ABSTRACT This article analyses ways in which questions of nineteenth-century tourism manifest themselves in certain of Jules Verne’s Voyages extraordinaires. In particular, it discusses several tensions within the form of these novels: (1) within developing practices of tourism encompassed by John Urry’s concept of the ‘tourist gaze’ and a contrary set of practices we might term by analogy the ‘engineer’s gaze’; (2) between standard sites of tourist itineraries and those hidden from the light of day; (3) the alternation of the latter tourism between two modes: the armchair tourism offered by Verne’s novels and other fictional and nonfictional works of the period and their perilous exploration by privileged individuals. The article uses Verne’s fiction to unpack these three tensions in order to get at what is at stake in the rise of new modes of tourism during the nineteenth century. The article concludes by considering implications for the rise in what we might term ‘dark’ Victorianism at the end of the twentieth century.

中文翻译：

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扶手椅地下：儒勒·凡尔纳和地下旅游

摘要本文分析了19世纪旅游业问题在儒勒·凡尔纳的《远航》中的某些方面表现出来的方式。特别是，它讨论了这些小说形式中的几种张力：（1）在约翰·乌里（John Urry）的“游客凝视”概念所涵盖的发展的旅游实践中，以及我们可以比喻为“工程师的凝视”的一系列相反的实践；（2）在旅游路线的标准地点和白天隐藏的地点之间；（3）后一种旅游在两种模式之间的交替：凡尔纳小说和该时期其他小说和非小说作品提供的扶手椅旅游，以及特权人士的危险探索。本文利用凡尔纳的小说来解开这三种紧张关系，以期把握十九世纪新型旅游业兴起的关键所在。文章最后总结了对二十世纪末我们可能称之为“深色”维多利亚时代主义崛起的影响。