Veinte mil leguas de viaje submarino. Twenty Thousand Leagues Under the Sea Twenty Thousand Leagues Under the Seas. veinte mil leguas de viaje submarino primera parte 1. un escollo fugaz el pdf, epub, audiolibros y muchos más formatos. julio verne - veinte mil leguas de viaje. Trabajo sobre el Libro " Leguas de Viaje Submarino" Schoolwork of the book " Download as DOCX, PDF, TXT or read online from Scribd.
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Title[ edit ] The title refers to the distance traveled while under the sea and not to a depth, as 20, leagues 80, km is nearly twice the circumference of the Earth. The book uses metric leagues, which are four kilometres each. The United States government assembles an expedition in New York City to find and destroy the monster. Professor Pierre Aronnax, a French marine biologist and narrator of the story, who happens to be in New York at the time, receives a last-minute invitation to join the expedition, which he accepts. Canadian whaler and master harpoonist Ned Land and Aronnax's faithful servant Conseil are also brought aboard. After a long search, the ship finds the monster and then attacks the beast, which damages the ship's rudder.
Well, what is this story, if not a vaudeville without rhyming couplets, and with the obligatory ending of a marriage as the curtain drops? With the exception of the Livre de Poche covers shown in Figure 3 , the cartonnages and illustrations shown in the first section of this essay are represenative of a single novel: The cartonnages Figure 1 are handsome, but are not the most appreciated by collectors.
Most critics consider the novel's artist, George Roux, among the less accomplished of Verne's illustrators.
Its example can tell us much about potential engagements of images and texts in the Hetzel series and subsequent illustrated editions of Verne's fiction. The novel is set in A young Frenchman, Jean de Kermor, and his uncle, the sergeant Martial, set out on an expedition to the headwaters of the Orinoco, one of the great rivers of South America.
The boy and his uncle join up with an impromptu band of adventurers and scientists, including three cantankerous Venezuelan geographers who animate the novel's comic scenes; and two Frenchmen, the explorer Jacques Helloch and the botanist Germain Paterne, who are cataloguing flora of the Orinoco Basin. The journey is captivating and perilous. Framed by grassy plains and dense forests, the river and its banks present exotic and inviting panoramas. The travellers are tested by rough water, sudden storms, savage and strange animals, an earthquake, marauding natives, and a group of cutthroat bandits whose leader has an old score to settle with Jean's father.
The further upstream the expedition travels, the more numerous and the greater the dangers until, in the novel's climax, Jean and Martial are kidnapped by the bandits. All will end happily, however: Father and child are joyously reunited. The novel ends with a promise of that classic terminus of comedy: We have, in fact, been hoodwinked: Her reasons for this disguise are never made clear, though it is suggested they have to do with the perils of an siteian journey for a young woman.
But this is, at most, an alibi for narrative and textual functions of her disguise. Such is the providential grace of fiction that a reason for the masquerade is in the final analysis unnecessary: Yet, we still may have seen it coming. A first visual cue is the lovely young woman shown in the upper right of the novel's frontispiece Figure 2. Jules Verne — She, of course, is Jeanne, but she never appears as such for more than half the novel and not in this dress until its penultimate chapter.
If we are not one of those readers who leafs ahead to discover whodunit before we actually read to the revelation, we will have started out wondering who this young woman is and when we will meet her. That happens at the start of chapter 3 — but she or, rather he , looks like this Figure 4 —. Verne has some fun at the reader's expense in these early chapters. It's soon obvious that Jean and his uncle share a secret, but it is difficult to tell what it might be and Verne is exceedingly careful to keep things that way.
There are textual clues. The young man interrupts his companion often, preventing him from uttering certain turns of phrase — French is a gendered language; an adjective or participle can give the game away with a single letter. Few of Verne's novels are as frequently punctuated with ellipses, especially in the early chapters, when Jean and Martial labor to speak around something that must not be mentioned… to the reader. They, of course, know exactly what they're not talking about; their discretion, especially when alone, is the simplest dramatic device.
These are also dramatic devices: Martial doesn't need to make this many fumbles for us to see that he is uncomfortable with the ruse. Verne seems to feel that his reader, on the other hand, may need the constant prodding that she's been given the slip again.
He is of average size and seems to have a vigorous constitution for his age. His face is a little grim, even melancholy, when he surrenders to his usual train of thought. But his physiognomy is charming, his eyes are gentle, his smile reveals small white teeth, and his blushing cheeks are flushed by the bracing air of his recent transatlantic voyage.
