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A curia in early Roman times was a subdivision of the people, i.e. more or less a tribe, and with a metonymy it came to mean also the meeting place where the tribe discussed its affairs. Etymologically it is derived from the Old Latin term "co-viria," literally an "association of men." This archaic pronunciation - note that current scholarship believes that in Classical Latin "v" is always pronounced as "w" - eventually evolved into the more recognizable word.

Roman Republic[link]

In the Roman Republic, there were three types of divisions into which the people were organized: the curiae, which were based on clans or gentes; the centuriae, which were military; and tribus, local "tribes" that were voting blocs.^[1] The curiae are thought to have been created by dividing the original three tribes into ten divisions. Each curia was then further divided into ten decuriae.^[2] Each curia was led by a curio, over whom presided the curio maximus.

The curia per antonomasia was the Curia Hostilia in Rome, which was the building where the Senate usually met. The Senate, initially just a meeting of the city elders from all tribes (its name comes from "senex", which means "old man"), saw its powers grow together with the conquest that brought a town of humble origins to rule a large Republic (and then decrease steadily with the advent of the Empire).

During their expansion, the Romans exported the model to every city that gained the status of Municipium, so that it had its own Senate and its own officials charged with local administration (although they weren't usually elected but nominated by the central government; the only place where officials were actually elected by the people was Rome itself, and by Imperial times even those elections, although kept for the sake of tradition, no longer had significance). Senators themselves were not elected since the early Republic, having been transformed into a hereditary nobility.

Roman Empire[link]

By the Imperial period, a curia was any building where local government held office, i.e. judicial proceedings, government meetings, bureaucracy, etc., and shortly afterwards the term started to refer also to the people making up the local administration (see curiales). The Curia situated in the Roman Forum functioned as a senate house for meetings and discussions over the Roman Empire to be held. It was to the north of the Forum, and was particularly used to conduct the affairs of the Roman state, more effectively, although not exclusively, during the republican period. It is one of the few buildings in the Roman Forum that is still standing, making it easy to imagine its original state.

During the late Roman Empire, the government assumed a dual character, secular and religious. The fall of the Western Roman Empire ended the secular curia in the West, but not the religious one, which has continued to the present day.

Roman Catholic Church[link]

After the end of the Roman Empire, the term Curia was used to designate the administrative apparatus of the Roman Catholic Church, and more specifically, the Vatican.

Modern usage[link]

The term curia may refer to separate electoral colleges in a system of reserved political positions (reserved seats), e.g. during the British mandate of Palestine at the third election (1931) of the Asefat HaNivharim there were three curiae, for the Ashkenazi Jews, the Sephardi Jews and for the Yemeni Jews.^[3][4][5][6]

See also[link]

• Constitution of the Roman Republic
• Curio maximus
• Lex curiata de imperio
• Roman Curia
• Curia Hostilia
• Curia Cornelia
• Curia Julia

References[link]

The Adventures of Tintin (French: Les Aventures de Tintin) is a series of comic albums created by Belgian artist Georges Remi (1907–1983), who wrote under the pen name of Hergé. The series is one of the most popular European comics of the 20th century, with translations published in more than 50 languages and more than 200 million copies of the books sold to date.^[1]

The series first appeared in French in Le Petit Vingtième, a children's supplement to the Belgian newspaper Le XXe Siècle on 10 January 1929. The success of the series saw the serialised strips published in Belgium's leading newspaper Le Soir and spun into a successful Tintin magazine. Then in 1950, Hergé created Studios Hergé, which produced the canon series of twenty-four albums. The Adventures of Tintin have been adapted for radio, television, theatre, and film.

Set during a largely realistic 20th century, the hero of the series is Tintin, a young Belgian reporter. He is aided in his adventures by his faithful fox terrier dog Snowy (Milou in the original French edition). Later, popular additions to the cast included the brash and cynical Captain Haddock, the highly intelligent but hearing-impaired Professor Calculus (Professeur Tournesol) and other supporting characters such as the incompetent detectives Thomson and Thompson (Dupont et Dupond). Hergé himself features in several of the comics as a background character, as do his assistants in some instances.

The comic strip series has long been admired for its clean, expressive drawings in Hergé's signature ligne claire style.^[2][3][4][5] Its engaging,^[6] well-researched^[6][7][8] plots straddle a variety of genres: swashbuckling adventures with elements of fantasy, mysteries, political thrillers, and science fiction. The stories within the Tintin series always feature slapstick humour, offset by dashes of sophisticated satire and political/cultural commentary.

