【英文原声版01】Joyce Chaplin:Around The World in 80 Days
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How Verne Inspired a Real World Tour
凡尔纳的小说如何启发了一次真实的环球之旅
Zachary Davis: In November of 1889, a 25-year-old journalist named Nellie Bly set off from New York with a mission: she was going to circumnavigate the globe.
扎卡里·戴维斯:1889年11月,25岁的新闻记者内莉·布莱从纽约出发,开始她环游世界的任务。
Zachary Davis: Bly was inspired by the fictional voyage of Phileas Fogg, a Londoner who traveled around the world in 80 days. That seemed impossible fast of that time, but Bly’s goal was even faster. She would make the journey in 75 days—at most.
Zachary Davis: Along her journey, Bly made a stop in France to visit Jules Verne, the author who had created the character she was racing. Verne was skeptical—sure, he had imagined a trip that fast, but could Bly actually do it?
Zachary Davis: It was a close call. A rough crossing on the Pacific delayed her, but the owner of the newspaper she worked for chartered a train to bring her home. She arrived back in New York in 72 days, beating Phileas Fogg’s time and setting a (briefly held) world record.
Zachary Davis: If it weren’t for that chartered train, Bly wouldn’t have returned in time—but if it weren't for Jules Verne, she might never have left at all.
Zachary Davis: Welcome to Writ Large, a podcast about books that changed the world. I’m Zachary Davis. In each episode, we talk to one of the world’s leading scholars about the impact a book can have. In this episode, I sat down with Harvard history professor Joyce Chaplin to talk about Around the World in 80 Days, a 19th century novel that reflected—and helped to create—a new global consciousness.
Joyce Chaplin: The book is an adventure story that was written for a Paris newspaper, Le Temps, and was serialized and that sort of breathless way in which you'd be waiting for the next installment that the author, Jules Verne was busy writing.
Zachary Davis: Jules Verne was born in Nantes, France in 1928. He was a prolific writer—Around the World in 80 Days was part of a collection of 54 novels called Extraordinary Voyages— and he was also quite inventive, known for bending and blending genre lines. He wrote works for the stage and the page, including romance-tinged adventure stories and science fiction.
Joyce Chaplin: He's a pioneer now of what might be regarded as steampunk. He really imagines this Victorian world, and you can, you know, see boring, privileged white guys going to the reform club, droning on and on and on about stuff. And then, oh, my God, somebody is off in a balloon. They've got electric clocks in their households. They have submarines, for crying out loud.
Joyce Chaplin: So it's that level of imagination that I think has been the longest lasting legacy of Jules Verne’s work, even as a lot of the specific novels and characters are not so well remembered now. And his glorification of imperialism, masculinity hasn't worn well. But that way in which he sews together different ways of being technologically and physically and materially in the world remains really quite compelling.
Zachary Davis: Around the World 80 Days was first serialized in 1872 and published as a book a year later. Although it’s an adventure story, the protagonist Phileas Fogg is not an adventurer by trade. His journey starts to a bet. Here’s the professor Chaplin reading a bit of the text.
Joyce Chaplin: “A true Englishman doesn’t joke when he is talking about so serious a thing as a wager.” Replied Phileas Fogg solemnly. “I will bet 20,000 pounds against anyone who wishes, that I will make the tour of the world in 80 days or less in 1920 hours or 115200 minutes. Do you accept it?
Zachary Davis: Part of the excitement of the story is going around the world in 80 days felt like extraordinarily fast. Before, going around the world was something only a few people in history had done? It was just like not even a possibility for a normal person?
Joyce Chaplin: Going around the world was actually a possibility and recognized as such and had been since 1519 when one ship and 35 men returned to Spain having survived Magellan’s kind of crazy around the world voyage. Magellan himself didn't make it back. He was the most famous man never to have gone around the world.
Joyce Chaplin: And people continued to do it. And it became a kind of trademark of imperial power that various European powers would demonstrate their global reach by making a circumnavigation. And the time for doing so had been going down.
Zachary Davis: Thanks to newly-developed current and wind charts, it was easier than ever for sailing ships to find their way. Ship design was evolving as well—the new clipper sailing ships of the mid-1800s were built for speed rather than cargo capacity. But maritime technologies weren’t the only factors at play.
Joyce Chaplin: The thing that really speeds up around the world travel are two other factors in the 19th century.
