llancarfan, the saint gives protection to a man who killed three of Arthur's soldiers, and Arthur demands a herd of cattle as ''wergeld'' for his men. Cadoc delivers them as demanded, but when Arthur takes possession of the animals, they turn into bundles of ferns. Similar incidents are described in the medieval biographies of Carannog, Padarn and Eufflam, probably written around the 12th century. A less obviously legendary account of Arthur appears in the ''Legenda Sancti Goeznovii'', which is often claimed to date from the early 11th century although the earliest manuscript of this text dates from the 15th century. Also important are the references to Arthur in William of Malmesbury's ''De Gestis Regum Anglorum'' and Herman's ''De Miraculis Sanctae Mariae Laudensis'', which together provide the first certain evidence for a belief that Arthur was not actually dead and would at some point return, a theme that is often revisited in post-Galfridian folklore.

Geoffrey of Monmouth

The first narrative account of Arthur's life is found in Geoffrey of Monmouth's Latin work ''Historia Regum Britanniae'' (''History of the Kings of Britain''). This work, completed c. 1138, is an imaginative and fanciful account of British kings from the legendary Trojan exile Brutus to the 7th-century Welsh king Cadwallader. Geoffrey places Arthur in the same post-Roman period as do ''Historia Brittonum'' and ''Annales Cambriae''. He incorporates Arthur's father, Uther Pendragon, his magician advisor Merlin, and the story of Arthur's conception, in which Uther, disguised as his enemy Gorlois by Merlin's magic, sleeps with Gorlois's wife Igerna at Tintagel, and she conceives Arthur. On Uther's death, the fifteen-year-old Arthur succeeds him as King of Britain and fights a series of battles, similar to those in the ''Historia Brittonum'', culminating in the Battle of Bath. He then defeats the Picts and Scots before creating an Arthurian empire through his conquests of Ireland, Iceland and the Orkney Islands. After twelve years of peace, Arthur sets out to expand his empire once more, taking control of Norway, Denmark and Gaul. Gaul is still held by the Roman Empire when it is conquered, and Arthur's victory naturally leads to a further confrontation between his empire and Rome's. Arthur and his warriors, including Kaius (Kay), Beduerus (Bedivere) and Gualguanus (Gawain), defeat the Roman emperor Lucius Tiberius in Gaul but, as he prepares to march on Rome, Arthur hears that his nephew Modredus (Mordred)—whom he had left in charge of Britain—has married his wife Guenhuuara (Guinevere) and seized the throne. Arthur returns to Britain and defeats and kills Modredus on the river Camblam in Cornwall, but he is mortally wounded. He hands the crown to his kinsman Constantine and is taken to the isle of Avalon to be healed of his wounds, never to be seen again.

How much of this narrative was Geoffrey's own invention is open to debate. Certainly, Geoffrey seems to have made use of the list of Arthur's twelve battles against the Saxons found in the 9th-century ''Historia Brittonum'', along with the battle of Camlann from the ''Annales Cambriae'' and the idea that Arthur was still alive. Arthur's personal status as the king of all Britain would also seem to be borrowed from pre-Galfridian tradition, being found in ''Culhwch and Olwen'', the ''Triads'' and the Saints' Lives. In addition, many of the elements that Monmouth's King Arthur includes are strong parallels to "Culhwch and Olwen." The motifs and themes of loyalty, honor, giants, gift giving, wife-stealing, and magical creatures are prominent in both stories. Furthermore, Monmouth derived many of his character's names from "Culhwch and Olwen"; Sir Kay comes from "Kai"; Sir Bedivere is derived from "Bedwyr"; and lastly Sir Gawain is "Gwalchmei" in Welsh. Also, the heroines of both tales have similar names: the meaning of Guinever is "White Phantom", while Olwen equates with "of the white track." Finally, Geoffrey borrowed many of the names for Arthur's possessions, close family and companions from the pre-Galfridian Welsh tradition, including Kaius (Cei), Beduerus (Bedwyr), Guenhuuara (Gwenhwyfar), Uther (Uthyr) and perhaps also Caliburnus (Caledfwlch), the latter becoming Excalibur in subsequent Arthurian tales. However, while names, key events and titles may have been borrowed, Brynley Roberts has argued that "the Arthurian section is Geoffrey’s literary creation and it owes nothing to prior narrative." So, for instance, the Welsh Medraut is made the villainous Modredus by Geoffrey, but there is no trace of such a negative character for this figure in Welsh sources until the 16th century. There have been relatively few modern attempts to challenge this notion that the ''Historia Regum Britanniae'' is primarily Geoffrey's own work, with scholarly opinion often echoing William of Newburgh's late-12th-century comment that Geoffrey "made up" his narrative, perhaps through an "inordinate love of lying". Geoffrey Ashe is one dissenter from this view, believing that Geoffrey's narrative is partially derived from a lost source telling of the deeds of a 5th-century British king named Riotamus, this figure being the original Arthur, although historians and Celticists have been reluctant to follow Ashe in his conclusions.

Whatever his sources may have been, the immense popularity of Geoffrey's ''Historia Regum Britanniae'' cannot be denied. Well over 200 manuscript copies of Geoffrey’s Latin work are known to have survived, and this does not include translations into other languages. Thus, for example, around 60 manuscripts are extant containing Welsh-language versions of the ''Historia'', the earliest of which were created in the 13th century; the old notion that some of these Welsh versions actually underlie Geoffrey's ''Historia'', advanced by antiquarians such as the 18th-century Lewis Morris, has long since been discounted in academic circles. As a result of this popularity, Geoffrey's ''Historia Regum Britanniae'' was enormously influential on the later medieval development of the Arthurian legend. While it was by no means the only creative force behind Arthurian romance, many of its elements were borrowed and developed (e.g., Merlin and the final fate of Arthur), and it provided the historical framework into which the romancers' tales of magical and wonderful adventures were inserted.

Romance traditions

The popularity of Geoffrey's ''Historia'' and its other derivative works (such as Wace's ''Roman de Brut'') is generally agreed to be an important factor in explaining the appearance of significant numbers of new Arthurian works in continental Europe during the 12th and 13th centuries, particularly in France. It was not, however, the only Arthurian influence on the developing "Matter of Britain". There is clear evidence for a knowledge of Arthur and Arthurian tales on the Continent before Geoffrey's work became widely known (see for example, the Modena Archivolt), as well as for the use of "Celtic" names and stories not found in Geoffrey's ''Historia'' in the Arthurian romances. From the perspective of Arthur, perhaps the most significant effect of this great outpouring of new Arthurian story was on the role of the king himself: much of this 12th-century and later Arthurian literature centres less on Arthur himself than on characters such as Lancelot and Guenevere, Perceval, Galahad, Gawain, and Tristan and Isolde. Whereas Arthur is very much at the centre of the pre-Galfridian material and Geoffrey's ''Historia'' itself, in the romances he is rapidly sidelined. His character also alters significantly. In both the earliest materials and Geoffrey he is a great and ferocious warrior, who laughs as he personally slaughters witches and giants and takes a leading role in all military campaigns, whereas in the continental romances he becomes the ''roi fainéant'', the "do-nothing king", whose "inactivity and acquiescence constituted a central flaw in his otherwise ideal society". Arthur's role in these works is frequently that of a wise, dignified, even-tempered, somewhat bland, and occasionally feeble monarch. So, he simply turns pale and silent when he learns of Lancelot's affair with Guinevere in the ''Mort Artu'', whilst in Chrétien de Troyes's ''Yvain, the Knight of the Lion'' he is unable to stay awake after a feast and has to retire for a nap. Nonetheless, as Norris J. Lacy has observed, whatever his faults and frailties may be in these Arthurian romances, "his prestige is never—or almost never—compromised by his personal weaknesses ... his authority and glory remain intact."

Arthur and his retinue appear in some of the ''Lais'' of Marie de France, but it was the work of another French poet, Chrétien de Troyes, that had the greatest influence with regard to the above development of the character of Arthur and his legend. Chrétien wrote five Arthurian romances between c. 1170 and c. 1190. ''Erec and Enide'' and ''Cligès'' are tales of courtly love with Arthur's court as their backdrop, demonstrating the shift away from the heroic world of the Welsh and Galfridian Arthur, while ''Yvain, the Knight of the Lion'' features Yvain and Gawain in a supernatural adventure, with Arthur very much on the sidelines and weakened. However, the most significant for the development of the Arthurian legend are ''Lancelot, the Knight of the Cart'', which introduces Lancelot and his adulterous relationship with Arthur's queen (Guinevere), extending and popularizing the recurring theme of Arthur as a cuckold, and ''Perceval, the Story of the Grail'', which introduces the Holy Grail and the Fisher King and which again sees Arthur having a much reduced role. Chrétien was thus "instrumental both in the elaboration of the Arthurian legend and in the establishment of the ideal form for the diffusion of that legend", and much of what came after him in terms of the portrayal of Arthur and his world built upon the foundations he had laid. ''Perceval'', although unfinished, was particularly popular: four separate continuations of the poem appeared over the next half century, with the notion of the Grail and its quest being developed by other writers such as Robert de Boron, a fact that helped accelerate the decline of Arthur in continental romance. Similarly, Lancelot and his cuckolding of Arthur with Guinevere became one of the classic motifs of the Arthurian legend, although the Lancelot of the prose ''Lancelot'' (c. 1225) and later texts was a combination of Chrétien's character and that of Ulrich von Zatzikhoven's ''Lanzelet''. Chrétien's work even appears to feed back into Welsh Arthurian literature, with the result that the romance Arthur began to replace the heroic, active Arthur in Welsh literary tradition. Particularly significant in this development were the three Welsh Arthurian romances, which are closely similar to those of Chrétien, albeit with some significant differences: ''Owain, or the Lady of the Fountain'' is related to Chrétien's ''Yvain''; ''Geraint and Enid'', to ''Erec and Enide''; and ''Peredur son of Efrawg'', to ''Perceval''. Up to c. 1210, continental Arthurian romance was expressed primarily through poetry; after this date the tales began to be told in prose. The most significant of these 13th-century prose romances was the Vulgate Cycle (also known as the Lancelot-Grail Cycle), a series of five Middle French prose works written in the first half of that century. These works were the ''Estoire del Saint Grail'', the ''Estoire de Merlin'', the ''Lancelot propre'' (or Prose ''Lancelot'', which made up half the entire Vulgate Cycle on its own), the ''Queste del Saint Graal'' and the ''Mort Artu'', which combine to form the first coherent version of the entire Arthurian legend. The cycle continued the trend towards reducing the role played by Arthur in his own legend, partly through the introduction of the character of Galahad and an expansion of the role of Merlin. It also made Mordred the result of an incestuous relationship between Arthur and his sister and established the role of Camelot, first mentioned in passing in Chrétien's ''Lancelot'', as Arthur's primary court. This series of texts was quickly followed by the Post-Vulgate Cycle (c. 1230–40), of which the ''Suite du Merlin'' is a part, which greatly reduced the importance of Lancelot's affair with Guinevere but continued to sideline Arthur, now in order to focus more on the Grail quest. As such, Arthur became even more of a relatively minor character in these French prose romances; in the Vulgate itself he only figures significantly in the ''Estoire de Merlin'' and the ''Mort Artu''.

The development of the medieval Arthurian cycle and the character of the "Arthur of romance" culminated in ''Le Morte d'Arthur'', Thomas Malory's retelling of the entire legend in a single work in English in the late 15th century. Malory based his book—originally titled ''The Whole Book of King Arthur and of His Noble Knights of the Round Table''—on the various previous romance versions, in particular the Vulgate Cycle, and appears to have aimed at creating a comprehensive and authoritative collection of Arthurian stories. Perhaps as a result of this, and the fact that ''Le Morte D'Arthur'' was one of the earliest printed books in England, published by William Caxton in 1485, most later Arthurian works are derivative of Malory's.

Decline, revival, and the modern legend

Post-medieval literature

The end of the Middle Ages brought with it a waning of interest in King Arthur. Although Malory's English version of the great French romances was popular, there were increasing attacks upon the truthfulness of the historical framework of the Arthurian romances—established since Geoffrey of Monmouth's time—and thus the legitimacy of the whole Matter of Britain. So, for example, the 16th-century humanist scholar Polydore Vergil famously rejected the claim that Arthur was the ruler of a post-Roman empire, found throughout the post-Galfridian medieval "chronicle tradition", to the horror of Welsh and English antiquarians. Social changes associated with the end of the medieval period and the Renaissance also conspired to rob the character of Arthur and his associated legend of some of their power to enthral audiences, with the result that 1634 saw the last printing of Malory's ''Le Morte d'Arthur'' for nearly 200 years. King Arthur and the Arthurian legend were not entirely abandoned, but until the early 19th century the material was taken less seriously and was often used simply as vehicle for allegories of 17th- and 18th-century politics. Thus Richard Blackmore's epics ''Prince Arthur'' (1695) and ''King Arthur'' (1697) feature Arthur as an allegory for the struggles of William III against James II. Similarly, the most popular Arthurian tale throughout this period seems to have been that of Tom Thumb, which was told first through chapbooks and later through the political plays of Henry Fielding; although the action is clearly set in Arthurian Britain, the treatment is humorous and Arthur appears as a primarily comedic version of his romance character.

John Dryden's masque ''King Arthur'' is still performed, largely thanks to Henry Purcell's music, though seldom unabridged.