List of titles[link]

This is the list of the books as named in English.

The publication dates are those of the original French versions. Books 2 to 9 were re-published in colour and in a fixed 62-page format (1943–1947 & 1955). Book 10 was the first to be originally published in colour.

Books 16 to 23 (and revised editions of books 4, 7 & 15) were published with Studios Hergé.

A comic was also released based on the film Tintin et le lac aux requins.

• Tintin and the Lake of Sharks (1972)

History[link]

Belgian comics creator Georges Remi—who would become better known under his pen name of Hergé—first came up with the character of Tintin, a young boy reporter, whilst working at the Belgian newspaper Le XXe Siècle (The 20th Century). Pioneering this new character in the story Tintin in the Land of the Soviets, this comic, which involved Tintin battling the socialist authorities in the Soviet Union, was serialised in Le XXe Siècle's supplement for children, Le Petit Vingtième (The Little Twentieth), from 10 January 1929 until 11 May 1930.^[9] The series was an instant success; sales of the Thursday edition of the newspaper, the day the supplement appeared, were to increase by 600%. Hergé went on to pen a string of new Adventures of Tintin, sending his character to real locations such as the Belgian Congo, the United States, Egypt, India, China, and the United Kingdom, and also to fictional countries of his own devising, such as the Latin American republic of San Theodoros and the East European kingdom of Syldavia.

The eighth Tintin adventure, King Ottokar's Sceptre (1939), involved Tintin battling the forces of fictional fascist state Borduria, whose leader, named Müsstler, was a combination of Nazi German leader Adolf Hitler and Italian Fascist leader Benito Mussolini.^[10]

Himself an anti-fascist, Hergé focused his series The Adventures of Tintin on non-political themes to avoid trouble with the Gestapo (pictured here) during the period of Nazi occupation.

Then, in May 1940, Nazi Germany invaded Belgium as World War II broke out across Europe, and although Hergé initially considered fleeing into a self-imposed exile, he ultimately decided to stay in his occupied homeland.^[11] To ensure their own dominance, the Nazi authorities closed down Le XXe Siècle, leaving Hergé unemployed.^[12] In search of employment, he was given a job as an illustrator at Belgium's leading newspaper, Le Soir (The Evening), which was allowed to continue publication under German management.^[13] On 17 October 1940 he was made editor of the paper's children's supplement, Le Soir Jeunesse, in which he set about producing new Tintin adventures.^[14] In this new, more repressive political climate, Hergé could no longer explore political themes in his Adventures of Tintin lest he be arrested by the Gestapo. As Tintinologist Harry Thompson noted, Tintin's role as a reporter came to an end, to be replaced by his new role as an explorer, something which was not a politically sensitive topic.^[15]

With the end of the war, Hergé left Le Soir and, in 1949, accepted an invitation to continue The Adventures of Tintin in the new Tintin magazine (Le journal de Tintin). Finally, Hergé's Tintin series reached the height of its success in 1950 when he created Studios Hergé. The studios produced eight new Tintin albums, coloured and reformatted several old Tintin albums, and ultimately completed twenty-three albums of the canon series. Studios Hergé continued to release additional publications until Hergé's death in 1983. In 1986, a twenty-fourth unfinished album was released, the Studios were disbanded, and its assets were transferred to the Hergé Foundation. The Adventures of Tintin continue to entertain new generations of Tintin fans today.

Synopsis[link]

Characters[link]

Tintin and Snowy[link]

Tintin is a young Belgian reporter who becomes involved in dangerous cases in which he takes heroic action to save the day. Almost every adventure features Tintin hard at work in his investigative journalism, but seldom is he seen actually turning in a story. He is a young man of neutral attitudes with whom the audience can identify; in this respect, he represents the everyman.

Readers and critics have described Tintin as a well-rounded yet open-ended, intelligent and imaginative character, noting that his rather neutral personality—sometimes labelled as bland—permits a balanced reflection of the evil, folly and foolhardiness which surrounds him. His Boy Scout ideals, which represent Hergé's own, are never compromised by the character, and his status allows the reader to assume his position within the story, rather than merely following the adventures of a strong protagonist.^[16] Tintin's iconic representation enhances this aspect, with Scott McCloud noting that it "allows readers to mask themselves in a character and safely enter a sensually stimulating world."^[17]

Snowy (Milou in the original version), a white fox terrier, is Tintin's four-legged companion. The bond between Snowy and Tintin is very deep as they have saved each other from perilous situations many times. Snowy frequently "speaks" to the reader through his thoughts (often displaying a dry sense of humour), which are supposedly not heard by the human characters in the story. Snowy has nearly let Tintin down on occasion, particularly when distracted by a bone. Like Captain Haddock, he is fond of Loch Lomond brand Scotch whisky, and his occasional bouts of drinking tend to get him into trouble, as does his arachnophobia.