乔伊斯·卓别林:真正让它提速的是19世纪的另外两个因素。
Joyce Chaplin: First of all, the consolidation of European imperialism, which means that some people can travel around the world in safety, convenience, and greater speed simply because of the fist of European power in different parts of the world.
Joyce Chaplin: The other factor would be the development of steam power, the way in which first ships and then railroads, trains would make travel not only faster but predictable—that you would have not only set departure times, but arrival times that you could guarantee because you’re burning fossil fuels to create that kind of travel.
Joyce Chaplin: So when Jules Verne has this imaginary around the world voyage, he is not so much defining a new world as consolidating a lot of things that people already understood about the world and making something implausible entirely plausible.
Zachary Davis: Part of the colonial imagination, as I understand it, is that Europeans saw themselves as ahead of time, that they were the vanguard of history and progress, and that because they were ahead of time technologically, civilization and culturally, that they had a certain right to the rest of the world, a right to explore and to claim.
Joyce Chaplin: It is the first demonstration of human power on a planetary scale. So these 35 men who come back from Magellan voyage out of hundreds and hundreds who die or desert along the way, they create this visual icon that you draw a line on the map all the way around the world and say, yes, actual human beings did this.
Joyce Chaplin: There'd been all kinds of metaphorical ways of thinking about humans in relation to the entire earth. But this was like, no, this is not a metaphor. This really happened. And then it becomes a kind of hallmark of imperialism: This is the kind of planetary power we have as members of certain kinds of cultures from a certain part of the world.
Joyce Chaplin: So it is absolutely an imperial gesture and an imperial demonstration and would definitely have been recognized as such by anyone reading Jules Verne at the time.
Joyce Chaplin: What's interesting about the novel, which was first serialized in 1872 and then published as a novel in 1873, is that non-Western powers are beginning to get in on this game.
Joyce Chaplin: We are planetary too, the Japanese, for instance, would say. They send an around-the-world delegation around the same time and they would be followed by Korean embassies and other voyagers from beyond the western core who say, “No, this may have been an imperial demonstration, but it might be one that globally all human beings are capable of.”
Zachary Davis: It makes me think that human power exerted on a planetary scale is linked to divine imagination in some way that, you know, previously only God can kind of see or behold the entire world.
Zachary Davis: We were always localized as particular tribes, but now, right, European colonialists and then other subsequent powers think of themselves as masters of something cosmic. And I wonder, is there a link between circumnavigation and kind of ecological extraction ideas?
Joyce Chaplin: There is one running joke in the novel. Passepartout, who goes with Fogg, accidentally leaves the gas lamp burning in his bedroom in London.
Joyce Chaplin: Fogg says, “Yes, so that's your fault and you'll be paying for it.” And it's an embedded gag that for the entire journey, fossil fuel is burning and burning and burning. The joke is probably now on us. We realize even more than people in the 1870s what the actual planetary cost would be. But Verne is really interestingly trying to remind people of what we would now call a carbon footprint.
Joyce Chaplin: This is apparent in the illustrations of the novel as well. When the novel is published as a book, there's an illustration at the front with Fogg and Passepartout pointing up at an image of the earth. And in the middle of the earth is this gas lamp burning. As if that is the metric that we measure the planet according to the kinds of fuels that we're taking out of it and burning and burning and burning now constantly.
How Does the Book Depict Communication Revolution?
19世纪的通讯变革在书里是怎么说的?
Zachary Davis: What role did this book play in fostering a certain kind of tourism industry where cultures are sort of props or things to consume or stories to gather?
Joyce Chaplin: I think especially the problem of these places being invisible, just terrain to be passed through to set a record remains absolutely problematic. And in this regard, one technological development of the 19th century was implicated and that was the telegraph.
Joyce Chaplin: There wasn't a telegraph cable all around the world yet, but people were already talking as if there were and there was going to be. So the way in which it prefigures the Internet, the way in which you could be in the middle of someplace where you might be paying attention to that place, but no, you’re online, just as people in the past would have been at the telegraph office getting or receiving information about distant places that mattered more to them.
Joyce Chaplin: So Fogg is in communication back to the Reform Club, his bank, whoever.
乔伊斯·卓别林:因此,福克可以与远在伦敦的改良俱乐部、自己的银行,乃至任何人或机构保持联系。
Is Harnessing Technology Still a Spirit of Today?
掌控科技真能帮人掌控世界吗?
Zachary Davis: There is something about like a heroic will that's able to harness technology to accomplish goals. That animating spirit of reaching to frontiers, going to the edge of humanly possible.
