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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. -
Bulletin De La Société Jules Verne Table Des Matières Des Bulletins
Bulletin de la Société Jules Verne Table des matières des bulletins Numéros des Bulletins épuisés - Ancienne série: Publié de 1935 à 1939: Aucun numéro disponible. Numéros des Bulletins épuisés Nouvelle série: De 1967 à nos jours: 01 - 02 - 03 - 05 à 22 - 28 - 29 - 30 - 85 - 86. Bulletin no 201 (Novembre 2020) • La rédaction : Éditorial (p. 1) • R.RICHERT : Une lithographie douteuse, enfin identifiée (p. 2) • ERRATA NU N° 200 ( p. 3) • J. DEMERLIAC : Rue Jules Verne(p. 4) • Ph. BURGAUD: À propos de la goélette Jules Verne Phénix (p. 21) • V. DEHS : « 26oct. 90, assis sur crocodile » - Extraits des notes de travail de Jules Verne en quatorze étapes (p. 24) • J. C. BOLLINGER : Jules Verne et la science d’aujourd’hui. - Du Snaeffels au Stromboli, de la géologie à la géocritique (p. 38) • V. DEHS : Vénération et contestation. Poe lu et présenté par Verne (p. 41) • J. VERNE : Edgar Poë et ses œuvres (p.57) • V. DEHS : Les éditions de Jule Verne (p.102) • J. VERNE : Deux lettres à Arvède Barine(p. 105) • J. C. BOLLINGER : Note de lecture (et billet d’humeur) : Une édition désorganisée d’un voyage organisé par L’Agense Tompson ans Co … (p. 110) • H. LEVANNEUR : Humbug et balivernes. Une bibliothèque modèle des Voyages extraordinaires (p. 115) • Table des illustrations (p. 118) Bulletin no 200 (Mai 2020) • La rédaction : Éditorial (p. 1) • J.-L. MONGIN : 6èmes Rencontres Jules Verne, novembre 2019 – Nantes, ou Le Robinson dans tous ses états (p. 2) • V. DEHS : À propos d’une photographie de Jules Verne( p. 4) • G. CARPENTIER : Mariage et filiation chez maître Antifer (p. -
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). -
EQUIPE Xixe
<ATTillisible> UNIVERSITE DE LA SORBONNE NOUVELLE (PARIS III) EQUIPE XIXe - GITVH UNIVERSITE PARIS 7 BIBLIOTHEQUE Lettres <Attillisible> 6571 THESE DE DOCTORAT D'ETAT JULES VERNE ET L'IMAGINAIRE SES REPRESENTATIONS ET SES FONCTIONS PRINCIPALES DANS LA PERIODE DE FORMATION DE L'OEUVRE ROMANESQUE (1851 - 1875) TOME I par Jean DELABROY Rapporteur : Monsieur le Professeur FAYOLLE EQUIPE XIXe - GITVH UNIVERSITE PARIS 7 BIBLIOTHEQUE Lettres A ceux qui savent que ce travail leur doit tout, son projet, son existence et ses éventuelles qualités.... et en particulier à <ATTillisible> qui sait tout ce que je lui dois de moi-même, avec mon affection pour nous deux -Ir- AVANT-PROPOS - II - Quelles raisons peuvent expliquer ce qui, rétrospectivement considéré, n'allait pas de soi : qu'un jeune homme ait voulu, en 1970, au sortir de l'Ecole Normale et de l'agrégation, consacrer ses recherches débutantes à l'œuvre de J. Verne, et que cette idée, présentée en son état naissant à Pierre Albouy, ait rencontré aussitôt son assentiment, libéral et généreux ? Il y a là les marques d'un moment et d'un parcours historiques déterminés, dont il n'est pas indifférent de rappeler brièvement la teneur. Il y allait évidemment, c'est-à-dire primordialement, d'une fascination d'adolescence, persistante, pour les petits livres verts de la maison Hachet¬ te : probablement, par conséquent, d'une manière pour nous de nous efforcer de nous en rendre compte ; et certainement, par delà, de la volonté de pren• dre pour fin (concrètement pour objet) notre origine, c'est-à-dire de reven• diquer une éducation par essence républicaine, devenue avec le temps un in• défectible préjugé : fonds culturel et moral, avec cette double évidence du devoir social et de l'intransigeance privée, donc et surtout, sans que ja• mais cela n'apparût, comme la pudeur qui lui est propre s'en fait une rè• gle, fonds civique de ce qui s'appelle laïcité. -
DISNEY STILLS LIST Last Updated on October 7, 2020 This Is a List of All