Captain Haddock[link]

Captain Archibald Haddock, a seafaring captain of disputed ancestry (he may be of Belgian, French, or Scottish origin) is Tintin's best friend, who was introduced in The Crab with the Golden Claws. Haddock was initially depicted as a weak and alcoholic character, but later became more respectable. He evolves to become genuinely heroic and even a socialite after he finds a treasure captured by his ancestor, Sir Francis Haddock. The Captain's coarse humanity and sarcasm act as a counterpoint to Tintin's often implausible heroism; he is always quick with a dry comment whenever the boy reporter seems too idealistic. Captain Haddock lives in the luxurious mansion Marlinspike Hall.

Haddock uses a range of colourful insults and curses to express his feelings, such as "billions of blue blistering barnacles" (sometimes just "blistering barnacles", "billions of blistering barnacles", or "blue blistering barnacles"), "ten thousand thundering typhoons" (sometimes just "thundering typhoons"), "troglodyte", "bashi-bazouk", "visigoths", "kleptomaniac", "ectoplasm", "sea gherkin", "anacoluthon", "pockmark", "nincompoop", "abominable snowman", "nitwits", "scoundrels", "steam rollers", "parasites", "vegetarians", "floundering oath", "carpet seller","blundering Bazookas", "Popinjay", "bragger", "pinheads", "miserable slugs", "ectomorph", "maniacs", "freshwater swabs", "miserable molecule of mildew", and "Fuzzy Wuzzy", but nothing that is actually considered a swear word. Haddock is a hard drinker, particularly fond of rum and of Scotch whisky; his bouts of drunkenness are often used for comic effect.

Captain Haddock remained without a first name until the last completed story, Tintin and the Picaros.

Professor Calculus[link]

Professor Calculus, an absent-minded professor and half-deaf physicist, is a regular character alongside Tintin, Snowy, and Captain Haddock. He was introduced in Red Rackham's Treasure, and based partially on Auguste Piccard,^[18] a Swiss physicist. His presence was initially not welcomed by the leading characters, but through his generous nature and his scientific ability he develops a lasting bond with them. Eventually, at the end of the album Land of Black Gold, he has become a resident of Marlinspike Hall. Calculus has a tendency to act in an aggressive manner when someone says he's "acting the goat." He is a fervent believer in dowsing, and carries a pendulum for that purpose. Calculus's deafness is a frequent source of humour, as he repeats back what he thinks he has heard, usually in the most unlikely words possible. He does not admit to being near-deaf and insists he is only a little hard of hearing in one ear.

Supporting characters[link]

Hergé's supporting characters have been cited as far more developed than the central character, each imbued with a strength of character and depth of personality which has been compared with that of the characters of Charles Dickens.^[19] Hergé used the supporting characters to create a realistic world in which to set his protagonists' adventures. To further the realism and continuity, characters would recur throughout the series. It has been speculated that the occupation of Belgium and the restrictions imposed upon Hergé forced him to focus on characterisation to avoid depicting troublesome political situations. The major supporting cast was developed during this period.^[20]

• Thomson and Thompson are two bumbling detectives who, although unrelated, look like twins whose only discernible difference is the shape of their moustaches.^[21] They provide much of the comic relief throughout the series, being afflicted with chronic spoonerisms and comic pratfalls. They are thoroughly incompetent in their tasks, always bent on arresting the wrong character, but in spite of this they somehow get entrusted with delicate missions. The detectives usually wear bowler hats and carry walking sticks, except when abroad: during those missions they insist on wearing the "costume" of the locality they are visiting so as to blend into the local population, but instead manage to attire themselves in folkloric attire that actually makes them stand apart. The detectives were in part based on Hergé's father Alexis and uncle Léon, identical twins who often took walks together wearing matching bowler hats while carrying matching walking sticks.

