Comparative Ambitions and Merchandise in Late Eighteenth-Century North America

Vocabularies between scientific enquiry and colonial interests: a new post in the Languages and/in time series

The end of the eighteenth and the beginning of the nineteenth century saw a phase of increasing activity in the systematic compilation of vocabularies appended to travel accounts. The aims of scientific enquiry and commercial and colonial interests remained closely intertwined. This is the case, for example, of the James Cook’s third voyage, and of the expedition led by George Dixon and Nathaniel Portlock who followed the route opened by Cook’s third voyage. Leaving England in 1785, Dixon and Portlock aimed to explore the region of the Great Lakes, Quebec and the Pacific coast, to then continue on to China to sell American furs and buy tea in Macau. Dixon, who had been on board the Discovery with Cook, looked for support for the new expedition from the Royal Society by seeking the endorsement of Joseph Banks. The voyage was organised by Richard Cadman Etches and Company (also known as King George’s Sound Company), and before leaving, a licence was purchased from the South Sea Company. Exploiting the recently established North-Pacific routes to China for the fur trade was combined with objectives in exploration and scientific research.[1] In Cook’s journal, prepared for the press by John Douglas and published in 1784, the comparative tables of languages, part of the appendixes, reveal the composite and complex nature of the official account as a collective artifact. Composed by Douglas, they merge information recorded on the field by Cook and by the Resolution’s surgeon William Anderson with knowledge from other sources, and are explicitly offered as linguistic proof of the relationships connecting the history of different populations, such as the common origins of Esquimaux (Eskimos) and Greenlanders.[2]

A View of the Habitations in Nootka Sound
“A View of the Habitations in Nootka Sound,” engraving after Webber, in Cook, A Voyage to the Pacific Ocean, 8vo edition printed for John Stockdale, Scatcherd and Whitaker, John Fielding, and John Hardy (London, 1784), plate after page 252. The houses and canoes of the natives are seen from the sea. There is one group communicating with sailors on the shore, and a second group near other sailors arriving in a small rowboat. Conifers and hills in the background. Copy at Wellcome Library.

Both Dixon and Portlock published accounts as soon as they returned.[3] Dixon himself wrote the introduction and appendix of his text, while the main body – in epistolary form – is attributed to the trader William Beresford.[4] The mission resulted in a number of areas being mapped for the first time (including Port Mulgrave, Port Banks, and Norfolk Sound – present-day Sitka Sound), and in materials documenting location, languages, manners and customs of the local populations. Dixon (or, in fact, Beresford) described the difficulty he met with while acquiring samples of the languages, both because of trouble finding common ground in the course of initial contacts, and because of other commitments interfering in the schedule, leaving too little a time for study and research.

I often endeavoured to gain some knowledge of their language, but I never could so much as learn the numerals: every attempt I made of the kind either caused a sarcastic laugh amongst the Indians or was treated by them with silent contempt; indeed many of the tribes who visited us, were busied in trading the moment they came along side, and hurried away as soon as their traffic was over; others, again, who staid with us for any length of time, were never of a communicative disposition.[5]

Words to indicate numbers offered the ideal raw material with which to write a short comparative summary of the languages spoken in ‘Prince William’s Sound and Cook’s River’, ‘Norfolk Sound’, and ‘King George’s Sound’. Methodological issues raised by the transcription encouraged a reflection on the absence of objective criteria and on the writer’s own linguistic notions and skills.[6] As for pronunciation – remarked Dixon – indigenous Americans had more success with English than do many speakers from other European countries. This comparison actually led to the category of ‘European’ being used, a category which appears very rarely in other parts of the account, such as in reference to the indigenous Americans’ skin colour being slightly darker than the Europeans’, and in relating the havoc wreaked by the Europeans in the Sandwich Islands (Hawaii) by bringing new diseases with them.[7] In the essential vocabulary of the language spoken on the Sandwich Islands’ that Beresford managed to write down in September 1787, despite the almost total absence of abstract concepts, the word taboo stands out. It was a term of Polynesian origin (e.g. Tonga, Fiji) already noted by Cook and here translated with the English interdiction, since it had yet to become the loanword universally known in European languages today.[8] In August 1787, Portlock (whose account shows comparatively less interest in the language of the populations he encountered) wrote down a list of words from the language spoken by the inhabitants of Montague Island (Alaska).[9] He prefaced it by remarking that ‘[t]heir language is harsh and unpleasant to hear’, and that he was transcribing it ‘spelled as near the manner of their pronunciation as I could give’. Of the fourteen entries what stands out is the peremptory nature of the opening sequence: ‘Give or hand me / sea-otter / bring’, and the central position occupied by the objects and goods important for trading – ‘sea otter’, ‘beads’, ‘iron’, ‘blanket’, ‘young sea-otter’, ‘a box’, ‘marmot or ermine skin’. What emerges frequently in these accounts by Cook’s followers, are the problems posed by a flow of oral production which proves difficult to document in writing. In this respect, illuminating comparisons can be made with how these travellers described music. Often used to mark key moments in the political and social life of the populations encountered, singing and musical performances heightened the impression that the aural dimension may be only partially and imperfectly conveyed by written registrations, and it often bring to light particularly interesting examples of cultural ethnocentrism on the part of the Europeans.[10] While it was unclear whether the ‘Indians’ ‘make use of any hieroglyphics to perpetuate the memory of events’, a primacy was implicitly granted to writing in documenting the past, giving support to a hierarchisation that relegated indigenous American forms of communication to the realm of ‘uncultivated barbarism’.[11]

Near the end of the century, another very interesting example of vocabulary relatively neglected by scholars is the one compiled by John Long in his Voyages and Travels of an Indian Interpreter and Trader. Relating the author’s adventures between the 1770s and the 1780s, the Voyages were published in London in 1791, possibly in the wake of the success of Carver’s account.[12] Notwithstanding translations appearing in French and German the very same year of the English first edition, and two twentieth-century editions in English, the limited attention paid to Long’s Voyages by scholars is perhaps due to it being the only known work by the author, whose life remains obscure in many respects.[13] The title, together with the vocabularies in the appendix and the dedication to Joseph Banks (who is also listed among the subscribers of the first edition), makes it clear that Long hoped to offer a systematic contribution to current knowledge of the indigenous American languages. Cognisance and proficiency in Native American matters went hand in hand with the advocacy in favour political alliances with the First Nations in order to strengthen British interests north of the Great Lakes after the American War of Independence.[14] Long’s role in the Independence War, leading an irregular British-Indian troop, will scandalise the author of the preface to the Chicago 1922 edition.[15] Whether Long had a formal education in England is unknown, but the impression gained from his account is that the most important part of his education (and certainly his language learning) took place in Canada, in the field, and was shaped by mercantile interests:

On my arrival at Montreal, I was placed under the care of a very respectable merchant to learn the Indian trade, which is the chief support of the town. I soon acquired the names of every article of commerce in the Iroquois and French languages, and being at once prepossessed in favour of the savages, improved daily in their tongue, to the satisfaction of my employer, who approving my assiduity, and wishing me to be completely qualified in the Mohawk language to enable me to traffic with the Indians in his absence, sent me to a village called Cahnuaga, or Cocknawaga, situated about nine miles from Montreal […] where I lived with a chief whose name was Assenegetbter, until I was sufficiently instructed in the language, and then returned to my master’s store, to improve myself in French, which is not only universally spoken in Canada, but is absolutely necessary in the commercial intercourse with the natives, and without which it would be impossible to enjoy the society of the most respectable families, who are in general ignorant of the English language.[16]

This passage reveals quite clearly not only the author’s favourable attitude towards the Native Americans, as the vocabularies further attests, but also the presence of an intriguing plurilingualism in the eighteenth-century Montreal, where a command of French was essential, both to do any trade at all and to be a part of polite society. While the vocabularies in Long’s Voyages are still appendixes tacked on to the narrative, there is a noticeable shift in emphasis in comparison to the vocabularies described thus far. The presence of the vocabularies takes centre stage in the title page, as well as in how the book is organised: they occupy around a third of the total pages and have a complex inner organisation of their own. They are meant not only to translate English terms into Esquimeaux (Eskimo), for example, or into Iroquois (Mohawk), but also to enable the reader to make comparisons between different native languages. They include synoptic tables placing side by side English, Iroquois, Algonquin, and Chippeway; English, Mohegan, and Shawanee; English, Mohegan, Algonquin, and Chippeway. Long’s linguistic evidence integrates credited secondary sources (Lahontan, Carver, Jonathan Edwards), uncredited ones (Pehr Kalm), and original materials.[17] Kalm’s Travels into North America are referenced as source of an anecdote proving ‘that the Indians possess strong natural abilities, and are even capable of receiving improvement from the pursuits of learning’.[18] Other authors known and discussed by Long include at various points in the narrative are James Adair and Robert Rogers.[19]

John Long, Voyages and Travels of an Indian Interpreter and Trader (1791), p. 196. Copy at John Carter Library.

Only for the Chippeway (an Algonquin language also known as Ojibwa and used as a vehicular trade language in the area north of the Great Lakes) is the list translating from the English accompanied by a list translating into English.[20] Most of the space is devoted to vocabularies meant to be used by European speakers, while the compilation’s fundamental connection to trade activities is made clear by the number of words related to the typical merchandise, and by a vocabulary particularly devoted to the names of furs and skins in English and French. Some entries inadvertently document pidgins and borrowings, such as tomahawk, clearly a borrowing from an Algonquin language, which is given as the English translation for the Algonquin Agackwetons and the Chippeway Warcockquoite.[21] Long’s interest is almost exclusively directed at words in common use, and abstract notions are excluded. The time expressions pertain to the ordinary, everyday dimension (such as ‘again, or yet’, ‘always, wherever’, ‘day, or days’, etc.), while the presence of a word such as ‘késhpin’, ‘if’, does not necessarily imply the hypothetical construction of probable or unreal scenarios.[22] Its use might well be limited to expressions of uncertainty or wish, as is the only occurrence reported by Long in a speech.[23]

The contexts, aims, scope, and manners of communication are perfectly exemplified by the ‘Familiar phrases in the English and Chippeway languages’ which illustrate what ethnolinguists today would call ‘speech acts’.[24] These phrases read in many instances like the simulation of a typical communicative exchange, with an opening exchange marked by a tone of friendly familiarity:

How do you do, friend?

In good health, I thank you.

What news?

I have none.

The two anonymous speakers exchange news and insights regarding the territory, the hunting and fishing seasons, and their respective families and personal experiences, before going on to discuss business. They call each other ‘friend’. The end of the phrasebook contains a series of expressions for paying personal respects. The content and general tone of the exchange suggest that perhaps Long’s adoption by the Ojibwa chief Madjeckewiss around the end of the 1790s was more than just a ruse to gain confidence and favourable trading conditions – as the practice was often exploited by European traders eager to become part of indigenous American kinship systems.[25] For Long, it might have marked a significant stage in a process regarding how the trader perceived and represented himself.[26]

I love you.

Your health, friend.

I do not understand you.[27]

Revealingly, the final expression on this list is a statement of incomprehension, an idea missing from Long’s previous lists, perhaps indicating an awareness of the length still to be travelled along the path of intercultural comprehension.


Notes

[1] Dictionary of Canadian Biography, IV, 1771-1800 (Toronto, 1979) and 1801-1820 (Toronto, 1983), electronic ed. 2003, <http://www.biographi.ca/>, s.v. respectively ‘Dixon, George’ and ‘Portlock, Nathaniel’, by Barry M. Gough. On the expedition: Stephen Haycox, James K. Barnett, and Caedmon A. Liburd, Enlightenment and Exploration in the North Pacific, 1741-1805 (Seattle and London, 1997), pp. 13, 41–42, 122–123; Barry M. Gough, The Northwest Coast: British Navigation, Trade, and Discoveries to 1812 (Vancouver, 1992), pp. 75–77.

[2] James Cook and James King, A Voyage to the Pacific Ocean (London, 1784), 3 vols, see III, pp. 531–555 for the comparative tables; [John Douglas], ‘Introduction’, in Cook and King, A voyage, I, pp. i–lxxxvi, see pp. lxxiii–lxxiv, lxxxv. On Douglas’ role: J. C. Beaglehole, ‘Textual Introduction’, The Journals of Captain James Cook on his Voyages of Discovery, ed. Beaglehole, 4 vols (Cambridge, 1955-67; electronic reprint, 2017), III – The Voyage of the Resolution and Discovery 1776-1780,tome I, pp. cxcviii–ccx; on Anderson: Glyn Williams, Naturalists at Sea: Scientific Travellers from Dampier to Darwin (New Haven and London, 2013), pp. 124–125.

[3] George Dixon [and William Beresford], A Voyage round the World, but More Particularly to the North-West Coast of America (London, 1789). Dixon’s account was translated into French the following year.

[4] For this attribution: Philip Edwards, The Story of the Voyage: Sea-Narratives in Eighteenth-Century England (Cambridge, 1994), p. 127; Dictionary of Canadian Biography, s.v. ‘Dixon’; Albert J. Schütz, The Voices of Eden: A History of Hawaiian Language Studies (Honolulu, 1994), p. 36; Dan L. Thrapp, Encyclopedia of Frontier Biography, I, A–F (Lincoln and London, 1991), p. 406.

[5] Dixon, A voyage, pp. 227–228.

[6] Dixon, A voyage, p. 241; similar remarks accompany the vocabulary of the Sandwich Islands (Hawaii), p. 270.

[7] Dixon, A voyage, pp. 241, 238, 276–277.

[8] Cook and King, A Voyage, III, pp. 10, 537, 553; Dixon, A Voyage, pp. 269–270.

[9] Portlock, A voyage, p. 293 also for subsequent quotes in the text. This list possibly documents a language belonging to the ample stock of Athabaskan-Eyak-Tingit, to which some forty varieties belong today, between Alaska and Hudson Bay, and along the Pacific coast, from British Columbia to the South-West; Mithun, The Languages, pp. 1, 26, 307, 346.

[10] Dixon, A Voyage, pp. 160, 189, 190, 228, 242–243 and subsequent table, 259, 269, 277, 313 (here on China).

[11] Dixon, A Voyage, p. 243 on ‘hieroglyphics’, p. 245 on the ‘uncultivated barbarism’; on coeval claims that there could be no history without writing see Ann Thomson, ‘Thinking about the history of Africa in the eighteenth Century’, in Abbattista (ed.), Encountering Otherness, pp. 253–266.

[12] J[ohn] Long, Voyages and Travels of an Indian Interpreter and Trader (London, 1791). On Carver’s fortune possibly favouring the publication: John Long’s Voyages and Travels in the Years 1768-1788, ed. Milo Milton Quaife (Chicago, 1922), pp. xviii–xix.

