Jules Verne's Works Quiz: Questions and Answers

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kupidonia.com Jules Verne’s Works Quiz: questions and answers Jules Verne’s Works Quiz: questions and answers - 1 / 4 kupidonia.com 1. When was a «long spindle-shaped object, sometimes giving off a phosphorescent glow» seen for the first time? 1865 1866 1966 2. Who was the best Canadian whaler? Ted Bland Reb Cand Ned Land 3. What was the name of the Captain Nemo’s vessel? Nautilus Bathyscaphe Parabellus 4. What were the names of Captain Grant's children? Marie and Nicolas Mary and Robert Evelyn and Mark 5. What is the name of the Secretary of the Paris Geographical Society? Luke Sganarel Jacques Paganel Jules Verne’s Works Quiz: questions and answers - 2 / 4 kupidonia.com Mack Pogorel 6. Who is Ayrton left on the island instead of? Captain Grant and two sailors Mary and Robert Grant Michael Douglas 7. What was the name of the schooner-brig, where Dick Sand began his career? Speedy Pilgrim Victory 8. Who killed Dingo? Pangoro Negoro Goro 9. What is the name of Cyrus Smith’s servant? Lab Pab Nab 10. What was the last gift of Captain Nemo before his death? A compass A treasure chest A diamond necklace Jules Verne’s Works Quiz: questions and answers - 3 / 4 kupidonia.com Jules Verne’s Works Quiz: questions and answers Right answers 1. When was a «long spindle-shaped object, sometimes giving off a phosphorescent glow» seen for the first time? 1866 2. Who was the best Canadian whaler? Ned Land 3. What was the name of the Captain Nemo’s vessel? Nautilus 4. What were the names of Captain Grant's children? Mary and Robert 5. What is the name of the Secretary of the Paris Geographical Society? Jacques Paganel 6. Who is Ayrton left on the island instead of? Captain Grant and two sailors 7. What was the name of the schooner-brig, where Dick Sand began his career? Pilgrim 8. Who killed Dingo? Negoro 9. What is the name of Cyrus Smith’s servant? Nab 10. What was the last gift of Captain Nemo before his death? A treasure chest Jules Verne’s Works Quiz: questions and answers - 4 / 4 Powered by TCPDF (www.tcpdf.org).

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Stuart Chases's Use of Jules Verne's the Mysterious Island, (1874)
University of Rhode Island DigitalCommons@URI Special Collections Publications (Miscellaneous) Special Collections 2006 Stuart Chases's Use of Jules Verne's The ysM terious Island, (1874) Richard Vangermeersch Follow this and additional works at: http://digitalcommons.uri.edu/sc_pubs Part of the Library and Information Science Commons Recommended Citation Vangermeersch, Richard, "Stuart Chases's Use of Jules Verne's The ysM terious Island, (1874)" (2006). Special Collections Publications (Miscellaneous). Paper 6. http://digitalcommons.uri.edu/sc_pubs/6 This Text is brought to you for free and open access by the Special Collections at DigitalCommons@URI. It has been accepted for inclusion in Special Collections Publications (Miscellaneous) by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Stuart Chases’s Use Of Jules Verne’s The Mysterious Island, (1874) December 2006 Richard Vangermeersch P.O. Box 338 Kingston, RI 02881 401-783-8853 2 Stuart Chases’s Use Of Jules Verne’s The Mysterious Island, (1874) There are two very specific reasons why this piece was researched and written. The first is a continuation of my work done on Stuart Chase (various publications). I am still hopeful my efforts will inspire an historian to do a 1000 page biography on Stuart Chase. The second is further example why my idea of using Verne’s book as the basis for a one-day management seminar is worth trying. I’ve explored this idea with a number of friends and hope that this piece will take at least one of them to try this idea. I am classifying this as a casual piece and have no interest in this being written for a vigorous academic review.