• Bianca Castafiore is an opera singer whom Haddock absolutely despises. She seems to constantly be popping up wherever he goes, along with her maid Irma and pianist Igor Wagner. She is comically foolish, whimsical, absent-minded, and talkative, and seems unaware that her voice is shrill and appallingly loud. Her specialty is the Jewel Song (Ah! je ris de me voir si belle en ce miroir) from Gounod's opera, Faust, and sings this at the least provocation, much to Haddock's dismay. She tends to be melodramatic in an exaggerated fashion and is often maternal toward Haddock, of whose dislike she remains ignorant. She often confuses words, especially names, with other words that rhyme with them or of which they remind her; "Haddock" is frequently replaced by malapropisms such as "Paddock", "Harrock", "Padlock", "Hopscotch", "Drydock", "Stopcock", "Maggot", "Bartók", "Hammock", and "Hemlock", while Nestor, Haddock's butler, is confused with "Chestor" and "Hector." Her own name means "white and chaste flower," a meaning to which Professor Calculus refers when he offers a white rose to the singer in The Castafiore Emerald. She was based upon opera divas in general (according to Hergé's perception), Hergé's Aunt Ninie who was known for her "shrill" singing of opera, and, in the post-war comics, on Maria Callas.^[22]

• Other recurring characters include Nestor the butler, Chang the loyal Chinese boy, Jolyon Wagg the infuriating (to Haddock) insurance salesman, General Alcazar the South American leader, Kalish Ezab the Arab emir, Abdullah the emir's mischievous son, Dr. J.W. Müller the evil Nazi German doctor, Oliveira de Figueira the friendly salesman who can sell even the most trivial of items, Cutts the Butcher who is repeatedly telephoned by accident by Haddock and whose phone number is repeatedly confused with Haddock's, Rastapopoulos, the criminal mastermind, and Allan, Rastapopoulos' henchman and formerly Haddock's first mate.

Settings[link]

The settings within Tintin have also added depth to the strips. Hergé mingles real and fictional lands into his stories, along with a base in Belgium from where the heroes set off (originally 26 Labrador Road, but later Marlinspike Hall). This is best demonstrated in King Ottokar's Sceptre, in which Hergé creates two fictional countries (Syldavia and Borduria) and invites the reader to tour them in text through the insertion of a travel brochure into the storyline.^[6] Other fictional lands include San Theodoros, San Paolo, and Nuevo Rico in South America, the kingdom or administrative region of Gaipajama in India, and Khemed on the Arabian Peninsula^[23] which replaced the setting of Mandate Palestine used in the first edition of Land of Black Gold. Along with these fictitious locations, actual nations were employed such as Belgium, Switzerland, the United Kingdom, the United States, the Soviet Union, Congo, Peru, India, Egypt, Indonesia, Nepal, Tibet, and China. Other actual locales used were the Sahara Desert, the Atlantic Ocean and the Moon.

Research[link]

Hergé's extensive research began with The Blue Lotus, Hergé stating: "it was from that time that I undertook research and really interested myself in the people and countries to which I sent Tintin, out of a sense of responsibility to my readers".^[7]

Hergé's use of research and photographic reference allowed him to build a realised universe for Tintin, going so far as to create fictionalised countries, dressing them with specific political cultures. These were heavily informed by the cultures evident in Hergé's lifetime. Pierre Skilling has asserted that Hergé saw monarchy as "the legitimate form of government", noting that democratic "values seem underrepresented in [such] a classic Franco-Belgian strip".^[24] Syldavia in particular is described in considerable detail, Hergé creating a history, customs, and a language which is actually a Slavian-looking transcript of Marols, the Flemish dialect of Brussels. He set the country in the Balkans, and it is, by his own admission, modeled after Albania.^[25] The country finds itself threatened by neighbouring Borduria with an attempted annexation appearing in King Ottokar's Sceptre. This situation parallels the Italian conquest of Albania and of Czechoslovakia and Austria by expansionist Nazi Germany prior to World War II.^[26]

Hergé's use of research would include months of preparation for Tintin's voyage to the moon in the two-part storyline spread across Destination Moon and Explorers on the Moon. His research for the storyline was noted in New Scientist: "The considerable research undertaken by Hergé enabled him to come very close to the type of space suit that would be used in future Moon exploration, although his portrayal of the type of rocket that was actually used was a long way off the mark". The moon rocket is based on the German V2 rockets.^[27]

Influences[link]