Tennyson and the revival

In the early 19th century, medievalism, Romanticism, and the Gothic Revival reawakened interest in Arthur and the medieval romances. A new code of ethics for 19th-century gentlemen was shaped around the chivalric ideals that the "Arthur of romance" embodied. This renewed interest first made itself felt in 1816, when Malory's ''Le Morte d'Arthur'' was reprinted for the first time since 1634. Initially the medieval Arthurian legends were of particular interest to poets, inspiring, for example, William Wordsworth to write "The Egyptian Maid" (1835), an allegory of the Holy Grail. Pre-eminent among these was Alfred Lord Tennyson, whose first Arthurian poem, "The Lady of Shalott", was published in 1832. Although Arthur himself played a minor role in some of these works, following in the medieval romance tradition, Tennyson's Arthurian work reached its peak of popularity with ''Idylls of the King'', which reworked the entire narrative of Arthur's life for the Victorian era. First published in 1859, it sold 10,000 copies within the first week. In the ''Idylls'', Arthur became a symbol of ideal manhood whose attempt to establish a perfect kingdom on earth fails, finally, through human weakness. Tennyson's works prompted a large number of imitators, generated considerable public interest in the legends of Arthur and the character himself, and brought Malory’s tales to a wider audience. Indeed, the first modernization of Malory's great compilation of Arthur's tales was published shortly after ''Idylls'' appeared, in 1862, and there were six further editions and five competitors before the century ended.

This interest in the "Arthur of romance" and his associated stories continued through the 19th century and into the 20th, and influenced poets such as William Morris and Pre-Raphaelite artists including Edward Burne-Jones. Even the humorous tale of Tom Thumb, which had been the primary manifestation of Arthur's legend in the 18th century, was rewritten after the publication of ''Idylls''. While Tom maintained his small stature and remained a figure of comic relief, his story now included more elements from the medieval Arthurian romances, and Arthur is treated more seriously and historically in these new versions. The revived Arthurian romance also proved influential in the United States, with such books as Sidney Lanier's ''The Boy's King Arthur'' (1880) reaching wide audiences and providing inspiration for Mark Twain's satiric ''A Connecticut Yankee in King Arthur's Court'' (1889). Although the "Arthur of romance" was sometimes central to these new Arthurian works (as he was in Burne-Jones's ''The Last Sleep of Arthur in Avalon'', 1881–1898), on other occasions he reverted back to his medieval status and is either marginalised or even missing entirely, with Wagner's Arthurian operas providing a notable instance of the latter. Furthermore, the revival of interest in Arthur and the Arthurian tales did not continue unabated. By the end of the 19th century, it was confined mainly to Pre-Raphaelite imitators, and it could not avoid being affected by the First World War, which damaged the reputation of chivalry and thus interest in its medieval manifestations and Arthur as chivalric role model. The romance tradition did, however, remain sufficiently powerful to persuade Thomas Hardy, Laurence Binyon and John Masefield to compose Arthurian plays, and T. S. Eliot alludes to the Arthur myth (but not Arthur) in his poem ''The Waste Land'', which mentions the Fisher King.

Modern legend

In the latter half of the 20th century, the influence of the romance tradition of Arthur continued, through novels such as T. H. White's ''The Once and Future King'' (1958) and Marion Zimmer Bradley's ''The Mists of Avalon'' (1982) in addition to comic strips such as ''Prince Valiant'' (from 1937 onward). Tennyson had reworked the romance tales of Arthur to suit and comment upon the issues of his day, and the same is often the case with modern treatments too. Bradley's tale, for example, takes a feminist approach to Arthur and his legend, in contrast to the narratives of Arthur found in medieval materials, and American authors often rework the story of Arthur to be more consistent with values such as equality and democracy. The romance Arthur has become popular in film and theatre as well. T. H. White's novel was adapted into the Lerner-Loewe stage musical ''Camelot'' (1960) and the Disney animated film ''The Sword in the Stone'' (1963); ''Camelot'' itself, with its focus on the love of Lancelot and Guinevere and the cuckolding of Arthur, was itself made into a film of the same name in 1967. The romance tradition of Arthur is particularly evident and, according to critics, successfully handled in Robert Bresson's ''Lancelot du Lac'' (1974), Eric Rohmer's ''Perceval le Gallois'' (1978) and perhaps John Boorman's fantasy film ''Excalibur'' (1981); it is also the main source of the material utilised in the Arthurian spoof ''Monty Python and the Holy Grail'' (1975).

Re-tellings and re-imaginings of the romance tradition are not the only important aspect of the modern legend of King Arthur. Attempts to portray Arthur as a genuine historical figure of c. 500 AD, stripping away the "romance", have also emerged. As Taylor and Brewer have noted, this return to the medieval "chronicle tradition"' of Geoffrey of Monmouth and the ''Historia Brittonum'' is a recent trend which became dominant in Arthurian literature in the years following the outbreak of the Second World War, when Arthur's legendary resistance to Germanic invaders struck a chord in Britain. Clemence Dane's series of radio plays, ''The Saviours'' (1942), used a historical Arthur to embody the spirit of heroic resistance against desperate odds, and Robert Sherriff's play ''The Long Sunset'' (1955) saw Arthur rallying Romano-British resistance against the Germanic invaders. This trend towards placing Arthur in a historical setting is also apparent in historical and fantasy novels published during this period. In recent years the portrayal of Arthur as a real hero of the 5th century has also made its way into film versions of the Arthurian legend, most notably the TV series ''Arthur of the Britons'' and the feature films ''King Arthur'' (2004) and ''The Last Legion'' (2007). The 2008 BBC series ''Merlin'' is a reimagining of the legend in which the future King Arthur and Merlin are young contemporaries. ''Camelot'' (2011) is an exclusive short series of episodes which depict Arthur in ancient Briton and his struggle for the throne. Also, a recent Disney film, ''Avalon High'' has been released, the story about a modern day King Arthur and his knights of the round table.

Legacy as a role model

In European Christian culture of the Middle Ages Arthur was created a member of the Nine Worthies, a group of heroes encapsulating all the ideal qualities of chivalry. His life was thus proposed as a valuable subject for study by those aspiring to chivalric status. This aspect of Arthur in the Nine Worthies was popularised firstly through literature, and was thereafter adopted as a frequent subject for painters and sculptors. Arthur has also been used as a model for modern-day behaviour. In the 1930s, the Order of the Fellowship of the Knights of the Round Table formed in Britain to promote Christian ideals and Arthurian notions of medieval chivalry. In the United States, hundreds of thousands of boys and girls joined Arthurian youth groups, such as the Knights of King Arthur, in which Arthur and his legends were promoted as wholesome exemplars.

Legacy in popular culture

Arthur's diffusion within contemporary culture goes beyond obviously Arthurian endeavours, with Arthurian names being regularly attached to objects, buildings and places. As Norris J. Lacy has observed, "The popular notion of Arthur appears to be limited, not surprisingly, to a few motifs and names, but there can be no doubt of the extent to which a legend born many centuries ago is profoundly embedded in modern culture at every level."

See also

Historical basis for King Arthur

King Arthur's family

King Arthur's messianic return

King Arthur's weapons

List of Arthurian characters

List of books about King Arthur

List of films based on Arthurian legend

Nine Worthies, of which Arthur was one

Notes

References

. . . . . . . . . Second ed. . . . . . . . 2nd. ed. . . . . . . . . . . . . . . . . . (EBSCO subscription required for online access.) . . Conference paper. . . . . . . . . . . . . 5 vols. . . . . . . . . . (JSTOR subscription required for online access.) . . . . . . . . . . . . . . . . . 5 vols. . . . . . . . . . . . . . . . . . Trans. Thomas Kerth. . Third, revised, ed. . . . . . .

External links

. An excellent site detailing Welsh Arthurian folklore. . A detailed and comprehensive academic site, which includes numerous scholarly articles, from Thomas Green of Oxford University. . The only academic journal solely concerned with the Arthurian Legend; a good selection of resources and links. . Provides texts and translations (of varying quality) of Welsh medieval sources, many of which mention Arthur. . An interesting collection of articles on King Arthur by various Arthurian enthusiasts. . . Provides valuable bibliographies and freely downloadable versions of Arthurian texts. . An online peer-reviewed journal that includes regular Arthurian articles; see especially the first issue.

*"Arthur and Gorlagon", translated by Frank A. Milne, notes by Alfred Nutt. ''Folk-Lore''. Volume 15, 1904.

Category:5th-century births Category:6th-century deaths Category:Arthurian characters Category:British traditional history Category:Britons of the Southwest Category:Burials at Glastonbury Abbey Category:Medieval legends Category:Monarchs of Cornwall Category:Monomyths Category:Mythological kings Category:People in Cornish history Category:Sub-Roman Britain Category:Sub-Roman monarchs Category:Welsh monarchs Category:Welsh mythology Category:Cornish culture Category:People whose existence is disputed Category:Monty Python characters

ar:الملك آرثر an:Rei Artús bn:রাজা আর্থার be:Кароль Артур bs:Kralj Arthur br:Roue Arzhur bg:Артур ca:Rei Artús cs:Král Artuš cy:Y Brenin Arthur da:Kong Arthur de:Artus et:Kuningas Arthur el:Βασιλιάς Αρθούρος es:Rey Arturo eo:Reĝo Arturo eu:Artur erregea fa:شاه آرتور fr:Roi Arthur fy:Kening Arthur gl:Rei Artur gu:કિંગ આર્થર ko:아서 왕 hi:किंग आर्थर hr:Kralj Arthur id:Raja Arthur os:Къарол Артур it:Re Artù he:המלך ארתור kn:ಕಿಂಗ್ ಆರ್ಥರ್ ka:მეფე არტური kw:Arthur Gernow la:Arthurus (rex) lv:Karalis Arturs lt:Karalius Artūras hu:Artúr király ms:Raja Arthur nl:Koning Arthur ja:アーサー王 no:Arthur av britene nrm:Rouai Èrthu pcd:Roé Artur pl:Król Artur pt:Rei Artur ro:Regele Artur ru:Король Артур sco:Keeng Arthur simple:King Arthur sk:Kráľ Artuš sl:Kralj Artur sr:Kralj Artur sh:Kralj Arthur fi:Kuningas Arthur sv:Kung Artur ta:ஆர்தர் அரசர் te:కింగ్ ఆర్థర్ th:กษัตริย์อาเธอร์ tg:Шоҳ Артур tr:Kral Arthur uk:Король Артур ur:بادشاہ آرتھر vi:Vua Arthur zh:亚瑟王

The Three Stooges were an American vaudeville and comedy act of the early to mid–20th century best known for their numerous short subject films. Their hallmark was physical farce and extreme slapstick. In films, the Stooges were commonly known by their first names: "Moe, Larry, and Curly" and "Moe, Larry, and Shemp," among other lineups. They first started as "Ted Healy and his Stooges" which contained Moe, Larry and Shemp. "The Three Stooges" film trio was originally composed of Moe Howard, brother Curly Howard and Larry Fine. Shemp Howard replaced brother Curly, when Curly suffered a debilitating stroke in May 1946.

After Shemp's death from a heart attack in November 1955, he was replaced by comedian Joe Besser, after the use of film actor Joe Palma to film four Shemp-era shorts. Ultimately, Joe DeRita (nicknamed "Curly Joe") replaced Joe Besser by 1958. The act regained momentum throughout the 1960s as popular kiddie fare until Larry Fine's paralyzing stroke in January 1970 effectively marked the end of the act proper. Moe tried unsuccessfully one final time to revive the Stooges with longtime supporting actor Emil Sitka filling in for Larry. Larry ultimately succumbed to a series of additional strokes in January 1975, followed by Moe, who died of lung cancer in May 1975.

History

Ted Healy and his stooges

The Three Stooges started in 1925 as part of a raucous vaudeville act called 'Ted Healy and His Stooges' (a.k.a. 'Ted Healy and His Southern Gentlemen', 'Ted Healy and His Three Lost Souls' and 'Ted Healy and His Racketeers'—the moniker 'Three Stooges' was never used during their tenure with Healy). In the act, lead comedian Healy would attempt to sing or tell jokes while his noisy assistants would keep "interrupting" him. Healy would respond by verbally and physically abusing his stooges. Brothers Moe and Shemp were joined later that year by violinist-comedian Larry Fine, and Fred Sanborn joined the group as well.

In 1930, Ted Healy and His Stooges (including Sanborn) appeared in their first Hollywood feature film, ''Soup to Nuts'', released by Fox Film Corporation. The film was not a critical success, but the Stooges' performances were singled out as memorable, leading Fox to offer the trio a contract minus Healy. This enraged the prickly Healy, who told studio executives that the Stooges were his employees. The offer was withdrawn, and after Howard, Fine and Howard learned of the reason, they left Healy to form their own act, which quickly took off with a tour of the theatre circuit. Healy attempted to stop the new act with legal action, claiming they were using his copyrighted material. There are accounts of Healy threatening to bomb theaters if Howard, Fine and Howard ever performed there, which worried Shemp so much that he almost left the act; reportedly, only a pay raise kept him on board. Healy tried to save his act by hiring replacement stooges, but they were inexperienced and not as well-received as their predecessors. In 1932, with Moe now acting as business manager, Healy reached a new agreement with his former Stooges, and they were booked in a production of Jacob J. Shubert's ''The Passing Show of 1932''. During rehearsals, Healy received a more lucrative offer and found a loophole in his contract allowing him to leave the production. Shemp, fed up with Healy's abrasiveness, decided to quit the act and found work almost immediately, in Vitaphone movie comedies produced in Brooklyn, New York.

With Shemp gone, Healy and the two remaining stooges (Moe and Larry) needed a replacement, so Moe suggested his younger brother Jerry Howard. Healy reportedly took one look at Jerry, who had long chestnut red locks and a handlebar mustache, and remarked that he did not look like he was funny. Jerry left the room and returned a few moments later with his head shaved (though his mustache remained for a time), and then quipped "Boy, do I look girly." Healy heard "Curly," and the name stuck. (There are varying accounts as to how the Curly character actually came about.)

