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Certain images of Paris have become icons for the left, but the Paris of the right has received far less attention. This groundbreaking collection of essays examines the relationship between Paris and the right in the twentieth century, exploring how political leaders and parties have depicted and controlled the streets, people and history of Paris, and how the city has been both context and inspiration for journalists and novelists of the right.

The second part examines the importance of Paris for de Gaulle and his successors in their exercise of authority and control, whether in the media, the streets, or municipal politics. A Franco-British collaboration spanning history, literary studies and political science, this volume offers an original contribution to the political geography, culture and symbolism of the French capital.

She has published articles on street politics during the French Popular Front, and on Communist and Catholic theatre in the s. She is currently working on a study of the concepts of people and nation in France between and Health Sciences.


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Social Sciences. However, Verne was not limited solely by his English language publishers by also by his long-term French editor and publisher who refused to publish "Paris in the Twentieth Century" due to its dystopian perspective. It was not until the manuscript's discovery, publication, and, English translation in the mids that we would have access to his vision.

Written in and set in the s the novel speaks strongly to our Postmodernity, a world where Modernism and Capitalism dominate over the Arts and the Humanities: "'How are the humanities going? It's a turpe decadence! Soon they'll be getting rid of us, and with good reason. Verne also anticipates globalization and the French fear that this will equal Americanization of society and its members: "'The caressing manner of the Parsienne, her alluring figure, her witty and tender glances, her firm yet precise embonpoint soon gave way to certain long, lean, skinny, arid, fleshless, emaciated forms, to a mechanical, methodical, puritanical unconcern.

The waist flattened, the glance austerified, the joints stiffened; a stiff hard nose lowered over narrowed lips; the stride grew longer; the Angel of Geometry, formerly so lavish with his most alluring curves, delivered woman up to all the rigors of straight lines and acute angles. The Frenchwoman has become Americanized; she speaks seriously about serious matters. It is as though our quest for equality has left us with two desert extremes and a glittering wasteland in between, a global nightmare like Dubai in our personal relationships.

Overall, Verne leaves us with a haunting vision of a world we have been wandering lost in for the last half-century. Read it for the reverberations it will generate within. Oct 14, Roger Burk rated it really liked it. Verne wrote this science fiction novel of the future early in his career, but was told it could not sell so it lay hidden for over years. Verne foresees a future of technological progress in which art and literature have almost died and bourgeois entrepreneurship and business have taken over society.

Strangely for the ur-scifi writer, he disdains all the progress is science and engineering, focusing on the cultural loss. The characters and plot are engaging enough, but it's also fun to see w Verne wrote this science fiction novel of the future early in his career, but was told it could not sell so it lay hidden for over years.

Paris Twentieth Century by Jules Verne, First Edition

The characters and plot are engaging enough, but it's also fun to see what he got right and wrong about Paris in RIGHT mostly : Literacy is universal. A clean, quiet, efficient Metro system elevated, and running on compressed air serves a greatly enlarged Paris. Electricity is in every home and provides street lighting. The streets are filled with mostly horseless carriages with steering wheels and brake pedals, powered by internal combustion engines. A network of stations provides their fuel hydrogen. People wear clothes of synthetic material spun metal--the downside is that it rusts.

Paris Peace Conference and Treaty of Versailles - The 20th century - World history - Khan Academy

Calculations are done by mechanical machines. Faxes are transmitted by wire. Canals cross Suez and Panama. The Parisian air is polluted by all the factory chimneys. So does peace; there is no politics to speak of, since everyone is so involved in business. Wars became ridiculous when fighting machines became too large, so most countries have disbanded their armies. The big trucks in Paris deploy as much as 30 horsepower, but all vehicles are prohibited in the city after AM.

The wealthy are still served by liveried servants, and their adult sons must do what they're told or risk poverty. Lights may be electric, but motive power is distributed pneumatically, air compressed by windmills. There are story buildings without elevators. A bank ledger is a 3-meter high book managed by a mechanical contraption, and people still write with quills. Great ocean-going ships dock in Paris, having ascended a great canal. Miles-long ships have 2 meters of soil on their decks, so that forests and horseback riding may be supplied to the passengers.

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Horsemeat has returned to culinary favor. The works of Balzac and of Hugo are almost forgotten. The only poetry is things like "Meditations on Oxygen" and "Decarbonated Odes. Censorship is unheard-of because it's too much trouble. Shelves: literature , science-fiction. It is an attempt by the great inventor of science fiction to envision life years from his own time, and it manages to be uncannily prescient in some areas. Verne accurately envisions the Paris subway system, the commonality of horseless carriages, the electrification of the metropolis, and he even places a tower in the position later to be held by the Eiffel Tower.