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Les Déclinaisons De Robinson Crusoé Dans L'île Mystérieuse De Jules
Document generated on 09/23/2021 7:57 a.m. Études françaises Les déclinaisons de Robinson Crusoé dans L’Île mystérieuse de Jules Verne Daniel Compère Robinson, la robinsonnade et le monde des choses Article abstract Volume 35, Number 1, printemps 1999 Jules Verne's L'île mystérieuse rewrites some of the main episodes of Defoe's Robinson Crusoe, with the difference that Verne's castaways are more URI: https://id.erudit.org/iderudit/036124ar numerous and cultured than Defoe's only hero. In Verne's novel, the DOI: https://doi.org/10.7202/036124ar transformation ofAyrton, who is abandoned on an island and turned into an animal, also sounds like a parody of one of Robinson Crusoe's scenes. So L'Ile See table of contents mystérieuse may be the novel where, as he tries ironically to equal the literary model, Verne reflects upon his own creative power. Publisher(s) Les Presses de l'Université de Montréal ISSN 0014-2085 (print) 1492-1405 (digital) Explore this journal Cite this article Compère, D. (1999). Les déclinaisons de Robinson Crusoé dans L’Île mystérieuse de Jules Verne. Études françaises, 35(1), 43–53. https://doi.org/10.7202/036124ar Tous droits réservés © Les Presses de l'Université de Montréal, 1999 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal.
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SYNOPSIS Captain Cyrus Smith (Kyle Maclachlan) Is an Engineer
SYNOPSIS Captain Cyrus Smith (Kyle MacLachlan) is an engineer and Union officer whose restless spirit resists imprisonment in a Confederate camp during the Civil War siege of Richmond, Virginia. When Cyrus devises an ingenious plan to free himself and a close friend, Neb (Omar Gooding), his efforts are immediately complicated by the addition of several more escapees, including devious Southerner Pencroff (Jason Durr), beautiful nurse Jane Spillet (Gabrielle Anwar) and Jane’s strong-willed teenage daughter Helen (Danielle Calvert). Swept to sea by a perilous storm, the escapees crash-land on a lost tropical isle full of dangerous secrets, including terrifying mutations of the local wildlife. Salvation comes in the form of Captain Nemo (Patrick Stewart), the troubled hero of Jules Verne’s 20,000 Leagues Under the Sea, who has built a fortress on the island and claimed it as his scientific playground. When Nemo learns of Cyrus’ engineering background, he tries to enlist Cyrus in his ultimate project: a doomsday weapon that Nemo believes will end all war forever. After Cyrus doubts Nemo and his weapon, the castaways are thrown out, left to fend for themselves against the wrath of Mother Nature betrayed. And when a band of bloodthirsty pirates arrive hunting for another of the island’s secrets, Cyrus and the castaways face an even greater threat: the worst elements of mankind. Will the escapees betray their ideals and ask Nemo for help? And will Nemo unleash the power of his terrible weapon or overcome his personal demons to aid the struggling castaways? -- HALLMARK CHANNEL -- .
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Le Tour De JULES VERNE En 80 Livres OUVRAGES DU MÊME AUTEUR
Le tour de JULES VERNE en 80 livres OUVRAGES DU MÊME AUTEUR EPHIGÉNIE EN THURINGE, nouvelles (Julliard, 1960) UN JOLI TRAIN DE VIE (Julliard, 1962) Prix Cazes LES SECRETS DU GOTHA (Julliard, 1964) SERVICE DE FRANCE (Emile-Paul, 1972) HISTOIRE DE L'ÉMIGRATION (Grasset, 1975, réédité Perrin 1984) NECKER OU LA FAILLITE DE LA VERTU (Perrin, 1978) ÉCHEC À BONAPARTE (en collaboration avec Robert Grouvel Perrin, 1980) MADAME DE STAËL (Perrin, 1983) Bourse Goncourt de la biographie - Grand Prix des lectrices de Elle. LA PRINCESSE BIBESCO (Perrin, 1986) LA DOUBLE VIE DE LA DUCHESSE COLONNA (Perrin, 1988) PROUST (Perrin, 1991) Grand Prix de la biographie de l'Académie française - Prix Marcel Proust - Prix du Printemps. PHILLIPPE JULLIAN, UN ESTHÈTE AUX ENFERS (Plon, 1993) CHATEAUBRIAND (Perrin, 1995) AU BON PATRIOTE, nouvelles (Pion, 1996) FERDINAND DE LESSEPS (Perrin, 1998) Prix des Ambassadeurs - Grand Prix de la Fondation Napoléon - Prix de la Société de Géo- graphie. LA COMTESSE DE SÉGUR, NÉE ROSTOPCHINE (Perrin, 1999) GHISLAIN DE DIESBACH Le tour de JULES VERNE en 80 livres PERRIN © Julliard, 1969. © Perrin 2000 pour la nouvelle édition ISBN : 2-262-01677-1 A Solange Fasquelle Ce livre n'a pas la prétention d'être une étude exhaustive de l'œuvre considérable laissée par Jules Verne : plus de cent volumes, rien que pour la série des Voyages extraordi- naires, sans compter des comédies bien oubliées, des travaux géographiques, comme cette vaste Histoire des grands Voya- ges et des grands Voyageurs, et enfin des nouvelles, des arti- cles qui, tous, témoignent que ce grand rêveur fut surtout un prodigieux travailleur.