In his youth Hergé admired Benjamin Rabier and suggested that a number of images within Tintin in the Land of the Soviets reflected this influence, particularly the pictures of animals. René Vincent, the Art Deco designer, also had an impact on early Tintin adventures: "His influence can be detected at the beginning of the Soviets, where my drawings are designed along a decorative line, like an 'S'..".^[28] Hergé also felt no compunction in admitting that he had stolen the image of round noses from George McManus, feeling they were "so much fun that I used them, without scruples!"^[29]

During the extensive research Hergé carried out for The Blue Lotus, he became influenced by Chinese and Japanese illustrative styles and woodcuts. This is especially noticeable in the seascapes, which are reminiscent of works by Hokusai and Hiroshige.^[30][31]

Hergé also declared Mark Twain an influence, although this admiration may have led him astray when depicting Incas as having no knowledge of an upcoming solar eclipse in Prisoners of the Sun, an error attributed by T.F. Mills to an attempt to portray "Incas in awe of a latter-day 'Connecticut Yankee'".^[8]

Reception[link]

Awards[link]

On 1 June 2006, the Dalai Lama bestowed the International Campaign for Tibet's Light of Truth Award upon the character of Tintin, along with South African Archbishop Desmond Tutu.^[32] The award was in recognition of Hergé's book Tintin in Tibet, which the Executive Director of ICT Europe Tsering Jampa noted was "for many ... their introduction to the awe-inspiring landscape and culture of Tibet".^[33] In 2001 the Hergé Foundation demanded the recall of the Chinese translation of the work, which had been released with the title Tintin in China's Tibet. The work was subsequently published with the correct translation of the title.^[34] Accepting on behalf of the Hergé Foundation, Hergé's widow Fanny Rodwell declared: "We never thought that this story of friendship would have a resonance more than 40 years later".^[32]

Tintinology and literary criticism[link]

The study of The Adventures of Tintin is known as Tintinology, with its followers being varyingly known as Tintinologists, Tintinophiles, Tintinolators, Tintinites or Hergélogues.^[3][35] One notable Tintinologist is the Belgian Philippe Goddin, who published Hergé et Tintin reporters: Du Petit vingtième au Journal Tintin (1986, later republished in English as Hergé and Tintin Reporters: From "Le Petit Vingtieme" to "Tintin" Magazine in 1987) and Hergé et les Bigotudos (1993) amongst other books on the series. In 1983, Benoît Peeters published Le Monde d'Hergé, subsequently published in English as Tintin and the World of Hergé in 1988.^[36] Although Goddin and Peeters were native French-speakers, the English reporter Michael Farr also published works on Tintinology such as Tintin, 60 Years of Adventure (1989), Tintin: The Complete Companion (2001),^[37] Tintin & Co. (2007)^[38] and The Adventures of Hergé (2007), as had English screenwriter Harry Thompson, the author of Tintin: Hergé and his Creation (1991).^[39]

The Adventures of Tintin have also been examined by literary critics, primarily in French-speaking Europe. In 1984, Jean-Marie Apostolidès published his study of the Adventures of Tintin from a more "adult" perspective as Les Métamorphoses de Tintin, although it would only appear in English as The Metamorphoses of Tintin, or Tintin for Adults in 2010.^[40] In reviewing Apostolidès' book, Nathan Perl-Rosenthal of The New Republic thought that it was "not for the faint of heart: it is densely-packed with close textual analysis and laden with psychological jargon."^[41] Following Apostolidès's work, French psychoanalyst Serge Tisseron examined the series in his books Tintin et les Secrets de Famille ("Tintin and the Family Secrets"), which was published in 1990,^[42] and Tintin et le Secret d'Hergé ("Tintin and Hergé's Secret"), published in 1993.^[43]

The first English-language work of literary criticism devoted to the series was Tintin and the Secret of Literature, written by the novelist Tom McCarthy and published in 2006. In this book, McCarthy compares Hergé's work with that of Aeschylus, Honoré de Balzac, Joseph Conrad and Henry James and argues that the series contains the key to understanding literature itself.^[44] McCarthy considered the Adventures of Tintin to be "stupendously rich",^[45] containing "a mastery of plot and symbol, theme and sub-text"^[46] which, influenced by Tisseron's psychoanalytical readings of the work, he believed could be deciphered to reveal a series of recurring themes, ranging from bartering^[47] to implicit sexual intercourse^[48] that Hergé had featured throughout the series. Reviewing the book in The Telegraph, Toby Clements argued however that McCarthy's work, and literary criticism of Hergé's comic strips in general, cut "perilously close" to simply feeding "the appetite of those willing to cross the line between enthusiast and obsessive" in the Tintinological community.^[2]

