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id="toc-"Merveilleux_scientifique",_a_literature_of_the_imaginary_with_vaguely_defined_boundaries" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#"Merveilleux_scientifique",_a_literature_of_the_imaginary_with_vaguely_defined_boundaries"> <div class="vector-toc-text"> 2.1 "Merveilleux scientifique", a literature of the imaginary with vaguely defined boundaries </div> </a> <ul id="toc-"Merveilleux_scientifique",_a_literature_of_the_imaginary_with_vaguely_defined_boundaries-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Theorizing_a_literary_genre:_the_"Renardian_merveilleux-scientifique_novel"" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Theorizing_a_literary_genre:_the_"Renardian_merveilleux-scientifique_novel""> <div class="vector-toc-text"> 2.2 Theorizing a literary genre: the "Renardian merveilleux-scientifique novel" </div> </a> <ul id="toc-Theorizing_a_literary_genre:_the_"Renardian_merveilleux-scientifique_novel"-sublist" class="vector-toc-list"> <li id="toc-The_1909_Manifesto" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#The_1909_Manifesto"> <div class="vector-toc-text"> 2.2.1 The 1909 Manifesto </div> </a> <ul id="toc-The_1909_Manifesto-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Evolution_of_the_term:_from_the_"merveilleux-scientifique_novel"_to_the_"novel_of_hypothesis"" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Evolution_of_the_term:_from_the_"merveilleux-scientifique_novel"_to_the_"novel_of_hypothesis""> <div class="vector-toc-text"> 2.2.2 Evolution of the term: from the "merveilleux-scientifique novel" to the "novel of hypothesis" </div> </a> <ul id="toc-Evolution_of_the_term:_from_the_"merveilleux-scientifique_novel"_to_the_"novel_of_hypothesis"-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </li> <li id="toc-Popular_literature" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Popular_literature"> <div class="vector-toc-text"> 3 Popular literature </div> </a> <button aria-controls="toc-Popular_literature-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Popular literature subsection </button> <ul id="toc-Popular_literature-sublist" class="vector-toc-list"> <li id="toc-A_generation_of_writers_in_love_with_scientific_conjecture" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#A_generation_of_writers_in_love_with_scientific_conjecture"> <div class="vector-toc-text"> 3.1 A generation of writers in love with scientific conjecture </div> </a> <ul id="toc-A_generation_of_writers_in_love_with_scientific_conjecture-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-The_favourite_themes_of_merveilleux_scientifique" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#The_favourite_themes_of_merveilleux_scientifique"> <div class="vector-toc-text"> 3.2 The favourite themes of merveilleux scientifique </div> </a> <ul id="toc-The_favourite_themes_of_merveilleux_scientifique-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Publication_media_that_encourage_a_popular_audience" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Publication_media_that_encourage_a_popular_audience"> <div class="vector-toc-text"> 3.3 Publication media that encourage a popular audience </div> </a> <ul id="toc-Publication_media_that_encourage_a_popular_audience-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Other_media_for_merveilleux_scientifique" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Other_media_for_merveilleux_scientifique"> <div class="vector-toc-text"> 4 Other media for merveilleux scientifique </div> </a> <button aria-controls="toc-Other_media_for_merveilleux_scientifique-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Other media for merveilleux scientifique subsection </button> <ul id="toc-Other_media_for_merveilleux_scientifique-sublist" class="vector-toc-list"> <li id="toc-Enchanting_science_through_illustrations" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Enchanting_science_through_illustrations"> <div class="vector-toc-text"> 4.1 Enchanting science through illustrations </div> </a> <ul id="toc-Enchanting_science_through_illustrations-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-merveilleux-scientifique_theater" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#merveilleux-scientifique_theater"> <div class="vector-toc-text"> 4.2 merveilleux-scientifique theater </div> </a> <ul id="toc-merveilleux-scientifique_theater-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Déclin_et_disparition" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Déclin_et_disparition"> <div