[13] Subsequent editions are: Early Western Travels, 1748-1846,II: John Long’s Journal, ed. Reuben Gold Thwaites (Cleveland, OH, 1904); John Long’s Voyages,ed.Quaife; German and French translations are published in 1791 and 1792 respectively; on Long’s biography: Michael Blanar, ‘Long’s Voyages and Travels: Fact and fiction’, in Jennifer S. H. Brown, W. J. Eccles, Donald P. Heldman (eds), The Fur Trade Revisited: Selected Papers of the Sixth North American Fur Trade Conference (Mackinac Island, 1994), pp. 447–463.

[14] Long, Voyages, pp. 9–10.

[15] John Long’s Voyages, pp. xii–xiii.

[16] Long, Voyages, p. 4.

[17] Long, Voyages, pp. viii, ix, 4, 10, 62, 83, 84, 130, 131. For a detailed listing of Long’s linguistic materials and their sources: Peter Bakker, ‘Is John Long’s Chippeway (1791) an Ojibwe pidgin?’, in William Cowan (ed.), Actes du vingt-cinquième congrès del Algonquinistes (Ottawa, 1995), pp. 13–31, esp. pp. 14–16; at p. 14 note 2 Bakker differs from Gille, who defines Long ‘the most cunning plagiarist of the Petit Dictionaire’, Johannes Gille, ‘Zur Lexikologie des Alt-Algonkin’, Zeitschrift fur Ethnologie, 71 (1940), pp. 71–86, see p. 75. Jonathan Edwards, Observations on the Language of the Muhhekaneew Indians (New Haven, 1788).

[18] Pehr Kalm, Travels into North America (Warrington and London, 1770-71), 3 vols; Long, Voyages, pp. 28–29.

[19] Long, Voyages, pp. 29, 31, 71–72, 149, 155 for references to James Adair, and p. 155 for a mention of Robert Rogers.

[20] Campbell, American Indian Languages, pp. 29, 401 note 135, 153. On Chippeway as a vehicular and inter-tribal language during the nineteenth century: Richard A. Rhodes, ‘Algonquian trade languages revisited’, in Karl S. Hele and J. Randolph Valentine (eds), Papers of the 40th Algonquian Conference (Albany, 2010), pp. 358–369. Bakker, ‘Is John Long’s Chippeway (1791) an Ojibwe pidgin?’, p. 30.

[21] Campbell, American Indian Languages, p. 11.

[22] Long, Voyages, pp. 196–208: ‘A table of words shewing, in a variety of instances, the difference as well as analogy between the Algonkin and Chippeway languages, with the English explanation’; pp. 227–252: ‘Table of words: English: Chippeway’; pp. 253–282: ‘Table of words: Chippeway: English’.

[23] Long, Voyages, pp. 134, 234. For usage in hypothetical scenarios: John Horden, A Grammar of the Cree language (London, 1913), p. 33; John Summerfield, alias Sahgahjewagahbahweh, Sketch of Grammar of the Chippeway Languages (Cazenovia, 1834), pp. 11–13, 16–17.

[24] Long, Voyages, pp. 283–295, also quoted below in the text.

[25] Theda Perdue and Michael D. Green, North American Indians: A Very Short Introduction (Oxford, 2010), electronic ed., pp. 99–109, 162.

[26] The linguistic analysis of the vocabularies and of the Chippeway texts scattered through the narrative leads Bakker to believe that ‘it is likely that the vocabularies, the dialogues and the speeches were all put together independently by the same person, most probably Long […] not the publisher or an editor’, Bakker, ‘Is John Long’s Chippeway (1791) an Ojibwe pidgin?’, p. 30.

[27] Long, Voyages, p. 294.

Credits

This post is adapted from: Giulia Iannuzzi, “‘Qu’il est question d’une langue sauvage’: Phrasebooks for European Travellers in Eighteenth-Century North America”, History (2021). https://doi.org/10.1111/1468-229X.13138.

Access the full text in open access on the publisher’s website at this EXTERNAL LINK.

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Cite this article as: Giulia Iannuzzi, "Comparative Ambitions and Merchandise in Late Eighteenth-Century North America," in Geographies of Time, 01/10/2021, https://ian.hypotheses.org/1896.

This blog is published under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license

Racial Fears and Techno-Apocalypses

A new post in the future wars series: yellow perils, bacteriological weapons, and futuristic inventions, before and after WWI

By 1908, the stereotypes and racialised representation of Asian populations used in Albert Robida’s feuilleton La guerre infernale – such as the demographic pressure and willingness to sacrifice millions of individuals (instalments 16, 24), the comparisons with insects such as ants (instalment 23, Les fourmis jaunes), the topoi of Oriental cruelty – were well established in popular Western yellow peril narratives and propaganda.[1]

In La guerre, bacteriological weapons are used to reduce their numbers (instalment 25, A nous le choléra!) but soon these weapons pollute the waters and affect the “whites” as well. Among yellow-perils coeval narratives, Jack London’s “The Unparalleled Invasion” ought to be mentioned for a similar idea of an annihilation of Chinese people operated – successfully in London’s case – by Western powers with bacteriological weaponry, after the realisation of China’s potential for world domination thanks to its demographic strength. Written around 1907 and first published in 1910, London’s short story is mainly set in 1976, and it is framed as written retrospectively from a yet even more distant future. According to John Swift “The Unparalleled Invasion” “clearly gives expression to an uneasy premonition, in London, in his culture, or in both, of the precariousness of white racial supremacy; but, more interestingly, it pays homage in language and plot to an emergent science and scientism that made racial anxieties simultaneously more frightening and more manageable.”[2] The parallel might help today’s reader to better grasp the significance of the yellow peril theme at the time, and to see how a grotesque exaggeration and satirical elements are exploited by Giffard and Robida’s in expressing in words and images racial fears.

The fear of an overwhelming wave is aptly represented by the image of an artificial hill made by soldier with their bodies, which the Chinese army erects on its march towards Moscow so that the officers can get a better view of their surroundings (instalment 28, Les Chinois à Moscou). The scene is described with horror by the narrator, who is following the Chinese army as a prisoner with other Westerners. In Moscow, horrible tortures and painful deaths await them, drawing on the topos of Oriental cruelty, not unprecedented in Robida’s work, nor isolated in popular French and Western publications, where, by the end of the 1880s, Chinese torture had become a fairly common topic in  public discourse, thanks not only to the interest in Chinese society and culture created by developments in East-West political and cultural relations such as the opening of a Chinese embassy in London in 1877 and the Chinese section at the 1878 Paris International Exhibition, but also to the proliferation of specific tropes in popular literature[3] (instalments 28 and 29, Dans l’avenue des supplices).

Albert Robida, illustration for La Guerre infernale by Pierre Giffard (Paris: Èdition Méricant, 1908), published in issue 28, “Les Chinese à Moscou”, 895. A Chinese army with prisoners in cangues advances towards Moscow; text reference: “Ce fut dans cet équipage que nous entrâmes à Moscou”. On this image see also Giulia Iannuzzi, “The Cruel Imagination: Oriental Tortures from a Future Past in Albert Robida’s Illustrations for La Guerre infernale (1908)”, 2017, external link to full open access version.

Throughout the novel, nature is bent and shaped by technology: tunnels of gigantic proportions are excavated both by the Germans when they attack France, and in England where the Tube is re-purposed as a bomb shelter, transferring the entire capital underground (instalments 8 and 9).[4] The famous London fog is cleared with specially developed acetylene guns (instalment 10). To ward off Japanese battleships, the Americans create a cage of fire on the water using a system of oil pipes off the coast of Florida. Thanks to the genius of an inventor by the name of Erikson, the US Department of Power and Electricity manages to jam the Japanese compasses, and to freeze the water by suddenly removing the oxygen from it. Thousands of Japanese corpses are burnt, poisoning the air with a terrible stench. Similarly, by altering the chemical composition of the atmosphere, and by electrifying the soil, thousands of casualties are caused on land, in a terrible exercise of “scientific massacre” (La tuerie scientifique, instalment 17).

La guerre infernale, as the precedent La guerre au vingtième siècle, with its rutilant imagination, and its narrative frame ultimately neutralising tragedy and destruction as part of a dream from which the protagonists wakes in the last pages, testifies Robida as – in I. F. Clarke’s words –

one of the very few … who found it possible to be funny about ‘the next great war.’ [5]

It is worth noting that the experience of the First World War will radically change his approach. Immediately after the conflict, Robida published a short illustrated in-folio album – Le Vautour de Prusse – and a 302-pages novel – L’Ingénieur Von Satanas – developing the same anti-Prussian reflections, and revisiting the war theme with a more pronounced anti-militarist spirit.[6] L’Ingénieur’s second prologue, taking place in the fictional “Peace Palace” in La Hague where a pacifist international conference is inaugurating the palace, in 1909, seems to suggest a direct reprise of La guerre, followed by its pessimistic fulfilment. Scientists, politicians, philosophers, and millionaires from all around the world are championing a pacific progress and greeting the beginning of a new global golden age, brought about by techno-scientific progress. But scientific marvels become means of mass destruction in the hand of the greedy Prussians, corrupted by the evil engineer Von Satanas, a diabolical figure recurring through the ages, that might as well be seen as the embodiment of human nature’s dark side and inclination towards violence and conflict. In 1929, Europe and the whole world have become home to a new prehistoric and barbaric civilisation, a post-apocalyptic land, with survivors living underground. Endless irregular lines of trenches, bomb craters, burrows and tunnels disfigure the Earth surface and render the similar to the Moon’s.

Without losing the adventurous edge that characterised La guerre as well as other Robida’s earlier works, L’Ingénieur offers a rather more pessimistic and sinister take not so much on science per se – which is presented as the key to a possible future of harmony and prosperity – but on the human ability to put differences aside and resist belligerent instincts.

The next post in the future wars series will summarise some conclusions about Robida’s work and war imagery as a laboratory for a global and futuristic mind set.

Albert Robida, L’ingénieur von Satanas: roman (Paris: 1919). Copy at Bibliothèque nationale de France via Gallica. “Le gas! le gas! – crient-ils”.

Notes

[1]  Thoralf Klein, “The ‘Yellow Peril’,” EGO – European History Online, external link; John Kuo Wei Tchen and Dylan Yeats, eds., Yellow Peril! An Archive of Anti-Asian Fear (London: Verso, 2014); John W. Dower, “Yellow Promise / Yellow Peril: Foreign Postcards of the Russo-Japanese War (1904-05),” MIT Visualizing Cultures, 2008, see especially section ‘Yellow Peril’, external link. See also Michael Keevak, Becoming Yellow: A Short History of Racial Thinking (Princeton and Oxford: Princeton University Press, 2011).

[2]  John N. Swift, “Jack London’s ‘The Unparalleled Invasion:’ Germ Warfare, Eugenics, and Cultural Hygiene,” American Literary Realism 35, no. 1 (2002): 59-71, qt. 60; see here 67 for remarks on the narration’s grotesque detachment, elements of a dark Swiftean approach, and an ironic distance between London and his narrator. On London, the Russo-Japanese war, and yellow peril fears see also Daniel A. Métraux, “Jack London: The Adventurer-Writer who Chronicled Asian Wars, Confronted Racism-and Saw the Future,” The Asia-Pacific Journal  8, no. 4.3 (2010): 1-10.

[3]  André Lange, “Le rire et l’effroi. Supplices et massacres orientaux dans l’oeuvre d’Albert Robida”, in Le Supplice Oriental dans la littérature et les arts, ed. Antonio Dominguez Leiva and Muriel Detrie (Neuilly-lès-Dijon: Editions du Murmure, 2005), 135-169 ; Jérôme Bourgon, “Les scènes de supplices dans les aquarelles chinoises d’exportation”, 2005, Chinese Torture / Supplices Chinois, accessed January 21, 2020, external link.

[4]  On the precedent of the tube in La vie electrique see also Dominique Lacaze, “Albert Robida, Explorer of the Twentieth Century,” part I, “Technical Innovation” and part II, “The Invention of a Society,” Futuribles 366 (2010): 61-70, and 367 (2010): 65-76, see I, 65.

[5]  I. F. Clarke, “Future-War Fiction: The First Main Phase, 1871-1900,” Science Fiction Studies, 24, no. 3 (November, 1997): 387-412, see 398.

[6]  Albert Robida, Le Vautour de Prusse (Paris: Georges Bertrand, 1918); Robida, L’Ingénieur Von Satanas (Paris: La Renaissance du Livre, 1919), Bibliothèque nationale de France, Gallica, identifier: ark:/12148/bpt6k14217576. A brief mention is in Philippe Willems, “A Stereoscopic Vision of the Future: Albert Robida’s Twentieth Century,” Science Fiction Studies 26, no. 3 (November 1999): 354-378, see 376-377, note 18.

Credits

This post is adapted from Iannuzzi, G. (2019). “The Illustrator and the Global Wars to Come: Albert Robida, La guerre infernale, and the Long History of Imagined Warfare”, Cromohs – Cyber Review of Modern Historiography22, 95-136; par. “Techno-apocalypses”, pp. 122-124. DOI: 10.13128/cromohs-11706. Full text available in open access: https://oajournals.fupress.net/index.php/cromohs/article/view/11706.

See here all posts in the future-wars series

Cite this article as: Giulia Iannuzzi, "Racial Fears and Techno-Apocalypses," in Geographies of Time, 01/09/2021, https://ian.hypotheses.org/1807.

