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The Future Looks Backward: Projection and trhe Historical Imagination in 19th-Century France.

机译：未来向后看：19世纪法国的投影与历史想象。

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摘要

Though scholars widely acknowledge the great debt of the science fiction genre to pre-20th-century French writers, in The Future Looks Backward, I turn the traditional account of early futuristic writing on its head by revealing how representations of the future in France were driven less by an interest in progress than by an ongoing dialogue with the past. Drawing on fictional and nonfictional sources from the 18 th to the 20th centuries, I show how writers such as Louis-Sebastien Mercier, Stendhal, Theophile Gautier, Jules Verne and others used the future as a rhetorical mode by which to make sense of the present in relation to the fading traces of an often-idealized history. I chart the progression from this surprisingly retrospective view of the future through much of the 19th century, to the eventual shift toward a futuristic literature dominated by the modern impression of a future that encroaches ever more closely upon our experience of the present.;Bound up as well in the 19th century's discursive treatment of the future are new interrogations of history as such, as being a multi-temporal phenomenon, existing somehow at once in the present, past, and future simultaneously. The future becomes a rhetoric by which not only to predict and shape history, but to understand and manage history per se. Chapter 1 examines the temporal multiplicity and backward-looking future of Mercier's L'An 2440 (1771). Chapter 2, following up on the idea of the temporal fold created between the future and the past that is examined in Chapter 1, looks at Stendhal's autobiographical works and his rhetorical use of the future as a means of paradoxically establishing literary authority in the face of ulterior historical and epistemological changes that he cannot predict. Chapter 3 explores the mid-19th century phenomenon of alternate and apocryphal histories of Napoleon, focusing in particular on the alternate history by Louis Geoffroy, Napoleon et la conquete du monde: Histoire de la monarchie universelle (1836), which, through the corrective narrative of an invincible Napoleon, shows how the infinite possibilities of the future run aground sooner or later upon the need to understand more about the past in order to continually surpass it. Maintaining a dialogue with Marx's Eighteenth Brumaire, I argue that the 19th century reaches a point of crisis when historical action becomes inescapably citational. In chapter 4, I examine the relationship between changes in 19th-century Paris and writers' responses to the physical restructuring of the city as a loss of architectural and cultural reference, and in particular the ways in which this experience is expressed as the future arriving too soon in the material environment of everyday life. I show how in both fiction and nonfiction of the 19th century, from Victor Hugo, Theophile Gautier, Jules Verne, and Victor Fournel's monumental work on Haussmannization and its erasure of old Paris, Paris nouveau et Paris futur (1865), employed the future as a rhetorical method by which to express the unwelcomed encroachment of so-called progress upon the present.
机译：尽管学者们普遍承认科幻小说类型对20世纪之前的法国作家负有巨大的责任，但在《未来展望》中，我通过揭示如何驱动法国未来的代表性而扭转了早期未来主义写作的传统观点对进步的兴趣，而不是与过去进行的对话。我利用18至20世纪的虚构和非虚构资料，展示了路易斯-塞巴斯蒂安·梅西耶（Louis-Sebastien Mercier），斯坦达（Stendhal），西奥菲勒·高铁（Theophile Gautier），朱尔斯·凡尔纳（Jules Verne）等作家如何利用未来作为修辞的方式来理解当下。关于经常理想化的历史的褪色痕迹。我绘制了从这种令人惊讶的对未来的回顾性观点到19世纪大部分时间的发展过程，并最终转向了以未来的现代印象为主导的，以未来的现代印象为主导的，未来主义的文学，这种文学越来越紧密地侵蚀了我们对当前的经验。以及在19世纪对未来的话语处理都是对历史的新质疑，例如作为一种多时相现象，在现在，过去和将来同时存在。未来成为一种言论，不仅可以预测和塑造历史，而且可以理解和管理历史本身。第1章研究了Mercier的L'An 2440（1771）的时间多样性和前瞻性未来。在第二章中，紧跟在第一章中探讨的在未来和过去之间建立的时间折叠的思想之后，研究了斯坦德哈尔的自传体作品以及他对未来的修辞使用，以此作为悖论地建立文学权威的手段。他无法预测的不可思议的历史和认识论变化。第3章探讨了19世纪中叶拿破仑的交替和伪经历史现象，特别着重于路易斯·杰夫罗伊，拿破仑等人的世界的交替历史：《君主的宇宙史》（1836），该书通过纠正性叙述无敌的拿破仑的作品展示了未来的无限可能性早晚要搁浅，因为他们需要更多地了解过去以不断超越过去。我坚持与马克思的第十八届布鲁梅尔对话，认为当历史行动不可避免地成为引人注目的时候，十九世纪已到了危机的地步。在第4章中，我考察了19世纪巴黎的变化与作家对城市物理结构的反应（作为建筑和文化参考的损失）之间的关系，尤其是这种经验在未来的到来中的表达方式在日常生活的物质环境中为时尚早。我展示了在19世纪的小说和非小说中，维克多·雨果（Victor Hugo），西奥菲勒·高铁（Theophile Gautier），朱尔斯·凡尔纳（Jules Verne）和维克多·富纳（Victor Fournel）在有关豪斯曼化及其对旧巴黎的擦除，巴黎新艺术和巴黎未来（1865）的擦除方面的伟大工作如何将未来作为一种修辞方法，用以表达对当前所谓的进步的不受欢迎的侵犯。

著录项

  • 作者

    Wing, Thomas Chapman.;

  • 作者单位

    Yale University.;

  • 授予单位 Yale University.;
  • 学科 Literature Romance.;History European.
  • 学位 Ph.D.
  • 年度 2013
  • 页码 201 p.
  • 总页数 201
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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