Zachary Davis: Where do you see some of this 19 century adventure travel, colonial spirit present today?
扎卡里·戴维斯:如今,您如何看待19世纪这种探险之旅,这种殖民思想呢?
Joyce Chaplin: It's not so much the adventure necessarily that I'm interested, but the sense of planetary scale.
乔伊斯·卓别林:我感兴趣倒不单单是冒险,而是环球旅行所彰显的那种全球意识。
Joyce Chaplin: What is distinctive about Jules Verne's novel is that sense of confidence that certain people at least can easily stroll out of the reform club and go around the world. And it may cost money and the gas may be burning, but hey, it can be done.
Joyce Chaplin: This is in such contrast to the way around the world travel used to kill most people who tried it and everyone knew that. That it was incredibly dangerous and risky and it's not something that you would embark on.
Joyce Chaplin: I really think that now we live with both these legacies where that era of confidence is so attractive. The idea of democratizing is important. And yet the way in which this seems maybe not the best set of goals to continue with and that there may be ways in which little did we know we were killing ourselves, even in that era of confidence, now that the accumulation of carbon in our atmosphere is the gas lamp bill that we'll be paying.
How did the World Tour Expanded People's Imagination?
环球旅行如何拓展了人们的想象边界?
Zachary Davis: So, with Columbus or Magellan—they expanded this imaginary, but it wasn't until some of these more available transportation technologies or communication technologies, like the telegram, that people started to think this is maybe even possible for me.
Zachary Davis: Is that the major shift that you're identifying, that its sort of a democratic, more mass, widely available feeling that the world is ours or the world is possible as a whole?
Joyce Chaplin: Well, it would have only been democratic within terms of people who had access to steam power, to protections of various imperial systems. And I really want to emphasize that having a passport, even at this moment in history, was a rarity and a privilege, and not everyone could really run around with that kind of identity paper.
Joyce Chaplin: And the way in which you could feel comfortable going on around the world really depended on class, race, access to imperial networks. It did seem, however, as if this were a moment when well maybe more people could do this, maybe more nations could issue passports, maybe the cost of travel would go down.
Joyce Chaplin: And indeed, that's what happens. So it's not only that Jules Verne's novel, in a sense, wraps up a lot of historical processes that had happened and were happening and people would recognize, but it makes them even clearer. But then the book is an invitation to all kinds of people to try this. And it becomes this sort of exercise where people can say, I'm going to make a point that I can do this, too.
Zachary Davis: One notable navigator was Li Goo, a Chinese man who was sent out by the government of China in the late 19th century. Because of his official status, he would have had all the documents and introductions he needed—but it was still a challenging time to be a non-white traveler.
Joyce Chaplin: He talks very movingly about being in Wyoming, where he meets Chinese workers building the railroad. And he says that it was as if we were like family, you know, to meet these people, to know that there were other global migrants who migrated out of necessity and his awareness that he was not like them, but was— that racism meant that they were like family and that they, in a sense, had to meet and comfort each other in somebody else's country, if not empire.
Joyce Chaplin: The other invitation is to think about speed and oddness of travel. So people go around the world on bicycles and they start with Penny farthings. Those Victorian bicycle, so have the enormous front wheel where I just can't even imagine. What did people think when they saw you know something like this on the horizon coming toward them but nevertheless?
Zachary Davis: That was just one of the strange ways that people found to get around the world. Others rode horses, or mules, or simply walked.
扎卡里·戴维斯:那还只是人们环游世界的奇怪方式之一。其他有人骑马或骡子,或者单靠走路。
Joyce Chaplin: Sometimes these two invitations that more people should be able to go around the world and unusual travel would be a great way of kind of marking a new way of doing it—sometimes these converge.
Joyce Chaplin: So, I want to talk about Soboloff, who is a white Russian, a refugee from the Russian revolution, who ends up in Asia without any kind of national documents. He's a person without a passport. And a nationless person.
Joyce Chaplin: Precisely to help this kind of emergency and as an early way of providing refugees with passports, The Nansen Commission of the League of Nations created what was called the Nansen Passport, which was a document backed by the League of Nations to say that this person existed. This was their name. This is where they were born. These are the rights they should have. Soboloff sets off first on a bicycle, eventually on a motorcycle, and he has a Nansen passport. And the first couple of times people look at it and they wonder.