This blog is published under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license

Should the readers become traveller themselves

Unwittingly documenting the finding of some common linguistic ground: vocabularies of North American languages, and elements for a periodisation

Vocabularies of American languages and lists of words in translation are to be found in travel literature since Jacques Cartier’s sixteenth-century journey to Canada, or Jean de Lery’s to Brazil. The transcribed word gave a name to an object unknown in Europe, for which there was no word available in the writer’s mother tongue. In so doing, it attested to the truthfulness of the account, presenting a notion that the author would have been unable to learn about without actually visiting the places described. The exotic unfamiliarity of the transcribed sounds might also have appealed to the reader’s sense of wonder and fascination.[1]

Since they were discrete appendixes which supplemented the main text while also being relatively distinct in typographical terms, often coming at the end and marked by a stand-alone title page, vocabularies also indicate that different agencies were involved in the construction of the book. An apt example is the French-Indian lexicon included in Cartier’s first relation on Canada (1534), probably the first to be written in French in the age of explorations after the French translation of fifty Brazilian and Patagonian words in Pigafetta (1525). Cartier collects Onondaga, Mohawk and Huron words, while some terms not belonging to any of these groups seem to point to the existence of the variety of “iroquoien laurentien” mentioned by the author.[2] The list is not always included in coeval copies: it was first added in Giovanni Battista Ramusio’s Italian version.[3]

It will come as no surprise that a list such as Cartier’s shows a preponderant majority of words related to spheres of the physical world (i.e. body parts, objects tied to the physical surroundings, and food). The list is structured around semantic clusters, which seem almost to have been organised on the basis of free association. Of the two words in the list that refer to a temporal dimension – giorno (day) and notte (night) – only the second is translated into Huron (Aiagla).[4] Also, the word Iddio (God), despite being the first in the list, shows a blank in the Huron column. There are no words for abstract semantic fields, an omission which, while in all likelihood derived from the practical circumstances of elicitation and collection of linguistic evidence, also confirmed the long-term prejudice that Native Americans were incapable of abstract thought.[5]

A similar lacking is also in Gabriel Sagard’s Dictionaire de la langue huronne appended in 1632 to Le Grand voyage du pays des Hurons, a fine example of proto-ethnographic curiosity written after the author had been a Franciscan missionary in Canada between 1623 and 1624.[6] Containing around 2,500 words and expressions, with a separate title-page and preface, Sagard’s Dictionaire explicitly presents the Huron language not only as rich in local varieties, but also constantly fluid and changing, a feature typical of imperfect languages just beginning on their path towards refinement.[7]

Our Hurons, and generally all the other Nations, present the same instability of language, and change their words so much that, with the passing of time, the old Huron is almost entirely different from that of the present, and it is still changing, according to what I was able to conjecture and learn by talking to them: for the mind becomes more subtle, and growing older corrects things and brings them to their perfection.[8]

It is the very savage nature of the Huron language that prevented the author from compiling a definite set of grammar rules:

[I]t is an issue of savage language, almost without rules, and so imperfect that even someone more competent than me would have had a hard time […] doing any better.[9]

The confusion as regards tenses is seen as a sign of intellectual infancy, and while there are words and expressions which place events in a familiar temporal dimension, there is no sense of historical stratification.[10]

Similarly, no other abstract sphere is represented except for those connected to missionary work (i.e. teaching and learning and the Christian religion) and linguistic curiosity (i.e. expressions for asking the meaning of words, or the French and/or Huron equivalent of terms) which complete the portrayal of everyday Huron life. Sagard’s dictionary thus reinforces a conceptualisation of indigenous Americans as being at the beginning of a process of refinement. This is thematised in his narrative by parallels between the Hurons and the ancient Spartans, while the Hurons’ simple mode of dressing is reminiscent of that of Franciscan friars, so that a missionary might feel closer to them than to many of his fellow Frenchmen and women.[11] While the main narrative body of Sagard’s Voyage is highly indebted to previous written sources such as the works by Samuel de Champlain and Marc Lescarbot, the dictionary shows greater originality and reveals the author’s proto-ethnographic curiosity and his ability to observe his interlocutors with a fresh eye.[12]

Is it possible to individuate an eighteenth-century phase within the longer history of the textual genre linguistic collections annexed to travelogues? Between the seventeenth and the eighteenth centuries, vocabularies began to portray an expanding variety of contact situations, bearing witness to the increasing diversity of European actors and their objectives in North America.[13] While the wordlists still served to reinforce the credibility of the account and pique the reader’s interest, more practical aims started to become prominent. They gradually became stores of useful expressions, toolboxes for the readers should they become traveller themselves, and they often contained ready-to-use formulaic expressions recording typical conversational exchanges.

The increasing presence of a proto-ethnographical curiosity shaped the recording of the language as part of a broader cognitive project as regards the American otherness. Vocabularies embody the coming together of a whole range of different objectives, scientific and communicative, religious and commercial. They lay bare the ties that bind the systematisation of knowledge as regards the customs and manners of peoples across the globe and projects of colonial dominance and expansion. While the partitioning of disciplinary-academic knowledge – including linguistics and ethno-anthropological sciences – would come to full fruition in the nineteenth-century, the curiosity about North American languages of eighteenth-century explorers, traders, and administrators, needs to be seen against the backdrop of broader reflections on human diversity and attempts to systematise it. In Anthony Pagden’s words:

In the eighteenth century […] the discussion over the languages of the “primitive”, the “savage”, the “barbarian”, became a key register in which theories of evolution and development were established – as well as the relative worth and hence possible commensurability of American societies.[14]

In the North American context, hopes of tracing back the obscure origins of the American populations and identifying affinities between different nations often rested upon linguistic genealogies. Those who compiled vocabularies based on first-hand experiences of contact were often aware that their contribution might have an impact on ongoing debates on the origins and nature of the American societies by bringing new evidence to light. In a system of knowledge in which there was still no clear-cut distinction between scholars and amateurs, it was not uncommon for authors of travel accounts to put forward opinions regarding the possible history of languages, and, on the basis of linguistic similarities, argue for example that the origin of the indigenous American nations lay in China or Israel.

From the end of the eighteenth century onwards, several wide-ranging initiatives were set in motion, such as that of the St. Petersburg Academy of Sciences, in particular during Catherine II’s reign (1762-1796), and with specific regard to the geographical area of interest here, the one by Thomas Jefferson, Stephen DuPonceau, and Albert Gallatin.[15]  The latter, with its recording of Native American languages using a uniform standard of written registration, called for a network of correspondents and administrators to cooperate in the initiative, fundamentally contributing to the rise of North American comparative linguistics.[16]

In making a point of separating the lexicographical aspects from the narration of personal experience, Jefferson’s project exemplifies the role of linguistics in the making of a Euro-American identity. In response to Buffon’s denigrations of the ‘New World’, an American culture was being forged which, while appropriating and transposing native cultures, at the same time exploited linguistic facts as a further basis for cultural hierarchisation.[17] Compared to previous examples such as Cartier’s vocabulary, later eighteenth-century compilations retain a conceptual and typographical structure which places two (or more) languages facing each other, divided by punctuation marks, or by the empty space in their respective columns. As Laura J. Murray has argued in what is still one of the most informative contribution on this topic, the visual appearance of the page suggests the existence of two different codes, between which semantic equivalence (or the lack of it) is recorded.[18] Of course, what might be more revealing is what lies in the blank spaces between the columns.

Along with the first-hand observations by writers lamenting the difficulties involved in collecting and transcribing samples of languages, historical linguistics has shown how vocabularies and lists of terms and expressions are produced through a cultural and linguistic contact, often unwittingly documenting the finding of some common linguistic ground, including the birth and development of trade jargons and pidgins.[19]


Notes

[1]  Murray, ‘Vocabularies’, pp. 593 and 617, note 4.

[2] Bruce G. Trigger (ed.), Handbook of North American Indians, vol. XV, Northeast (Washington, DC, 1978), pp. 334–343. On Cartier: Fernand Braudel (ed.), Le monde de Jacques Cartier: L’aventure au XVIe siècle (Montréal et Paris, 1984); Bruce G. Trigger, Children of Aataentsic: A History of the Huron People to 1660 (Kingston and Montreal, 1976), pp. 177–207; on linguistic issues and for a comparison with later sources: Marius Barbeau, The Language of Canada in the Voyages of Jacques Cartier (1534-1538) (part of National Museum of Canada, Bulletin 173, pp. 108–229, Ottawa, 1959).

[3] Jacques Cartier, Relations (Montréal, 1986), p. 224.

[4] Entries in Italian according to Ramusio’s version reproduced in Cartier, Relations, pp. 225–226.

[5] Murray, ‘Vocabularies’, p. 598. On translation and religion during the Seventeenth and the Eighteenth centuries: Kim, Strange Names of God; Martin Mulsow, ‘An “Our Father” for the Hottentots: Religion, Language, and the Consensus Gentium’, in Carlo Ginzburg, Lucio Biasiori (eds), A Historical Approach to Casuistry: Norms and Exceptions in a Comparative Perspective (London and New York, 2019), pp. 239–261, esp. pp. 246–247 on the question de la raison and the consensus gentium. On the connection between the ability to use language, the ability to reason, and civil society: Pagden, The Fall, 15–16; Pocock, Savages and Empires, pp. 2–3, 158–171; Landucci, I filosofi e i selvaggi, p. 4.

[6] Gabriel Sagard, Le Grand voyage du pays des Hurons suivi du Dictionaire de la langue huronne (Montréal, QC, 1998); Dictionary of Canadian Biography, I, 1000-1700 (Toronto, 1966), electronic ed. 2019, <http://www.biographi.ca/>, s.v. ‘Sagard, Gabriel’, by Jean de la Croix Rioux. On proto-ethnography: Rolando Minuti, ‘L’anthropologie dans l’Encyclopédie méthodique: Les sauvages de Jean-Nicolas Démeunier’, in Martine Groult and Luigi Delia (eds), Panckoucke et l’Encyclopédie méthodique: Ordre de matières et transversalité (Paris, 2019), pp. 367–381, esp. pp. 367–369. See also Christopher Fox, Roy Porter, and Robert Wokler (eds), Inventing Human Science: Eighteenth-Century Domains (Berkley, Los Angeles, 1995).

[7] For a discussion of Sagard’s Dictionaire from a linguistic standpoint: John L. Steckley, ‘Trade goods and nations in Sagard’s Dictionary: A St. Lawrence Iroquoian perspective’, Ontario History, 104/2 (2012), pp. 139–154. It is probably the title-page that causes the Dictionaire to be sometimes listed as an autonomous work, but the reference to it in the Voyage’s main title leaves no doubt as to it being the author’s intention to include it in the account. See Thomas W. Field, An Essay towards an Indian Bibliography (New York, 1873), p. 342.

[8] Sagard, Le Grand voyage, p. 346, translations by the author.

[9] Sagard, Le Grand voyage, pp. 347, 148.

[10] Sagard, Le Grand voyage, p. 345.

[11] Sagard, Le Grand voyage, pp. 199–200 and 233–234. On the ‘well-established sixteenth-century literary genre, which traced the resemblances between a modern language and an ancient to prove the nobility of the former’, see Carlo Ginzburg, ‘Provincializing the world: Europeans, Indians, Jews (1704)’, Postcolonial Studies, 14/2 (2011), pp. 135–150; quote on page 136.

[12] Samuel de Champlain, Œuvres complètes de Champlain (Québec, 2019) 2 vols; Marc Lescarbot, Histoire de la Nouvelle France, édition augmentée (Paris, 1617). For a discussion of de Champlain and Lescarbot in Sagard see the notes by Jack Warwick in the above-mentioned editionSagard, Le Grand voyage, and the footnotes by Ugo Piscopo in Gabriel Sagard, Grande viaggio nel paese degli Uroni 1623-1624 (Milan, 1972). On Sagard’s Voyage as the attainment of a collective experience: Jack Warwick, ‘Introduction’, in Sagard, Le Grand voyage, pp. 7–72, see pp. 35–40. For the dictionary, the existence of unpublished sources cannot be ruled out, but as of today this remains a hypothesis, and possible sources have not yet been identified.

[13] See Mulsow, ‘An “Our Father” for the Hottentots’.

[14] Anthony Pagden, European Encounters in the New World (New Haven and London, 1993), p. 120.

[15] Peter Simon Pallas [Hartwig L. C. Bacmeister, and Christian G. Arndt], Linguarum totius orbis vocabularia comparativa (Petropoli, 1786); Harriet E. Manelis Klein and Herbert S. Klein, ‘The “Russian collection” of Amerindian languages in Spanish archives’, International Journal of American Linguistics, 44/2 (1978), pp. 137–144.

[16] Sarah Rivett, Unscripted America: Indigenous Languages and the Origins of a Literary Nation (Oxford, 2017), esp. pp. 182, 223. Jefferson’s project is dealt with in the following pages in connection with the Lewis and Clark expedition.

[17] Antonello Gerbi, La disputa del nuovo mondo: Storia di una polemica: 1750-1900 (new ed., Milan, 2000); Regna Darnell, ‘Language typology and ethnology in nineteenth-century North America: Gallantin, Brinton, Powell’, in Sylvain Auroux, E. F. K. Koerner, Hans-Josef Niederehe, and Kees Versteegh (eds), History of the Language Sciences / Geschichte der Sprachwissenschaften (Berlin and New York, 2001), II, pp. 1443–1452; Regna Darnell, ‘Anthropological linguistics: Early history in North America’, in William Frawley (ed.), International Encyclopaedia of Linguistics (2nd ed., Oxford, 2003), I, AAVE-Esperanto, pp. 95–98. See also Sean P. Harvey, ‘“Must not their languages be savage and barbarous like them?” Philology, Indian removal, and race science’, Journal of the Early Republic, 30/4 (2010), pp. 505–532.

[18] Murray, ‘Vocabularies’, p. 600.

[19] Goddard, ‘The use of pidgin’, p. 62.

This post is adapted from: Giulia Iannuzzi, “‘Qu’il est question d’une langue sauvage’: Phrasebooks for European Travellers in Eighteenth-Century North America”, History (2021). https://doi.org/10.1111/1468-229X.13138.

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Cite this article as: Giulia Iannuzzi, "Should the readers become traveller themselves," in Geographies of Time, 20/07/2021, https://ian.hypotheses.org/1845.

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Visualising a global war: La guerre infernale

A new post in the future-wars series: Robida and the world war of the future

La guerre infernale was written by Pierre Giffard and illustrated by Albert Robida.[1] Published in weekly instalments in 1908, La guerre infernale gives the future-war genre a satirical edge, offering a scenario in which a global conflict of massive proportions breaks out in consequence of an argument between the German and the English ambassadors over the serving order of the dessert at a dinner. To add to the irony, the dinner is taking place during the Conférence de la paix, the annual meeting of a philanthropic organisation founded by Nicholas II of Russia in 1895. In 1937, the protagonist and narrator is covering the conference periodical summit at the Hȏtel de l’Entente Universelle in La Hague, for the Paris newspaper L’an 2000, when the war breaks out. While the conflict is triggered by a disagreement between European powers, the role of Japan and China in its outcome is a clear reminder of the Russo-Japanese War of a few years before.

Novelist, reporter, illustrator, watercolourist and engraver, Albert Robida (1848-1926) is today regarded as one of the founding fathers of science fiction, and recognised as a key figure on the cultural scene of the French Third Republic. He extensively worked as editor and collaborator of Paris periodicals such as La Caricature, and imagined visionary portrayals of a future society shaped by the technological inventions exhibited at International World Fairs such as Paris 1881, 1889, and 1900.  During his life, he illustrated ninety-four books, of almost fifty of which he was sole author.[2]

 With Giffard – a fellow journalist specialised in sport, who covered the Russo-Japanese war in 1904[3] Robida collaborated in various editorial projects already during the 1880s-1890s. These included the pictures for the humorous La vie en chemin de fer and La vie au théâtre (1887-1888) and La fin du cheval (1899) on the means of transports that were soon to replace horse-drawn carriages and the socio-economic advancements that they would bring about.

