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Birth in Nantes of Jules Verne, to Pierre, a Lawyer, and Sophie, of Distant Scottish Descent
A CHRONOLOGY OF J ULES V ERNE William Butcher 1828 8 February: birth in Nantes of Jules Verne, to Pierre, a lawyer, and Sophie, of distant Scottish descent. The parents have links with reactionary milieux and the slave trade. They move to 2 Quai Jean-Bart, with a magnificent view over the Loire. 1829 Birth of brother, Paul, followed by sisters Anna (1837), Mathilde (1839) and Marie (1842). 1834–7 Boarding school. The Vernes spend the summers in bucolic countryside with a buccaneer uncle, where Jules writes his travel dreams. His cousins drown in the Loire. 1837–9 École Saint-Stanislas. Performs well in geography, translation and singing. For half the year, the Vernes stay in Chantenay, overlooking the Loire. Jules’s boat sinks near an island, and he re-enacts Crusoe. Runs away to sea, but is caught by his father. 1840–2 Petit séminaire de Saint-Donitien. The family move to 6 Rue Jean-Jacques Rousseau. Jules writes in various genres, his father predicting a future as a ‘savant’. 1843 Collège royal de Nantes, but missing a year’s studies. 1844–6 In love with his cousin Caroline. Writes plays and short prose pieces. Easily passes baccalauréat. 1847 Studies law in the Latin Quarter. Fruitless passion for Herminie Arnault-Grossetière, dedicating her scores of poems. 1848–9 In the literary salons meets Dumas père and fils, and perhaps Victor Hugo. Law degree. 1850 Comedy ‘Broken Straws’ runs for twelve nights. 1851 Publishes short stories ‘Drama in Mexico’ and ‘Drama in the Air’. Works as private tutor, bank clerk and law clerk. -
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. -
The Mysterious Island by Jules Verne 1874 PART 1--DROPPED from the CLOUDS
The Mysterious Island by Jules Verne 1874 PART 1--DROPPED FROM THE CLOUDS Chapter 1 "Are we rising again?" "No. On the contrary." "Are we descending?" "Worse than that, captain! we are falling!" "For Heaven's sake heave out the ballast!" "There! the last sack is empty!" "Does the balloon rise?" "No!" "I hear a noise like the dashing of waves. The sea is below the car! It cannot be more than 500 feet from us!" "Overboard with every weight! . everything!" Such were the loud and startling words which resounded through the air, above the vast watery desert of the Pacific, about four o'clock in the evening of the 23rd of March, 1865. Few can possibly have forgotten the terrible storm from the northeast, in the middle of the equinox of that year. The tempest raged without intermission from the 18th to the 26th of March. Its ravages were terrible in America, Europe, and Asia, covering a distance of eighteen hundred miles, and extending obliquely to the equator from the thirty-fifth north parallel to the fortieth south parallel. Towns were overthrown, forests uprooted, coasts devastated by the mountains of water which were precipitated on them, vessels cast on the shore, which the published accounts numbered by hundreds, whole districts leveled by waterspouts which destroyed everything they passed over, several thousand people crushed on land or drowned at sea; such were the traces of its fury, left by this devastating tempest. It surpassed in disasters those which so frightfully ravaged Havana and Guadalupe, one on the 25th of October, 1810, the other on the 26th of July, 1825. -
The World's Measure: Caesar's Geographies of Gallia and Britannia in Their Contexts and As Evidence of His World Map