Joyce Chaplin: But interestingly, the more it becomes stamped, the more it just becomes accepted. And he is just a great test of how you give a refugee person rights. He makes it back around the world and he makes sure he goes over the terrain that he covered by bicycle, by the same motorcycle, so he can claim that he did it all on this newfangled, amazing kind of conveyance. And with this completely unprecedented documentation.
Zachary Davis: What was the immediate reception of this book? Obviously, there were people starting to do different ones, but what’s the immediate impact of the text?
Joyce Chaplin: There was a way in which it validated all efforts to create environments that would speed up travel. So the novel had featured the brand new Suez Canal, opened 1869; the brand new Transcontinental Railroad across North America, opened 1869; as well as a new branch of a railway across India.
Joyce Chaplin: And the way in which the novel was saying there are these things and they are good and making people think that reconfiguring the actual planet for human convenience was part of the progress of their era.
Joyce Chaplin: There'd already been a kind of imaginary of how many dollar coins, how many books put spine to spine would go around the world. And these become very evocative in terms of, well, how do we think about our planet-girdling technologies and units of value that make it easy for us to think of ourselves on a planetary scale every day, all the time.
Zachary Davis: So we've talked about how it's sort of encouraged a colonial perspective, but there's also perhaps a more felicitous development, which is a sense that we're united.
Zachary Davis: And I wonder, did standardization of time, of technology, of maybe legal recognitions?
扎卡里·戴维斯:我还想知道它推动了时间、技术和法律法规的标准化吗?
Zachary Davis: I mean, some of that, too, seems like maybe it led to things like the League of Nations or the United Nations—just having standardized time seems like it is this great kind of binding technology between peoples.
Joyce Chaplin: Magellan’s crew, when they come back, are the actual first time travelers because they have changed a day in their calendar by going around the world and crossing some line that eventually, by the end of the 19th century is more or less officially placed in the Pacific. And this has been very controversial.
Joyce Chaplin: I mean, people in Pacific nations point out now that this is a legacy of European imperialism, to think that part of the world opposite to Europe is a strange place where the calendar changes and poof, you're either a day richer or poorer. And a lot of Pacific nations still would like the international dateline put somewhere else—that it is a designation that they are the back of beyond and makes time truly shared. It has this kind of global universal quality now, but at somebody’s expense that they are stigmatized in that way.
Zachary Davis: Time is a key player in Around the World in 80 Days—both in terms of plot and characterization.
扎卡里·戴维斯:无论是从情节还是人物特征上说,时间都是《八十天环游地球》中的关键因素。
Joyce Chaplin: So at the very start, Jules Verne compares Phileas Fogg to a chronometer, as if he's something that ticks very, very steadily and is keeping track of time calmly.
Joyce Chaplin: The surprise of the novel is that somehow Phileas Fogg, chronometer doesn't remember that if you travel around the world going eastward, you lose a day on the calendar because you're in a sense competing with the sun and changing your position in time, even as you're returning to the same place on earth.
Joyce Chaplin: And that is crucial to the plot, because when Fogg returns, he assumes he's lost the bet, but he's actually returned early and within that 80 day measure. But he the chronometer lost track of time.
Joyce Chaplin: I definitely think that the novel is techno optimistic. So, Fogg is presented as an early adopter. His household is not only fired by coal gas, but has electricity, which in 1872 and London would have been kind of unusual. And he even has an electric clock, which in an era of key wound clocks would be like us having an atomic clock at the time. It's conceivable, but kind of a conceit that you would have new-fangled toys like that.
Joyce Chaplin: So there was definitely, someone who believed that human ingenuity, and predominantly male ingenuity within Western societies was creating a better world for everyone. This is pretty widespread at the time, so I'm not sure that he invented that so much as was kind of sticking up for that perspective at that moment, that we can invent our way out of difficulties and come up with solutions to problems.
Joyce Chaplin: We, of course, might wonder about the cost of that. Again, I think the one pessimistic or questioning thing that Verne implants into the novel is that burning lamp, that question about, well, we're extracting all this coal. How long can that last and what does that cost? And can certain people pay it?
Zachary Davis: This question of power—over resources, technology, people, and land—is a big one in the novel. But all power has its limit.
扎卡里·戴维斯:对资源、技术、人口、土地支配权的探讨在书中占了很大比重,但所有权力都有限度。
Joyce Chaplin: One way of looking at the novel is to see it as a kind of comedy about what you can control and what you can't control. Fogg is represented as this tightly wound chronometer who can predict everything, and yet he's a betting man.