Giffard himself (1853-1922), after taking part in the 1870 war as one of the youngest lieutenants in the French armée auxiliaire, had become a journalist. He collaborated with numerous newspapers and periodicals including Le Figaro, covering, among other things, the technological developments in transport and communications exhibited at Paris 1878, and travelling the world as a correspondent, from war zones such as Algeria and southern Tunisia amongst others. Creator of French cycle and car races, he became editor-in-chief of Le Petit Journal in 1887, until moving to Le Vélo in 1896 after a few years of collaboration under a pseudonym, and then to L’Auto in 1904.

One may assume thatone of the reasons Giffard mentions for choosing a humorous slant in his work on the railway in the “Préface” of La vie en chemin de fer also applies to La guerre infernale :

… avec la forme humoristique l’auteur a pu s’assurer le concours de l’un des crayons les plus spirituels de notre époque, et c’est là un gros atout dans son jeu, pour ne pas dire plus.[4]

He is referring to none other than Robida, of course, whose contribution is very likely to have been more than just illustrating: many themes and inventions are reprises of ideas and scenarios already imagined in the above-mentioned Le vingtième siècle, and its sequel La guerre au vingtième siècle, including means of instant communication, aerial means of transport, innovative weapons.[5] Furthermore, La guerre infernale shares with other works by Robida an interest in social aspects (such as the role of women),[6] and in the consequences of technology for everyday life and customs and habits. As Philippe Willems has summarised,

what really distinguishes Robida from other nineteenth-century writers of conjectural fiction is the depth of his portrayal of the future, the real-life dimension … halfway between Jules Verne’s detailed mechanical explanations and H. G. Wells’s psychological realism.[7]

The global backdrop against which the protagonists’ adventures take place, unlike the mainly French and Parisian setting of Le vingtième siècle and La vie electrique, is reminiscent of the Voyages très extraordinaires de Saturnin Farandoul (1880).[8] Paris serves nonetheless as a barycentre for the adventures of La guerre infernale’s protagonist. It is to the French capital that he returns between his adventures in the Atlantic and in Russia, and it is to Paris that knowledge and news always flow and are collected and sorted, near the palaces where the crucial decisions are discussed by French authorities.[9]

In fact, La guerre infernale plays up a global dimension brought onto the stage of individual experience and perception by the use of new means of transport and communication that earlier works by both Giffard and Robida had represented in different contexts and/or with different strategies.[10] The first instalment, tellingly entitled La Planète en feu, presents the idea of a global dimension compressed by the instantaneous nature of the telephone: awoken in the middle of the night by a massive fire starting in La Hague, the protagonist discovers that a war has started, but is unable to track down the incident that originated it. He will receive news of what happened in the very same hotel he is staying at only via a colleague in Paris, who gets a phone call from La Hague at the Café Krasnapolski. Similarly, it is the telephone that makes it possible to deliver ultimatums and institutional communications in real time, activating the various alliances that cause the conflict to escalate first to a European and then to a global dimension.[11]

Means of transport are at the centre stage from the very first pages, allowing the protagonist and his companions to travel throughout Europe and across the globe. They use an aérocar to head back to Paris, since the editor-in-chief asks the protagonist to cover the conflict for the newspaper L’an 2000, only to be redirected to the French aerial arsenal at the base in Mont Blanc.

Albert Robida. “Nouvelles du Grand Lac Salé”, Le Journal Amusant, no. 759, July 16, 1870: 3, detail. Source: Gallica, https://gallica.bnf.fr/ark:/12148/bpt6k5861280m/f3.item. On this image see also Daryl Lee, “Robida’s Mormons”, Transatlantica [En ligne], 2 | 2017, mis en ligne le 13 mai 2019, DOI : https://doi.org/10.4000/transatlantica.10869.

The massive Mont Blanc arsenal (to the description of which the second instalment, Les Armées de l’air, is almost entirely devoted) includes a Leviathan formation composed by 150 attacking aircrafts, supported by a regiment of bicycle-sized, extremely manoeuvrable flying machines operated by couples of pilots and gunners. Furthermore, aerial warfare brings about consequences in the life of civilians (e.g. the use of individual shields and the construction of subterranean cities), in terms of tactics and strategies, and in the existence of specific authorities (e.g. the ministère de l’Aérotactique, ministry of aerotactic, already imagined in La vie électrique).[12] A German bombing strikes the chemical section of the compound, where bacteriological weapons are being developed,[13] causing 150 deaths. But tragedy of even bigger proportion is reported from Belfort, blown up by a massive quantity of explosives that German soldiers placed under the city using a gigantic tunnel excavated from the Black Forest.

The first part of the novel is devoted to the conflict as it unfolds in Europe, with the German Reich attacking the French Mont Blanc base as well as bombing cities in France and bringing war to the other side of the English Channel. After an aerial battle in the skies above London, the protagonists and his friends end up stranded above the Sargasso Sea, where the only way to allow the others to regain altitude and leave the polar region is to drop the body of a dead companion. The passage to the Atlantic marks the passage of the narrative backdrop from a European to a global scale.

Along with submarines and hommes-crabes (6), the naval warfare is no less impressive: over the Atlantic the protagonist admires the American warship Minnesota on patrol: “Mille tonnes de deplacement, cinq turbines, trois arbres à helicer, un developpement al 15000 chevaux faisaient alors du Minnesota le Croiseur le plus rapide du monde” (instalment 12: 380). When cholera is used to wage bacteriological warfare in Russia against Chinese armies, a “train sanitaire” operates between Orenburg and Rostov, to help infected “whites” (instalments 25 and 26).

Economic interconnectedness is also put to use by battling countries. During the first days of the war, Britain floods Germany with false Deutschmarks in order to sink its economy (instalment 5), and when European powers coalesce against the threat of an invasion from China a “yellow tax” is approved within the alliance to fund the war against Asian powers (instalment 21).

In fact, while there is a treaty in place at the beginning of the war between Japan and France and Japanese aviators are perfecting their training with the French Voleurs corps (instalment 8). When he arrives in North America, the protagonist learns that Japanese immigrants in California had long been preparing for the invasion of America, and that now, supported by troops from Japan, are engaged in terrible battles which caused thousands of deaths, and left every American survivor deranged due to the trauma, hospitalised in a dedicated facility.

Japan and the US fight a naval battle of epic proportions between the Bahamas, Cuba and Florida (instalments 15, 16). From Canada to Africa, the Japanese multiply their invasion plans, acting as the leading force behind which the Chinese are also mobilised. It is against the backdrop of the Atlantic space and with the Asian arrival on the scene that the conflict starts to assume a fully global scale and at the same time a clear racial connotation: the “yellow” threat leads “white” nations to overcome their current disagreements and strike up new alliances. The American president arguing for an alliance with the British warns about the prolificacy of Asian populations, contrasting it with the demographic decline of the “whites” (instalment 16). Japanese and Chinese armies invade California and block the Panama Canal (instalments 18 and 20), while Europeans helps Russia to construct a “muraille blanche,” “white great wall,” against the Chinese plans to invade Europe (instalment 21). The assassination of Tsar Nicholas II and a riot or revolution demanding a new constitution leaves Russian open to Chinese occupation (instalments 21-23).

The next post in the future wars series will offer some reflections on the theme of the ‘yellow peril’ and the representation of a nature bent by technology, and then discuss the subsequent developments of the representation of the war of the future in Robida’s creative journey.


Notes

[1]   Pierre Giffard, La guerre infernale, illustrated by Albert Robida (Paris: Èdition Méricant, 1908), 30 weekly instalments, in-4°, 952 pp.

[2]   For an overview on recent scholarship on Robida and indications for further reading: Iannuzzi, “The Cruel Imagination,” 194-195; secondary sources of particular note are: Philippe Brun, Albert Robida, 1848-1926. Sa vie, son œuvre. Suivi d’une bibliographie complète de ses écrits et dessins (Paris: Editions Promodis, 1984); Daniel Compère, ed., Albert Robida du passé au futur. Un auteur-illustrateur sous la IIIe République (Paris: Belles Lettres, 2006); Sandrine Doré, “Albert Robida (1848-1926), un dessinateur fin de siècle dans la société des images” (doctoral thesis, Université Paris Ouest Nanterre La Défense, 2014).

[3]   Jacques Seray, Pierre Giffard, précurseur du journalisme moderne. Du Paris-Brest à l’affaire Dreyfus (Toulouse: Le Pas d’oiseau, 2008); C.G.P.C.S.M.-Fontaine d’histoire, La Famille Giffard (Fontaine le Dun: Fontaine d’histoire, 2007).

[4]   “… thanks to the humorous form, the author was able to secure the collaboration of one of the wittiest pencils of our time, who was a big asset to his work, to say the least.” Pierre Giffard, La vie en chemin de fer, illustrated by Albert Robida (Paris: A la Libraire illustrée, [1888]), Bibliothèque nationale de France, Gallica, ark:/12148/bpt6k1028744.

[5]   Marc Angenot, “Albert Robida’s Twentieth Century,” Science Fiction Studies 10, no. 2 (July 1983): 237-240; Philippe Brun, Albert Robida, 1848-1926. Sa vie, son œuvre. Suivi d’une bibliographie complète de ses écrits et dessins (Paris: Editions Promodis, 1984), 33; Philippe Willems, “A Stereoscopic Vision of the Future: Albert Robida’s Twentieth Century,” Science Fiction Studies 26, no. 3 (November 1999): 354-378, esp. 358 and note 7.

[6]   On Robida’s representation(s) of women: Robida et l’émancipation de la Femme, thematic issue of Le Téléphonoscope. Bulletin des amis d’Albert Robida 21 (2014); Doré, “Albert Robida,” vol. 1, 98, 150-152, 244 note 825, 296-299; Sandrine Doré, “Entre caricature et anticipation, la Parisienne définie par Albert Robida (1848-1926),” L’art de la caricature, sous la direction de Ségolène Le Men (Nanterre: Presses universitaires de Paris Nanterre, 2011), electronic edition, doi: 10.4000/books.pupo.2233; Dominique Lacaze, “Albert Robida, Explorer of the Twentieth Century,” part I, “Technical Innovation” and part II, “The Invention of a Society,” Futuribles 366 (2010): 61-70, and 367 (2010): 65-76, see II, 72-73. Depictions of women in the army by Robida are to be found in La Vie parisienne, as early as 1875, and in Le Vingtième Siècle (1883).

[7]   Willems, “A Stereoscopic Vision,” 360.

[8]   Albert Robida, Voyages très extraordinaires de Saturnin Farandoul dans les 5 ou 6 parties du monde et dans tous les pays connus et même inconnus de M. Jules Verne (Paris: Librairie illustrée- Librairie M. Dreyfous, 1880), Eng. trans. The Adventures of Saturnin Fanandoul, trans. Brian Stableford(Encino, CA: Black Coat Press, 2008).

[9]   On the representation of France at war and its ideological ambivalence in La guerre infernale: Paul Bleton, “La guerre telle qu’elle pourrait être,” Lublin Studies in Modern Languages and Literature 39, no. 1 (2015): 64-75, see 67, 70.

[10]   On the global conflict evoked in Le Vingtième siècle: Lacaze, “Albert Robida,” II, 74.

[11]  See also André Lange, “En attendant la guerre des ondes: les technologies de communication dans les anticipations militaires d’Albert Robida,” Le Téléphonoscope. Bulletin des amis d’Albert Robida 11 (2004): 7-17.

[12]  On Robida and aerial warfare: Alain Bernard, “Robida et les dirigeables,” Le Téléphonoscope. Bulletin des amis d’Albert Robida 10 (2003): 10-11; Marcellin Hodeir, “La guerre aérienne à travers la science-fiction: Albert Robida,” in Compère, Albert Robida, 117-126; here especially 120 for Robida’s inventions as extrapolations from technologies of his time.

[13]  On the possible influence of Robida on Well’s imagination on biological warfare: Helena Costa and Josep-E. Baños, “Bioterrorism in the Literature of the Nineteenth Century: The Case of Wells and ‘The Stolen Bacillus,’” Cogent Arts & Humanities 3, no. 1, doi: 10.1080/23311983.2016.1224538, see 6-7.

This post is adapted from Iannuzzi, G. (2019). “The Illustrator and the Global Wars to Come: Albert Robida, La guerre infernale, and the Long History of Imagined Warfare”, Cromohs – Cyber Review of Modern Historiography22, 95-136; par. “Techno-apocalypses”, pp. 118-121. DOI: 10.13128/cromohs-11706. Full text available in open access: https://oajournals.fupress.net/index.php/cromohs/article/view/11706.

See here all posts in the future-wars series

Cite this article as: Giulia Iannuzzi, "Visualising a global war: La guerre infernale," in Geographies of Time, 01/07/2021, https://ian.hypotheses.org/1792.

This blog is published under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license

Savage Languages

Introducing a series on eighteenth-century vocabularies of Native American languages, between proto-ethnographical curiosity, temporal conceptualisations, and colonial exploitation

This post inaugurates a series on vocabularies of Native American languages published as part of the travel accounts written by explorers, traders and colonial policymakers in North America over the eighteenth century.

Ever since their first contacts with the peoples of North America, the accounts of European travellers included vocabularies, dictionaries, and lists of words and/or phrases of common use as sections within the text, or as appendixes.[1] Whether they were explorers, missionaries, traders, colonial administrators, surveyors or policymakers, from Jacques Cartier’s Relations (published from 1545) and Gabriel Sagard’s Grand Voyage (1632), the habit of including in travelogues a vocabulary of ‘savage languages’ was continued in following centuries.[2]

Eighteenth-century examples include Lahontan’s Nouveau Voyages (1703), John Lawson’s New Voyage (1709), Cadwallader Colden’s History of the Five Indian Nations (1727), Jonathan Carver’s Three Years Travels (1778), to the account of James Cook’s third voyage (1784), George Dixon’s A voyage round the world (1789) and John Long’s Voyages and Travels (1791). These lists of French or English words, with their respective translations in languages such as Huron, Iroquois, Tuscarora or Woccon, under a typographic presentation designed to project an idea of objective registration, eloquently reveal the cultural attitudes with which European observers perceived and portrayed their Native American interlocutors.

The primary aim of this series is to consider what these compilations tell us about the nature of European encounters with individuals and societies seen as less civilised than the writers’, presenting a fascinating Other that could encourage the observer to problematise his own culture. The choices that our writers made to include or exclude specific terms and semantic spheres, work as epiphenomena of a conception of historical time in which societies were hierarchised.

New ideas of time emerging in the eighteenth-century European mind led to the ‘savage’ being considered as an example of a universal humanity, though distinct from the more refined, ‘civilised’ European. This series will analyse the temporal conceptualisations underpinning vocabularies of ‘savage languages’, looking at time both in terms of a frame in which historical and diachronic gaps and differences were located, and as a cultural construct framing human experience.