DISNEY STILLS LIST Last updated on October 7, 2020 This is a list of all of the extra Disney publicity photos I have available for trade or for sale. They're all Disney originals, not duplicates, and are extra copies of those I have in my own collection. The photos are $3/each unless marked below, plus $7.50 per order for Priority Mail in the United States. Photos marked "Free" are just that - get one free for every photo you buy. I am willing to trade two-for-one for any Disney photos I don't have (which is a lot more than what's on this list!), or for other Disneyana. Please let me know what you have to trade! I have multiple copies of some photos but just one of others, so it's first-come, first-served. If you have any questions or want me to hold photos for you please let me know. $1,000,000 DUCK Cast: Dean Jones (Professor Albert Dooley), Sandy Duncan (Katie Dooley), Joe Flynn (Finley Hooper). 51A-1636 Albert looks at Charley in cage; Hooper looks at both of them 51A-2299 Publicity: Sandy Duncan leaning on Dean Jones, both smiling 20,000 LEAGUES UNDER THE SEA Cast: Kirk Douglas (Ned Land), James Mason (Captain Nemo), Paul Lukas (Professor Pierre Aronnax), Peter Lorre (Conseil), Robert J. Wilke (First Mate). TWC-39 Divers securing coral cross TWC-136 Divers working with net in underwater plants TWC-158 Divers placing coral cross on the underwater grave TWC-196 Behind-the-scenes: Crew members with underwater signal chart TWC-197 Behind-the-scenes: Crew practicing underwater signals TWC-204 Behind-the-scenes: Crew lowers camera into -
Boxoffice Barometer (April 15, 1963)
as Mike Kin*, Sherman. p- builder the empire Charlie Gant. General Rawlmgs. desperadc as Linus border Piescolt. mar the as Lilith mountain bub the tut jamblei's Zeb Rawlings, Valen. ;tive Van horse soldier Prescott, e Zebulon the tinhorn Rawlings. buster Julie the sod Stuart, matsbil's*'' Ramsey, as Lou o hunter t Pt«scott. marsl the trontie* tatm gal present vjssiuniw SiNGiN^SVnMNG' METRO GOlPWVM in MED MAYER RICHMOND Production BLONDE? BRUNETTE? REDHEAD? Courtship Eddies Father shih ford SffisStegas 1 Dyke -^ ^ panairtSioo MuANlNJR0( AMAN JACOBS , st Grea»e Ae,w entl Ewer Ljv 8ecom, tle G,-eai PRESENTS future as ^'***ied i Riel cher r'stian as Captain 3r*l»s, with FILMED bronislau in u, PANAVISION A R o^mic RouND WofBL MORE HITS COMING FROM M-G-M PmNHunri "INTERNATIONAL HOTEL (Color) ELIZABETH TAYLOR, RICHARD BURTON, LOUIS JOURDAN, ORSON WELLES, ELSA MARTINELLI, MARGARET RUTHERFORD, ROD TAYLOR, wants a ROBERT COOTE, MAGGIE SMITH. Directed by Anthony Asquith. fnanwitH rnortey , Produced by Anotole de Grunwald. ® ( Pana vision and Color fEAlELI Me IN THE COOL OF THE DAY” ) ^sses JANE FONDA, PETER FINCH, ANGELA LANSBURY, ARTHUR HILL. Mc^f^itH the Directed by Robert Stevens. Produced by John Houseman. THE MAIN ATTRACTION” (Metrocolor) PAT BOONE and NANCY KWAN. Directed by Daniel Petrie. Produced LPS**,MINDI// by John Patrick. A Seven Arts Production. CATTLE KING” [Eastmancolor) ROBERT TAYLOR, JOAN CAULFIELD, ROBERT LOGGIA, ROBERT MIDDLETON, LARRY GATES. Directed by Toy Garnett. Produced by Nat Holt. CAPTAIN SINDBAD” ( Technicolor— WondroScope) GUY WILLIAMS, HEIDI BRUEHL, PEDRO ARMENDARIZ, ABRAHAM SOFAER. Directed by Byron Haskin. A Kings Brothers Production. -
Seconds Rôles, Duos Et Trios Dans L'oeuvre Romanesque De Jules Verne
Belphégor Daniel Compère Université Paris III - Sorbonne nouvelle Seconds rôles, duos et trios dans l'oeuvre romanesque de Jules Verne Avec un ensemble de plus de soixante romans, l'oeuvre de Jules Verne propose une diversité de personnages qui va du héros omniprésent comme Phileas Fogg dans Le Tour du monde en quatre-vingts jours à l'anonyme colporteur du début du Château des Carpathes dont le narrateur dit "Il ne fait que passer dans ce récit. On ne le reverra plus."1 Dans le système des personnages que Verne met en place, il est frappant de constater que le héros n'est jamais seul même s'il cherche la solitude. Même Nemo qui fuit la société à bord de son sous-marin a un second et des compagnons.2 Mais dans un bon nombre de romans où un but doit être atteint c'est une véritable équipe qui se met en place. Ce sont ces exemples que nous allons examiner ici en observant comment plusieurs traditions se conjuguent, celle du récit de voyage imaginaire et du roman d'aventures, bien sûr, mais aussi les impératifs du roman éducatif et les richesses de l'écriture théâtrale.Lorsque l'on examine les textes de Verne en tant que roman d'aventures, on ne peut ignorer la nécessité éducative qui s'impose à l'auteur. Il publie dans le cadre d'une "Bibliothèque d'éducation et de récréation". Le savoir à transmettre au lecteur est souvent pris en charge par des personnages qui en assurent le relais et qui sont crédibles dans la mesure où le narrateur les présente comme des spécialistes de divers domaines, médecins, géographes, naturalistes, ingénieurs, etc.3 C'est la mise en place de ce dispositif éducatif qui entraîne le choix de ces types de personnages : d'abord, le savant-aventurier, puis le second qui peut présenter des attributions différentes, enfin l'aide qui lui aussi peut posséder diverses caractéristiques.