In 1933, Metro-Goldwyn-Mayer (MGM) signed Healy and his Stooges to a movie contract. They appeared in feature films and short subjects, either together, individually, or with various combinations of actors. The trio was featured in a series of musical comedy shorts, beginning with ''Nertsery Rhymes''. The short was one of a few shorts to be made with an early two-strip Technicolor process, including one featuring Curly without Healy or the other Stooges, ''Roast Beef and Movies'' (1934). The shorts themselves were built around recycled film footage of production numbers cut from MGM musicals, such as ''Children of Pleasure'', ''Lord Byron of Broadway'', and the unfinished ''March of Time'' (all 1930), which had been filmed in early Technicolor. Soon, additional shorts followed (sans the experimental Technicolor), including ''Beer and Pretzels'' (1933), ''Plane Nuts'' (1933), and ''The Big Idea'' (1934).

Healy and company also appeared in several MGM feature films as comic relief, such as ''Turn Back the Clock'' (1933), ''Meet the Baron'' (1933), ''Dancing Lady'' (1933), ''Fugitive Lovers'' (1934), and ''Hollywood Party'' (1934). Healy and the Stooges also appeared together in ''Myrt and Marge'' for Universal Pictures.

In 1934, the team's contract with MGM expired, and the Stooges parted professional company with Healy. According to Moe Howard's autobiography, the Stooges split with Ted Healy in 1934 once and for all because of Healy's alcoholism and abrasiveness. Their final film with Healy was MGM’s 1934 film, ''Hollywood Party''. Both Healy and the Stooges went on to separate successes, with Healy dying under mysterious circumstances in 1937.

The Columbia years: Moe, Larry and Curly

In 1934, the trio – now officially christened "The Three Stooges" – signed on to appear in two-reel comedy short subjects for Columbia Pictures. In Moe's autobiography, he said they each got $600 per week on a one-year contract with a renewable option; in the Ted Okuda–Edward Watz book ''The Columbia Comedy Shorts'', the Stooges are said to have received $1,000 between them for their first Columbia effort, ''Woman Haters'', and then signed a term contract for $7,500 per film, to be divided among the trio.

Within their first year at Columbia, the Stooges became wildly popular. Realizing this, Columbia Pictures president Harry Cohn used the Stooges as leverage, as the demand for their films was so great that Columbia eventually refused to supply exhibitors with the trio's shorts unless they also agreed to book some of the studio's mediocre B movies. Cohn also saw to it that the Stooges remain ignorant of their popularity. During their 23 years spent at Columbia, the Stooges were never completely aware of their amazing drawing power at the box office. As their contracts with the studio included an open option that had to be renewed every year, Cohn would tell the boys that the short subjects were in decline, which was not a complete fabrication (Cohn's yearly mantra was "the market for comedy shorts is dying out, fellahs.") Thinking their days were numbered, the Stooges would sweat it out each and every year, with Cohn signing the trio up for another year at the last minute. This cruel deception kept the insecure Stooges unaware of their true value, resulting in them having second thoughts about asking for a better contract without a yearly option. Cohn's scare tactics worked for all 23 years the Stooges were at Columbia; the team never once asked for—nor were they ever given—a salary increase. It was not until after they stopped making the shorts in December 1957 did Moe learn of the game Cohn was playing, what a valuable commodity the Stooges had been for the ailing studio, and how many millions more the act could have earned.

The Stooges were required to churn out up to eight short films per year within a 40-week period; for the remaining 12 or so weeks, they were free to pursue other employment. Usually, the Stooges would either spend this time with their families or tour the country promoting their live act. The Stooges appeared in 190 film shorts and five features while at Columbia. Del Lord directed more than three dozen Stooge films; Jules White directed dozens more, and his brother Jack White directed several under the pseudonym "Preston Black".

According to a published report, Moe, Larry, and director Jules White considered their best film to be ''You Nazty Spy!''. This 18-minute short subject starred Moe as "Moe Hailstone", an Adolf Hitler-like character, and satirized the Nazis in a period when America was still neutral and resolutely isolationist. Curly played a Hermann Goering character, replete with medals, and Larry a Ribbentrop-type ambassador. ''You Nazty Spy!'' was the first Hollywood film to spoof Hitler, as it was released in January, 1940, nine months before Charlie Chaplin's ''The Great Dictator''. Reportedly this film caused the Stooges to be placed on Hitler's so-called "death list" because of its anti-Nazi stance. Chaplin, along with Jack Benny, would also be on this list due to their later anti-Nazi films. The Stooges made occasional guest appearances in feature films, though generally they stuck to short subjects. Columbia offered theater owners an entire program of two-reel comedies (15 to 25 titles annually) featuring such stars as Buster Keaton, Andy Clyde, Charley Chase, and Hugh Herbert, but the Three Stooges shorts were the most popular of all.

Curly was easily the most popular member of the team. His childlike mannerisms and natural comedic charm (he had no previous acting experience) made him a hit with audiences. The fact that Curly had to shave his head for the act led him to feel unappealing to women. To mask his insecurities, Curly ate and drank excessively and caroused whenever the Stooges made personal appearances, which was approximately seven months out of the year. His weight ballooned in the 1940s, and his blood pressure was dangerously high. His wild lifestyle and constant drinking eventually caught up with him in 1945, and his performances suffered. In his last dozen shorts (ranging from 1945's ''If a Body Meets a Body'' through 1947's ''Half-Wits Holiday''), he was seriously ill, struggling to get through even the most basic scenes.

It was during the final day of filming ''Half-Wits Holiday'' on May 6, 1946 that Curly suffered a debilitating stroke on the set, ending his 14-year career. Curly's health necessitated a temporary retirement from the act, and while the Stooges hoped for a full recovery, Curly never starred in a film again, except for one brief cameo appearance in the third film after Shemp returned to the trio, ''Hold That Lion!'' It was the only film that contained all ''four'' of the original Stooges (the three Howard brothers and Larry) on screen simultaneously; Jules White recalled Curly visiting the set one day, and White had him do this bit for fun. (Curly's cameo appearance was recycled in the 1953 remake ''Booty and the Beast''.) In 1949, Curly was supposed to play a cameo role in the Stooge comedy ''Malice in the Palace'', but he was physically unable to perform. His chef role was played by Larry.

Shemp returns

Moe Howard turned to his older brother Shemp Howard to take Curly's place. Shemp, however, was hesitant to rejoin the Stooges, as he had a successful solo career at the time of Curly's untimely illness. However, he realized that Moe and Larry's careers would be finished without the Stooge act. Shemp wanted some kind of assurance that his rejoining was indeed temporary, and that he could leave the Stooges once Curly recovered. Unfortunately, Curly remained gravely ill after 1950, dying of a cerebral hemorrhage caused by additional strokes on January 18, 1952.

Shemp appeared with the Stooges in 76 more shorts and a quickie Western comedy feature titled ''Gold Raiders''. Upon Shemp's return, the quality of the films picked up; the last few Curly efforts had been marred by his sluggish performances. Entries like ''Out West'', ''Squareheads of the Round Table'', and ''Punchy Cowpunchers'' proved that there was life after Curly, and that Shemp could easily hold his own. Though some say he lacked his younger brother's childlike charisma, Shemp was a gifted, professional comedian. More often than not, his astute gift of comedic timing buoys weak material. In fact, one the finest entries in the series, ''Brideless Groom'', was made during this period.

Another interesting plus from the Shemp era was that Larry was given more time on screen. Throughout most of the Curly era, Larry was relegated to a background role, only being called upon to break up a potential scuffle between Moe and Curly. By the time Shemp rejoined the Stooges, Larry was allotted equal footage, even becoming the focus of several films (''Fuelin' Around'', ''He Cooked His Goose'').

During this period, Moe, Larry, and Shemp made a pilot for a ''Three Stooges'' television show called ''Jerks of All Trades'' in 1949. The series was never picked up, although the pilot is currently in the public domain and is available on home video, as is an early television appearance from around the same time on a vaudeville-style comedy series, ''Camel Comedy Caravan'', originally broadcast live on CBS-TV on March 11, 1950 and starring Ed Wynn. Also available commercially is a kinescope of Moe, Larry, and Shemp's appearance on ''The Frank Sinatra Show'', broadcast live over CBS-TV on January 1, 1952. Frank Sinatra was reportedly a big fan of the Stooges and slapstick comedy in general. On this broadcast, the Stooges are joined by one of their longtime stock-company members, Vernon Dent, who plays "Mr. Mortimer", a party-goer who requests a drink. The Stooges oblige with disastrous results.

Columbia's short-subject division downsized in 1952. Producer Hugh McCollum was discharged and director Edward Bernds resigned out of loyalty to McCollum, leaving only Jules White to both produce and direct the Stooges' remaining Columbia comedies. Production was significantly faster, with the former four-day filming schedules now tightened to two or three days. In another cost-cutting measure, White would create a "new" Stooge short by borrowing footage from old ones, setting it in a slightly different storyline, and filming a few new scenes often with the same actors in the same costumes. White was initially very subtle when recycling older footage: he would reuse only a single sequence of old film, re-edited so cleverly that it was not easy to detect. The later shorts were cheaper and the recycling more obvious, with as much as 75% of the running time consisting of old footage. White came to rely so much on older material that he could film the "new" shorts in a single day.

Three years after Curly's death, Shemp Howard died of a sudden heart attack at age 60 on November 22, 1955. Archived footage of Shemp, combined with new footage of Joe Palma, were used to complete the last four films originally planned with Shemp: ''Rumpus in the Harem'', ''Hot Stuff'', ''Scheming Schemers'', and ''Commotion on the Ocean''.

Joe Besser replaces Shemp

Joe Besser replaced Shemp in 1956, appearing in 16 shorts. Besser, noting how one side of Larry Fine's face seemed "calloused", had a clause in his contract specifically prohibiting him from being hit too hard (though this restriction was later lifted). Besser was the only "third" Stooge that dared to hit Moe back in retaliation and get away with it; Larry Fine was also known to hit Moe on occasion, but always with serious repercussions. "I usually played the kind of character who would hit others back," Besser recalled.

With Besser on board, the Stooge films began to resemble sitcoms. Sitcoms, though, were now available for free. Television was the new popular medium, and by the time Besser joined the act, the Stooges were generally considered throwbacks to an obsolete era. In addition, Moe and Larry were growing older, and could not perform pratfalls and physical comedy as they once had. The inevitable occurred soon enough. Columbia was the last studio still producing shorts, and the market for such films had all but dried up. As a result, the studio opted not to renew the Stooges' contract when it expired in late December 1957. The final comedy produced was ''Flying Saucer Daffy'', filmed on December 19–20, 1957. Several days later, the Stooges were unceremoniously fired from Columbia Pictures after 24 years of making low-budget shorts. Joan Howard Maurer, daughter of Moe, wrote the following in 1982:

{{bquote|The boys' careers had suddenly come to an end. They were at Columbia one day and gone the next—no 'Thank yous,' no farewell party for their 24 years of dedication and service and the dollars their comedies had reaped for the studio.

Moe Howard recalled that a few weeks after their exit from Columbia, he drove to the studio to say goodbye to several studio executives when he was stopped by a guard at the gate (obviously, not a Stooges fan) and, since he did not have the current year's studio pass, was refused entry. For the moment, it was a crushing blow.}} Although the Stooges were no longer working for Columbia, the studio had enough completed films on the shelf to keep releasing new comedies for another 18 months, and not in the order they were produced. The final Stooge release, ''Sappy Bull Fighters'', did not reach theaters until June 4, 1959. With no active contract in place, Moe and Larry discussed plans for a personal appearance tour; meanwhile, Besser's wife had a minor heart attack, and he preferred to stay local, leading him to withdraw from the act. For the first time in nearly 30 years, the Stooges hit a dead end.

The comeback: Larry, Moe and Curly Joe

Seeing the success of how television, in its early years, allowed movie studios to unload a backlog of short films thought unmarketable, the Stooge films seemed perfect for the burgeoning genre. ABC television had even expressed interest as far back as 1949, purchasing exclusive rights to 30 of the trio's shorts. However, the success of television revivals for such names as Laurel and Hardy, Woody Woodpecker, Tom and Jerry and the ''Our Gang'' series in the late 1950s led Columbia to cash in again on the Stooges. In January 1958, Columbia's television subsidiary Screen Gems offered a package consisting of 78 Stooge shorts (mainly from the Curly era), which were well received. Almost immediately, an additional 40 shorts hit the market, and by 1959, all 190 Stooge shorts were airing regularly. Due to the massive quantity of Stooge product available for broadcast, the films were broadcast Monday through Friday, leading to heavy exposure aimed squarely at children. This led parents to watch alongside of their offspring, and before long, Howard and Fine found themselves in high demand. Moe quickly signed movie and burlesque comic Joe DeRita for the "third Stooge" role; DeRita adopted first a crew cut and then a completely shaven hairstyle and became "Curly Joe" because of his resemblance to the original Curly Howard (also to make it easier to distinguish him from Joe Besser, the earlier Stooge called Joe).

This Three Stooges lineup went on to make a series of popular full-length films from 1959 to 1965, most notably ''Have Rocket, Will Travel'', ''The Three Stooges Meet Hercules'' and ''The Three Stooges Go Around the World in a Daze''. The films were aimed at the kiddie-matinee market, and most were Farce outings in the Stooge tradition, with the exception of ''Snow White and the Three Stooges'', a children's fantasy in Technicolor. They also appeared as firemen (the role that helped make them famous in ''Soup to Nuts'') in the film ''It's a Mad, Mad, Mad, Mad World''. Throughout the 1960s, The Three Stooges were one of the most popular and highest-paid live acts in America. The trio also filmed 41 short comedy skits for ''The New Three Stooges'', which features a series of 156 animated cartoons produced for television. The Stooges appeared in live-action color footage, which preceded and followed each animated adventure in which they voiced their respective characters.

