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Inventing the Cave ManFrom Darwin to the Flintstones$
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Andrew Horrall

Print publication date: 2017

Print ISBN-13: 9781526113849

Published to Manchester Scholarship Online: January 2018

DOI: 10.7228/manchester/9781526113849.001.0001

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PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in MSO for personal use (for details see http://www.manchester.universitypressscholarship.com/page/privacy-policy).date: 21 August 2018

Conclusion

Conclusion

Chapter:
(p.198) Conclusion
Source:
Inventing the Cave Man
Author(s):

Andrew Horrall

Publisher:
Manchester University Press
DOI:10.7228/manchester/9781526113849.003.0008

This short chapter is constructed around two cave men cartoons that were published in 2015. These are used to demonstrate the book’s conclusion that the cave man character in popular culture was established in late-Victorian Britain to show, in a gently mocking tone, that national ideals and institutions were superlative and immemorial. This has subsequently been expanded to suggest that Anglo-Saxon society has always been predominant. The character does not reflect scientific evidence or the controversies of the 1860s. These modern humans inhabit a conservative projection of the contemporary world in which its dominant values and ideas are unchallenged. This allows a broad audience to laugh, at itself, unselfconsciously.

Keywords:   The Croods, New Yorker magazine

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