Politically correct criticism[link]

The earliest stories in The Adventures of Tintin have been criticised^[who?] for both displaying animal cruelty as well as racial stereotypes, violent, colonialist, and even fascist leanings, including caricatured portrayals of non-Europeans. While the Hergé Foundation has presented such criticism as naïveté,^[49] and scholars of Hergé such as Harry Thompson have claimed that "Hergé did what he was told by the Abbé Wallez",^[49] Hergé himself felt that his background made it impossible to avoid prejudice, stating that "I was fed the prejudices of the bourgeois society that surrounded me."^[29]

In Tintin in the Land of the Soviets, the Bolsheviks were presented without exception as villains. Hergé drew on Moscow Unveiled, a work given to him by Wallez and authored by Joseph Douillet, the former Belgian consul in Russia, that is highly critical of the Soviet regime, although Hergé contextualised this by noting that in Belgium, at the time a devout Catholic nation, "Anything Bolshevik was atheist".^[29] In the story, Bolshevik leaders are motivated only by personal greed and by a desire to deceive the world. Tintin discovers, buried, "the hideout where Lenin, Trotsky, and Stalin have collected together wealth stolen from the people". Hergé later dismissed the failings of this first story as "a transgression of my youth".^[49] By 1999, some part of this presentation was being noted as far more reasonable, with British weekly newspaper The Economist declaring: "In retrospect, however, the land of hunger and tyranny painted by Hergé was uncannily accurate".^[50]

Tintin in the Congo has been criticised as presenting the Africans as naïve and primitive. In the original work, Tintin is shown at a blackboard addressing a class of African children. "Mes chers amis," he says, "je vais vous parler aujourd'hui de votre patrie: La Belgique" ("My dear friends, I am going to talk to you today about your fatherland: Belgium"). Hergé redrew this in 1946 to show a lesson in mathematics.^[51][52] Hergé later admitted the flaws in the original story, excusing it by noting: "I portrayed these Africans according to ... this purely paternalistic spirit of the time".^[29] The perceived problems with this book were summarised by Sue Buswell in 1988^[53] as being "all to do with rubbery lips and heaps of dead animals" although Thompson noted this quote may have been "taken out of context".^[49] "Dead animals" refers to the fashion for big game hunting at the time of the work's original publication.

Drawing on André Maurois' Les Silences du colonel Bramble, Hergé presents Tintin as a big-game hunter, accidentally killing fifteen antelope as opposed to the one needed for the evening meal. However, concerns over the number of dead animals did lead the Scandinavian publishers of Tintin's adventures to request changes. A page which presented Tintin killing a rhinoceros by drilling a hole in the animal's back and inserting a stick of dynamite was deemed excessive, and Hergé substituted a page in which the rhino accidentally discharges Tintin's rifle while he slept under a tree.^[54] In 2007 the UK's Commission for Racial Equality called for the book to be pulled from the shelves after a complaint, stating that "it beggars belief that in this day and age that any shop would think it acceptable to sell and display 'Tintin In The Congo'."^[55][56] In August 2007, a complaint was filed in Brussels, Belgium, by a Congolese student, claiming the book was an insult to the Congolese people. Public prosecutors are investigating, however, the Centre for Equal Opportunities and Opposition to Racism warned against excess political correctness.^[57]

Some of the early albums were altered by Hergé in subsequent editions, usually at the demand of publishers. For example, at the instigation of his American publishers, many of the black characters in Tintin in America were re-coloured to make their race white or ambiguous.^[58] The Shooting Star album originally had an American villain with the Jewish surname of "Blumenstein". This proved to be controversial, as the character exhibited exaggerated stereotypically Jewish characteristics. "Blumenstein" was changed to an American with a less ethnically specific name, Mr. Bohlwinkel, in later editions and subsequently to a South American of a fictional country – São Rico. Hergé later discovered that 'Bohlwinkel' was also a Jewish name.^[26]

Adaptations and memorabilia[link]

The Adventures of Tintin has been adapted in a variety of media besides the original comic strip and its collections. Hergé encouraged adaptations and members of his studio working on the animated films. After Hergé's death, the Hergé Foundation became responsible for authorising adaptations and exhibitions.^[59]

Cinema[link]