Final years

In 1969, the Three Stooges filmed a pilot episode for a new TV series entitled ''Kook's Tour'', a combination travelogue-sitcom that had the "retired" Stooges traveling around the world, with the episodes filmed on location.

On January 9, 1970, during production of the pilot, Larry suffered a paralyzing stroke, ending his acting career, as well as plans for the television series. thumb|150px|lefgt|A proposed incarnation of the Three Stooges. A promotional picture taken after Larry Fine's death in 1975 features a very ill Moe Howard (who died shortly thereafter) flanked by Curly Joe DeRita to the left and Emil Sitka to the right.Plans were in the works for longtime foil Emil Sitka to replace Larry as the "Middle Stooge" in 1971, but nothing ever came of that idea other than the proposed publicity still reproduced here. Three years later, just before Christmas of 1974, Larry Fine suffered yet another stroke at the age of 72 and four weeks later, suffered a more massive one. Slipping into a coma, he died a week later of a stroke-induced cerebral hemorrhage on January 24, 1975.

Devastated by his friend's death, Moe nevertheless decided that the Three Stooges should continue. Several movie ideas were considered, one of which according to critic and movie historian Leonard Maltin, (who also uncovered a pre-production photo) was entitled ''Blazing Stewardesses''. Unfortunately, before pre-production could begin, after a lifetime of smoking, Moe fell ill from lung cancer, and died three months later on May 4, 1975, finally putting to rest the last original surviving member of one of the most famous comedy troupes of the 20th Century.

However, ''Blazing Stewardesses'', the last film idea that the Three Stooges had ever seriously considered, was eventually made, starring the last of the surviving Ritz Brothers comedy troupe and released to moderate acclaim later that year.

Curly Joe continued to perform live into the mid-1970s with Mousie Garner and Frank Mitchell as "The New 3 Stooges" enjoying recognition well into old age, before retiring by 1979.

Of the remaining “original-replacement” Stooges, Joe Besser died of heart failure on March 1, 1988, followed by Curly Joe DeRita of pneumonia on July 3, 1993.

Legacy and perspective

Some 50 years after their last short film was released, the Three Stooges remain wildly popular with audiences. Their films have never left the television airwaves since first appearing in 1958, and they continue to delight old fans while attracting a new legion of fervent admirers. A hard-working group of working-class comedians who were never the critic's darlings, the team endured several personnel changes in their careers that would have permanently sidelined a less persistent act. Despite watching two of his brothers die in a brief span of time, the Stooges would not have lasted as long as they did as a unit without Moe Howard's guiding hand. However, despite their massive popularity, they never received a raise during their entire employment at Columbia nor were they ever allowed to make a full-length feature film during the height of their popularity. Columbia Studios chief Harry Cohn preferred to use the popular Stooges shorts in packages with his weaker features so that exhibitors would have to accept the movies in order to show the shorts, which would bring in the public.

The Ted Okuda/Edward Watz-penned book ''The Columbia Comedy Shorts'' puts the Stooges legacy in critical perspective:

Beginning in the 1980s, the Stooges finally began to receive long-overdue critical recognition. More often than not, the praise was directed at Curly, usually at the expense of his castmates, most especially Shemp. With the advent of cable television and the burgeoning home video market, the praise was eventually spread more evenly throughout the team. Critics began to realize that Moe and Larry were gifted performers; though less flamboyant than Curly, they were by no means less talented. Curly was indeed brilliant and a one-of-a-kind, but taken for long periods of time, he could also be irritating and exhausting without Moe and Larry present to provide a counterbalance. This balance would be handled better after Shemp returned to the act, with Larry in particular receiving more screen time. The release of nearly all their films on DVD by 2010 has allowed critics of Joe Besser and Joe DeRita—often the recipients of significant fan backlash—to appreciate the unique style of comedy both comedians brought to the Stooges. In addition, the DVD market in particular has allowed fans to view the entire Stooge film corpus as distinct periods in their long, distinguished career instead of comparing one Stooge to the other (the Curly vs. Shemp debate continues to this day).

The team appeared in 220 films. In the end, it is the durability of the 190 timeless short films the Stooges made at Columbia Pictures that acts as an enduring tribute to the comedy team. Their continued popularity worldwide has proven to even the most skeptical critics that their films—quite simply—are funny. American television personality Steve Allen went on record in the mid-1980s saying "though they never achieved widespread critical acclaim, they achieved exactly what they had always intended to do: they made people laugh."

Line-ups

!	! Ted	! Moe	! Shemp	! Larry	! Curly	! Joe	! Curly Joe	! Emil Sitka
1.									1922–1924
2.									1925–1932
3.									1932–1934
4.									1934–1946
5.									1946–1955
6.									1956–1958
7.									1958–1971
8.									1971–1975

Ted Healy Real Name: Clarence Ernst Lee Nash Born: October 01, 1896 Died: December 21, 1937 Stooge Years: 1922–1931, 1932–1934

Moe Howard Real Name: Moses Harry Horwitz Born: June 19, 1897 Died: May 04, 1975 Stooge years: 1922–1927, 1928–1975

Larry Fine Real Name: Louis Feinberg Born: October 05, 1902 Died: January 24, 1975 Stooge years: 1925–1927, 1928–1971

Curly Howard Real Name: Jerome Lester Horwitz Born: October 22, 1903 Died: January 18, 1952 Stooge years: 1932–1946

Shemp Howard Real Name: Samuel Horwitz Born: March 04, 1895 Died: November 22, 1955 Stooge years: 1922–1927, 1928–1932, 1946–1955

Joe Besser Born: August 12, 1907 Died: March 01, 1988 Stooge years: 1956–1958

Joe DeRita Real Name: Joseph Wardell Born: July 12, 1909 Died: July 03, 1993 Stooge years: 1958–1975

Emil Sitka Born: December 22, 1915 Died: January 16, 1998 Stooge years: n/a

Shorts

The Three Stooges appeared in 220 films throughout their career. Of those 220, 190 short films were made for Columbia Pictures between 1934 and 1959, for which the trio are best known. Their contract was extended each year from 1934 until the final one expired on December 31, 1957. The last 8 of the 16 shorts with Joe Besser were released soon afterward.

C3 Entertainment, Inc.

Throughout their career, Moe acted as both their main creative force and business manager. Comedy III was formed by Moe, Larry and Curly-Joe in 1959 to manage all business and merchandise transactions for the team. Comedy III was basically in the background, with Moe's son-in-law Norman Maurer managing the comedy teams' film interests under Normandy Productions, and merchandising affairs under Norman Maurer Productions (NMP). Norman Maurer died in 1986.

In 1994 the heirs of Larry Fine and Joe DeRita filed a lawsuit against Moe's family, particularly Joan Howard Maurer and her son Jeffrey, who had inherited the NMP/Normandy business. The result reestablished Comedy III as a three-way interest of Fine/[Moe]Howard/DeRita. The DeRita heirs received the proxy to the Howard share, giving them majority control on the company's management. Curly-Joe's stepsons, Robert and Earl Benjamin, became the senior management of Comedy III. The Benjamins later incorporated the company, and C3 Entertainment, Inc. is currently the owner of all Three Stooges trademarks and merchandising. Larry's grandson Eric Lamond is the representative of the Fines' one-third interest in the company.

C3 has also, since 1995, authorized and provided the services of veteran actors Jim Skousen, Alan Semok, and Dave Knight (as Moe, Larry, and Curly respectively) for numerous "personal appearances" by the Stooge characters for a variety of merchandising and promotional events. This latter day trio has also provided voices for the characters in a variety of radio spots, merchandising tie-ins, and most recently for the first new Three Stooges short in fifty years. A CGI animation by Famous Frames Mobile Interactive, a first-wave "new media" company, entitled ''The Grate Debate'', has Moe, Larry and Curly running for President.

Television broadcasts and rights issues

A handful of Three Stooges shorts first aired on television in 1949, on the American Broadcasting Company (ABC) network. It was not until 1958 that Screen Gems packaged 78 shorts for national syndication; the package was gradually enlarged to encompass the entire library of 190 shorts. In 1959, KTTV in Los Angeles purchased the Three Stooges films for air, but by the early 1970s, rival station KTLA began airing the Stooges films, keeping them in the schedule until early 1994. The Family Channel (now ABC Family) ran the shorts as part of their ''Stooge TV'' block from February 19, 1996 to January 2, 1998. In the late 1990s, AMC had held the rights to the Three Stooges shorts, originally airing them under the ''Stooges Playhouse'' block, but replacing it in 1999 with ''N.Y.U.K.'' (New Yuk University of Knuckleheads). Featuring host Leslie Nielsen in the form of a college instructor, the block aired several shorts often grouped by a theme, such as similar schtick used in different films. Although the block was discontinued after AMC revamped their format in 2002, the network still ran Stooges shorts occasionally. The AMC run ended when Spike TV picked them up in 2004, airing them in their ''Stooges Slap-Happy Hour''. By 2007, the network had discontinued the block. Although Spike did air Stooges shorts for a brief period of time after the block was canceled, as of late April 2008, Three Stooges has disappeared from the network's schedule entirely. The Three Stooges returned on December 31, 2009 on AMC, starting with the "Countdown with the Stooges" New Year's Eve marathon. AMC planned to put several episodes on their website in 2010.

Since the 1990s Columbia and its television division's successor, Sony Pictures Television, has preferred to license the Stooges shorts to cable networks, precluding the films from being shown on local broadcast TV. Two stations in Chicago and Boston, however, signed long-term syndication contracts with Columbia years ago and have declined to terminate them. Thus, WMEU-CA in Chicago currently airs all 190 Three Stooges shorts on ''Stooge-a-Palooza'', hosted by Rich Koz, and WSBK-TV in Boston airs Stooge shorts and feature films. KTLA in Los Angeles dropped the shorts in 1994, but brought them back in 2007 as part of a special retro-marathon commemorating the station's 60th anniversary. Since that time, the station's original 16mm Stooges film prints have aired occasionally as part of mini-marathons on holidays. Antenna TV, a network broadcasting on the digital subchannels of local broadcast stations (owned by Tribune Broadcasting, who also owns KTLA), began airing the Stooges shorts upon the network's January 1, 2011 launch, which run in multi-hour blocks on weekends; most of the Three Stooges feature films are also broadcast on the network, through Antenna TV's distribution agreement with Sony Pictures Entertainment (whose Columbia Pictures subsidiary released most of the films).

Some of the Stooge films have been colorized by two separate companies. The first colorized DVD releases, distributed by Sony Pictures Home Entertainment, were prepared by West Wing Studios in 2004. The following year, Legend Films colorized the public domain shorts ''Malice in the Palace'', ''Sing a Song of Six Pants'', ''Disorder in the Court'' and ''Brideless Groom''. ''Disorder in the Court'' and ''Brideless Groom'' also appear on two of West Wing's colorized releases. In any event, the Columbia-produced shorts (aside from the public domain films) are handled by Sony Pictures Entertainment, while the MGM Stooges shorts are owned by Warner Bros. via their Turner Entertainment division. Sony offers 21 of the shorts on their web platform Crackle, along with eleven Minisodes. Meanwhile, the rights to the Stooges' feature films rests with the studios that originally produced them (Columbia/Sony for the Columbia films, and 20th Century Fox for the Fox films).

Home video release and public reception

Between 1984 and 1985, RCA Columbia Pictures Home Video released a total of thirteen Three Stooges volumes on VHS, Beta and Laserdisc, each containing three shorts. These titles were later reissued on VHS by its successor, Sony Pictures Entertainment, between 1995 and 1997, with a DVD reissue between 2000 and 2004.

On October 30, 2007, Sony Pictures Home Entertainment released a two-disc DVD set entitled The Three Stooges Collection, Volume One: 1934–1936. The set contains shorts from the first three years the Stooges worked at Columbia Pictures, marking the first time ever that all 19 shorts were released in their original theatrical order to DVD. Additionally, every short was remastered in high definition, a first for the Stooge films. Previous DVD releases were based on themes (wartime, history, work, etc.), and sold poorly. Fans and critics alike praised Sony for finally giving the Stooges the proper DVD treatment. One critic states "the Three Stooges on DVD has been a real mix'n match hodgepodge of un-restored titles and illogical entries. This new...boxset...seems to be the first concerted effort to categorize their huge body of work chronologically with many shorts seeing the digital light for the first time." Videolibrarian.com critic added "finally, the studio knuckleheads got it right! The way that the Three Stooges have been presented on home video has been a real slap in the face and poke in the eye to fans. They’ve been anthologized, colorized, and public domain-ed, as their shorts have been released and re-released in varying degrees of quality. Highly recommended." Critic James Plath of DVDtown.com added, "Thank you, Sony, for finally giving these Columbia Pictures icons the kind of DVD retrospective that they deserve. Remastered in High Definition and presented in chronological order, these short films now give fans the chance to appreciate the development of one of the most successful comedy teams in history."

The chronological series proved very successful and wildly popular, and Sony wasted little time preparing the next set for release. Volume Two: 1937–1939 was released on May 27, 2008, followed by Volume Three: 1940–1942 three months later on August 26, 2008. Demand exceeded supply, proving to Sony that they had a hit on their hands. In response, Volume Four: 1943–1945 was released on October 7, 2008, a mere two months after its predecessor. The global economic crisis slowed down the release schedule after Volume Four, and Volume Five: 1946–1948 was belatedly released on March 17, 2009. Volume Five is the first in the series to feature Shemp Howard with the Stooges. Volume Six: 1949–1951 was released June 16, 2009. and Volume Seven: 1952–1954 was released on November 10, 2009.

The eighth and final volume was released on June 1, 2010, bringing the series to a close. For the first time in history, all 190 ''Three Stooges'' short subjects became available to the public.