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Jules Verne's Vision of a Saharan Sea Peter Schulman Old Dominion University, [email protected]
Old Dominion University ODU Digital Commons World Languages and Cultures Faculty Publications World Languages & Cultures 2015 Melancholic Mirages: Jules Verne's Vision of a Saharan Sea Peter Schulman Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/worldlanguages_pubs Part of the African History Commons, European History Commons, and the French and Francophone Literature Commons Repository Citation Schulman, Peter, "Melancholic Mirages: Jules Verne's Vision of a Saharan Sea" (2015). World Languages and Cultures Faculty Publications. 24. https://digitalcommons.odu.edu/worldlanguages_pubs/24 Original Publication Citation Schulman, P. (2015). Melancholic mirages: Jules Verne's vision of a Saharan Sea. Verniana: Jules Verne Studies/Etudes Jules Verne, 7, 75-86. This Article is brought to you for free and open access by the World Languages & Cultures at ODU Digital Commons. It has been accepted for inclusion in World Languages and Cultures Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. Verniana www.verniana.org Jules Verne Studies/Etudes Jules Verne ISSN 1565-8872 Submitted September 9, 2014 Published January 29, 2015 Proposé le 9 septembre 2014 Publié le 29 janvier 2015 Melancholic Mirages: Jules Verne's Vision of a Saharan Sea Peter Schulman Abstract L’invasion de la mer (The Invasion of the Sea), Verne’s last novel to be published during his lifetime, would appear to be a paradoxical vision of French colonial involvement as it chronicles the attempts of the French army occupying Tunisia and Algeria to capture Tuareg leaders bent on pushing the French out of the Maghreb on the one hand, and thwarting an environmentally disastrous French project on the other.
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The Mysterious Island
Kunapipi Volume 34 Issue 2 Article 17 2012 Colonisation and Speciesism: Jules Verne’s The Mysterious Island Bill Ashcroft Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Ashcroft, Bill, Colonisation and Speciesism: Jules Verne’s The Mysterious Island, Kunapipi, 34(2), 2012. Available at:https://ro.uow.edu.au/kunapipi/vol34/iss2/17 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Colonisation and Speciesism: Jules Verne’s The Mysterious Island Abstract Ever since Thomas More’s Utopia islands have been primary sites for utopias, and the perfect location for the demonstration of the benefits of colonisation. rF om Defoe’s Robinson Crusoe in 1719 the moral architecture for colonial occupation had been set, and all features of colonial improvement could be concentrated on the clearly bounded space of an island. The utopian vision of the South Seas grew apace after Defoe, and the attraction of the Pacific Island in particular has been surprisingly persistent. The Pacific Island, under the influence of a string of eighteenth century utopias, the paintings of Gaugin, the anthropology of Margaret Mead and twentieth-century popular culture, became the archetypal utopian space, not only for its idyllic mythology and nicely circumscribed geography but also because, whether painter, anthropologist, traveller or coloniser it offered a social tabula rasa. This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol34/iss2/17 145 bILL ASHcRoFT colonisation and Speciesism: Jules Verne’s The Mysterious Island Ever since Thomas More’s Utopia islands have been primary sites for utopias, and the perfect location for the demonstration of the benefits of colonisation.