• The Crab with the Golden Claws (1947) – The first successful attempt to adapt one of the comics into a feature film. Written and directed by Claude Misonne and João B Michiels, the film was a black-and-white stop-motion puppet production created by a small Belgian studio.^[60]

• Tintin and the Golden Fleece (1961) – A French live action film was released, adapted not from one of Hergé's Adventures of Tintin but instead from an original script written by André Barret and Rémo Forlani.^[61] Directed by Jean-Jacques Vierne and starring Jean-Pierre Talbot as Tintin and Georges Wilson as Haddock, the plot revolves around the protagonists travelling to Istanbul in Turkey to collect the Golden Fleece, a ship left to Haddock in the will of his friend, Themistocle Paparanic. Whilst in the city however, Tintin and Haddock discover that a group of villains also want possession of the ship, believing that it would lead them to a hidden treasure.^[61]

• Tintin and the Blue Oranges (1964) – The success of the first Tintin live action film led to a second being released. Again based upon an original script, once more by André Barret, it was directed by Philippe Condroyer and starred Talbot as Tintin and Jean Bouise as Haddock.^[61] The plot revolves around a new invention, the blue orange, that can grow in the desert and solve world famines, which has been devised by Calculus' friend, the Spanish Professor Zalamea. An emir whose interests are threatened by the invention of the blue orange proceeds to kidnap both Zalamea and Calculus, and Tintin and Haddock travel to Spain in order to rescue them.^[61]

• Tintin and the Temple of the Sun (1969) – The next feature film to be based upon the Adventures of Tintin was the animated, adapted from the comic books The Seven Crystal Balls and Prisoners of the Sun. Produced by Belvision, who had recently finished their television series based upon the Tintin stories, it was directed by Eddie Lateste and featured a critically acclaimed musical score by François Rauber.^[62] In 1970, Belvision then released an animated promotional short, Tintin et la SGM.^[63]

• Tintin and the Lake of Sharks (1972) – based on an original script by Greg and subsequently adapted into comic book form.^[64]

• The Adventures of Tintin: The Secret of the Unicorn (2011) – Steven Spielberg directed a motion capture 3D film based on three stories published in the 1940s, The Crab with the Golden Claws (1941), The Secret of the Unicorn (1943), and Red Rackham's Treasure (1944).^[65] Peter Jackson's company Weta Digital provided the animation and special effects.

Jackson and Spielberg will co-direct the second movie of the trilogy, an adaptation of The Seven Crystal Balls (1948) and Prisoners of the Sun (1949).^[66]

Television and radio[link]

Two animated television series have been made, both adaptations of the comic strips rather than original stories. The first was Hergé's Adventures of Tintin, produced by Belvision. The series aired from 1958 to 1962, with 104 five-minute episodes produced. It was adapted by Charles Shows and then translated into French by Greg (Michel Regnier), then editor-in-chief of Tintin magazine. This series has been criticised for differing too greatly from the original books and for its poor animation.^[67] The second series was The Adventures of Tintin, featuring twenty-one of the stories. It ran for three seasons (from 1991 to 1992), was co-directed by Stéphane Bernasconi and Peter Hudecki, and was produced by Ellipse (France), and Nelvana (Canada), on behalf of La Fondation Hergé. Traditional animation techniques were used on the series, adhering closely to the books to such an extent that some frames from the original albums were transposed directly to screen. The series was successful and it has aired in over fifty countries and was released on DVD.^[68] This series aired in the US on HBO.

BBC produced two "The Adventures of Tintin" radio series in 1992 and 1993 starring Richard Pearce as Tintin and Andrew Sachs as Snowy. Captain Haddock was played by Leo McKern in Series One and Lionel Jeffries in Series Two, Professor Calculus was played by Stephen Moore and Thomson and Thompson were played by Charles Kay.

Documentaries[link]

Two documentaries have been made about Tintin and his creator Hergé.