Music

Several instrumental tunes were played over the opening credits at different times in the production of the short features. The most commonly used themes were:

* The verse portion of the Civil War era song "Listen to the Mockingbird", played in a comical way, complete with sounds of birds and such. This was first used in ''Pardon My Scotch'', their ninth short film, in 1935. (Prior to that comedic short, the opening theme varied and was typically connected to the storyline in some fashion.)

* "Three Blind Mice", beginning in 1939 as a slow but straightforward presentation (dubbed the "sliding strings" version), often breaking into a "jazzy" style before ending. In mid-1942, another more driving version, complete with accordion was played fast all the way through.

The Columbia short subject ''Woman Haters'' was done completely in rhyme, mostly recited (not sung), in rhythm with a Jazz-Age underscore running throughout the film, but with some key lines sung. It was sixth in a ''Musical Novelties'' short subject series, and appropriated its musical score from the first five films. The memorable “My Life, My Love, My All,” was originally “At Last!” from the film ''Um-Pa''.

"Swinging the Alphabet" (a.k.a. B-A-bay, B-E-be, B-I-bicky-bi…) from ''Violent Is the Word for Curly'' is perhaps the best-known song performed by the Stooges on film.

The “Lucia Sextet” (''Chi mi frena in tal memento?''), from the opera ''Lucia di Lammermoor'' by Gaetano Donizetti (announced by Larry as “the Sextet from Lucy”), is played on a record player and lip-synched by the Stooges in ''Micro-Phonies''. The same melody re-appears in ''Squareheads of the Round Table'' as the tune of “Oh, Elaine, can you come out tonight?”. ''Micro-Phonies'' also includes the Johann Strauss II waltz “Voices of Spring” ("Frühlingsstimmen") Op. 410. Another Strauss waltz, "The Blue Danube", is featured in ''Ants in the Pantry'' and ''Punch Drunks''.

The song “Fredric March” (named after the actor) was a favorite of director Jules White; it appeared in at least six different Columbia shorts:

* ''Termites of 1938'' - the Stooges "play" this song on a violin, flute, and string bass at a dinner party in an attempt to attract mice.

* ''Dutiful But Dumb'' - Curly is hidden inside a floor-standing radio, and plays the song on a modified harmonica.

* ''Three Little Twirps'' - heard as background music at the circus while Moe and Curly sell tickets.

* ''Idle Roomers'' - Curly plays the song on a trombone to calm a wolf man.

* ''Gents Without Cents'' - three girls perform acrobatics on stage while this song is playing

* ''Gents in a Jam'' - Shemp and Moe have a problem with a radio that will not stop playing this song

* ''Pardon My Backfire'' - the song plays on a car radio

The Moe–Larry–Curly Joe lineup of the Stooges recorded several musical record albums in the early 1960s. Most of their songs were adaptations of nursery rhymes. Among their more popular recordings were "Making a Record" (a surreal trip to a recording studio built around the song "Go Tell Aunt Mary"), "Three Little Fishes", "All I Want for Christmas Is My Two Front Teeth", "Wreck the Halls with Boughs of Holly", "Mairzy Doats" and "I Want a Hippopotamus for Christmas".

In 1983, a group called the Jump 'N the Saddle Band recorded a track called "The Curly Shuffle", which featured the narrator singing about his love of the Stooges mixed with a chorus of many of Curly's catchphrases and sound effects. In the mid-1980s, the song became a popular mid-game hit for New York Mets fans in the Shea Stadium bleachers, who would dance in small groups to the tune whenever the song was played between innings. The music video, which featured clips of the classic Stooges shorts, was also included as a bonus feature on one of the 1984 VHS releases.

Feature motion pictures

The Three Stooges also made appearances in many feature length movies in the course of their careers:

{|class="wikitable" |- ! Film || Year || Moe || Larry || Curly || Shemp || Joe || Curly Joe |- |''Soup to Nuts'' || 1930 || Moe || Larry || || Shemp || || |- |''Turn Back the Clock'' || 1933 || Moe || Larry || Curly || || || |- |''Meet the Baron'' || 1933 || Moe || Larry || Curly || || || |- |''Dancing Lady'' || 1933 || Moe || Larry || Curly || || || |- |''Broadway to Hollywood'' || 1933 || Moe || Larry || Curly || || || |- |''Myrt and Marge'' || 1933 || Moe || Larry || Curly || || || |- |''Fugitive Lovers'' || 1934 || Moe || Larry ||Curly || || || |- |''Hollywood Party'' (cameos) || 1934 || Moe || Larry || Curly || || || |- |''The Captain Hates the Sea'' (cameos)|| 1934 || Moe || Larry || Curly || || || |- |''Start Cheering'' || 1938 || Moe || Larry || Curly || || || |- |''Time Out for Rhythm'' || 1941 || Moe || Larry || Curly || || || |- |''My Sister Eileen'' (cameos) || 1942 || Moe || Larry || Curly || || || |- |''Rockin' in the Rockies'' || 1945 || Moe || Larry || Curly || || || |- |''Swing Parade of 1946'' || 1946 || Moe || Larry || Curly || || || |- |''Gold Raiders'' || 1951 || Moe || Larry || || Shemp || || |- |''Have Rocket, Will Travel'' || 1959 || Moe || Larry || || || || Curly Joe |- |''Stop! Look! and Laugh!'' (compilation)|| 1960 || Moe || Larry || Curly || || || |- |''Snow White and the Three Stooges'' || 1961 || Moe || Larry || || || || Curly Joe |- |''The Three Stooges Meet Hercules'' || 1962 || Moe || Larry || || || || Curly Joe |- |''The Three Stooges in Orbit'' || 1962 || Moe || Larry || || || || Curly Joe |- |''The Three Stooges Go Around the World in a Daze'' || 1963 || Moe || Larry || || || || Curly Joe |- |''It's a Mad, Mad, Mad, Mad World'' (cameos)|| 1963 || Moe || Larry || || || || Curly Joe |- |''4 for Texas'' || 1963 || Moe || Larry || || || || Curly Joe |- |''The Outlaws Is Coming'' || 1965 || Moe || Larry || || || || Curly Joe |- |''Kook's Tour'' (TV pilot) || 1970 || Moe || Larry || || || || Curly Joe |} Joe Besser never appeared with the Stooges in a feature film.

Three feature-length Columbia releases were actually packages of older Columbia shorts. ''Columbia Laff Hour'' (introduced in 1956) was a random assortment that included the Stooges among other Columbia comedians like Andy Clyde, Hugh Herbert, and Vera Vague; the content and length varied from one theater to the next. ''Three Stooges Fun-o-Rama'' (introduced in 1959) was an all-Stooges show capitalizing on their TV fame, again with shorts chosen at random for individual theaters. ''The Three Stooges Follies'' (1974) was similar to ''Laff Hour'', with a trio of Stooge comedies augmented by Buster Keaton and Vera Vague shorts, a Batman serial chapter, and a Kate Smith musical.

Museum

Gary Lassin opened the Stoogeum in 2004 in a renovated architect's office in Spring House, Pennsylvania, 25 miles (40 kilometers) north of Philadelphia. The museum-quality exhibits fill three stories (10,000 square feet or 929 square meters), including an 85-seat theater. Peter Seely, editor of the book ''Stoogeology: Essays on the Three Stooges'' said that the Stoogeum has "''more stuff than I even imagined existed''." 2,500 people visit it yearly, many during the annual Three Stooges Fan Club gathering in April.

In other media

Comic books

Over the years, several Three Stooges comics were produced.

St. John Publications published the first Three Stooges comics in 1949 with 2 issues, then again in 1953–54 with 7 issues.

Dell Comics published a Three Stooges series first as one-shots in their ''Four Color Comics'' line for five issues, then gave them a numbered series for four more issues (#6–9). With #10, the title would be published by Gold Key Comics. Under Gold Key, the series lasted through issue #55 in 1972.

Gold Key Comics then published the ''Little Stooges'' series (7 issues, 1972–74) with story and art by Norman Maurer, Moe's son-in-law. This series featured the adventures of three fictional sons of the Three Stooges, as sort of modern-day teen-age versions of the characters.

Eclipse Comics published the ''Three-D Three Stooges'' series (3 issues, 1986–1987) which reprinted stories from the St. John Publications series.

Malibu Comics did a couple of one-shot comics, reprinting stories from the Gold Key Comics in 1989 and 1991.

Music

Beginning in 1959, the Three Stooges began to appear in a series of novelty records. Their first recording was a 45 rpm single of the title song from ''Have Rocket, Will Travel.'' The trio released additional singles and LPs on the Golden and Coral labels, mixing comedy adventure albums and off-beat renditions of children's songs. Their final recording was the 1966 ''Yogi Bear and the Three Stooges Meet the Mad, Mad, Mad Dr. No-No'', which incorporated the Three Stooges into the cast of the Yogi Bear cartoons.

The Stooges are referenced in the video for Weird Al Yankovic's Like a Surgeon with a hospital PA system asked for "Dr. Howard, Dr. Fine, Dr. Howard."

Radio

Sirius XM Radio aired a special about the Stooges hosted by Tom Bergeron on Friday, July 31, 2009, at 2:00PM on the Sirius Howard 101 channel. Bergeron had conducted the interviews at the age of 17 back when he was still in high school in 1971. The television host had the tapes in storage for many years and was convinced on air during a Howard Stern Radio interview to bring them in and turn it into a special show by Howard Stern himself, upon learning how much of a fan Bergeron was of the Three Stooges, as is he. Bergeron agreed.

After finding "the lost tapes," Bergeron brought them into Howard Stern's production studio. He stated that the tapes were so old that the tapes with the Larry Fine interviews began to shred as Howard Stern's radio engineers ran them through their cart players. They only really had the one shot, and fortunately for Three Stooges fans, the tapes were saved.

"The Lost Stooges Tapes" were hosted by Tom Bergeron with modern commentary on the almost 40 year old interviews that he had conducted with Larry Fine and Moe Howard. At the times of these interviews, Moe was still living at home and Larry had suffered a stroke and was living in a Senior Citizen's home.

Television

In addition to the unsuccessful television series pilot ''Jerks of All Trades'' (see "History", above) and the incomplete ''Kook's Tour'', the Stooges appeared in a show called ''The New Three Stooges'' which ran from 1965 to 1966. This series featured a mix of thirty-nine live-action segments which were used as wraparounds to 156 animated Stooges shorts. That cartoon program became the only regularly scheduled television show in history for the Stooges. Unlike other films shorts that aired on TV like the ''Looney Tunes'', ''Tom and Jerry'', and ''Popeye'', the film shorts of the Stooges never had a regularly scheduled national television program to air in, neither on network nor syndicated. When Columbia/Screen Gems licensed the film library to television, the shorts aired in any fashion the local stations chose (examples: late-night "filler" material between the end of the late movie and the channel's sign-off time; in "marathon" sessions running shorts back-to-back for one, one-and-a-half, or two hours; etc.)

Two episodes of Hanna-Barbera's ''The New Scooby-Doo Movies'' aired on CBS featuring animated Stooges as guest stars: the premiere, "Ghastly Ghost Town" (September 9, 1972) and "The Ghost of the Red Baron" (November 18, 1972). There also was a short-lived animated series, also produced by Hanna-Barbera, titled ''The Robonic Stooges'', originally seen as a featured segment on ''The Skatebirds'' (CBS, 1977–1978), featuring Moe, Larry, and Curly (voiced by Paul Winchell, Joe Baker and Frank Welker, respectively) as bionic cartoon superheroes with extendable limbs, similar to the later ''Inspector Gadget''. ''The Robonic Stooges'' later aired as a separate half-hour series, retitled ''The Three Robonic Stooges'' (each half-hour featured two segments of ''The Three Robonic Stooges'' and one segment of ''Woofer And Whimper, Dog Detectives'', the latter re-edited from episodes of ''Clue Club'', an earlier Hanna-Barbera cartoon series). There are also many ''Stooges'' references in the sitcom ''ALF''.

In the episode "Beware The Creeper" of ''The New Batman Adventures''. the Joker retreats to his hide-out after a quick fight with Batman. He yells out for his three henchmen "Moe? Larr? Cur?" only to find that they are not there. Shortly after that, Batman comes across these three goons in a pool hall; they have distinctive accents and hair styles similar to those of Moe, Larry, and Curly. These henchmen are briefly seen throughout the rest of the season.

2000 television film

In spring of 2000, longtime Stooge fan Mel Gibson executive-produced a TV movie (''The Three Stooges'') about the lives and careers of the comedians. Playing Moe was Paul Ben-Victor; Evan Handler was Larry; John Kassir was Shemp; and Michael Chiklis was Curly. It was filmed in Sydney, Australia and was produced for and broadcast on ABC. It was based on Michael Fleming's authorized biography of the Stooges, ''The Three Stooges: From Amalgamated Morons to American Icons''. Its unflattering portrayal of Ted Healy led Healy's son to give media interviews calling the film inaccurate. Additional errors of fact included the hints that Moe Howard was down on his luck later in life, and worked as a gofer at the studio where he and his brothers had formerly worked as actors, and that he never owned his own house. In reality, Moe was the most careful with his money, which he invested well. He and his wife Helen owned the comfortable house in Toluca Lake in which they raised their children.

The film regularly runs on the American Movie Classics (AMC) channel.

Feature film revival

A film about the Three Stooges, simply titled ''The Three Stooges'', is currently in development with 20th Century Fox and will be directed by the Farrelly Brothers. The film has been in what one critic has dubbed "development hell". The Farrellys, who have wanted to make this film since 1996, have said that they were not going to do a biopic or remake, but instead new Three Stooges episodes set in the present day. The plot of the episodes is said to be an adventure that revolves around the Stooges characters.