Especially when phrases and expressions accompany the list of words, these vocabularies offer insights into communicative exchanges which are less mediated than the ones presented by narrative accounts, where a more conscious thematisation of the writer’s subjectivity and a more controlled self-representation are usually to be found. Furthermore, they throw light on translation practices and cultural mediation processes, whereas in accounts and letters the good interpreter is usually invisible.[3]

The focus will be on a selection of texts written in English by colonial administrators and policy makers, explorers and traders in eighteenth-century North America, against a cultural backdrop in which secondary sources written in other languages, such as Lahontan’s Nouveau Voyages, were widely known to (and sometimes borrowed by) British and American-British writers, in the original versions or through English translations. The source base is shaped by a primary interest towards a secularised culture, considered as a vantage point from which to observe the functioning of ideas of historical time increasingly far from Biblical eschatological and parousistic perspectives.[4]

By placing at centre stage the relationships between travel relations and linguistic compilations, and devoting specific attention to intertextual genealogies and connections, eighteenth-century testimonies will offer a rich case study to foreground the interaction between pre-existent cultural notions and first-hand observations, allowing for a better understanding of how ideas about history and time work in cultural practices different from antiquarian-historical and philosophical-historical writing.

Linguistic and traductological aspects lie at the intersection of a multitude of issues characterising European contact with North America since its early stages. Scholars have called attention to the role of interpreters as cultural brokers, have traced the debates regarding the problematic translation of Christian faith and doctrine in cultural-linguistic contexts far from the European one, and have highlighted the gradual exclusion of Central and Meso-American languages by the Castilian and Portuguese monarchic authorities.[5] Along with studies interested in language and rhetoric in relation to the construction and projection of imperial power, the linguistic aspects of the European encounter with the New World have been subject of inquiry especially as regards the historical debates surrounding the admissibility of native languages and systems for tracing and registering the past – e.g. Inca quipus, and logogrammatic-syllabic writing systems or systems based on glyphs – as legitimate tools for transmitting knowledge of the past and of the ‘new’ continent’s inhabitants, and for evangelising.[6]

The relationship between language and civilisation processes, as well as conjectural histories of languages, and the role played by languages in disputes over the origins of humanity in America have also received much scholarly attention in recent years.[7] Existing studies have investigated how travel accounts were used in treatises about the origins of language by Rousseau and Lord Monboddo, or in John Locke’s natural history of man. The vocabularies, however, have received far less consideration.[8] Historical linguistics has produced some useful analysis of these lists of words and expressions, regarded not so much as trustworthy samples of the languages they were supposed to be recording, but as testimonies of contacts, often documenting borrowings, trade jargons, pidgins, and short-term accommodations.[9]

Complex negotiations often took place in journals and travel accounts between empirical observation and pre-existing cultural categories and stereotypes, between experience and written sources of knowledge, and between scientific ambitions, and colonial and imperial cultural agencies interacting in a specific political-geographical context. The close reading of a number of ‘savage vocabularies’ scarcely considered by existing scholarship will take place against this backdrop.[10]

The next post in this series will offer some elements for a periodisation of vocabularies compiled between the seventeenth and the eighteenth century.


Notes


[1] For general background on European cultural encounters with the ‘new world’: Guido Abbattista, ‘European Encounters in the Age of Expansion’, in EGO – European History Online, <http://ieg-ego.eu/en>; Guido Abbattista (ed.), Encountering Otherness: Diversities and Transcultural Experiences in Early Modern European Culture (Trieste, 2011); John Elliott, The Old World and the New: 1491-1650 (1970; Cambridge, 1992); Anthony Pagden, The Fall of Natural Man: The American Indian and the Origins of Comparative Ethnology, second ed. (London and New York, 1986); Joan-Pau Rubiés, ‘Texts, images, and the perception of “savages” in Early Modern Europe: what we can learn from White and Harriot’, in Kim Sloan (ed.), European Visions: American Voices (London, 2009), pp. 120–130; Tzvetan Todorov, The Conquest of America: The Question of the Other, foreword by Anthony Pagden (Norman, OK, 2005).

[2] Terms such as ‘savage’, as well as exonyms used later in this essay and characteristic of colonial practices are used to conform to primary sources. In so doing, I will retain a historical perspective and challenge the cultural agencies and categories they imply. On the linguistic and conceptual history of the ‘savage’: Sergio Landucci, I filosofi e i selvaggi (Turin, 2014); J.G.A. Pocock, Barbarism and Religion (Cambridge, 1999–2015, 6 vols.), vol. 4: Barbarians, Savages and Empires (2005), pp. 2–3, 157–228; Pagden, The Fall; Silvia Sebastiani, The Scottish Enlightenment: Race, Gender, and the Limits of Progress (New York, 2013). On the linguistic confusion in Anglophone and Francophone sources as regards Canadian nations see: Michèle Duchet, Anthropologie et histoire au siècle des Lumières (Paris, 1995), pp. 26–29.

[3] James Merrell, Into the American Woods: Negotiations on the Pennsylvania Frontier (New York, 2000), especially pp. 27–32; Lawrence Venuti, The Translator’s Invisibility: A History of Translation (London and New York, 1995); William F. Hanks and Carlo Severi, ‘Translating worlds: The epistemological space of translation’, Hau: Journal of Ethnographic Theory, 4/2 (2014), pp. 1–16.

[4] Anthony Grafton, ‘Joseph Scaliger and historical chronology: The rise and fall of a discipline’, History and Theory, 14/2 (1975), pp.  156–185; Paolo Rossi, I segni del tempo: Storia della terra e storia delle nazioni da Hooke a Vico (Milano, 1979); Edoardo Tortarolo, ‘L’eutanasia della cronologia biblica’, in Camilla Hermanin and Luisa Simonutti(eds), La centralità del dubbio: Un progetto di Antonio Rotondò, tome I.III, Scritture, ragione e storia (Florence, 2010), pp. 339–359.

[5] Nancy L. Hagedorn, ‘“A friend to go between them”: The interpreter as cultural broker during Anglo-Iroquois councils, 1740-70’, Ethnohistory, 35/1, (1988), pp. 60–80; Milton W. Hamilton, ‘Sir William Johnson: Interpreter of the Iroquois’, Ethnohistory, 10/3, (1963), pp. 270–286; Eric Cheyfitz, The Poetics of Imperialism: Translation and Colonization from The Tempest to Tarzan (New York, 1991); Pagden, The Fall, pp. 127–128, 183–192, 202–209; Todorov, The Conquest; on translation and/of the Christian doctrine, see Sangkeun Kim, Strange Names of God: The Missionary Translation of the Divine Name and the Chinese Responses to Matteo Ricci’s Shangti in Late Ming China, 1583-1644 (New York, 2004); Victor Egon Hanzeli, Missionary Linguistics in New France: A Study of Seventeenth- and Eighteenth-century Descriptions of American Indian Languages (The Hague and Paris, 1969).

[6] Peter Burke, ‘America and the rewriting of world history’, in Karen Ordahl Kupperman (ed.), America in European Consciousness (Chapel Hill and London, 1995), pp. 33–51; Jorge Cañizares-Esguerra, How to Write the History of the New World: Histories, Epistemologies and Identities in the Eighteenth-Century Atlantic World (Stanford, 2001), pp. 60–129; Peter Mason, The Lives of Images (London, 2001) on Mexican codices in Europe p. 101, and in general chapters 4 and 5; Giuseppe Marcocci, Indios, cinesi, falsari: Le storie del mondo nel Rinascimento (Rome-Bari, 2016), pp. 38–46.

[7] Saul Jarcho, ‘Origin of the American Indian as suggested by fray Joseph De Acosta (1589)’, Isis, 50/4, (1959), pp. 430–438; Rüdiger Schreyer, ‘“Savage” languages in the eighteenth-century theoretical history of language’, in Edward G. Gray and Norman Fiering (eds), The Language Encounter in the Americas, 1492-1800: A Collection of Essays (New York and Oxford, 2000), pp. 310–326.

[8] On Gabriel Sagard’s account in Monboddo: Rüdiger Schreyer, ‘Gabriel Sagard’s ‘Dictionary of the Huron tongue’ (1632)’, inElke Nowak (ed.), Languages Different in All Their Sounds… Descriptive Approaches to Indigenous Languages of America 1500 to 1800 (Münster, 1999), pp. 101–115; on Locke: Daniel Carey, Locke, Shaftesbury, and Hutcheson: Contesting Diversity in the Enlightenment and Beyond (Cambridge, 2006), especially 17, 88.

[9] Gray and Fiering (eds), The Language Encounter, here especially Ives Goddard, ‘The use of pidgins and jargons on the East Coast of North America’, pp. 61–80; Michael Silverstein, ‘Dynamics of linguistic contact’, in Ives Goddard (ed.), Handbook of North American Indians, vol. 17, Languages (Washington, DC, 1996), pp. 117–136; Agnete Nesse, ‘Trade and language: How did traders communicate across language borders?’, in Wim Blockmans, Mikhail Krom, Justyna (eds), The Routledge Handbook of Maritime Trade around Europe 1300-1600 (London and New York, 2017), pp. 86–100, see pp. 92–93.

[10] Some noteworthy exceptions are: Laura J. Murray, ‘Vocabularies of native American languages: A literary and historical approach to an elusive genre’, American Quarterly, 53/4 (2001), pp. 590–623. H. Christoph Wolfart, ‘The beginnings of Algonquian lexicography’, Proceedings of the American Philosophical Society, 132/1 (1988), pp. 119–127; Schreyer, ‘Gabriel Sagard’s “Dictionary”’.

This post is adapted from: Giulia Iannuzzi, “‘Qu’il est question d’une langue sauvage’: Phrasebooks for European Travellers in Eighteenth-Century North America”, History (2021). https://doi.org/10.1111/1468-229X.13138.

Access the full text in open access on the publisher’s website at this EXTERNAL LINK.

Contact me if you wish to receive a pdf.

Cite this article as: Giulia Iannuzzi, "Savage Languages," in Geographies of Time, 15/06/2021, https://ian.hypotheses.org/1829.

This blog is published under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license

Qu’il est question d’une langue sauvage

Phrasebooks for European travellers in eighteenth-century North America and the cultural construction of a global Europeanness.

This article explores the vocabularies of Native American languages published as part of the travel accounts written by explorers, traders and colonial policymakers in North America over the eighteenth century. Starting with the renowned Voyages by the Baron de Lahontan, the analysis takes as its endpoint the journals of the famous expedition led by Meriwether Lewis and William Clark at the beginning of the nineteenth century. The aim of this study is to foreground what these lexicographic compilations reveal about European encounters with societies categorised as radically different from – and less civilised than – the traveller’s own: an ‘otherness’ sometimes exploited as a mirror and term of comparison that challenged the observer’s ethnocentrism. Drawing on existing scholarship about the cultural history of Euro-American encounters in the modern age, this study puts forward an original analysis of the temporal conceptualisations underpinning vocabularies of ‘savage languages’, in terms of both historical diachronicity and time as a culturally constructed frame of human experience.

This focus on the lists of words and phrases included in travel accounts, journals and relations makes it possible to question the relationship between the recording of linguistic evidence and travel narratives, and explore the complex negotiations between empirical observation and pre-existing cultural categories and stereotypes. A close reading of these often-neglected primary sources helps us to identify recurrent conceptual tropes and assign a central role to the historicisation of the Amerindian within wider processes of cultural construction of a global Europeanness.

Giulia Iannuzzi, “‘Qu’il est question d’une langue sauvage’: Phrasebooks for European Travellers in Eighteenth-Century North America”, History (2021). https://doi.org/10.1111/1468-229X.13138.

Access the full text in open access on the publisher’s website: https://onlinelibrary.wiley.com/doi/epdf/10.1111/1468-229X.13138

Contact me if you wish to receive a pdf.

Lawson, A New Voyage (1709), page 225
John Lawson, A New Voyage North Carolina: Containing the Exact Description and Natural History of that Country (London, 1709), 225. In his Voyage, Lawson inserted a brief vocabulary giving the English translation of words in Tuskeruro (Tuscarora), Pampticough (Pamlico) and Woccon. Copy at John Carter Brown Library.

How Europe Used Time to Rule the World

Imperial Times. How Europe Used Time to Rule the World (XVIII-XIX Centuries) – introducing History of Historiography 77 (2020)

Aim of the introduction to the monographic issue Imperial Times. How Europe Used Time to Rule the World (XVIII-XIX Centuries) is to throw into relief current debates demonstrating the need for greater academic research into imperial times.

The question that underlies the contributions to the special issue is how to synchronise the study of history in a postcolonial age; how to navigate history while accounting for the traditional uses of concepts like the Renaissance, the Enlightenment, and Modernity.

This introduction critically distances the logic underpinning periodisations by challenging the uncritical use of a given interval of time as the basis of a neutral partitioning, and takes stock of how postcolonial studies and global historians have drawn attention, in recent years, to the contingent and political origins of these timeframes.

It contends that, for all the talk about a “temporal” and an “imperial turn”, time and empire still appear, at times, to be largely undertheorized in relation to each other. It highlights new conceptualisations brought to the study of temporality in relation to empire by the history of emotions, and of material cultures, put forward by the study of gendered subjectivities, and stimulated by the attention to long-term shifts favoured by novel methodology of environmental history. It takes stock of Reinhart Koselleck’s influence on these historiographical turns, and of recent re-evaluations of his work on time and concepts.

A special emphasis on the eighteenth century seeks to contribute new perspectives on overlooked imperial dynamics that influenced the politics of time during that period.  Industrialisation; modern timekeeping; the growth of the novel; the combination of the antiquarian’s methods and philosophical history, all were once said to have changed the experience of time in eighteenth-century Europe.

Drawing on the hypothesis that conceptions of the future are crucial to our understanding of ideas and practices of time, tradition, history, and change, this introduction also discusses our conception of the history of utopian times, and the specific ties the future has to the history of imperial conceptions and projects.

The concluding section is devoted to present the methodological purpose behind the special issue: to set out four case studies to trace new pathways for the study of the imperial legacies in the making of a global history of time.

I am very grateful to the other contributors of Imperial Times for the productive discussions we had while working together on this project.

Full bibliographical data:

Matilde Cazzola, Edward Jones Corredera, Giulia Iannuzzi, and Guido G. Beduschi, Introduction. Imperial Times. Towards a History of Imperial Uses of Time
pp. 11-23, DOI: 10.19272/202011501001

STORIA DELLA STORIOGRAFIA
Histoire de l’Historiographie · History of Historiography · Geschichte der Geschichtsschreibung

Fabrizio Serra editore, Pisa – Roma
*
77, 2020/1

Full text is available on the publisher’s website and via the Torrossa platform

Contact me at giannuzzi <at> units.it if you wish to receive a pre-print version for research and teaching purposes.

Cite this article as: Giulia Iannuzzi, "How Europe Used Time to Rule the World," in Geographies of Time, 05/05/2021, https://ian.hypotheses.org/1771.