The World's Measure: Caesar's Geographies of Gallia and Britannia in their Contexts and as Evidence of his World Map Christopher B. Krebs American Journal of Philology, Volume 139, Number 1 (Whole Number 553), Spring 2018, pp. 93-122 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/ajp.2018.0003 For additional information about this article https://muse.jhu.edu/article/687618 Access provided at 25 Oct 2019 22:25 GMT from Stanford Libraries THE WORLD’S MEASURE: CAESAR’S GEOGRAPHIES OF GALLIA AND BRITANNIA IN THEIR CONTEXTS AND AS EVIDENCE OF HIS WORLD MAP CHRISTOPHER B. KREBS u Abstract: Caesar’s geographies of Gallia and Britannia as set out in the Bellum Gallicum differ in kind, the former being “descriptive” and much indebted to the techniques of Roman land surveying, the latter being “scientific” and informed by the methods of Greek geographers. This difference results from their different contexts: here imperialist, there “cartographic.” The geography of Britannia is ultimately part of Caesar’s (only passingly and late) attested great cartographic endeavor to measure “the world,” the beginning of which coincided with his second British expedition. To Tony Woodman, on the occasion of his retirement as Basil L. Gildersleeve Professor of Classics at the University of Virginia, in gratitude. IN ALEXANDRIA AT DINNER with Cleopatra, Caesar felt the sting of curiosity. He inquired of “the linen-wearing Acoreus” (linigerum . Acorea, Luc. 10.175), a learned priest of Isis, whether he would illuminate him on the lands and peoples, gods and customs of Egypt. Surely, Lucan has him add, there had never been “a visitor more capable of the world” than he (mundique capacior hospes, 10.183). -
Islands in the Screen: the Robinsonnade As Television Genre Des Îles À L’Écran : La Robinsonnade Comme Genre Télévisuel Paul Heyer
Document generated on 09/24/2021 6:24 p.m. Cinémas Revue d'études cinématographiques Journal of Film Studies Islands in the Screen: The Robinsonnade as Television Genre Des îles à l’écran : la robinsonnade comme genre télévisuel Paul Heyer Fictions télévisuelles : approches esthétiques Article abstract Volume 23, Number 2-3, Spring 2013 The island survivor narrative, or robinsonnade, has emerged as a small but significant television genre over the past 50 years. The author considers its URI: https://id.erudit.org/iderudit/1015187ar origins as a literary genre and the screen adaptations that followed. Emphasis DOI: https://doi.org/10.7202/1015187ar is placed on how “island TV” employed a television aesthetic that ranged from an earlier conventional approach, using three cameras, studio locations, and See table of contents narrative resolution in each episode, to open-ended storylines employing a cinematic style that exploits the new generation of widescreen televisions, especially with the advent of HDTV. Two case studies centre the argument: Gilligan’s Island as an example of the former, more conventional aesthetic, and Publisher(s) Lost as an example of the new approach. Although both series became Cinémas exceedingly popular, other notable programs are considered, two of which involved Canadian production teams: Swiss Family Robinson and The Mysterious Island. Finally, connections are drawn between robinsonnades and ISSN the emerging post-apocalyptic genre as it has moved from cinema to television. 1181-6945 (print) 1705-6500 (digital) Explore this journal Cite this article Heyer, P. (2013). Islands in the Screen: The Robinsonnade as Television Genre. Cinémas, 23(2-3), 121–143. -
Islands As Novelty Sites*
ISLANDS AS NOVELTY SITES* GODFREY BALDACCHINO ABSTRACT. Being on the edge, being out of sight and so out of mind, exposes the weakness of mainstream ideas, orthodoxies, and paradigms and foments alternatives to the status quo. Islands are thus propelled as sites of innovative conceptualizations, whether of nature or human enterprise, whether virtual or real. They stand out as sites of novelty; they tend to- ward clairvoyance; they are disposed to act as advance indicators or extreme reproductions of what is present or future elsewhere. This article, which is essentially bibliographical, cel- ebrates islands as the quintessential sites