The studio has had a difficult time putting together a cast to play the Three Stooges. Originally slated were Sean Penn to play Larry, Benicio del Toro to play Moe and Jim Carrey to play Curly. Both Sean Penn and Benicio del Toro left the project but returned while no official confirmation has been made about Jim Carrey. When del Toro was interviewed on MTV News for ''The Wolfman'', he spoke about playing Moe. He was later asked who was going to play Larry and Curly in the film and commented that he still thought that Sean Penn and Jim Carrey were going to play them, though he added "Nothing is for sure yet." A story in the Hollywood Reporter stated that Will Sasso will play Curly in the upcoming comedy and that Hank Azaria is the front runner to play Moe. Sean Hayes of ''Will & Grace'' fame has officially been cast as Larry Fine, while Chris Diamantopoulos was cast as Moe. On April 27, Jane Lynch joined the cast; she will be playing a nun.

Video games

In 1984 Gottlieb released an arcade game featuring the Stooges trying to find three kidnapped brides. Later in 1987, game developers Cinemaware released a successful Three Stooges computer game, available for Apple IIGS, Amiga, Commodore 64, MS-DOS, and Nintendo Entertainment System (NES). Based on the Stooges earning money by doing odd jobs to prevent the foreclosure of an orphanage, it incorporated audio from the original films and was popular enough to be reissued for the Game Boy Advance in 2002, as well as for PlayStation in 2004.

In foreign languages

In most other languages, the Three Stooges are known by their English name. However, in Chinese, the trio is known as ''Sānge Chòu Píjiàng'' (三個臭皮匠) or ''Huóbǎo Sānrénzǔ'' (活寶三人組). ''Sānge Chòu Píjiàng'', literally "Three Smelly Shoemakers", derives from a saying in the ''Romance of the Three Kingdoms'': ''Sāngè chòu píjiàng shèngguò yīgè Zhūgě Liàng'' (三個臭皮匠，勝過一個諸葛亮) or "Three smelly shoemakers (are enough to) overcome one Zhuge Liang [a hero of the story]", i.e. three inferior people can overpower a superior person when they combine their strength. ''Huóbǎo Sānrénzǔ'' translates as "Trio of Buffoons".

In Japanese they are known as ''San Baka Taishō'' (三馬鹿大将) meaning "Three Idiot Generals" or "Three ''Baka'' Generals". The Japanese term ''baka'' (馬鹿, "fool" or "idiot", lit. "horse deer") is associated with the Chinese idiom ''zhǐlù wéimǎ'' (指鹿為馬; lit. "point at a deer and call it a horse", in Japanese ''shika o sashite uma to nasu'' [鹿を指して馬と為す]) meaning "deliberate misrepresentation for ulterior purposes". In Spanish they are known as ''Los tres chiflados'' or, roughly, "The Three Crackpots". In French and German usage, the name of the trio is partially translated as ''Les Trois Stooges'' and ''Die drei Stooges'' respectively. In Thai, the trio is known as 3 สมุนจอมป่วน (''3 Samunčhǭmpūan''; ) or 3 พี่น้องจอมยุ่ง (''Phīnǭngčhǭmyung''; ). In Portuguese, they are known as ''Os Três Patetas'' in Brazil, and ''Os Três Estarolas'' in Portugal, being "estarola" a direct translation to "stooge", while "pateta" being more related to "goofy".

See also

The Three Stooges in popular culture

References

;Notes

;Bibliography

Besser, Joe (with Lenburg, Jeff, and Lenburg, Greg), ''Not Just a Stooge'' (1984) Excelsior Books, Inc. (reissued 1987 as ''Once a Stooge, Always a Stooge'') Roundtable Publications (Autobiography of Joe Besser, including anecdotes about Abbott and Costello and Olsen and Johnson)

Bruskin, David N., ''Behind the Three Stooges: The White Brothers: Conversations with David N. Bruskin'' (1993) Directors Guild of America (In-depth interviews with producer-directors Jules White, Jack White, and Sam White)

Comedy III Productions, Inc., ''Pop, You’re "Poifect!": A Three Stooges Salute to Dad'' (2002) Andrews McMeel

Cox, Steve and Terry, Jim, ''One Fine Stooge: Larry Fine's Frizzy Life in Pictures'' (2005) Cumberland House Publishing

Davis, Lon and Davis, Debra (eds.), ''Stooges Among Us'' (2008) BearManor Media ISBN 1-59393-300-2

Feinberg, Morris, ''Larry: The Stooge in the Middle'' (1984) Last Gasp of San Francisco (Biography of Larry Fine, attributed to his brother but actually ghostwritten by Bob Davis)

Fericano, Paul, ''Stoogism Anthology'' (1977) Poor Souls Printing

Fine, Larry (with Carone, James), ''Stroke of Luck'' (1973) Siena Publishing Co. (Larry Fine's autobiography, transcribed from interviews toward the end of his life)

Flanagan, Bill, ''Last of the Moe Haircuts'' (1986) McGraw-Hill/Contemporary Books, Inc.

Fleming, Michael, ''The Three Stooges: An Illustrated History, from Amalgamated Morons to American Icons'' (2002) Broadway Publishing

Forrester, Jeffrey, ''The Stoogephile Trivia Book'' (1982) Contemporary Books, Inc.

Forrester, Jeffrey, ''The Stooges Chronicles'' (1981) Contemporary Books, Inc. (Comprehensive overview of the team's career; also discusses the various Ted Healy stooges)

Forrester, Jeffrey, and Forrester, Tom, ''The Stooges' Lost Episodes'' (1988) Contemporary Books, Inc. (Discussion of obscure Stooges appearances, including solo films by individual Stooges)

Forrester, Jeff, with Forrester, Tom, and Wallison, Joe, ''The Three Stooges: The Triumphs and Tragedies of the Most Popular Comedy Team of All Time'' (2004) Donaldson Books (Revised, updated edition of ''The Stooges Chronicles'')

Garner, Paul, ''Mousie Garner: Autobiography of a Vaudeville Stooge'' (1999) McFarland & Co.

Hansen, Tom and Forrester, Jeffrey, ''Stoogemania: An Extravaganza of Stooge Photos, Puzzles, Trivia, Collectibles and More'' (1984) Contemporary Books, Inc. (Overview of Three Stooges memorabilia)

Howard, Moe, ''Moe Howard and the Three Stooges'' (1977) Citadel Press (Moe Howard's autobiography, completed and released posthumously by his daughter)

Koceimba, Bill, with Kaufman, Eric A., and Sack, Steve, ''The Three Stooges Golf Spoof and Trivia Book'' (1999) Gazelle, Inc.

Kurson, Robert, ''The Official Three Stooges Encyclopedia: The Ultimate Knucklehead's Guide to Stoogedom, from Amalgamated Association of Morons to Ziller, Zeller, and Zoller'' (1999) McGraw-Hill

Kurson, Robert, ''The Official Three Stooges Cookbook'' (1998) Contemporary Books, Inc.

Lenburg, Jeff, with Maurer, Joan Howard, and Lenburg, Greg, ''The Three Stooges Scrapbook'' (1982, revised 1994, 2000) Citadel Press

Longley, Maximillian, ''The Conservative In Spite of Himself: A Reluctant Right-Winger's Thoughts on Life, Law and the Three Stooges'' (2007) Monograph Publishers

Maltin, Leonard, ''The Great Movie Comedians'' (1978) Crown Books

Maltin, Leonard, ''Movie Comedy Teams'' (1970, revised 1985) New American Library

Maltin, Leonard, ''Selected Short Subjects'' (first published as ''The Great Movie Shorts'', 1972) Crown Books, (revised 1983) Da Capo Press

McGarry, Annie, ''The Wacky World of the Three Stooges'' (1992) Crescent Books

Maurer, Joan Howard, ''Curly: An Illustrated Biography of the Superstooge'' (1985, revised 1988) Citadel Press

Maurer, Joan Howard (ed.), ''The Three Stooges Book of Scripts'' (1984) Citadel Press

Maurer, Joan Howard and Maurer, Norman (eds.), ''The Three Stooges Book of Scripts, Volume II'' (1987) Citadel Press

Okuda, Ted and Watz, Edward, ''The Columbia Comedy Shorts'' (1998) McFarland & Co. (Comprehensive history of the Columbia short subject department; Stooge colleagues Edward Bernds and Emil Sitka are quoted extensively)

Seely, Peter and Pieper, Gail W., ''Stoogeology: Essays on the Three Stooges'' (2007) McFarland & Co.

Smith, Ronald L., ''The Stooge Fans' I.Q. Test'' (1988) Contemporary Books, Inc.

Solomon, Jon, ''The Complete Three Stooges: The Official Filmography and Three Stooges Companion'’ (2000) Comedy III Productions

External links

Three Stooges Online Filmography at threestooges.net

The Three Stooges Official Website (sanctioned by C3 Entertainment, Inc. - threestooges.com)

The Stoogeum (Three Stooges Museum) – stoogeum.com

Portrait (2009) of The Three Stooges (with Shemp) by noted illustrator Drew Friedman

Interview with Moe Howard on new success with the younger generation from the Ocala Star-Banner – Feb 22, 1959 accessed via Google News

Category:Television series by Sony Pictures Television Category:1925 introductions Category:Jewish comedy and humor Category:The Three Stooges films Category:Pie throwing Category:Slapstick comedians Category:Gold Key Comics titles Category:Dell Comics titles Category:Jewish comedians

de:The Three Stooges es:Los tres chiflados fr:Les Trois Stooges gl:The Three Stooges id:The Three Stooges it:Three Stooges kn:ದ ಥ್ರೀ ಸ್ಟೂಜಸ್ lb:Three Stooges nl:Three Stooges ja:三ばか大将 pt:Three Stooges sq:The Three Stooges simple:The Three Stooges sh:Three Stooges fi:The Three Stooges sv:The Three Stooges tl:Three Stooges th:3 สมุนจอมป่วน zh:三個臭皮匠

Name	Hector Avalos
Birth date	October 08, 1958
Birth place	Nogales, Sonora, México
Residence	Ames IA
Fields	Religious Studies
Workplaces	Iowa State University
Alma mater	Harvard UniversityHarvard Divinity SchoolUniversity of Arizona
Known for	World renowned opposition to the intelligent design movement, opposition to religion
Footnotes	}}

Hector Avalos (b. Nogales, Sonora, México, October 8, 1958) is a professor of Religious Studies at Iowa State University and the author of several books about religion. He is a former Pentecostal preacher and child evangelist.

He has a Doctor of Philosophy in Hebrew Bible and Near Eastern Studies from Harvard University (1991), a Master of Theological Studies from Harvard Divinity School (1985), and a Bachelor of Arts in Anthropology from the University of Arizona in 1982.

Avalos arrived at Iowa State University in the Fall of 1993 after completing a postdoctoral fellowship (1991–93) in the departments of Anthropology and Religious Studies at the University of North Carolina at Chapel Hill. In 1996 Avalos was named ''Professor of the Year'' at Iowa State University, where he was also named a ''Master Teacher'' for 2003–04. Other awards include ''The Early Achievement in Research and Creative Activity Award'' (College of Liberal Arts and Sciences, 1996), and the ''Outstanding Professor Award'' (College of Liberal Arts and Sciences, 1996).

Avalos is an internationally recognized opponent of neo-creationism and the intelligent design movement, and is frequently linked to Guillermo Gonzalez, an astrophysicist and proponent of intelligent design who was denied tenure at Iowa State University in 2007. Avalos co-authored a statement against intelligent design in 2005, which was eventually signed by over 130 faculty members at Iowa State University. That faculty statement became a model for other statements at the University of Northern Iowa and at the University of Iowa. Gonzalez and Avalos are both featured in the movie ''Expelled: No Intelligence Allowed'' (2008).

Avalos is an atheist activist and advocate of secular humanist ethics.

Research and publication

Avalos' first major work was ''Illness and Health Care in the Ancient Near East: The Role of the Temple in Greece, Mesopotamia, and Israel'' (1995), published in the Harvard Semitic Monograph series. The book was the first to combine systematically critical biblical studies with medical anthropology to reconstruct the health care systems of Greece, Mesopotamia, and Israel. In ''Health Care and the Rise of Christianity'' (1999) Avalos outlined the thesis that Christianity began, in part, as a health care reform movement that sought to address the problems voiced by patients in the Greco-Roman world.

Since 2004, Avalos had turned his attention to the study of U.S. Latinos, the name given to people who live in the United States and trace their ancestry to the Spanish-speaking countries of Latin America. Latinos are now the largest "minority" in the United States, numbering over 40 million persons. By then, Avalos also served as General Editor of Religion in the Americas book series for Brill Publishers. He was the editor of, and a contributor to, '' Introduction to the U.S. Latina and Latino Religious Experience'' (2004), which aimed to be the first general textbook on U.S. Latino/a religions. It was unusual because it covered groups such as Dominicans and Central Americans, which most other books on Latino religion usually overlook.

His book ''Fighting Words: The Origins of Religious Violence'' (2005) used scarce resource theory to explain the role of religion in violence. Avalos argues that all conflict is usually the result of some resource that is either scarce or perceived to be scarce. This could range from love in a family to energy on a global scale. When religion causes violence, it does so because it has created a new scarce resource somewhere. Such scarce resources could include sacred space ("The Holy Land"), group privileging, and eternal life. Violence may result from the effort to maintain or acquire these religiously-created resources, and people may be willing to give or take life in pursuit of these resources. However, unlike scarcities that are verifiable (e.g., water, oil), resources such as eternal life are unverifiable and created entirely by religious bellief. Therefore, when one kills for religious reasons, one is usually trading actual lives for resources that are either not scarce or cannot even be verified to exist. He made the further argument that religious violence is always immoral, whereas secular violence is only sometimes immoral. The book also offered a scathing critique of religionist scholars who defended biblical violence and genocide, as well as a critique of the thesis that the Nazi Holocaust was an example of atheistic violence. Avalos and his book were featured on National Public Radio's ''Talk of the Nation'' on August 22, 2005. It established his position as a critic of religion alongside Richard Dawkins, Sam Harris, Christopher Hitchens and Daniel Dennett.