Joyce Chaplin: So the whole reason he goes around the world is because he's gambling. He's always playing cards with people, so he's leaving certain things to chance and accepting that, you know, he's smart, he knows how to gamble, but you don't control that situation. And then in some ways, the most amazing thing for a novel by Jules Verne is that it's a woman who saves the day.
Zachary Davis: The woman is Aouda, an Indian princess whom Fogg and Passepartout take from her home in India when they find her being forced to sacrifice herself atop her husband’s funeral pyre. Aouda accompanies the pair on their journey home and falls in love with Fogg in the process.
Joyce Chaplin: When Fogg gets back to London. He thinks he's lost the bet. He thinks he's lost all his money and he's taken this woman away from India, promising her safety in London. And he has to say, look, I'm friendless. I'm penniless. I have no family. What can I do?
Joyce Chaplin: And she says, well, you can marry me. I would be your friend and your family. And he says, yes. And then they have to go find a clergyman. And that's how they find out that they've lost a day because they asked for a marriage to be performed and the clergyman says, I can't do that. And they say, well, it's not Sunday. And then, of course, they realize everything is going on.
Joyce Chaplin: So this way in which this is supposed to be a novel about the British Empire, control of the world, knowing things, planning things, being confident about things. And it's the non-European woman who is the key to this story. Again, raises questions about Jules Verne was imagining a kind of confidence that we have about the planet. But in some sense, he's planting this tiny suggestion that maybe it's something that has to open up and include other kinds of people.
Zachary Davis: Zachary Davis: Writ Large 【Writ Large为喜马拉雅独家自制《哈佛通识课》的英文版名称】 is an exclusive production of Ximalaya. Writ Large is produced by Galen Beebe and me, Zachary Davis, with help from Feiran Du, Ariel Liu, Wendy Wu, and Monica Zhang. Music is by Blue Dot Sessions. Don’t miss an episode, subscribe today in the Ximalaya app. Thanks for listening!
【英文原声版01】Joyce Chaplin:Around The World in 80 Days
一共是100集中文,100集英文,100集翻译节目
每周更新一集中文精制,一集英语原声,一集英文翻译,已经买过就可以永久收听
英文文稿+中文翻译
How Verne Inspired a Real World Tour
凡尔纳的小说如何启发了一次真实的环球之旅
Zachary Davis: In November of 1889, a 25-year-old journalist named Nellie Bly set off from New York with a mission: she was going to circumnavigate the globe.
扎卡里·戴维斯:1889年11月,25岁的新闻记者内莉·布莱从纽约出发,开始她环游世界的任务。
Zachary Davis: Bly was inspired by the fictional voyage of Phileas Fogg, a Londoner who traveled around the world in 80 days. That seemed impossible fast of that time, but Bly’s goal was even faster. She would make the journey in 75 days—at most.
扎卡里·戴维斯:布莱此行的灵感源于一个小说人物的环球之旅,他就是伦敦人斐利亚·福克。小说里,福克先生在80天内环游了世界。当时在现实中很难花费如此短的时间,但布莱定的目标比这还短,她最多只能用75天完成自己的环球之旅。
Zachary Davis: Along her journey, Bly made a stop in France to visit Jules Verne, the author who had created the character she was racing. Verne was skeptical—sure, he had imagined a trip that fast, but could Bly actually do it?
扎卡里·戴维斯:旅途中,布莱在法国停留,拜访了儒勒·凡尔纳,正是这位作家,创造了她所追赶的福克先生这一形象。凡尔纳对布莱的环游之旅深感怀疑。没错,他确实构想过一场如此之快的旅行,但在现实中布莱真的能实现吗?
Zachary Davis: It was a close call. A rough crossing on the Pacific delayed her, but the owner of the newspaper she worked for chartered a train to bring her home. She arrived back in New York in 72 days, beating Phileas Fogg’s time and setting a (briefly held) world record.
扎卡里·戴维斯:最终布莱险胜。她在横渡太平洋的时候遇上了风浪,耽搁了点时间,不过她任职的那家报社的老板租了一辆火车,把她带回了纽约。全程花了72天,打破了小说中斐利亚·福克的用时记录,暂时创下了世界纪录。
Zachary Davis: If it weren’t for that chartered train, Bly wouldn’t have returned in time—but if it weren't for Jules Verne, she might never have left at all.