This blog is published under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license

Imperial Times

How Europe Used Time to Rule the World (XVIII-XIX Centuries)

History of Historiography monographic issue: towards a history of imperial uses of time.

STORIA DELLA STORIOGRAFIA
Histoire de l’Historiographie · History of Historiography · Geschichte der Geschichtsschreibung

Fabrizio Serra editore, Pisa – Roma
*
77, 2020/1
here on the publisher website

ToC:
Matilde Cazzola, Edward Jones Corredera, Giulia Iannuzzi, and Guido G. Beduschi
Introduction. Imperial Times. Towards a History of Imperial Uses of Time
pp. 11-23, DOI: 10.19272/202011501001
*
Guido G. Beduschi
“To Imitate the Ancients, Having Adopted the Corrections of the Moderns”. Scipione Maffei’s Consiglio politico
pp. 27-52, DOI: 10.19272/202011501002
*
Giulia Iannuzzi
“This New and Unexampled Way of Writing the History of Future Times”. The Rise and Fall of Empires and the Acceleration of History in Samuel Madden’s Eighteenth-Century Memoirs from the Future
pp. 53-88, DOI: 10.19272/202011501003
*
Edward Jones Corredera
Investing in the Enlightenment. The Financial Revolution and the Global Origins of the Enlightenment in the Spanish Empire
pp. 89-111, DOI: 10.19272/202011501004
*
Matilde Cazzola
“Sometimes, the Past is the Present”. Electoral Reforms, the Working Classes, and the British Empire
pp. 113-148, DOI: 10.19272/202011501005

I am very grateful to the other contributors of Imperial Times for the productive discussions we had while working together on this project.

Full text is available on the publisher’s website and via the Torrossa platform

Contact me at giannuzzi <at> units.it if you wish to receive a pre-print version for research and teaching purposes.

Cite this article as: Giulia Iannuzzi, "Imperial Times," in Geographies of Time, 24/04/2021, https://ian.hypotheses.org/1756.

This blog is published under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license

Future-war fiction and global simultaneity

A new post in the future-wars series: techno-scientific acceleration and space-time compression on the eve of WWI

To understand and critically assess the wave(s) of future-war narratives that characterised European illustrated periodicals and book markets before 1914, we need to look at the historical circumstances that provided fertile ground for this production. While writers and artists might have been aware of current events and political circumstances that contributed to the subsequent First World War outburst, we may resist the temptation to make any simplistic teleological connections between works of fiction written at the turn of the nineteenth and beginning of the twentieth century and the terrible events that then ensued.

In fact, authors and illustrators were presented with rich sources of inspiration in the recent past and contemporary history of Europe, with societies that, in the space of just a few years, had been changed forever by an astonishing mass of new inventions. The year 1869 saw the opening of the Suez Canal – connecting Europe to South and East Asia – and also of the first railroad to connect the East and West coasts of the United States, ushering in a phase in the history of technology characterised by rapid acceleration in change and innovation. Between 1873 and 1906, from the typewriter to the phonograph, the telephone, and radio broadcasting, from the steam engine to the automobile, from dirigibles to the airplane, an impressive series of milestone-inventions was made possible, to follow Daniel R. Headrick argument, by intensified and stable connections between scientific research and technology. This impressive amount of technological novelties accompanied broad changes in agricultural production, hygiene practices and medical science, urbanisation process and literacy rates.[1]

A global dimension was experienced in daily life not only by an elite section of the population. New mechanised means of transport and of communication determined an increased dominion over space, while from 1884 onwards, the adoption of a common system in time computing based on the Greenwich meridian affirmed the present and a global simultaneity as a widely shared frame of personal experience. According to Stephen Kern, technology as a source of power over the environment also suggested new ways to control the future.[2]

Innovations such as railroads and the telegraph brought about profound changes in warfare, allowing armies and supply columns to be constantly on the move, and the chain of command to operate over unprecedented distances. Modern marvels also posed specific issues, from the necessary system of poles and wires that rendered the telegraph useless in mobile campaigns, to the limited manoeuvrability of mass armies over a territory despite new means of transport. Technological innovation as applied to warfare dramatically increased the destructive power of weapons: machine guns, magazine-fed rifles, quick-firing and heavy artillery improved the range, accuracy, and firepower of infantries. The extension of the so-called “deadly zone,” “the area in front of the defender’s positions covered by the concentrated fire of his weapons,”[3] increased from 150 meters in the Napoleonic era to 300-400 meters during the Franco-Prussian War (1870-1871, with casualties among the attackers reaching percentages between 25 and 50), and then tripling to 800-1,500 meters by the mid-1890s.

Long-range rifle fire was decisive in defeats of numerically superior forces such as the British in the opening battles of the Second Boer War (1899-1902), in which knowledge of the territory and strategic choices and tactics nonetheless continued to be crucial, as the Russo-Japanese War (1904-1905) would also confirm.

Important developments in naval warfare, such as the accuracy of self-propelled torpedoes, steel battleships, and underwater mines, occurred regularly from the Russo-Turkish War (1877-1878) onwards. Following British investments in steam-powered battleships equipped with small-calibre guns and in new classes of armoured mine-sweepers, by the mid-1890s many European powers were investing in innovations in naval gunfire, vessel manoeuvrability, self-propelled submarines, and wireless communications. The Russo-Japanese War would be a reminder to all “that large-scale naval battles were still possible.”[4]

As for aerial warfare, the development of lighter-than-air balloonsused for reconnaissance – led to better manoeuvrability, with France at the forefront in aviation technology from the late 1870s onwards, followed by Germany. After Zeppelin’s flight across Lake Constance in 1900 in an aluminium airship filled with hydrogen and the Wright brothers’ flight in 1903, investments in aircraft research and production by Western powers such as Germany and the US increased significantly. Aerial assaults such as those carried out during the Italian invasion of Libya (1911-1912) and the Balkan Wars (1912-1913) established a new role for aerial warfare not only in the gathering of intelligence but also in combat, to attack and destroy buildings, artillery, and troops on the ground.

In Europe, Russia and the US, in fact, its potential military applications were one of the main attractions of air-mindedness – that “popular fascination with airships” that gave rise to a host of “glider clubs and rocket societies, air-shows and air races.”[5] Attacks from the sky were soon to be found in works by key-figures in the history of speculative imagination such as Jules Verne (The Master of the World, 1904) and H. G. Wells (The War in the Air, 1908; The World Set Free, 1914). Air-ground battles and airborne weapons quickly became a staple in future-war narratives throughout the twentieth century.

As John Rieder has argued

“the arms race is one of any number of sites where ideas about progress link the various threads of colonial discourse to one another and to science fiction.” [6]

This technological competition opened up a critical power gap between those cultures and territories which owned certain technologies and those which did not. In doing so, it widened the gap between the industrialised hearts of colonial empires and their peripheries.

Locating war and warfare at centre stage of the European mind during a pivotal phase between the 1870s and the 1890s, Matthew D’Auria has highlighted how during these years the representation of the violence of war influenced conceptualisations of and reflections upon European identities on the part of intellectuals and writers.[7]

Furthermore, technical means of image production and reproduction had a deep impact on how violence and war were represented, disseminated and perceived in European public discourse, especially from the American Civil War onwards, with the regular use of photography to document death and slaughter in popular illustrated magazines beginning around 1900.[8] Illustrations and sketches were common in popular periodicals to document conflicts happening outside the European borders before the advent of photography, contributing to the circulation of news, ideas, and stereotypes across geographical and linguistic borders.[9]

Oriental tortures are documented through photography: Albert Robida, illustration for La guerre infernale by Pierre Giffard (Paris: Èdition Méricant, 1908), published in instalment 29 – Dans l’avenue des supplices, p. 921.


Notes

[1]   Daniel R. Headrick, Technology: A World History (New York: Oxford University Press, 2009), 111 and ff; Jürgen Osterhammel and Niels P. Petersson, Geschichte der Globalisierung: Dimensionen, Prozesse, Epochen (München: Verlag C. H. Beck, 2003, Eng. transl. Globalization: A Short History, Princeton: Princeton University Press, 2005), ch. V.

[2]   Stephen Kern, The Culture of Time and Space, 1880-1918 (Cambridge, MA: Harvard University Press, 1983), esp. 90 and ff.; see also Vanessa Ogle, The Global Transformation of Time: 1870-1950 (Cambridge, MA: Harvard University Press, 2015); Jürgen Osterhammel, The Transformation of the World: A Global History of the Nineteenth Century, trans. Patrick Camiller (2009; Princeton and Oxford: Princeton University Press, 2014), esp. 69 and ff.

[3]   Antulio J. Echevarria II, Imagining Future War: The West’s Technological Revolution and Visions of Wars to Come, 1880-1914 (Westport, CT-London: Praeger Security International, 2007), qt. 28. I am indebted to Echevarrias’s work for the technical notes on warfare in this paragraph.

[4]   Echevarria, Imagining Future War, 34.

[5]   Istvan Csicsery-Ronay Jr, “Empire,” The Routledge Companion to Science Fiction, ed. Mark Bould, Andrew M. Butler, Adam Roberts, and Sherryl Vint (London and New York: Routledge, 2009), 362-372, qt. 365.

[6]   John Rieder, Colonialsm and the Emergence of Science Fiction (Middletown CT: Wesleyan University Press, 2008), 29.

[7]   Matthew D’Auria, “Progress, Decline and Redemption: Understanding War and Imagining Europe, 1870s-1890s,” Making Sense of Violence: Intellectuals, Writers, and Modern Warfare, ed. D’Auria, European Review of History: Revue européenne d’histoire, 25, no. 5 (2018): 686-704, doi: 10.1080/13507486.2018.1471046.

[8]   Mark Hewitson, “Introduction: Visualizing Violence,” Making Sense of Military Violence, ed. Matthew D’Auria and Hewitson, Cultural History 6, no. 1 (2017): 1-20, esp. 10, doi: 10.3366/cult.2017.0132.

[9]         E.g. “La Guerra in Cina. Cronaca illustrata degli avvenimenti in Estremo Oriente” published in Italy by Aliprandi, in 20 installments in 1900 covered the Boxer rebellion using as sources other periodicals from Italy (e. g. “Natura e Arte”), Anglophone countries (“Times,” “New York Herald»”), France (“Le Journal illustré”), Germany (“Kölnische Zeitung”), Russia (“Novoye Vremya”). “La Guerra in Cina” would make for an interesting case study as regards the representation of Oriental cruelty and yellow-peril stereotypes.

This post is adapted from Iannuzzi, G. (2019). “The Illustrator and the Global Wars to Come: Albert Robida, La guerre infernale, and the Long History of Imagined Warfare”, Cromohs – Cyber Review of Modern Historiography22, 95-136; par. “Techno-apocalypses”, pp. 113-116. DOI: 10.13128/cromohs-11706. Full text available in open access: https://oajournals.fupress.net/index.php/cromohs/article/view/11706.

See here all posts in the future-wars series

Cite this article as: Giulia Iannuzzi, "Future-war fiction and global simultaneity," in Geographies of Time, 24/04/2021, https://ian.hypotheses.org/1704.

This blog is published under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license

Representations of (Future) Wars, Exhibitionary Practices

Exploring Diego de Henriquez’s Collections at the Museums of the City of Trieste

In a few unpublished projects and notes written between the 1950s and the early 1970s Diego de Henriquez, Italian ex-soldier and passionate collector, developed his reflections and designs for a “war museum for peace”, which he planned to establish in Trieste.

These papers represent a rich and yet unexplored material and are today at the Civico museo di guerra per la pace “Diego de Henriquez” of the City of Trieste, along with de Henriquez’s notable private collection of armaments, military tools and technologies, documents and books pertinent to the theme of war throughout history.

This essay, newly published in Qualestoria (chief editor Luca G. Manenti, issue 1, June 2020, pp. 98-110) dwells on de Henriquez’s manuscripts, devoting specific attention to the popularization and educational purposes he foresaw for future exhibitions, and the role played by literary and visual works of fiction in his programmes, as well as in his library and collection of objects and works of art.

Planning to devote the closing section of his war museum to future conflicts as imagined by writers and illustrators, in 1957 de Henriquez bought fifteen original sketches made by Albert Robida for Pierre Giffard’s feuilleton La guerre infernale (1908) from a bookstand in Rome.

This essay, enhancing the presence of these rare materials in Trieste, and accompanied by the publication of two of Robida’s sketches, offers some remarks on the representation of war violence in early-contemporary imagery and on the re-use of Robida’s work in de Henriquez’s programme.

This essay is available in green open access under an Attribution-NonCommercial-NoDerivatives 4.0 International cc license:

Qualestoria, 1, June 2020, pp. 98-110. ISSN 0393-6082 98 

DOI: 10.13137/0393-6082/30734

https://www.openstarts.units.it/handle/10077/30734

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Cite this article as: Giulia Iannuzzi, "Representations of (Future) Wars, Exhibitionary Practices," in Geographies of Time, 21/09/2020, https://ian.hypotheses.org/1513.

This blog is published under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license

Exhibiting Temporal Hierarchizations

Great Expositions, temporal hierarchisation, and the birth of a global consciousness

According to Darko Suvin, “the instauration of capitalist production as the dominant and finally all-pervasive way of life engendered a fundamental reorientation of human practice and imagination: a wished-for or feared future becomes the new space of the cognitive (and increasingly of the everyday) imagination.”1  The expansion of the Western powers brought about techno-driven globalisation processes at an increased speed,2 bearing remarkable consequences in the development of a globalised consciousness, and of ideas and imageries deeply rooted in new knowledge concerning remote areas of the globe and their inhabitants.

The origins of this process can in fact be traced back to the multiple availability of sources deriving from geographical explorations, to the momentum thus gained by comparative and universal history during the late-modern age, and to the growing influence of Enlightenment ideas of progress and conjectural histories, organising civilisations according to subsequent stages of development.3

Notions regarding examples of radical “otherness” from remote parts of the globe conceptualised as remains of the common human past and instances of humanity in its infancy were decisive in fostering ideas of historical time as a dimension of progressive development. Ideas of degeneration and stagnation applied to other societies implied the use of the European civilisation as a standard against which other might be evaluated, and also brought about reflections on historical time as a frame of causal relations between phenomena and human actions. In ideas of a linear and irreversible historical time lies the – insufficient but necessary – precondition for the hierarchisations of societies and humans that will characterise a mature imperialistic phase.4

During the nineteenth century, these conceptualizations informed important expressions of popular culture, such as the Great Expositions, in which a temporal dimension was touched upon by central symbolic and discursive structures.5 Through the recreation of ancient Greek and Roman monuments, medieval quarters and villages, and the living ethno-expositions of alien humans presented as embodying primitive or early stages of civilisation,6 international exhibitions effectively put on stage a temporal dimension, which culminated in sections devoted to the scientific and technological wonders of Western modernity and progress.