The same year, Avalos published ''Strangers in Our Own Land: Religion in U.S. Latina/o Literature'' (2005), which was the first systematic study of how Latino authors address issues of religion and specific religions (e.g., Judaism, Islam, Protestantism, Catholicism, African Religions, and Indigenous religions).

In 2007 Avalos published ''The End of Biblical Studies'' (2007) where he argued that academic biblical scholarship was primarily an apologetic religionist enterprise meant to provide the illusion that the Bible was still a culturally and morally superior authority. He critiqued numerous fields (translation, archaeology, history, textual criticism, literary aesthetics) arguing the discipline was permeated with pro-religionist biases. John Merrill of the ''Biblical Archaeology Review'' writes that "instead of being constructive, Avalos’s arguments come off in the end as an exercise in emotional nihilism whose conclusions seem ultimately self-defeating."

''This Abled Body: Rethinking Disabilities in Biblical Studies'', published also in 2007, saw Avalos returning to health care studies. He contributed to, and co-edited (with Sarah Melcher and Jeremy Schipper), an anthology that explores how biblical authors conceptualize the human body and deviations from "normative" views of the human body.

In addition to books, Avalos has published dozens of articles in peer reviewed and semi-scholarly periodicals (e.g., ''Journal of Biblical Literature'', ''Journal of Hispanic/Latino Theology,'' ''Catholic Biblical Quarterly'', and ''Traditio)'', as well as in standard reference books such as ''The Anchor Bible Dictionary'' (1992), ''The Oxford Companion to the Bible'' (1993), ''The Oxford Encyclopedia of Archaeology in the Near East'' (1996), ''Eerdmans Dictionary of the Bible'' (2000), and ''The New Interpreter's Dictionary of the Bible'' (2006–).The subjects have ranged from Astronomy and the Bible to targumic textual criticism.

Criticism

Helmut Koester, who is currently Morison Research Professor of Divinity and Winn Research Professor of Ecclesiastical History at Harvard Divinity School, argues that Avalos reveals "a deep ignorance" of the realities of American religious life and Biblical scholarship in general. In Koester's review of Avalos' book, "The End of Biblical Studies", he writes:

:''Perhaps I should not be surprised that a scholar who has advocated a Biblical nihilism and has recommended that Biblical Studies should be ‘tasked with eliminating completely the influence of the Bible in the modern world’ would launch an attack on the discipline of Biblical archaeology and on a magazine that is Biblical archaeology’s most important outlet...What would be required for such an endeavor, however, is knowledge of the realities of American religious life and Biblical scholarship in general, as well as the details of the controversial issues in present debates. Unfortunately Professor Avalos reveals a deep ignorance in both respects.''

Avalos responded to Koester's criticisms in an essay titled, "Prof. Helmut Koester: A Reality Check for Him," where he suggests that Koester may not have read his book, but was working with extracts.

Books

''This Abled Body: Rethinking Disabilities in Biblical Studies'' (co-edited with Sarah Melcher and Jeremy Schipper) (Atlanta: Society of Biblical Literature, 2007) ISBN 1-58983-186-1.

''The End of Biblical Studies'' (Amherst, NY: Prometheus Books, 2007) ISBN 1-59102-536-2.

''Strangers in Our Own Land: Religion in U.S. Latina/o Literature'', (Nashville: Abingdon, 2005) ISBN 0-687-33045-9.

''Fighting Words: The Origins of Religious Violence'', (Amherst, NY: Prometheus, 2005) ISBN 1-59102-284-3

''Introduction to the U.S. Latina and Latino Religious Experience'', (Editor; Boston: Brill, 2004) ISBN 0-391-04240-8.

''Se puede saber si Dios existe? [Can One Know if God Exists?]''. (Amherst, NY: Prometheus Press, 2003) ISBN 1-59102-043-3.

''Health Care and the Rise of Christianity'', (Peabody: Mass: Hendrickson Press, 1999) ISBN 1-56563-337-7.

''Illness and Health Care in the Ancient Near East: The Role of the Temple in Greece, Mesopotamia, and Israel'' (Harvard Semitic Monographs 54: Atlanta: Scholars Press, 1995) ISBN 0-7885-0098-8.

References

External links

Hector Avalos Faculty Webpage

Hector Avalos debates William Lane Craig — Resurrection of Jesus: Fact or Fiction?

Category:1958 births Category:Harvard Divinity School alumni Category:University of Arizona alumni Category:Iowa State University faculty Category:American biblical scholars Category:Living people Category:American theologians Category:Atheist theologians Category:Mexican atheists Category:American atheists

sv:Hector Avalos

name	Eddie Izzard
birth name	Edward John Izzard
birth date	February 07, 1962
birth place	Colony of Aden, Aden Protectorate (now Aden, Yemen)
medium	Stand-up, Television, Film, Stage
nationality	British
active	1987–present
genre	Improvisational comedy,Observational comedy
subject	World history, Celebrities, Religion, Language, Sex
influences	Monty Python, Billy Connolly, Lenny Bruce, Steve Martin, Richard Pryor, Spike Milligan
influenced	Harry Hill, Dara Ó Briain, Demetri Martin, Hal Sparks
notable work	''Live at the Ambassadors'' ''Definite Article'' ''Dress to Kill'' ''Glorious'' ''Circle'' ''Lenny Bruce'' in ''Lenny'' ''Wayne Malloy/Doug Rich'' in ''The Riches'' ''Roman Nagel'' in ''Ocean's Thirteen'' ''Erich Fellgiebel'' in ''Valkyrie'' ''Mr. Kite'' in ''Across the Universe''
website	eddieizzard.com

}}

Edward John "Eddie" Izzard (born 7 February 1962) is an English stand-up comedian and actor. His comedy style takes the form of rambling, whimsical monologue and self-referential pantomime.

Izzard's works include stand-up sets ''Unrepeatable'', ''Definite Article'', ''Glorious'', ''Dress to Kill'', ''Circle'', ''Sexie'' and ''Stripped''. He had a starring role in the television series ''The Riches'' as Wayne Malloy and has appeared in many motion pictures such as ''Ocean's Twelve'', ''Ocean's Thirteen'', ''Mystery Men'', ''The Cat's Meow'', ''Across the Universe'', The Chronicles of Narnia: Prince Caspian, and ''Valkyrie''.

He has cited his main comedy role model as Monty Python, and John Cleese once referred to him as the "Lost Python". In 2009, he completed 43 marathons in 51 days for Sport Relief in spite of having no prior history of long distance running.

He is also known for his transvestism.

Early life

Izzard was born in Aden, Yemen, then the Colony of Aden in the Aden Protectorate. He was the younger son of British parents Dorothy Ella, a midwife and nurse, and Harold John Izzard, an accountant who was working in Aden with British Petroleum. A year after his birth, the family moved to Bangor in Northern Ireland and lived there until he was five. The family then moved to Skewen in South Wales where his mother died of cancer when Izzard was six and his brother Mark was eight. Following his mother's death, Izzard attended boarding schools: St John's School in Porthcawl, St. Bede's Preparatory School, and Eastbourne College.

Career

Early career

Izzard began to toy with comedy at the University of Sheffield with partner and student friend Rob Ballard. After leaving his accountancy degree course, he and Ballard took their act to the streets, often in Covent Garden. After his split with Ballard, Izzard spent a great deal of the early 1980s working as a street performer in Europe and the United States. He then moved his act into the stand-up comedy venues of Britain. His first gig was at the Banana Cabaret in Balham, London. In 1987, he made his first stage appearance at The Comedy Store, London. In 1989, he met actress Sarah Townsend who was running a Fringe venue at the Edinburgh Festival. He refined his material throughout the 1980s, and in the early 1990s he finally began earning some measure of recognition through his improvisation, in part at his own club "Raging Bull" in Soho.

Success as a comedian

In 1991, Izzard got a spot on the Fry and Laurie produced AIDS benefit ''Hysteria 3,'' where he did his "Wolves" sketch, which broke him into the mainstream comedy circuit and television. His resultant stand-up work brought him British Comedy Awards in 1993 (for ''Live at the Ambassadors''), a part in "Filth" which was a stand up presentation by left-wing sympathetic comedians in aid of raising money for the Terence Higgins Trust in 1994, and 1996 (for ''Definite Article'').

In 1996, he got a part in his first United States-produced film, ''The Secret Agent,'' where he met and befriended Robin Williams. Williams already knew of Izzard's act, and discussed bringing his act to the United States. As a result, Izzard took ''Definite Article'' on a successful stint in New York City in the same year, and as a support act to Williams took ''Dress to Kill'' to San Francisco in 1998. His U.S. breakthrough came in 1999, when ''Dress to Kill'' was shown on the American television channel HBO, about a year or so after he performed the show on tour in the USA, UK and France. Suddenly, America was aware of Izzard, and the show went on to earn him two Emmy Awards in 2000 (for performance and writing).

In 1999, after complaints that his act recycled jokes appearing on his DVDs, the BBC's consumer programme ''Watchdog'' investigated Izzard's live act. Izzard explained that like most comedy performers, he used some of his most successful routines in each show. Nonetheless, Izzard was issued a warning by the Department of Trade and Industry. Since then, Izzard has rarely performed his stand-up act on television, saying that it uses up material at too high a rate, whereas stage material can be continually re-used in front of different audiences for several months.

In 2005, Izzard used his rambling style to provide the voice-over for the British government's television advertisements promoting recycling. The tagline of the ads was "Recycle. The possibilities are endless!" Izzard also performed on stage with Scottish musician Midge Ure at Live8 in Edinburgh, Scotland. He played the piano on the song "Vienna".

In January 2006, the U.S. television network FX announced the production of a new drama series called ''The Riches'' (formerly ''Low Life''). Izzard and British actress Minnie Driver star as a married couple, Wayne and Dahlia Malloy, who have been part of a caravan of con-artist Irish travellers swindling their way across the U.S. with their children. After finding another family killed in a car accident, the Malloys assume their identities and start a new life as law-abiding suburbanites in Baton Rouge, Louisiana. The youngest son has shown a preference for wearing girls' clothing, leading to some speculation that the role was based upon Izzard's experiences. Izzard has stated in several interviews that the character of Sam had been given transvestite tendencies long before he was cast as Wayne Malloy, but he has contributed his perspective to keep the character believable.

Theatrical, TV and film appearances

In 1994, Izzard made his West End drama debut as the lead in the world premiere of David Mamet's ''The Cryptogram'' with Lindsay Duncan, in the production at London's Comedy Theatre. The success of that role led to his second starring role in David Beaird's black comedy ''900 Oneonta''. In 1995, he portrayed the title character in Christopher Marlowe's ''Edward II''.

In 1998 Izzard appeared briefly on stage with the Monty Python team in ''The American Film Institute's Tribute to Monty Python'' (also referred to as ''Monty Python Live at Aspen''). He walked on stage with the five surviving Pythons and he was summarily escorted off by Eric Idle and Michael Palin as he attempted to participate in a discussion about how the group got together.

Izzard portrayed comedian Lenny Bruce in the 1999 production of Julian Barry's 1971 play ''Lenny''. In 2001, he replaced Clive Owen in Peter Nichols' 1967 play ''A Day in the Death of Joe Egg'' at the Comedy Theatre. Izzard and Victoria Hamilton then repeated their lead roles when the show was brought to Broadway in 2003, with The Roundabout Theatre Company production. The revival received four Tony Award nominations including Best Revival of a Play, Best Leading Actor and Actress for its stars Izzard and Hamilton in their Broadway debuts, and Best Direction for Laurence Boswell. In June 2010, Izzard replaced James Spader in the role of Jack Lawson in David Mamet's play ''Race'' on Broadway.

Izzard has appeared in numerous films, starting with 1996's ''The Secret Agent''. He has appeared as several real-life individuals, including Charlie Chaplin in ''The Cat's Meow'', actor Gustav von Wangenheim in ''Shadow of the Vampire'' and General Erich Fellgiebel in ''Valkyrie''. Other roles have included Mr. Kite in ''Across the Universe'', Lussurioso in ''Revengers Tragedy'' and criminal expert Roman Nagel in ''Ocean's Twelve'' and ''Ocean's Thirteen''. Voice work has included the titular It in ''Five Children and It'', Nigel in ''The Wild'' and the mouse warrior Reepicheep in ''The Chronicles of Narnia: Prince Caspian.'' He said in 2009 that he would not be reprising his role as Reepicheep and the role was ultimately played by Simon Pegg in ''The Chronicles of Narnia: The Voyage of the Dawn Treader''.

Izzard appeared in the BBC science fiction miniseries ''The Day of the Triffids'' based on the 1951 novel, alongside Jason Priestley, Vanessa Redgrave, Joely Richardson, Dougray Scott and Brian Cox. He played Dr. Hatteras, a skeptical psychology professor, in the Showtime series ''United States of Tara''.

Comic style

Izzard's style is heavily influenced by Monty Python, especially in his use of a stream-of-consciousness delivery that jumps between topics as he free associates on stage. He does not generally work from a script, owing to his dyslexia. Instead, he interrupts himself with new joke ideas, the characters he portrays turn into other characters, and he nonchalantly leaps from topic to topic. This often results in brief pauses in the routine which he fills with 'so, yeah', and other verbal tics that have become his trademarks. Thinking aloud is also part of Izzard's ongoing attempt to make the process of writing the show itself part of the humour. As he put it in a 2004 interview with ''The Guardian'', "It's the oral tradition. Human beings have been doing it for thousands of years". He frequently notes the reaction to a joke midstream by pretending to write on his hand ("Should be funnier"; "Lost them there"; "They didn't believe me"; "They didn't follow, never do that again", "never link those two[references] together ever again.") He asks the audience questions and verbally engages with hecklers.