• I, Tintin (1976), a French documentary
• Tintin and I (Tintin et Moi), by Danish director Anders Høgsbro Østergaard in 2003, a co-production of companies from Denmark, Belgium, France, and Switzerland. This documentary was based on a taped interview with Hergé by Numa Sadoul from 1971. Although the interview was published as a book, Hergé was allowed to edit the work prior to publishing and much of the interview was excised.^[69] The documentary was broadcast in the United States as "Tintin and I" on the PBS network, 11 July 2006.^[67]

Theatre[link]

Hergé himself helped to create two Tintin stage plays; Tintin in India: The Mystery of the Blue Diamond (1941) and The Disappearance of Mr. Boullock (1941–1942), both of which were written with Jacques Van Melkebeke and performed in Brussels.^[70] In the late 1970s and early 1980s, two Tintin plays appeared in London, adapted by Geoffrey Case for the Unicorn Theatre Company – these were Tintin's Great American Adventure, based on the comic Tintin in America, which was shown across 1976–1977, and Tintin and the Black Island, which was based on The Black Island and shown in 1980. This second play later went on tour.^{[71][72][73][74][75]}

A musical based on The Seven Crystal Balls and Prisoners of the Sun premièred on 15 September 2001 at the Stadsschouwburg (city theatre) in Antwerp, Belgium. It was entitled Kuifje – De Zonnetempel (De Musical) and was broadcast on Canal Plus, before moving on to Charleroi in 2002 as Tintin – Le Temple du Soleil.^{[75][76][77][78]} The Young Vic theatre company ran a musical version of Tintin in Tibet at the Barbican Arts Centre in London from December 2005 to January 2006.^[79] The production was directed by Rufus Norris, and was adapted by Norris and David Greig.^[79] The Hergé Foundation organised the return of this show to the West End theatre in December 2006 and January 2007 in order to celebrate the Hergé centenary (2007).

Exhibitions[link]

Hergé's work on Tintin has formed the basis of many exhibitions, with the Hergé Foundation creating a mobile exhibition in 1991. "The World of Hergé" is described by the Foundation as being "an excellent introduction to Hergé's work". Materials from this exhibition have also formed the basis for larger shows, namely "Hergé the Draughtsman", an exhibition to celebrate the 60th anniversary of Tintin's creation, and the more recent "In Tibet With Tintin". In 2001 the Musée de la Marine staged an exhibition of items related to the sea which had inspired Hergé. In 2002 the Bunkamura Museum of Art in Japan staged an exhibition of original drawings, as well as of the submarine and rocket ship invented in the strips by Professor Calculus. Barcelona has also hosted an exhibition on Tintin and the sea, "llamp de rellamp" at the Maritime Museum in 2003.^[59]

2004 saw exhibitions in Holland, "Tintin and the Incas" at the Royal Museum of Ethnology; the "Tintin in the City" exhibition in the Halles Saint Géry in Brussels; and an exhibition focusing on Tintin's exploits at sea at the National Maritime Museum in London.^[59] The latter exhibition was in commemoration of the 75th anniversary of the publication of Tintin's first adventure, and was organised in partnership with the Hergé Foundation.^[80] 2004 also saw the Belgian Centre for Comic Strip Art add an area dedicated to Hergé.^[59]

The 100th anniversary of Hergé's birth is commemorated with a large exhibition at the Paris museum for contemporary arts, Centre Georges Pompidou, from 20 December 2006 until 19 February 2007, featuring all 120 original pages of The Blue Lotus.^[81]

Memorabilia and merchandise[link]

Images from the series have long been licensed for use on merchandise; the success of the Tintin magazine helping to create a market for such items. Tintin's image has been used to sell a wide variety of products, from alarm clocks to underpants.^[82] There are now estimated to be over 250 separate items related to the character available, with some becoming collectors items in their own right.^[83]

Since Hergé's death, the Hergé Foundation have maintained control of the licenses, through Moulinsart, the commercial wing of the foundation. Speaking in 2002, Peter Horemans, the then director general at Moulinsart, noted this control: "We have to be very protective of the property. We don’t take lightly any potential partners and we have to be very selective ... for him to continue to be as popular as he is, great care needs to be taken of his use."^[84] However, the Foundation has been criticised by scholars as "trivialising the work of Hergé by concentrating on the more lucrative merchandising" in the wake of a move in the late 1990s to charge them for using relevant images to illustrate their papers on the series.^[85]

NBC Universal acquired the rights to all of The Adventures of Tintin merchandise in North America.

The Tintin Shop in Covent Garden, London

Tintin memorabilia and merchandise has allowed a chain of stores based solely on the character to become viable. The first shop was launched in 1984 in Covent Garden, London. Tintin shops have also opened in both Bruges and Brussels in Belgium, and in Montpellier, France. The British bookstore chain, Ottakar's, founded in 1987, was named after the character of King Ottokar from the Tintin book King Ottokar's Sceptre, and their shops stocked a large amount of Tintin merchandise till their takeover by Waterstone's in 2006.^[86]