In retrospect, the boy is just a bit too charmant e. But we should remember here that Verne is partial to the most ostentatious wordplay, and this recurring syntagm could be another of those phonetic winks-and-a-nudge of which he is especially fond: As the novel's illustrator, Roux has to hold up his side of this scheme, dropping just enough hints to lay the groundwork for the coming revelation, but not showing so much as to give it away without some effort on the reader's part.
After Jeanne's appearance in the frontispiece — remember, the reader hasn't discovered that they are the same individual — images of Jean in the first half of the novel appear to show… well, a young man. They deflect us, then, from the textual cues, which we will assume point to some other sort of intrigue.
Knowing that the reader's impulse is first to trust her eyes, author and artist thus conspire to keep the secret as long as necessary. By showing Jean unambiguously as a boy, Roux provides Verne with cover for his textual legerdemain. Until, that is, the climax of Book I, when Jean's hidden identity is revealed. The voyagers are caught midstream in a chubasco , a species of violent thunderstorm common in the Orinoco basin, accompanied by strong winds and intense lightning.
The boy is thrown from the falca a kind of canoe with a thatched roof into the roiling waters: At the height of the chubasco , Jean falls into the river as Martial reaches for him. Roux's depiction of the scene Figure 5 shows Jean falling headfirst, his face submerged in the waters.
Even if we assume that the image captures an instant in time, Jean's posture seems strangely mannered, as though his tumble were a signal of some other event. In fact, the fall from the falca is plainly a baptism; it is, moreover, an immersion of the part of Jean's anatomy most likely, first, to have given away the secret there has never been any question of Verne or Roux revealing other parts , and second, to anticipate a transformation after the immersion.
Cradled in Martial's arms in a blanket that looks much like a long dress, his facial features are more feminine than in earlier illustrations. Imagine, if you will that this is the first time we see Jeanne ; I think it unlikely that a reader would mistake her for a young man. Saga Volume 9! Recently added. Our possible confusion is doubled by Jacques Helloch's new dilemma.
From early on, Helloch has felt drawn to Jean and the tragic tale of his missing father. Screenshots His friend Paterne has remarked more than once that Helloch seems more interested in the boy than in his scientific work, and Helloch agrees, complaining that he can't understand why he finds Jean so… compelling. Moments before he leaps into the river to rescue Jean, Helloch hears Martial call his nephew by "un nom… oui!
The game then has moved to a new stage at the moment of Jean's fall Figure 5: We hardly have time to puzzle over this curious omission, because Helloch's restlessness becomes the focus of the next few chapters — unnaturally "pensive" and "taciturn," he avoids the boy and his uncle, grumbling to Paterne that "there are things that you can't understand": Neither of course has the reader, but she as least has read that something was heard, and that it has to do with… a name, or rather, not a name: Verne is especially careful in these passages, and Roux, with equal prudence, offers no visual explanation of Helloch's confusion beyond the ambiguous contours of the boy's face shown in Figure 6.
We can assume that Helloch must have felt that all was not as it seemed as he pulled the boy from the water, but this datum — which is never textually marked and can't be visually figured — remains the purest conjecture after the fact.
In the final paragraphs of Book I, Helloch fills in the blank.
He confronts Jean and Martial and pries from them the truth. His relief is… palpable. Long before she tumbles into the river, it is not hard to see that Helloch has fallen in love with Jeanne. Her change of sex is a happy solution to a growing tension in the text that, for all of Verne's obvious delight in such ambiguities, can only be resolved in this way if the novel is to remain the family fare that it purports to be.
How many readers, surprised by the disclosure of something that was nearly obvious all along, will now turn back to look at the illustrations to confirm the quality of the deception?
More, I suspect, than will turn back to the first textual depictions of Jeanne dressed as a boy. Therein lies a sign of the importance of the dialogue of images and text and of what each is able to relate and pretend.
After a chapter-long flashback that explains Jeanne's origins, the journey resumes.
She returns to her disguise, keeping it up for all but the final three chapters of the novel. Uplevel BACK. Prologo con resena critica de la obra, vida y obra del autor, y marco historico.
Spanish Edition [Julio Verne] on. La novela, 20 mil lenguas de viaje submarino, es la gran aventura maritima que. These help can certainly make us all a lot more Joined! Julio Verne Pdf - Manual de libro Julio Verne - Viaje al Centro de la Tierra. The full submarine as shown submerged matches Verne's words although details are lacking in the long-range views. The deck views show more detail, although they are not strictly consistent.
Instituto de Idiomas.