This temporal hierarchisation provided the ideological frame in which an increasing thematization of the future found a place, and this became central near the end of the century, with the 1889’s Eiffel Tower, Alva Edison’s pavilion of electric light, and the Hall of Machines. Conflating ideas of history and images of the globe7 in limited urban areas – or even in single attractions, such as George Wyld’s Great Globe in Leicester Square during the London Great Exhibition of 1851 – these expositions allowed visitors to complete a tour of the world on foot in a few hours. As one of the first and most effective “laboratories for a global space-time,”8 these exhibits made a decisive contribution to the elaboration of a science-fictional mind-set.9

The technological sublime, which became typical of early speculative-fiction literature and illustration, has the same cultural backdrop as Expos and Fairs, and is partly indebted to the exhibitionary strategies of those early pavilions. Expos embodied a growing interest in science and technology, helped to visualise their future effects on human society and the global environment, and put forward a use of technology not strictly utilitarian, but rather aimed at fostering a sense of wonder in its spectators. As early as 1905 on Coney Island, with the dark ride A Trip to the Moon designed by Frederick Thompson, visitors could physically travel through scenic illusions, which staged a whole series of early science fiction tropes, from 20,000 Leagues Under the Sea (patented in 1903) to the North Pole, to a War of Worlds.10 The latter – which despite the similar title was not inspired by H. G. Wells’ novel of 1897 – enacted an attack on New York by (small-scale) European navies. This attraction was heir to the naumachias that, since the Roman world and throughout modern Europe, had constituted a form of entertainment and public spectacle,11 while also tapping into an“early-twentieth century frenzy for disaster spectacles, science fiction and ‘you are there’ adventure journeys.”12

It will come as no surprise that three years before publishing Vingt mille lieues sous les mers: Tour du monde sous-marin, Jules Verne visited the 1867 Paris Universal Exposition. Here Joseph-Martin Cabirol’s diving suit (an innovative version of Augustus Siebe’s creation) received a prize, and model of the 1863 submarine Le plongeur was on display, which became sources of inspiration along with the other latest literary and current events.13 By the turn of the century, the diorama and panorama attractions in the “Tour du Monde” pavilion at Paris 1900 had a distinctive Vernian twist, being a miniature version of his namesake 1872 novel,14 designed by Alexandre Marcel, with the collaboration of Louis Doumoulin, already known as the “Jules Verne du pinceau.”15

The “Tour du Monde” with its Arabian, Japanese, Chinese and Indian sections among others, compressed geographical distances and summarized global space through the juxtaposition of remote cultures. A 1900 report on the Expo by the French Ministère du commerce, de l’industrie, des postes et des télégraphes highlighted that the attraction was home to various dioramas and an “exotic theatre” with 300 seats, devoted to the “most curious countries” serviced by the French Compagnie des messageries maritimes. Here living “natives” demonstrated for the public everyday activities or traditional dances,16 albums illustrated with lavish photos documented the mises en scènes and became tokens of the Fair for visitors to collect, and to enjoy (again) the aesthetic marvels and visits of important personalities.17

Another section of Paris 1900, the “Vieux Paris” designed by journalist, illustrator and novelist Albert Robida, condensed historical time from the Middle Ages to the Eighteenth century into one attraction.18 The official report mentioned above described Robida’s attraction and documented it with numerous photos: “Le Vieux Paris se divisait en trois groupes principaux: quartier du moyen âge, s’étendant de la porte Saint-Michel (face au pont de l’Alma) à l’église Saint-Julien-des-Ménétriers; quartier des Halles au XVIIIème siècle; groupe formé par le Châtelet et le pont au Change (XVIIème siècle), la rue de la Foire Saint-Laurent (XVIIIème siècle) et le Palais (Renaissance).”19 The report highlighted the many leisures and attractions that animated the area, which included “a small battalion of figurants in costumes”: “Des établissements de spectacle, des restaurants, des cafés, de nombreuses boutiques pour la vente d’objets-souvenirs étaient installés dans le Vieux Paris et contribuaient à son animation. Un petit bataillon de figurants en costumes anciens peuplait la concession.”20 Among the dioramas described in the report, the exoticism of a Kremlin with special snow effects, was to be found alongside the techno-wonder of New York’s elevated railway.

Verne was among the authors featured in the Gazette du Vieux Paris: rédigée par une société d’écrivains des Annales politiques et littéraires, which Albert Robida designed to accompany the Vieux Paris section of the expo. The Gazette devoted fourteen four-page monographic issues to different moments in French history, and constituted a visual pendant of the recreation of pasts that was staged by architecture in the Vieux Paris section of the expo. From a first “Gallo-Roman” issue featuring Verne on “The Origin of Paris,” through a second “Merovingian” issue a third “Carolingian,” and so on, the Gazette was meant both as a guide to and souvenir from the exhibition. While contents celebrated French national spirit and its role in the birth of modern democracy, every issue embodied the era to which it was devoted, being printed on a different kind of paper, imitating fonts and illustration style of the period represented.21

Gazette du Vieux Paris. Rédigéè par une société d’écrivains des Annales Politiques et Litteraires, n. 1 – Numero Gallo-Romain, 15 Avril 1900, first page. Copy at the British Library. Photo: Giulia Iannuzzi.
Gazette du Vieux Paris. Rédigéè par une société d’écrivains des Annales Politiques et Litteraires, n. 1 – Numero Gallo-Romain, 15 Avril 1900, cover. Copy at the British Library. Photo: Giulia Iannuzzi.

In other works by Robida, the Great Expos is a central source of inspiration: Le vingtième siècle (1883), set in 1952, gives account of future society constructed around the inventions on show at the Paris 1881 Exposition Internationale d’Électricité. “Jadis chez aujourd’hui” (published in Le petit français illustré between 10 May and 14 June 1890) presents a time-travel fantasy featuring a scientist who resuscitates Molière and other literary figures and accompanies them to visit the Paris 1889 Exposition Universelle.22 The same ideas underpinning the design of the 1900 Vieux Paris are at work in such projections of a future Paris. Scenarios depicted in La guerre au vingtième siècle (1887)23 and La guerre infernale (1908) are logically extrapolated from the present as a consequence of historical processes, of an irreversible time flow and causal mechanisms. Ideas of progress informed these fictions, as well as, on occasion, the terrible awareness of the potential consequences of using new technologies to develop weapons and military hardware.

Notes

1 Darko Suvin, Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre (New Haven, CT: Yale University Press, 1979), 115-116.

2 Daniel R. Headrick, Power over People: Technology, Environments, and Western Imperialism, 1400 to the Present (Princeton and Oxford: Princeton University Press, 2012).

3 Guido Abbattista, “The Historical Thought of the French Philosophes,” in The Oxford History of Historical Writing, ed. José Rabasa, Masayuki Sato, Edoardo Tortarolo, and Daniel Woolf, vol. 3, 1400-1800 (Oxford: Oxford University Press, 2012), 406-427; Georg G. Iggers and Q. Edward Wang, with contributions from Supriya Mukherjee, A Global History of Modern Historiography (London and New York: Routledge, 2013), 19-32; Daniel Woolf, A Global History of History (Cambridge: Cambridge University Press, 2011), esp. 280-343.

4 On temporal hierarchization from a cultural history perspective: Chris Lorenz and Berber Bevernage, eds., Breaking up Time: Negotiating the Borders between Present, Past and Future (Göttingen: Vandenhoeck & Ruprecht, 2013).

5 Guido Abbattista, Giulia Iannuzzi, “World Expositions as Time Machines: Two Views of the Visual Construction of Time between Anthropology and Futurama,” World History Connected 13, no. 3 (2016), doi: 10.5281/zenodo.2652723.

6 Guido Abbattista, ‘Concepts and Categories in the History of World Expositions: Introductory Remarks,” in Abbattista, ed., Moving Bodies, Displaying Nations: National Cultures, Race and Gender in World Expositions Nineteenth to Twenty-First Century (Trieste: EUT, 2014), 7-20; and Abbattista, Umanità in mostra: Esposizioni etniche e invenzioni esotiche in Italia (1880–1940) (Trieste: EUT, 2014), esp. 32-36.

7 Alexander C. T. Geppert, “True Copies: Time and Space Travels at British Imperial Exhibitions, 1880-1930,” in The Making of Modern Tourism: The Cultural History of the British Experience, 1600-2000, ed. Hartmut Berghoff Barbara Korte, Christopher Harvie, Ralph Schneider (Basingstoke-New York: Palgrave Macmillan, 2002), 223-248.

8 Roger Luckhurst, “Laboratories for Global Space-Time: Science-Fictionality and the World’s Fairs, 1851-1939,” Science Fiction Studies 39, no. 118 (2012): 385-400.

9 Brooks Landon, “SF Tourism,” in The Routledge Companion to Science Fiction, ed. Mark Bould, Andrew M. Butler, Adam Roberts, and Sherryl Vint (London and New York: Routledge, 2009), 32-41.

10 Woody Register, The Kid of Coney Island: Fred Thompson and the Rise of American Amusements (Oxford-New York: Oxford University Press, 2001): electronic edition, par. “The Crying Need for Novelty.”

11 Martha Pollak, Cities at War in Early Modern Europe (Cambridge and New York: Cambridge University Press, 2001), 284-286; Ignacio Ramos Gay, “Naumachias, the Ancient World and Liquid Theatrical Bodies on the Early 19th Century English Stage,” Miranda 11 (2015): 1-15, doi: 10.4000/miranda.6745.

12 John S. Berman, Coney Island (New York: Barnes & Noble, 2003), 34; see also William J. Phalen, Coney Island: 150 Years of Rides, Fires, Floods, the Rich, the Poor and Finally Robert Moses (Jefferson, NC: McFarland, 2016), 114.

13 William Butcher, “Introduction” and “Appendix: Sources of Ideas on Submarine Navigation,” in Jules Verne, Twenty Thousand Leagues under the Seas, trans. William Butcher (1870; Oxford: Oxford University Press, 1998), ix-xxxi, 382-384, see xiv and 383; Smithsonian Libraries, Fantastic Worlds: Science and Fiction 1780-1910, “Sea Changes,” website of the exhibition, July 1, 2015 – February 26, 2017,https://library.si.edu/exhibition/fantastic-worlds/sea-change.

14 Roger Benjamin, Orientalist Aesthetics: Art, Colonialism, and French North Africa, 1880-1930 (Berkley-Los Angeles-London: University of California Press, 2003), 114.

15 Julien Béal, “Le Japon dans la collection photographique du peintre Louis-Jules Dumoulin (1860-1924) ,” Hal – Archives ouvertes 2017, hal-01517490v1: see 3 and note 9.

16 Alfred Picard (Ministère du commerce, de l’industrie, des postes et des télégraphes), Exposition universelle internationale de 1900 à Paris. Rapport général administratif et technique (Paris: Imprimerie nationale, 1902-1903), 8 vols., vol. 7, 226; accessed via Bibliothèque numérique en histoire des sciences et des techniques, http://cnum.cnam.fr.

17 Le Panorama. Exposition universelle 1900, sous la direction de René Baschet, avec les photographies de Neurdein frères et Maurice Baschet Publisher (Paris: Ludovic Baschet éd., 1900).

18 Exposition Universelle de 1900. Le Vieux Paris: guide historique, pittoresque et anecdotique (Paris: Ménard et Chaufour, 1900), booklet, Bibliothèque nationale de France, Gallica, ark:/12148/bpt6k201257n; see here, xviii-xiv for Robida as “maistre de l’oeuvre” and a list of his main collaborators. See also Elizabeth Emery and Laura Morowitz, Consuming the Past: The Medieval Revival in fin-de-siècle France (Burlington: Ashgate, 2003), esp. ch. 7 “Feasts, fools and festivals: the popular Middle Ages,” 171-208; Robida, créateur du Vieux Paris à l’Exposition Universelle de 1900, thematic issue of Le Téléphonoscope. Bulletin des amis d’Albert Robida 9 (2002), esp. Jean-Claude Viche, “Bibliographie sommaire sur «le Vieux Paris» de Robida,” 2.

19 “The Vieux Paris is divided into three main parts: the Middle Age district, extending from Porte Saint-Michel (opposite to the Alma Bridge) to the Saint-Julien-des-Ménétriers church; the district of the XVIII century halls; a quarter formed by the Châtelet and the Change bridge (XVII century), the Foire Saint-Laurent street (XVIII century) and the Palace (Renaissance).” Picard, Exposition universelle, vol. 7, 240, see also 244, where the report specifies that the area occupied by the Vieux Paris was 1.918-square meters large, and that to this had to be added a 250-meters long and 3.900-square meters large area of corbelled constructions along the Seine.

20 “Entertainments, restaurants, cafes, and numerous souvenirs shops were installed in the Vieux Paris and contributed to its animation. A small battalion of extras in costumes from ancient eras populated the concession.” Picard, Exposition universelle, vol. 7, 244.

21 On the Gazette: Christine A. Roth, “The Narrative Promise: Redesigning History in La Gazette du Vieux Paris,” CEA Critic 78 no. 1 (March 2016): 116-128; Patrice Carré, “Paris perdu, Paris mis en pages… En feuilletant la Gazette du Vieux Paris,” Le Téléphonoscope. Bulletin des amis d’Albert Robida 9 (2002), 19-21.

22 Cf. John Clute et al., “Robida, Albert,” in The Encyclopedia of Science Fiction, ed. John Clute, Peter Nicholls, and David Langford, last modified January 4, 2019, accessed December 10, 2019, http://www.sf-encyclopedia.com/entry/robida_albert; Dominique Lacaze, “Albert Robida, Explorer of the Twentieth Century,” part I, “Technical Innovation” and part II, “The Invention of a Society,” Futuribles 366 (2010): 61-70, and 367 (2010): 65-76.

23 Albert Robida, La guerre au vingtième siècle (Paris: Georges Decaux, 1887), this is a short, lavishingly illustrated novel in a stand-alone 51-pages volume; under the same title – “La guerre au vingtième siècle” – Robida published also a short story in La Caricature, 27 October 1883, 337-343.

This post is adapted from Giulia Iannuzzi, “The Illustrator and the Global Wars to Come: Albert Robida, La guerre infernale, and the Long History of Imagined Warfare”, Cromohs – Cyber Review of Modern Historiography22 (2019): 95-136; par. “Exhibiting temporal hierarchizations”, pp. 105-110. Full text available in open access: https://oajournals.fupress.net/index.php/cromohs/article/view/11706.

See here all posts in the future-wars series

Cite this article as: Giulia Iannuzzi, "Exhibiting Temporal Hierarchizations," in Geographies of Time, 03/09/2020, https://ian.hypotheses.org/1480.