class="vector-toc-text"> 5 Déclin et disparition </div> </a> <ul id="toc-Déclin_et_disparition-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Posterity" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Posterity"> <div class="vector-toc-text"> 6 Posterity </div> </a> <button aria-controls="toc-Posterity-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Posterity subsection </button> <ul id="toc-Posterity-sublist" class="vector-toc-list"> <li id="toc-A_look_back_at_merveilleux_scientifique" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#A_look_back_at_merveilleux_scientifique"> <div class="vector-toc-text"> 6.1 A look back at merveilleux scientifique </div> </a> <ul id="toc-A_look_back_at_merveilleux_scientifique-sublist" class="vector-toc-list"> <li id="toc-Critical_studies" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Critical_studies"> <div class="vector-toc-text"> 6.1.1 Critical studies </div> </a> <ul id="toc-Critical_studies-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-A_literary_genre_in_its_own_right" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#A_literary_genre_in_its_own_right"> <div class="vector-toc-text"> 6.1.2 A literary genre in its own right </div> </a> <ul id="toc-A_literary_genre_in_its_own_right-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-A_century_of_discontinuous_reissues" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#A_century_of_discontinuous_reissues"> <div class="vector-toc-text"> 6.2 A century of discontinuous reissues </div> </a> <ul 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</a> <button aria-controls="toc-Bibliography-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Bibliography subsection </button> <ul id="toc-Bibliography-sublist" class="vector-toc-list"> <li id="toc-Primary_sources" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Primary_sources"> <div class="vector-toc-text"> 9.1 Primary sources </div> </a> <ul id="toc-Primary_sources-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Publications" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Publications"> <div class="vector-toc-text"> 9.2 Publications </div> </a> <ul id="toc-Publications-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Articles" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Articles"> <div class="vector-toc-text"> 9.3 Articles </div> </a> <ul id="toc-Articles-sublist" class="vector-toc-list"> <li id="toc-Merveilleux_scientifique:_generalities" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Merveilleux_scientifique:_generalities"> <div class="vector-toc-text"> 9.3.1 Merveilleux scientifique: generalities </div> </a> <ul id="toc-Merveilleux_scientifique:_generalities-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Novel:_Le_Merveilleux-scientifique_selon_Maurice_Renard" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Novel:_Le_Merveilleux-scientifique_selon_Maurice_Renard"> <div class="vector-toc-text"> 9.3.2 Novel: Le Merveilleux-scientifique selon Maurice Renard </div> </a> <ul id="toc-Novel:_Le_Merveilleux-scientifique_selon_Maurice_Renard-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> 10 External links </div> </a> <ul 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href="/wiki/File:Thomas_Girard_-_merveilleux_scientifique.jpg" class="mw-file-description"><img alt="Collage de quatre images : en haut à gauche, un couple installé dans une voiture aérienne rétro-futuriste survole un Paris nocturne ; en haut à droite, des bêtes préhistoriques effraient une foule de parisiens en costumes Belle Époque ; en bas à gauche, à proximité de leur vaisseau interplanétaire en forme d'obus, des explorateurs contemplent la Terre depuis Mars tandis que les ombres se profilant au premier plan annoncent la venue de Martiens ; en bas à droite, dans une cour parisienne, un homme mécanique et une femme regardent derrière eux un homme qui tient le portillon battant d'une grille ouvrante." src="//upload.wikimedia.org/wikipedia/commons/thumb/0/02/Thomas_Girard_-_merveilleux_scientifique.jpg/220px-Thomas_Girard_-_merveilleux_scientifique.jpg" decoding="async" width="220" height="363" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/02/Thomas_Girard_-_merveilleux_scientifique.jpg/330px-Thomas_Girard_-_merveilleux_scientifique.