for experimentation, with reference to the physical sciences, the social sciences, and literature. Keywords: island studies, islands, paradoxical spaces. M ainlanders often harbor a subconscious obsession to frame and map an island cognitively, to "take it all in," to go up to its highest point or walk around its shore, thus capturing its finite geography. They appear to hold a deep-seated urge "to go to the centre of the island and from there to sing or shout or reflect that, however shattered it might seem to others, the island experience is, within itself, with all its conflicts, potentially whole" (Ritchie 1977,188). In so doing, one feels that one knows, and therefore controls, the island more thoroughly and intimately. Unlike mainlands, one can actually buy and own a whole island (Satterlee 2002; Vladi Private Islands 2007). Virtual islands can be, and have been, conceived, engi- neered, and fashioned in strict accordance with the whims and ideals of their (in- variably male) masters: Consider Daniel Defoe's Robinson Crusoe ([1719] 2007), or Jules Verne's The Mysterious Island ([1874] 1965, reviewed by Loxley 1990). -
REDISCOVERING CIVIL WAR CLASSICS: Jules Verne's Civil War
Civil War Book Review Spring 2007 Article 4 REDISCOVERING CIVIL WAR CLASSICS: Jules Verne's Civil War David Madden Follow this and additional works at: https://digitalcommons.lsu.edu/cwbr Recommended Citation Madden, David (2007) "REDISCOVERING CIVIL WAR CLASSICS: Jules Verne's Civil War," Civil War Book Review: Vol. 9 : Iss. 2 . Available at: https://digitalcommons.lsu.edu/cwbr/vol9/iss2/4 Madden: REDISCOVERING CIVIL WAR CLASSICS: Jules Verne's Civil War Feature Essay Spring 2007 Madden, David REDISCOVERING CIVIL WAR CLASSICS: Jules Verne's Civil War. Jules Verne's Civil War The Blockade Runners (1871) by Jules Verne The Mysterious Island (1875) by Jules Verne North Against South (1887) by Jules Verne Do you know where and when Nemo, inventor and captain of the famed Nautilus submarine, died? I suppose I should first answer your own question: What has that question to do with the American Civil War? You probably didn't know, as I didn't know until a few days ago, that Jules Verne wrote two Civil War novels within ten years of the end of the war: The Blockade Runners (1871) and The Mysterious Island (1875), a sequel to Twenty Thousand Leagues Under the Sea (1870). Twelve years later, this French admirer of President Lincoln and General Grant published a third Civil War novel, North Against South. Answer: It was on Mysterious Island that Captain Nemo died. Although it was later published, illustrated, and is even now in print, The Blockade Runners is often not even listed as one of Verne's nearly 100 books, probably because it is really a 76-page novella first published in a book as an add-on to A Floating City (1871). -
Marzo 2016 CULTURA BLUES. LA REVISTA ELECTRÓNICA Página | 1
Número 58 - marzo 2016 CULTURA BLUES. LA REVISTA ELECTRÓNICA Página | 1 Contenido Directorio PORTADA El blues de los Rolling Stones (1) …………………………...... 1 Cultura Blues. La Revista Electrónica CONTENIDO - DIRECTORIO ..……………………………………..…….. 2 “Un concepto distinto del blues y algo más…” EDITORIAL Al compás de los Rolling Stones (2) .......................…. 3 www.culturablues.com SESIONES DESDE LA CABINA Los Stones de Schrödinger Número 58 – marzo de 2016 (3) ..…………………………………………..……..…..………………………………………... 5 Derechos Reservados 04 – 2013 – 042911362800 – 203 Registro ante INDAUTOR DE COLECCIÓN El blues de los Rolling Stones. Parte 3 (2) .……..…8 COLABORACIÓN ESPECIAL ¿Quién lo dijo? 4 (2) ………….…. 17 Director general y editor: José Luis García Fernández BLUES EN EL REINO UNIDO The Rolling Stones – Timeline parte I (4) .......................................... 21 Subdirector general: José Luis García Vázquez ESPECIAL DE MEDIANOCHE Fito de la Parra: sus rollos y sus rastros (5) ……………….