ABSTRACT The aquarium constructed for the 1867 Exposition captivated nineteenth-century attendees through its unprecedented design uniting two spatial imaginaries exploited by writers and explorers alike: the underground and the underwater. This article will consider the legacy of the 1867 aquarium through a dual approach. First, after evaluating accounts of the spectacle from guides to the fair, I will demonstrate how this unconventional space introduced new modes of vision by creating an immersive experience of the underwater world. In a second step, I will analyze excerpts from Victor Hugo’s Les Travailleurs de la mer (1866) and Jules Verne’s Vingt mille lieues sous les mers (1870) to elucidate the aquarium’s connection to novelistic representations of underwater space. The essay will argue that Hugo’s sea epic initiated a new visual paradigm relying on spatial enclosure, a perception that finds an echo in the spectatorial perspective generated by the 1867 aquarium. In tracing out the interrelations between the hybrid space of the aquarium and literature of the era, this article foregrounds the reciprocal impact of public spectacle and literary description, in addition to the intricate ways in which exhibitions at the 1867 Exposition joined entertainment and technology, science, and architecture.

中文翻译：

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sc昧的愿景：1867年水族馆及其文学遗产

摘要为1867年博览会建造的水族馆通过其前所未有的设计结合了作家和探险家所利用的两种空间想象力，吸引了19世纪的与会者：地下和水下。本文将通过双重方法考虑1867年水族馆的遗产。首先，在评估了展览会向导的视觉效果后，我将展示这个非常规空间如何通过创造对水下世界的沉浸式体验而引入新的视觉模式。在第二步中，我将分析维克多·雨果（Victor Hugo）的《 Les Travailleurs de la mer》（1866）和朱尔斯·凡尔纳（Jules Verne）的《 Vingt mille sue les mers》（1870）的摘录，以阐明水族馆与水下空间小说代表的联系。本文将论证雨果的海洋史诗提出了一种新的视觉范式，即依赖于空间封闭，这种感知在1867年水族馆产生的光谱视角中找到了回声。在探寻水族馆的混合空间与该时代文学之间的相互关系时，除了1867年博览会的展览以复杂的方式将娱乐与技术，科学结合在一起之外，本文还着重介绍了公共景象和文学描写的相互影响。和架构。