Among Izzard's comic talents are mimicry and mime. He portrays God as an authority figure using the voice of James Mason and casts Sean Connery as Noah; these impersonations appear in many of his performances. Izzard also imitates activities such as sawing wood, vacuum cleaning, and mowing the lawn, anthropomorphising the machines with accents and personalities. Successful impressions, such as his Scottish clarinet teacher, Mrs. Badcrumble, become running gags which recur in different shows. He tackles topics both contemporary and historic, including frequent re-imaginings of historical events which result in scenes like 'Cake or Death: Church of England runs the Inquisition', or 'Jesus Ministers to the Dinosaurs'.

When asked about his comedy style by George Stroumboulopoulos, host of CBC Television's talk show, ''The Hour'', Izzard described his use of history by saying,

"I just talk complete bullshit. The history, the politics, I noticed that no one was using history, so there's a lot of history lying about the place, and it's all free, and it's on Wikipedia! You know, I use Wikipedia like a crazy idiot, now. Then I take all this stuff, and I regurgitate it into a weird angle".

In 2008, in his ''Stripped'' tour, Izzard began using Wikipedia itself as part of his stand-up act, reading from a live copy of an article and mocking Wikipedia's self-referential editorial style.

Traditionally, Izzard has focused on the creative possibilities of thinking through absurd situations in real time. He also turns much of the attention on himself and his personality, including his cross-dressing ("It is my manifest destiny to wear a dress on all seven continents"). Contemporary pop culture (Harry Potter, ''Star Wars'', etc.) is also a frequent subject, brought up both to critique its weaknesses and to enhance his anecdotes.

His bent towards the surreal even went so far as to produce a sitcom called Cows in 1997 for Channel 4, a live action comedy with actors dressed in cowsuits.

Transvestism

Izzard started to freely talk about his transvestism in venues like Edinburgh Festival as early as 1992. In his show, ''Dress to Kill'', Izzard describes himself as an "executive", "action" and "professional" transvestite, as "a male tomboy" rather than a drag queen or a "weirdo" transvestite (he cites J. Edgar Hoover and Hermann Göring as examples of the latter). He regularly cross-dresses both on and off stage and makes it clear that cross-dressing is, for him, neither a part of his performance nor a sexual fetish. He remarks in his show ''Unrepeatable'', "Women wear what they want and so do I". According to Izzard, "Most transvestites fancy women". He dismisses claims that he is a male homosexual, saying he is "a straight transvestite or a male lesbian". He has also described himself as "a lesbian trapped in a man's body", transgender, and "a complete boy plus half a girl".

Activism

Izzard has engaged in campaigning work. He is especially well-known as a pro-European Union campaigner supporting the further integration of the UK into the EU. In May 2005 he appeared on the BBC's political debate show ''Question Time'', describing himself as a 'British-European', comparing this with other cultural identities such as 'African-American'. As part of his integration campaigning, he was one of the first people to spend a euro in London. This pan-European approach has influenced his work: he regularly performs in French, in which he is fluent, and occasionally in German, in addition to English. In July 2003, Izzard received an honorary Doctor of Letters from the University of East Anglia in Norwich, England for "pro-Europe campaigning", "his contribution to promoting modern languages and tolerance of other cultures and lifestyles" and for having "transcended national barriers" with his humour.

He has also campaigned unsuccessfully against the closure of the departments of Drama and Languages, Linguistics and Translation at the University of East Anglia, although the department of Drama was later reprieved. In 1998, Izzard was named in a list of the biggest private financial donors to the Labour Party. He appeared in a party political broadcast for the Labour Party in the run up to the 2005 general election. He donated nearly £10,000 to the party in 2008, appeared again in a party political broadcast for the 2009 European election and again in a 2010 election video entitled 'Brilliant Britain'. Izzard appeared in literature to support changing the British electoral system from first-past-the-post to alternative vote for electing Members of Parliament to the House of Commons in the Alternative Vote referendum in 2011.

On 20 July 2006, he received an honorary doctorate in Letters from the Faculty of Arts at the University of Sheffield, where he spent one year on an Accounting and Financial Management course in the early 80s. During his time at the University he established the now-defunct Alternative Productions Society in the Union of Students with the aim of promoting fringe-based arts. On 4 March 2010 he was elected as the Honorary President of the University of Sheffield Union of Students.

On 7 July 2007, Izzard was one of the presenters from the London leg of Live Earth. During an interview for the 2008 Stripped tour, Izzard spoke about becoming more active in European politics as well as running for political office in Europe within the next decade. Izzard added a stop in New Orleans during his 2008 ''Stripped'' tour. All proceeds from the performance of 23 June 2008 were donated to Neighborhood Housing Services of New Orleans.

Marathons

On 27 July 2009, with only 5 weeks' training and no significant prior history of running, Izzard began seven weeks of back-to-back marathon runs (with Sundays off) across the UK to raise money for Sport Relief. He ran from London to Cardiff, to Belfast, to Edinburgh, and back to London carrying flags of England, Scotland or Wales depending on which country he was in, and carried a self-designed green flag bearing a white dove when in Northern Ireland. The blog Eddie Iz Running was a document of his road running marathon, in which he ran 43 marathons in 51 days. He completed the run on 15 September 2009, after having run at least 27 miles each day, 6 days a week for 7 weeks straight, covering more than 1,100 miles across the UK.Izzard received a special award at BBC Sports Personality of the Year 2009 for his achievements.

Izzard ran his final marathon in five hours and 30 seconds, narrowly outside his projected time. However, had he not stopped and waited 20 minutes for his film crew to catch up with him he could have finished well under his target time. In March 2010, Izzard took part in the Sport Relief Mile event.

Following the completion of the marathon runs, Izzard has started training to take part in an Ironman Triathlon, saying he has become fascinated with fitness "because there's no point in throwing away all that training".

Personal life

During his ''Stripped'' tour, Izzard said he realised he was an atheist. "I was warming the material up in New York, where one night, literally on stage, I realised I didn’t believe in God at all. I just didn’t think there was anyone upstairs."

He keeps his romantic life private, saying one of the reasons is due to the wishes of his companions not wanting to become content for his show. Izzard dated Sarah Townsend, the director of the documentary ''Believe: The Eddie Izzard Story'', whom he first met while she was running a Fringe venue at the Edinburgh Festival in 1989.

Izzard speaks French and has performed stand up in French during his shows. He also speaks German and used it in the 2001 film ''All the Queen's Men''.

Critical reception

On 18 March 2007, Izzard was listed as number 3 of the 100 Greatest British National Comedians (just behind Peter Kay at number 2 and Billy Connolly at number 1) as part of British television station Channel 4's ongoing ''100 Greatest...'', series. However in the 2010 updated version of the list he was ranked 5th In a 2005 poll to find ''The Comedian's Comedian'', Izzard was voted amongst the top 20 greatest comedy acts ever by fellow comedians and comedy insiders. He was number 75 in Comedy Central's ''100 Greatest Stand-ups of All Time''.

During the 1999 television special ''It's... the Monty Python Story'', which Izzard hosted, John Cleese said Izzard was the "Lost Python"; Izzard furthered that idea via his substitution for Graham Chapman in public performance of Python material with the rest of the original members of the troupe. He also made a cameo appearance in the Python reunion interview ''Monty Python Live At Aspen''.

In 2008, Izzard received the James Joyce Award of the Literary and Historical Society of UCD, Dublin, Ireland. In March 2010, the Students Union of the University of Sheffield overwhelmingly elected him their honorary President.

Discography and appearances

Stand-up

''Live at the Ambassadors'' (15 November 1993)

''Unrepeatable'' (14 March 1994)

''Definite Article'' (21 October 1996)

''Glorious'' (17 November 1997)

''Dress to Kill'' (9 November 1998)

''Circle'' (18 November 2002)

''Sexie'' (26 November 2003)

''Stripped'' (23 November 2009)

Stage

''900 Oneonta'' (1994)

''The Cryptogram'' (1994)

''Edward II'' (1995)

''Lenny'' (1999)

''A Day in the Death of Joe Egg'' (2001–2002, 2003)

''Trumbo'' (2003)

''Race'' (2010)

Filmography

''The Oncoming Storm'' (1995) as Luthor Keeton

''The Secret Agent'' (1996) as Vladimir

''Velvet Goldmine'' (1998) as Jerry Devine

''The Avengers'' (1998) as Bailey

''Mystery Men'' (1999) as Tony P

''The Criminal'' (1999) as Peter Hume

''Circus'' (2000) as Troy

''Shadow of the Vampire'' (2000) as Gustav von Wangenheim

''The Cat's Meow'' (2001) as Charlie Chaplin

''All the Queen's Men'' (2001) as Tony Parker

''Revengers Tragedy'' (2002) as Lussurioso

''Alien Invasion'' (2003) as Brik

''Blueberry'' aka ''Renegade'' (2004) as Prosit

''Five Children and It'' (2004) as It (voice)

''Romance & Cigarettes'' (2004) as Gene Vincent

''Ocean's Twelve'' (2004) as Roman Nagel

''The Aristocrats'' (2005) as Himself

''The Wild'' (2006) as Nigel (voice)

''My Super Ex-Girlfriend'' (2006) as Professor Bedlam

''Ocean's Thirteen'' (2007) as Roman Nagel

''Across the Universe'' (2007) as Mr. Kite

''The Chronicles of Narnia: Prince Caspian'' (2008) as Reepicheep (voice)

''Igor'' (2008) as Dr. Schadenfreude (voice)

''Valkyrie'' (2008) as Erich Fellgiebel

''Rage'' (2009) as Tiny Diamonds

''Every Day'' (2009) as Garrett

''The Other Side'' (2009) as Dean Bellamy

''Believe: The Eddie Izzard Story'' (2009) as Himself

''Cars 2'' (2011) as Miles Axelrod

''Snow White and the Huntsman'' (2012) as Tiberius

TV appearances

''Barf Bites Back (Amnesty International Gala)'' (1991) – ITV

''Open Fire'' (1994)

''Have I Got News for You'' (1994, 1995 and 1996) – BBC Two

''Aristophanes: The Gods are Laughing'' (1995)

''Whose Line Is It Anyway?'' (1995)

''Tales from the Crypt'' (1996) – HBO

''Clive Anderson Talks Back'' (1996)

''Inspector Derrick'' (1997)

''Channel Izzard'' (1997)

''The Roseanne Show'' (1998)

''Rex the Runt'' (1998) – BBC

''Shooting Stars'' (1998) – BBC

''Parkinson'' (3 times)

''Dennis Miller Live'' (1999) – HBO

''Python Night – 30 Years of Monty Python'' (1999) – BBC

''Good News Week'' (2000) – Network 10

''Mongrel Nation'' (2002) – Discovery Channel

''The Caroline Rhea Show'' (2002)

''The Tonight Show with Jay Leno'' (2002, 2004 and 2007)

''The Tonight Show with Conan O'Brien'' (2009)

''40'' (2003) – Channel 4

''Late Night with Conan O'Brien'' (2003, 2008) NBC

''QI'' (Unaired pilot- 2002 or 2003, and 2010)

''Top Gear'' (2004) – BBC Two

''Last Call with Carson Daly'' (2005)

''The Sharon Osbourne Show'' (2006)

''Late Show with David Letterman'' (6 times)

''Late Late show with Craig Kilborn'' (4 times)

''The Late Late Show with Craig Ferguson'' (2006, 2008, 2009, 2010, 2011)

''The Henry Rollins Show'' (2006)

''The Paul O'Grady Show'' (2009)

''The Secret Policeman's Ball'' (2006)

''Kitchen'' (2007) – five

''Comedy Cuts'' (interview) (2007)

''The Hour'' (2007)

''Friday Night with Jonathan Ross'' (2007 and 2009)

''The Daily Show'' (2000, 2003 and 2007)

''The Riches'' (2007–2008)

''The Secret Policeman's Ball'' (2008)

''The Graham Norton Show'' (2008)

''Late Night with Jimmy Fallon'' (2009)

''Kevin Pollak's Chat Show'' (2009)

''BBC Sports Personality of the Year'' (2009 award winner)

''The Day of the Triffids'' (2009)

''Marathon Man'' (2010)

''The Simpsons'' episode ''To Surveil with Love'' (2010)

''Chelsea Lately'' (2010)

''United States of Tara'' (2011)

''Alan Carr: Chatty Man'' (2011)

Video game

''102 Dalmatians: Puppies to the Rescue'' – Sgt. Tibbs the Cat (voice)

Future projects

Eddie Izzard said in a personal appearance (for his biopic ''Believe'') that he is currently putting together a script for a movie as a conclusion to ''The Riches''. He said the plan is to "pick up exactly where we left off, and we think we're going to make a film of the next bit". As of 24 May 2010 there are no indications that this film will ever be made, leaving ''The Riches'' without a conclusion.

He has announced for future tours that a dollar out of each ticket sale will be appropriated to supplying Africa with contraceptives and other means of sexual protection.

See also

Cross-dressing in film and television

References

External links

Official web site

BBC America – Eddie Izzard

Interview with Izzard – ''The Observer'', 3 October 2004

''It's stupid and I love it – the Goon Show and me'' – ''The Guardian'', 14 February 2005.

Izzard interviewed by Bono – ''The Independent'', 16 May 2006

Venus Zine Staff Picks: Eddie Izzard, Dress to Kill

Eddie Izzard Category:1962 births Category:People from Aden Category:Drama Desk Award winners Category:English atheists Category:English buskers Category:English comedians Category:English film actors Category:English voice actors Category:English television actors Category:English stand-up comedians Category:Cross-dressers Category:Living people Category:Old Eastbournians Category:Emmy Award winners Category:People educated at Oakleigh House School

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