…….…..…….…. 26 Programación y diseño: Aida Castillo Arroyo COLABORACIÓN ESPECIAL La Esquina del Blues y otras músicas: Blues en México, recuento Consejo Editorial: de una década I (6) …………………………………………………………………….…. 34 María Luisa Méndez Flores Mario Martínez Valdez HUELLA AZUL Castalia Blues. Daniel Jiménez de Viri Roots & The Rootskers (7, 8 y 9) ………………………………………..……………..….… 38 Colaboradores en este número: BLUES A LA CARTA 10 años de rock & blues (2) .……………..... 45 1. José Luis García Vázquez CULTURA BLUES DE VISITA 2. José Luis García Fernández Ruta 61 con Shrimp City Slim (2 y 9) ................................................. 52 3. Yonathan Amador Gómez 4. Philip Daniels Storr CORTANDO RÁBANOS La penca que no retoña (10) ............ 55 5. Luis Eduardo Alcántara 6. Sandra Redmond LOS VERSOS DE NORMA Valor (11) ..………………………………… 57 7. María Luisa Méndez Flores 8. -
Freeing Voices of Dissent in the Underground Newspaper Collection
Laurie Charnigo Prisoners of Microfilm Freeing Voices of Dissent in the Underground Newspaper Collection “We are a people, and a people must have their own voice, and that voice is the underground press.”1 - Thomas King Forcade 1. Bad juju I put the finishing touch on the display case in the lobby of our library, a sign in bold newsprint: “Come Explore the UPS Underground Newspaper 41 Collection (1963-1975)!” Stepping back to admire my creation, I almost had to brace myself against the dizzying psychedelic collage of graphics. This display screamed not only “Look at me!” but “Damn! I’m cool!” And oh how cool it was covered with photos, comics, and covers from a wide range of colorful Vietnam-era ‘underground’ newspapers. The bright art of Black Panther’s Emory Douglas shouted “Power to the People!” Psychedelic covers of the San Francisco Oracle flashed Vedic Motifs, bearded gurus, and hookah- smoking shamans. Gilbert Sheldon’s Fabulous Furry Freak Brothers and Trina Robbins’ feminist superheroes playfully danced throughout the display. There were photos of protesters marching for civil rights, gay rights, women’s rights, and in opposition to the war in Vietnam. There were raised fists of solidarity, peace signs, concert posters, a real lava lamp (which I hoped wouldn’t burn the library down), and covers of the Berkeley Barb, Avatar, the Los Angeles Free Press, and many others. Books about the Vietnam-era underground press were featured prominently throughout the display, such as Ken Wachsberger’s extensive Voices from the Underground series and John McMillian’s Smoking Typewriters: The Sixties Underground Press and the Rise of Alternative Media Laurie Charnigo is education librarian at Jacksonsville State University in Alabama. -
Miroslava Lukic Krstanovic, Spektakli 20 Veka:Raspored 1.Qxd
ISBN 978–86–7587–060–9 Мирослава Лукић Крстановић СПЕКТАКЛИ XX ВЕКА МУЗИКА И МОЋ SERBIAN ACADEMY OF SCIENCES AND ARTS INSTITUTE OF ETHNOGRAPHY SPECIAL EDITIONS Volume 72 Miroslava Lukić Krstanović TWENTIETH CENTURY SPECTACLE MUSIC AND POWER Editor Dragana Radojičić BELGRADE 2010 СРПСКА АКАДЕМИЈА НАУКА И УМЕТНОСТИ ЕТНОГРАФСКИ ИНСТИТУТ ПОСЕБНА ИЗДАЊА Књига 72 Мирослава Лукић Крстановић СПЕКТАКЛИ XX ВЕКА МУЗИКА И МОЋ Уредник Драгана Радојичић БЕОГРАД 2010 Издавач ЕТНОГРАФСКИ ИНСТИТУТ САНУ Кнез Михајлова 36/IV, Београд, тел. 011 26 36 804 [email protected], www.etno-institut.co.rs За издавача Драгана Радојичић Рецензенти академик Гојко Суботић проф. др Иван Ковачевић проф. др Бојан Жикић Секретар редакције: Марија Ђокић Лектор Ивана Башић Коректор Марија Ђокић Превод на енглески Богдан Петровић Корице Игор Васиљев Техничка припрема Београдска књига Штампа Будућност Нови Сад Тираж 500 примерака Штампање публикације финансирано је из средстава Министарства за науку и технолошки развој Републике Србије Примљено на II седници Одељења друштвених наука САНУ одржаној 23. фебруара 2010. године, на основу реферата академика Гојка Суботића САДРЖАЈ Предговор.....................................................................................9 I. ТЕОРИЈА СПЕКТАКЛА Морфологија појма .................................................................15 Теоријско мапирање ...............................................................20 Спектакл – друштво .........................................................22 Спектакл – бирократија ..................................................27 -