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Nemo, the Nautilus, and the Triumph of the Instrumented Will
Submitted July 29, 2009 Published November 15, 2009 Proposé le 29 juillet 2009 Publié le 15 novembre 2009 Nemo, the Nautilus, and the Triumph of the Instrumented Will Robert O'Connor Abstract The monstrous in science fiction is commonly an externalization of all or part of the solitary will, the overreacher’s selfhood manifested in some embodiment manufactured by his own conscious or subconscious mind. A parallel science-fiction phenomenon empowers the individual or the collective self to achieve feats beyond the body’s limited capacities through the ingenuities of engineering. Combining aspects of the willed monstrous and the engineered and logically explicable marvelous, Jules Verne’s Twenty Thousand Leagues under the Seas focuses on a character whose ego combines many elements of 19th century willfulness and whose monstrous embodiment, the Nautilus, empowers its creator’s will. As engineer, as collector, as taxonomist, as artist, as polymath, as imperialist, as revolutionary, as autocrat, as avenger, as misanthrope, as mercantilist, as environmental sentimentalist, as environmental rapist, as self- indulgent potentate, and as surrogate god, Captain Nemo is of his age though he believes himself opposed to it, and the Nautilus is the instrument by which he magnifies himself. Résumé Le monstrueux en science-fiction est souvent une extériorisation de tout ou partie de la volonté solitaire, l'ipséité de l’individu qui réussit se manifeste par une certaine forme de personnification réalisée par son propre conscient ou inconscient. Un phénomène parallèle la science-fiction permet à l'individu ou au moi collectif de réaliser des prouesses au-delà des capacités limitées de l'organisme grâce aux techniques de l'ingénierie.
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Jules Verne the MYTERIOUS ISLAND
Jules Verne THE MYTERIOUS ISLAND During the American Civil war five men escaped with the balloon. But they picked wrong day for escaping; the day of the great wind. In the balloon there were five men; captain Cyrus Smith, Gideon Spillet, Pencroff, Harbert, and a dog named Top. The wind was blowing and they started to fall. They threw all the things in the balloon out of it. Then they started to fall again. They climbed on the ropes and everything below them fell into the see. Then Cyrus jumped into the see and his dog too. The rest of the group saw a land and they jumped on the mysterious island. Then they found a cave and some eggs and a river. While the rest of group was searching for fruit and making beds Spillet went to the highest mountain to see, if there is any sign of life in the island and if there are Cyrus and Top somewhere on the coast. Next morning Top came to the group and took them to Cyrus. He was very weak but they gave him water and he became stronger. They were very surprised because Cyrus didn't remember how he got in the cave were the group find him. Next day, while they were in the beach, they saw a strange box. They opened it. In the box were some clothes, coffee, food, matches, rope and some other things. That was very strange. They often explore the island. One day they explored a big cave. They like it so much so they moved from their old cave in big cave.
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Review of Thomas C. Renzi's Jules Verne on Film, Mcfarland, 1998]
DePauw University Scholarly and Creative Work from DePauw University Modern Languages Faculty publications Modern Languages 11-1999 An Exercise in Creative Genealogy. [Review of Thomas C. Renzi's Jules Verne on Film, McFarland, 1998] Arthur B. Evans DePauw University Follow this and additional works at: https://scholarship.depauw.edu/mlang_facpubs Part of the Arts and Humanities Commons Recommended Citation Arthur B. Evans. "An Exercise in Creative Genealogy." [Review of Thomas C. Renzi's Jules Verne on Film, McFarland, 1998] Science Fiction Studies 26.3 (1999): 493-495. This Book Review is brought to you for free and open access by the Modern Languages at Scholarly and Creative Work from DePauw University. It has been accepted for inclusion in Modern Languages Faculty publications by an authorized administrator of Scholarly and Creative Work from DePauw University. For more information, please contact [email protected]. Science Fiction Studies #79 = Volume 26, Part 3 = November 1999 An Exercise in Creative Genealogy. Thomas C. Renzi. Jules Verne on Film: A Filmography of the Cinematic Adaptations of His Works, 1902 through 1997. McFarland (fax: 910-246-5018), 1998. xiv + 230 pp. $55 cloth. The title of this book is somewhat misleading. It perhaps should have been called Jules Verne on Film: A Very Selective Filmography of the Cinematic Adaptations--Including Movies Arguably Derived From, Influenced By, Associated With, Parallel To, or Somehow Conveying the Aura Of--His Works, 1902 through 1997. What Thomas Renzi has done, in essence, is to lump together many (but far from all) of the straightforward cinematic adaptations of Verne's novels with a wide variety of other films that, in some way, appear to "echo" Verne's works.