扎卡里·戴维斯:如果没有租那趟火车,布莱就没法及时返回。但如果没有儒勒·凡尔纳那本书,她就压根不会开启这趟旅程。
Zachary Davis: Welcome to Writ Large, a podcast about books that changed the world. I’m Zachary Davis. In each episode, we talk to one of the world’s leading scholars about the impact a book can have. In this episode, I sat down with Harvard history professor Joyce Chaplin to talk about Around the World in 80 Days, a 19th century novel that reflected—and helped to create—a new global consciousness.
扎卡里·戴维斯:欢迎收听:100本改变你和世界的书,在这里我们为大家讲述改变世界的书籍。我是扎卡里·戴维斯。每一集,我都会和一位世界顶尖学者探讨某一本书带给世界的影响。在本集,我和哈佛大学历史教授乔伊斯·卓别林一起讨论《八十天环游地球》,这本19世纪的小说反映了、同时也帮人们塑造了新的全球观。
The Story of Around the World in 80 Days
80天环游地球的故事
Zachary Davis: Jules Verne was born in Nantes, France in 1928. He was a prolific writer—Around the World in 80 Days was part of a collection of 54 novels called Extraordinary Voyages— and he was also quite inventive, known for bending and blending genre lines. He wrote works for the stage and the page, including romance-tinged adventure stories and science fiction.
扎卡里·戴维斯:儒勒·凡尔纳于1928年出生于法国南特。他是一位高产的作家,著有名为《奇异旅行》的小说合集,收录了包括《八十天环游地球》在内的54本小说。他极富创造力,巧妙地改变融合多种体裁,并以此闻名。他写了许多舞台剧本和小说,有浪漫的探险故事,也有科幻作品。
Zachary Davis: Around the World 80 Days was first serialized in 1872 and published as a book a year later. Although it’s an adventure story, the protagonist Phileas Fogg is not an adventurer by trade. His journey starts to a bet. Here’s the professor Chaplin reading a bit of the text.
扎卡里·戴维斯:《八十天环游世界》于1872年首次连载,并于一年后出版成书。虽然这是一个探险故事,但主人公斐利亚·福克的职业并不是探险家。他的旅行源于一次打赌。下面由卓别林教授为我们朗读书里的一小段话:
Why is World Tour Limited to Certain Groups?
为什么不是人人都可以环游地球?
Zachary Davis: Part of the excitement of the story is going around the world in 80 days felt like extraordinarily fast. Before, going around the world was something only a few people in history had done? It was just like not even a possibility for a normal person?
扎卡里·戴维斯:故事之所以让人激动,部分是因为要在八十天内环游地球,实在是快得惊人。此前在历史上,是不是只有几个人环游了地球?对普通人来说,这是不是几乎不可能做到?
*译者注:这里教授疑似记错了时间。1519年是麦哲伦一行开启全球航行的年份,幸存船员最终返回西班牙则是在1522年9月6号。
Zachary Davis: Thanks to newly-developed current and wind charts, it was easier than ever for sailing ships to find their way. Ship design was evolving as well—the new clipper sailing ships of the mid-1800s were built for speed rather than cargo capacity. But maritime technologies weren’t the only factors at play.
扎卡里·戴维斯:得益于新绘制的洋流与风向图,航海时人们比从前更容易找到航向。船舶设计也进一步优化,19世纪中期出现了专为提速而非运货设计的快速帆船。不过航海技术的发展并不是让环球航行提速的唯一因素。
Imperialism Behind World Tour?
环游地球背后原来是帝国主义?
Zachary Davis: Part of the colonial imagination, as I understand it, is that Europeans saw themselves as ahead of time, that they were the vanguard of history and progress, and that because they were ahead of time technologically, civilization and culturally, that they had a certain right to the rest of the world, a right to explore and to claim.
扎卡里·戴维斯:在我看来,欧洲人差不多是这样看待殖民的:他们觉得自己超越了时代,是历史与发展的先锋。而正因为自己在技术、文明、文化各方面遥遥领先,所以在世界其他地方享有特权,有权在那儿探索开发、宣誓主权。
What Does the Lamp in the Story Imply?
书中那盏“永不熄灭的油灯”在暗示什么?
Zachary Davis: It makes me think that human power exerted on a planetary scale is linked to divine imagination in some way that, you know, previously only God can kind of see or behold the entire world.
扎卡里·戴维斯:这让我觉得,人们在全球范围内展现的实力,或许跟人们想要拥有上帝视角有关。要知道,之前只有上帝才能看到整个世界。
Zachary Davis: We were always localized as particular tribes, but now, right, European colonialists and then other subsequent powers think of themselves as masters of something cosmic. And I wonder, is there a link between circumnavigation and kind of ecological extraction ideas?