Nevertheless, this book is undeniably grounded in the nineteenth century and its concerns, and in many ways Verne has created his future as all sci fi authors do merely by projecting forward from current trends — many of which would seem antiquated or silly by This volume begins with a very good introduction by Eugen Weber, ironically an expert on twentieth-century France, who also demonstrates solid understanding of the 19th.

France, 1900 A.D.–present

He emphasizes the prescient nature of the text, although catching some of the things Verne missed, pointing out that imagination must have some materials to build upon his closing line, about the Zapatistas, already seems almost as out of date as the 19th century itself. From Weber we learn that Verne apparently showed this manuscript to his publisher, who felt that it was somewhat overly romantic and thin in plot, then stashed it away to be rediscovered by a descendant.


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Unfortunately, I think the publisher was at least somewhat correct in his assessment and Verne must have agreed, since he made no second attempt to publish, even at the height of his fame. Being no use in business, science, or in making money, poetry and literature have been completely abandoned, while drama is now a kind of assembly-line affair, with specialists focusing on turning out stock pratfalls and tear-jerkers, then passing the work down the line to the next artisan.

This is especially true for this book, which has no character development whatever Michel is the same at the end as at the beginning , and scarcely a plot there is a hint of a romance, which Verne simply loses track of. As a librarian I was especially interested in the chapter in which Michel visits a bookstore and a library. Ironically, it shows that the concerns of librarians about obsolescence are older than the library profession itself, which only became formalized by Melville Dewey some years after the writing of this book. View 2 comments.

Apr 28, Daniel rated it liked it Shelves: scifi-fantasy , literature. This is an interesting book to read both from an historical point of view, and as historical fiction. It's fun to see what Verne envisioned and has come true, funny to laugh at what he predicted that seems far from ever happening, and maybe a bit scary to see how close he's maybe come to foreseeing the mechinization of the arts.

The book reads a bit dry and I can't help but think that Verne might have considered this to be an unfinished novel. There were moments of brightness within, but they we This is an interesting book to read both from an historical point of view, and as historical fiction. There were moments of brightness within, but they were kind of few and far between. The book's hero has a charming innocence about him. He seemed driven to keep literature alive and not succumb to the mechinations of the modern world.

But he seems to not know how to go about it, and he is often torn between his passion for art and his passion for a young lady. While I'm glad I read this I bought it when it was brand new and it's taken me this long to get around to reading it , I can't necessarily recommend it to anyone. Jan 24, Jenny Reading Envy rated it it was ok Shelves: read Interesting because of what he got right, but also what he got wrong - personally, I skimmed some of it but would slow down because what really interested me was Michel and his struggle to reconcile interests that weren't common with a cold and measured world.

What I enjoyed the most was the commentary on the periphery about authors and composers that the reader would be familiar with. I laughed that opera still existed when all other forms of art had become obsolete. Jan 19, THE rated it it was ok. Alas, this is a most peculiar book with an even stranger history. Here is one of Jules Verne's earliest novels, which only came to light in , when the manuscript was discovered in an old family safe by Verne's great-grandson.

The work was published in and translated into English in I managed to bury my copy for the past 15 years until the work was recently mentioned by Andrei Codrescu on NPR. The book's obscurity may be in part explained by the comments of Pierre-Jules Hetz Alas, this is a most peculiar book with an even stranger history.

The book's obscurity may be in part explained by the comments of Pierre-Jules Hetzel, Verne's publisher, who rejected the tale. His words were more prophetic than those of the famous science-fiction novelist: "In this piece, there is not a single issue concerning the real future that is properly resolved Much modern critical commentary on this book has dealt with Verne's descriptions of skyscrapers, gas-powered vehicles, high-speed trains, gigantic computers, and his Internet-like communications network.

In general, it is amusing to discover these tidbits and embellish them with more scientific insights than Verne possessed or could adequately detail.

Paris in the Twentieth Century - Wikipedia

Some have suggested that he predicted the Eiffel Tower and the modern Pyramid that graces the courtyard of the Louvre. However, if the whole is greater than the sum of its parts, this is a novel that falters on its literary merits. It is a dystopian novel, which depicts the dreary life of budding year-old poet Michel Dufrenoy in a soulless Paris of the early 's where art is dedicated to the virtues of business and technology.