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Jules Verne's Dream Machines: Technology and Transcendence
DePauw University Scholarly and Creative Work from DePauw University Modern Languages Faculty publications Modern Languages Summer 2013 Jules Verne's Dream Machines: Technology and Transcendence Arthur B. Evans DePauw University, [email protected] Follow this and additional works at: https://scholarship.depauw.edu/mlang_facpubs Part of the French and Francophone Literature Commons Recommended Citation Post-print of: Evans, Arthur B. “Jules Verne’s Dream Machines: Technology and Transcendence,” Extrapolation, Vol. 54.2 (2013): 129-146. Copyright Liverpool University Press. The original article may be obtained here: http://online.liverpooluniversitypress.co.uk/doi/abs/10.3828/extr.2013.8 This Article is brought to you for free and open access by the Modern Languages at Scholarly and Creative Work from DePauw University. It has been accepted for inclusion in Modern Languages Faculty publications by an authorized administrator of Scholarly and Creative Work from DePauw University. For more information, please contact [email protected]. published in Extrapolation vol. 54.2 (summer 2013): 129-46. Jules Verne’s Dream Machines: Technology and Transcendence Arthur B. Evans ABSTRACT: This article discusses how Verne mythologizes and poeticizes his fictional machines. More than just a means for solving problems and/or for providing access to exotic geographical locales, Verne’s technology is portrayed as being intrinsically poetic. Bridging the worlds of the industrial and the artistic, Verne’s machines constitute a new kind of objet d’art. Anthropomorphized to make them seem less coldly mechanical, these devices take on a life of their own and exist in a richly symbiotic relationship with their creators. Such machines transport the readers of Verne’s Voyages extraordinaires beyond the mimetic, serving both as a means to build verisimilitude and as a stepping-stone to transcend the real.
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Finding Nemo: Verne's Antihero As Original Steampunk
Submitted August 25, 2009 Published February 1, 2010 Proposé le 25 août 2009 Publié le 1 février 2010 Finding Nemo: Verne’s Antihero as Original Steampunk Mike Perschon Abstract In the foreword to his annotated translation of Jules Verne’s 20,000 Leagues Under the Sea, Walter James Miller suggests that Verne’s image was in need of rehabilitation due to the plethora of poor English translations his works have suffered. With the emergence of better translations, the same need for rehabilitation has emerged for Captain Nemo, the anti-hero of Verne’s underwater adventure tale. In the updated, post-colonial English translations of The Mysterious Island, Nemo is revealed to be the antithesis of the Caucasian pop-culture iteration made famous by James Mason and most recently continued by Patrick Stewart and Michael Caine: an Indian prince whose real name is Dakkar, a leader of the Sepoy rebellion against colonial rule in 1857. It is this Nemo, Verne’s original character, who embodies the essence of the Steampunk aesthetic of the instability of identity through his repeated death-and-rebirth cycle in both novels. Mixing one part recursive fantasy, one part historical criticism, and one part textual analysis, this paper will demonstrate how Captain Nemo is representative of one of the core elements of the Steampunk aesthetic, namely the redefining of identity. Résumé Dans l’avant-propos de sa traduction annotée de Vingt mille lieues sous les mers de Jules Verne, Walter James Miller suggère que l’image de l’auteur avait besoin de se faire réhabiliter à cause d'une grande quantité de mauvaises traductions dont son œuvre aurait souffert.
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Présentation Powerpoint
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