扎卡里·戴维斯:我们从前一直仅仅把自己看作某个部落民族。但如今欧洲乃至后来别的地区的殖民者将自己看作宇宙的主人。我有个疑问,环球航行和这些开发生态资源的思想之间是否有联系?
How Does the Book Depict Communication Revolution?
19世纪的通讯变革在书里是怎么说的?
Zachary Davis: What role did this book play in fostering a certain kind of tourism industry where cultures are sort of props or things to consume or stories to gather?
扎卡里·戴维斯:这本书如何推动了环球旅行的发展呢?在环球旅行中,许多文化似乎都只是道具,或是用以消费,或是用作谈资。
Is Harnessing Technology Still a Spirit of Today?
掌控科技真能帮人掌控世界吗?
Zachary Davis: There is something about like a heroic will that's able to harness technology to accomplish goals. That animating spirit of reaching to frontiers, going to the edge of humanly possible.
扎卡里·戴维斯:小说中有种英雄主义情怀,想要用技术实现目标。这展现着一股冲劲,想要开疆拓土,去人类所能到达的各个地方。
Zachary Davis: Where do you see some of this 19 century adventure travel, colonial spirit present today?
扎卡里·戴维斯:如今,您如何看待19世纪这种探险之旅,这种殖民思想呢?
How did the World Tour Expanded People's Imagination?
环球旅行如何拓展了人们的想象边界?
Zachary Davis: So, with Columbus or Magellan—they expanded this imaginary, but it wasn't until some of these more available transportation technologies or communication technologies, like the telegram, that people started to think this is maybe even possible for me.
扎卡里·戴维斯:哥伦布和麦哲伦拓宽了人们对世界范围的想象,但直到交通运输技术和电报这样的通讯技术普及之后,人们才开始觉得自己也能了解甚至去往世界各地。
Zachary Davis: Is that the major shift that you're identifying, that its sort of a democratic, more mass, widely available feeling that the world is ours or the world is possible as a whole?
扎卡里·戴维斯:这是不是您认为的主要变化?人们普遍觉得我们是世界的主宰,或者我们可以把世界连成一个整体。
Zachary Davis: One notable navigator was Li Goo, a Chinese man who was sent out by the government of China in the late 19th century. Because of his official status, he would have had all the documents and introductions he needed—but it was still a challenging time to be a non-white traveler.
扎卡里·戴维斯:其中便有位中国航海家值得注意。19世纪末,他奉朝廷之名出国远航,身为政府官员,他拥有所有出国所需的文件和信函。但并非白种人的他,在航行过程中仍然遭遇了不少挑战。
Zachary Davis: That was just one of the strange ways that people found to get around the world. Others rode horses, or mules, or simply walked.
扎卡里·戴维斯:那还只是人们环游世界的奇怪方式之一。其他有人骑马或骡子,或者单靠走路。
Is the Book an Immediate Hit?
《八十天环游地球》当时是“爆款新书”吗?
Zachary Davis: What was the immediate reception of this book? Obviously, there were people starting to do different ones, but what’s the immediate impact of the text?
扎卡里·戴维斯:《八十天环游地球》最立竿见影的影响是什么呢?显然人们开始做不同的事情,但最直接的影响是什么呢?
How Do Europeans View Pacific Nations?
书中欧洲人如何看待太平洋国家?
Zachary Davis: So we've talked about how it's sort of encouraged a colonial perspective, but there's also perhaps a more felicitous development, which is a sense that we're united.
扎卡里·戴维斯:我们已经讨论了这本书如何鼓励了殖民主义,不过更巧妙地讲,它也提出了一个观念:世界人民被联系起来了。
Zachary Davis: And I wonder, did standardization of time, of technology, of maybe legal recognitions?
扎卡里·戴维斯:我还想知道它推动了时间、技术和法律法规的标准化吗?
Zachary Davis: I mean, some of that, too, seems like maybe it led to things like the League of Nations or the United Nations—just having standardized time seems like it is this great kind of binding technology between peoples.
扎卡里·戴维斯:我是说,它似乎也推动了国际联盟或者联合国的建立、以及标准时间的采用。标准时间这一伟大技术更好地联结了全人类。
"Time" as a Key Player
“时间”在书中的隐喻
Zachary Davis: Time is a key player in Around the World in 80 Days—both in terms of plot and characterization.