This blog is published under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license

Historicizing the Future

… I must acquiesce, and be content with the Honour and Misfortune, of being the first among Historians (if a mere Publisher of Memoirs may deserve that Name) who leaving the beaten Tracts of writing with Malice or Flattery, the accounts of past Actions and Times, have dar’d to enter by the help of an infallible Guide, into the dark Caverns of Futurity, and discover the Secrets of Ages yet to come.

Samuel Madden,  Memoirs of the Twentieth Century (London: Printed for Messieurs Osborn and Longman, Davis, and Batley …, 1733) vol. 1, 3.

Contemporary historiography has highlighted the role played by a spatial dimension in the birth of a speculative imagination which, in modern-age Europe, exploited fantastic and philosophical motives, and was rich in theological and spiritual interests.1 The Copernican revolution opened up cosmic space as a possible home to other planets and civilisations. From Francis Godwin’s The Man in the Moon (1638) to Cyrano de Bergerac’s The Other World (1657), up to Fontenelle’s Entretiens sur la pluralités des mondes (1686), the seventeenth century reflected on the possibility of extra-terrestrial life and saw the flourishing of interplanetary voyages, explorations of the moon and more remote celestial bodies, close encounters with distant civilizations, including the possibility of being visited by extra-terrestrials beings on Earth (e.g. Charles Sorel’sL’Histoire comique de Francion, 1623, progenitor of the imaginary visits of alien humans in Europe).2

Cultural historians and scholars of speculative fiction usually locate in a late-modern period the appearance of a temporal dimension exploited as a means of dislocation from the writer’s reality, and thus as a source of cognitive estrangement.3 However, while some see in the consequences of the same Copernican revolution the crucial condition thanks to which the imagination first became able to work outside the temporal horizon of Biblical time,4 others place the shift from a spatial-based to a temporal-based speculation as late as the eighteenth century,5 or take the year 1800 as a conventional watershed.6 In his comprehensive anthology of British future fiction, I. F. Clarke identifies a turning point during the nineteenth century, but traces from the seventeenth century onwards the first developments of a temporal imagination, in consequence of which “the geographies of utopian fiction evolved into the historiographies of a new literature.”7

The conceptualization of a future intimately linked to the present and shapeable by human action can in fact be traced back to the emergence of new ideas and sensibilities towards historical time, which matured gradually during the modern age.8 Anglophone and francophone literatures offer extrapolations of near-future scenarios as early as the beginning of the seventeenth century. 

A play such as A Larum for London (published anonymously in 1602) implicitly suggests that a Spanish sack of London might replicate the horrors of 1576 Antwerp,9 John Dryden’s Annus Mirabilis (1667) imagines London reborn after the Great Fire, political prophetism nourishes works such as Aulicus his Dream of the King’s Sudden Comming to London (anonymous, 1644)10 and Jacques Guttin’s Épigone, Histoire du siècle futur (1659). The future is home to a model society towards which the English Parliament is invited to work in A Description of the Famous Kingdome of Macaria (1642) attributed to Samuel Hartlib.11 These narrations offer possible and counter-factual histories used to make a point about the politics of the day, whether through ominous predictions, practical indications, or – in the case of Guttin – as the backdrop to adventurous plots.12 Squibs, satires, or exotic romances, these texts represent a step towards a secularized history13 and conceptualizations of the future that their late-modern and early-contemporary descendants will come to embody, without yet constituting a genre, nor focusing their inventions and extrapolations on those techno-scientific wonders that would only later take centre-stage.14

As Bronisław Baczko has argued,15 the topographical dislocation exploited in early-modern imaginary voyages may serve the purpose of constructing an ideal society untouched by the same historical processes experienced by the reader’s, so that history as known by the writer and the reader constantly informs the invention as a negative presence, by its absence. Utopian societies may consequently be described as a result of different histories, and characterized by alternate calendars and time-computing methods, such as in L’histoire des Sevarambes; peuples qui habitent une partie du troisième continent, communément appelé la Terre australe by Denis Veiras (1677-1679).16 Baczko discusses also what he calls utopia-proposals, such as Étienne-Gabriel Morelly’s Code de la Nature (1755), in which the utopian project may serve the purpose of showing a different yet possible continuation of history, freeing society from its past to offer a new beginning.17

A fantastic voyage: a ship has left the sea below and is sailing among the clouds, in a nocturnal sky. The caption below reads "The ship is caught up into the skies". Illustration from Lucian's wonderland: being a translation of the 'Vera historia' by Lucian, by St J. Basil Wynne Willson; with numerous illustrations by A. Payne Garnett (Edinburgh and London: William Blackwood and Sons, 1899), p. 47. Copy via InternetArchive.
“The ship is caught up into the skies”. Lucian’s wonderland: being a translation of the ‘Vera historia’ by Lucian, by St J. Basil Wynne Willson; with numerous illustrations by A. Payne Garnett (Edinburgh and London: William Blackwood and Sons, 1899), p. 47. Copy via InternetArchive. Non known restriction for scholarly use.

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Future Wars: Introductory remarks

Introducing a series on future-wars fiction in modern European culture

Ne soyez point en peine de ce Heros inconnu qui se presente à vos yeux. Encore qu’il ne soit pas ny de ce Monde ny de ce Siecle, il n’est pas si farouche ny si barbare, qu’il ne soit capable de faire un beau choix, & qu’il n’ait jugé aussi juste de vostre merite, que l’auroient pû faire tous ceux qui ont l’honneur de vous mieux connoistre.

Jacques Guttin [Michel de Pure], 
Épigone, histoire du siècle futur
 (A Paris: Chez Pierre Lamy, 1659), aij-p.nn.

Late modern and early contemporary imageries related to techno-driven globalization processes are to be found, in some of their most popular and graphic expressions, in visual and literary works of fiction. Made possible by the emergence of new ideas of a secularized historical time, early speculative fiction is an exceptional vantage point from which to observe the birth and development of popular themes and tropes related to those compressions of time and space, which increasingly characterized the world system between the late nineteenth and the early twentieth century.

In the European cultural space, and especially in mature publishing markets such as the French one, speculative fiction set in the future became an apt expression of new imageries related to techno-science, including new communication and transportation systems and the astonishing speed of their development.1 Narratives and illustrations interpreted the appearance of new forms of awareness of globalization processes, becoming part of a communicative circuit, which was expanding its audience at a fast rate, thanks to the increasing presence of the popular press.

In this phase of techno-scientific acceleration and tumultuous changes in cultural habits, speculative fiction began to depict a major shift that had been occurring in the European mind-set during the late modern era: the emergence of a plastic future. New ideas of the future were a consequence of new, secularized temporalizations of history. The conception of historical time as home to linear processes of development was in turn deeply influenced by a close encounter with “others,” by explorations, voyages and the availability of written, figurative and material sources regarding remote parts of the world, which documented Western forms of ethnocentric hierarchization and, at the same time, began the task of problematizing them.2

Fantastic narratives and illustrations can be read as part of a broader social history of ideas of space and time,3 and work as litmus tests of the complex reconfigurations they underwent in the Western mind, as global interconnectedness brought new subjects and issues onto the stage.

The subgenre of imagined future wars developed in relation with the use of alternate history as a means for political propaganda, which could be found from the late seventeenth century onwards in non-fiction tracts and pamphlets, as in some of the examples discussed below. Near the end of the nineteenth century, this literary and visual narrative strand assumed clear-cut characteristics, and articulated concerns regarding instabilities and tensions in international relations, and fears related to the destructive use of those technological innovations that were following one another so rapidly and that were taking centre stage at the great international exhibitions and world fairs. 

The discovery of a selection of Albert Robida’s original sketches for Pierre Giffard’s feuilleton La guerre infernale (1908),4 offers an occasion to connect these various strands and critically assess the role of wars to come in the development of an imagination related to the future, and in the construction of the consciousness of a global, human, earthly destiny.

Recent scholarship in speculative fiction studies and cultural history has produced a few excellent studies tackling speculative fiction as a laboratory for a global space-time between the late nineteenth and the early twentieth century,5and the emergence of science fiction as a genre in the age of colonialism and empires.6 Existing contributions, also when dealing with the specific theme of imagined future wars,7 tend to concentrate on the early-contemporary age, rightfully stressing the significant changes that in that phase affected the European techno-scientific, socio-political and economic system, and their influence on new forms of mass media communication, collective imagery and textual genres.

Histories of science fiction dealing with the development of the genre from ancient times through the ages tend, in turn, to be written from a perspective internal to the science fiction genre..8 While excellently outlining main authors and trends, general histories of science fiction necessarily give up more in-depth analysis of specific themes, and usually broader issues of cultural history remain outside their scope. Such works do not deal, or only marginally, with the connection between speculative imagery and the conceptualization of time, and they often keep their focus on literary expressions, while leaving aside other spheres and levels of public discourse and forms of representation.

The present series of posts, building on existing contributions, aims at fostering a better understanding of imagined future wars in the early contemporary age by locating them within a long history of imagined warfare, including late-seventeenth and eighteenth-century developments, and against the backdrop of the cultural history of time. Furthermore, for late modern and early contemporary expressions, this study – drawing on Robida’s case –, aims at enhancing the deep connections that run between literary, figurative and exhibitionary cultural artefacts in terms of representation strategies and circulation of ideas.

NOTES

1

“SF and Globalization,” ed. David Higgins and Rob Latham, special issue, Science Fiction Studies 39, no. 3, 118 (November 2012).

2Reinhart Koselleck, Futures Past: On the Semantics of Historical Time, trans. Keith Tribe (1979; New York: Columbia University Press, 2004).

3Peter Burke, “Foreword: The History of the Future, 1350-2000,” in The Uses of the Future in Early Modern Europe, ed. Andrea Brady, Butterworth Emily (New York and London: Routledge, 2010), ix-xx.

4Presently part of the Civico Museo di guerra per la pace “Diego de Henriquez” of the City of Trieste, of which seven are reproduced here (Figures 6-12). Diego de Henriquez, Italian ex-soldier and creator, between the 1940s and the early 1970s, of a notable private collection of armaments, military tools and technologies, documents and books pertinent to the theme of war throughout history, bought fifteen of Robida’s original sketches in 1957, when he found them on a bookstand in Rome. On Henriquez (Trieste 1909-1974) see Antonella Furlan, Antonio Sema, Cronaca di una vita: Diego de Henriquez (Trieste: APT Trieste, 1993); Furlan, La civica collezione Diego de Henriquez di Trieste (Trieste: Rotary Club Trieste-Civici musei di storia ed arte, 2000). On Robida’s sketches within Henriquez collection: Giulia Iannuzzi, “The Cruel Imagination: Oriental Tortures from a Future Past in Albert Robida’s Illustrations for La guerre infernale (1908),” in Law, Justice and Codification in Qing China. European and Chinese Perspectives. Essays in History and Comparative Law, ed. Guido Abbattista (Trieste: EUT, 2017), 193-211, esp. 194, note 3.

5Higgins and Latham “SF and Globalization,” quoted above.

6E.g. Istvan Csicsery-Ronay Jr, “Empire,” The Routledge Companion to Science Fiction, ed. Mark Bould, Andrew M. Butler, Adam Roberts, and Sherryl Vint (London and New York: Routledge, 2009), 362-372; John Rieder, Colonialsm and the Emergence of Science Fiction (Middletown CT: Wesleyan University Press, 2008). See also Paul K. Alkon’s works cited below.

7E.g. I. F. Clarke, “Future-War Fiction: The First Main Phase, 1871-1900,” Science Fiction Studies, 24, no. 3 (November, 1997): 387-412; I. F. Clarke, “Before and after ‘The Battle of Dorking,’’’ Science Fiction Studies 24, no. 1 (1997): 33-46.

8E.g. Adam Roberts, The History of Science Fiction, 2nd ed. (London: Palgrave, 2016).

This post is adapted from Iannuzzi, G. (2019). “The Illustrator and the Global Wars to Come: Albert Robida, La guerre infernale, and the Long History of Imagined Warfare”, Cromohs – Cyber Review of Modern Historiography22, 95-136; par. “Introductory remarks”, pp. 96-98. DOI: 10.13128/cromohs-11706. Full text available in open access: https://oajournals.fupress.net/index.php/cromohs/article/view/11706.

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The Illustrator and the Global Wars to Come

Fantastic narratives and illustrations as part of a broader social history of ideas of space and time

Ne soyez point en peine de ce Heros inconnu qui se presente à vos yeux. Encore qu’il ne soit pas ny de ce Monde ny de ce Siecle, il n’est pas si farouche ny si barbare, qu’il ne soit capable de faire un beau choix, & qu’il n’ait jugé aussi juste de vostre merite, que l’auroient pû faire tous ceux qui ont l’honneur de vous mieux connoistre.

JACQUES GUTTIN [MICHEL DE PURE], Épigone, histoire du siècle futur (A Paris: Chez Pierre Lamy, 1659), aij-p.nn.

My latest work on the conceptualisation of historical time in late modern and early contemporary European culture is now on Cromohs: Cyber Review of Modern Historiography.

Late modern and early contemporary imageries related to techno-driven globalization processes are to be found, in some of their most popular and graphic expressions, in visual and literary works of fiction. Made possible by the emergence of new ideas of a secularized historical time, early speculative fiction is an exceptional vantage point from which to observe the birth and development of popular themes and tropes related to those compressions of time and space, which increasingly characterized the world system between the late nineteenth and the early twentieth century.

Louis-Sébastien Mercier, L’an deux mille quatre cent quarante (1774; nouvelle edition, Paris, an X [1801-1802]) vol. I, 12. Looking at the public notices posted on a wall, the protagonist realizes he has slept for 672 years. Source: gallica.bnf.fr / Bibliothèque nationale de France.

In the European cultural space, and especially in mature publishing markets such as the French one, speculative fiction set in the future became an apt expression of new imageries related to techno-science, including new communication and transportation systems and the astonishing speed of their development. Narratives and illustrations interpreted the appearance of new forms of awareness of globalization processes, becoming part of a communicative circuit, which was expanding its audience at a fast rate, thanks to the increasing presence of the popular press.

In this phase of techno-scientific acceleration and tumultuous changes in cultural habits, speculative fiction began to depict a major shift that had been occurring in the European mind-set during the late modern era: the emergence of a plastic future. New ideas of the future were a consequence of new, secularized temporalizations of history. The conception of historical time as home to linear processes of development was in turn deeply influenced by a close encounter with “others,” by explorations, voyages and the availability of written, figurative and material sources regarding remote parts of the world, which documented Western forms of ethnocentric hierarchization and, at the same time, began the task of problematizing them.

Fantastic narratives and illustrations can be read as part of a broader social history of ideas of space and time, and work as litmus tests of the complex reconfigurations they underwent in the Western mind, as global interconnectedness brought new subjects and issues onto the stage.

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