Windows to the Past 1960-1969
Windows to the Past 1960 – 1969 Girls Scouts was founded in 1912 by Juliette Gordon Low. In 1911, Juliette met Sir Robert Baden-Powell, who introduced her to the Boy Scout and Girl Guide movement. Juliette brought the movement back to the United States and started the first troop on March 12, 1912. The Windows to the Past program will let your troop experience some of the activities that Girl Scouts did during the decade we are working on. Girls need to complete four activities to earn the 1960 – 1969 lapel pin that can be purchased at the council shop. It was a time when a generation rebelled and lost its innocence. From the Vietnam War to the struggle for racial equality to the birth of the counterculture, the 1960s was a decade of change, experimentation and hope that transformed an entire nation. There is disagreement even today over the failures and accomplishments of the 1960s, but one thing is certain: there has never been a time quite like it. This tumultuous and exhilarating decade continues to have a profound impact on our society today, from American foreign policy to the birth of the environmental, civil rights and women’s liberation movements. To learn more about the history of Girl Scouts visit www.girlscouts.org. What was going on in Girl Scouts during 1960 – 1969? 1960 The Centennial of Juliette Low’s birth is celebrated across the nation. 1961 The 1961 Girl Scout calendar focuses on Girl Scouts’ anniversary theme “Honor the past. Serve the future.” The theme is used from October 31, 1960, the 100th anniversary of Juliette Low’s birth, to the organization’s 50th anniversary on March 12, 1962 The Girl Scout Rose and Brownie Girl Scout Marigold are developed to honor Girl Scouts. -
1969 Free Concert
1969 free concert click here to download The Altamont Speedway Free Festival was a counterculture-era rock concert in in the United States, held at the Altamont Speedway in northern California Jefferson Airplane · Rolling Stones/Grateful · Security · Reactions. Meredith Curly Hunter, Jr. (October 24, – December 6, ) was an year-old African-American man who was killed at the Altamont Free Concert. The Stones in the Park generally refers to a free outdoor festival held in Hyde Park on 5 July , headlined by The It was the Stones' first public concert in over two years, and was planned as an introduction of new guitarist, Mick Taylor. Death of Meredith Hunter during the Rolling Stones concert Rolling Stones - Altamont Speedway Free. Music fans dance and sing to the Rolling Stones at a free concert at the Altamont Raceway Park near Livermore, Calif. on Dec. 6, It's festival time! Find and share Altamont Free Concert setlists. Find a The Rolling Stones & Guests* - Altamont Free Concert first pressing or reissue. Complete your The Rolling Stones & Guests* collection. Shop Vinyl. It was rock 'n' roll's darkest day, Saturday December 6, , when the Rolling Stones decided to play a 'free' concert at an abandoned. The Rolling Stones' US Tour was a remarkable tour at a remarkable time. Some say Altamont – the free concert tacked on to the end. Do you intend to go to any more of these mass concerts? 1) Promise a free concert by a popular rock group which rarely appears in this. During the Stones' American tour in , they faced repeated In response, the band decided to end the tour with a free concert in San.