扎卡里·戴维斯:无论是从情节还是人物特征上说,时间都是《八十天环游地球》中的关键因素。
What Does Aouda Imply about Power?
改变结局的印度女孩暗示了什么?
Zachary Davis: What is its link to techno-boosterism—that if there are problems in the world, we can invent our way out of them.
扎卡里·戴维斯:这本书和技术至上主义有什么关系呢?所谓技术至上主义,就是觉得世界上有什么问题,靠科技发明就能搞定。
Zachary Davis: This question of power—over resources, technology, people, and land—is a big one in the novel. But all power has its limit.
扎卡里·戴维斯:对资源、技术、人口、土地支配权的探讨在书中占了很大比重,但所有权力都有限度。
Zachary Davis: The woman is Aouda, an Indian princess whom Fogg and Passepartout take from her home in India when they find her being forced to sacrifice herself atop her husband’s funeral pyre. Aouda accompanies the pair on their journey home and falls in love with Fogg in the process.
扎卡里·戴维斯:这位女子是印度王公的寡妇艾娥达夫人,福克和路路通把她从印度的家中救出来,因为他们发现她被迫躺在丈夫的火葬堆上殉葬。艾娥达夫人跟他俩一起回到伦敦,并在途中爱上了福克。
Zachary Davis: Zachary Davis: Writ Large 【Writ Large为喜马拉雅独家自制《哈佛通识课》的英文版名称】 is an exclusive production of Ximalaya. Writ Large is produced by Galen Beebe and me, Zachary Davis, with help from Feiran Du, Ariel Liu, Wendy Wu, and Monica Zhang. Music is by Blue Dot Sessions. Don’t miss an episode, subscribe today in the Ximalaya app. Thanks for listening!
扎卡里·戴维斯:本节目由喜马拉雅独家制作播出。感谢您的收听,我们下期再见!
哈佛通识课:改变你和世界的100本书
422.43万12.18万
【发刊词】100位美国名校教授做你和家人的阅读导师
【推荐语】哈佛前校长劳伦斯·亨利·萨默斯给你的人生建议
【英文版·推荐语】Lawrence H Summers: guided tour to the world of thought
【推荐语】文化学者余秋雨重磅推荐
【中文精制版·导言】马丁·普克纳:书是如何改变世界的?
【英文原声版·导言】Martin Puchner:the written world
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哈佛通识课:改变你和世界的100本书
通识
通识
尹铮铮通识课
品牌通识课
文字的力量丨哈佛大学16堂世界文学通识课
我觉得这个英文版的内容好像侧重点和中文版有所不同,有我之前完全没听过的信息,是有意为之吗?
维琪没有强迫症 回复 @鹿在川上: 亲听得好仔细~是的中文和英文版是有一些不同侧重的,可以帮大家更全面地理解教授讲的书。而且小声告诉你,有时候英文版里还有小彩蛋呢!
听友449328666 回复 @维琪没有强迫症: 大主,新, g
丁乡 回复 @鹿在川上: 毕竟敏感
查看全部4条回复一共是100集中文,100集英文节目 每周更新一集中文一集英语的,已经买过就可以永久收听
完整文稿在音频下方,点击详情-继续阅读即可
小鱼Jasmine 回复 @维琪没有强迫症: 没有详情按钮
有没有音频的文本全文啊?逐字记录的英文版
维琪没有强迫症 回复 @小鱼Jasmine: 点击音频下方详情-继续阅读
维琪没有强迫症 回复 @小鱼Jasmine: 有的,点击【英文版】音频,在音频下方的详情里
蛋仔小树 回复 @维琪没有强迫症: 点击详情页面没看到文字版本,请问页面能截屏下吗
查看全部11条回复能不能让进度条始终出现在页面上方呢,这样方便对照文本直接调节,不用再拉到上面再调节【或者】更高级一些,音频读到哪,文本对应的句子就标示哪句,然后点击句子就可以进行跳转,具体参见每日英语听力这个app的做法
azalea0__0 回复 @系里的人: 附议!其实可以参考各大音乐app歌词自动滚动功能。
哈佛幸福课 247 改变能改变的 接受不能改变的
哈佛幸福课 322 改变有效的认知方式
哈佛幸福课 180 人的潜意识
哈佛心理课 009 不必可疑改变自己
哈佛幸福课 353 改变自己 撬动的力量
哈佛幸福课 313 哈佛哲学家的幸福智慧