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/02/Thomas_Girard_-_merveilleux_scientifique.jpg/440px-Thomas_Girard_-_merveilleux_scientifique.jpg 2x" data-file-width="1699" data-file-height="2801" /></a><figcaption>A few themes from the merveilleux scientifique genre, clockwise: the omnipresence of urban air transport, prehistoric creatures rampaging through Paris, artificial man, <a href="/wiki/Interplanetary_spaceflight" title="Interplanetary spaceflight">interplanetary flight</a> and extraterrestrial encounters... Illustrations by Thomas Girard-Prince Gigi for <a href="/wiki/Le_Vingti%C3%A8me_si%C3%A8cle._La_vie_%C3%A9lectrique" title="Le Vingtième siècle. La vie électrique">Le Vingtième Siècle. La vie électrique</a> by <a href="/wiki/Albert_Robida" title="Albert Robida">Albert Robida</a>, L'Effrayante Aventure by <a href="/wiki/Jules_Lermina" title="Jules Lermina">Jules Lermina</a>, <a href="/w/index.php?title=La_Poup%C3%A9e_sanglante&action=edit&redlink=1" class="new" title="La Poupée sanglante (page does not exist)">La Poupée sanglante</a> [<a href="https://fr.wikipedia.org/wiki/La_Poup%C3%A9e_sanglante" class="extiw" title="fr:La Poupée sanglante">fr</a>] by <a href="/wiki/Gaston_Leroux" title="Gaston Leroux">Gaston Leroux</a> and <a href="/wiki/Doctor_Omega" title="Doctor Omega">Doctor Omega</a> by <a href="/wiki/Arnould_Galopin" title="Arnould Galopin">Arnould Galopin</a>.</figcaption></figure> Merveilleux scientifique (also spelled with a hyphen: merveilleux-scientifique, literally translated "scientific marvelous") is a <a href="/wiki/Literary_genre" title="Literary genre">literary genre</a> that developed in France from the end of the 19th century to the middle of the 20th century. Akin today to <a href="/wiki/Science_fiction" title="Science fiction">science fiction</a>, this literature of scientific imagination revolves around key themes such as <a href="/wiki/Mad_scientist" title="Mad scientist">mad scientists</a> and their extraordinary inventions, lost worlds, exploration of the <a href="/wiki/Solar_System" title="Solar System">solar system</a>, catastrophes and the advent of <a href="/wiki/%C3%9Cbermensch" title="Übermensch">supermen</a>. Emerging in the wake of <a href="/wiki/Jules_Verne" title="Jules Verne">Jules Verne</a>'s scientific novels, this literary current took shape in the second half of the 19th century, moving away from the Verne model and centering on a new generation of authors such as <a href="/wiki/Albert_Robida" title="Albert Robida">Albert Robida</a>, <a href="/wiki/Camille_Flammarion" title="Camille Flammarion">Camille Flammarion</a>, <a href="/wiki/J.-H._Rosny_a%C3%AEn%C3%A9" title="J.-H. Rosny aîné">J.-H. Rosny aîné</a> and <a href="/wiki/Maurice_Renard" title="Maurice Renard">Maurice Renard</a>, the latter claiming the works of the more imaginative novelists <a href="/wiki/Edgar_Allan_Poe" title="Edgar Allan Poe">Edgar Allan Poe</a> and <a href="/wiki/H._G._Wells" title="H. G. Wells">H. G. Wells</a> as his model. Consequently, in 1909 Renard published a <a href="/wiki/Manifesto" title="Manifesto">manifesto</a> in which he appropriated a <a href="/wiki/Neologism" title="Neologism">neologism</a> coined in the 19th century, "merveilleux scientifique", adding a hyphen to emphasize the link between the modernization of the <a href="/wiki/Fairy_tale" title="Fairy tale">fairy tale</a> and the rationalization of the <a href="/wiki/Supernatural" title="Supernatural">supernatural</a>. Thus defined, the merveilleux-scientifique novel, set within a rational framework, relies on the alteration of a scientific law around which the plot is built, in order to give the reader food for thought by presenting the threats and delights of science. Mainly employed by <a href="/w/index.php?title=Roman_populaire&action=edit&redlink=1" class="new" title="Roman populaire (page does not exist)">popular novelists</a>, this genre draws on the sciences and pseudo-sciences that resonate with public opinion, such as radiographic, electrical and biological discoveries. However, despite the theoretical foundation provided by Maurice Renard in 1909, merveilleux-scientifique literature failed to take shape as a literary movement, and in the end constituted no more than a heterogeneous and scattered literary whole. Despite the arrival of a new generation of authors such as <a href="/w/index.php?title=Jos%C3%A9_Moselli&action=edit&redlink=1" class="new" title="José Moselli (page does not exist)">José Moselli</a> [<a href="https://fr.wikipedia.org/wiki/Jos%C3%A9_Moselli" class="extiw" title="fr:José Moselli">fr</a>], <a href="/w/index.php?title=Ren%C3%A9_Th%C3%A9venin&action=edit&redlink=1" class="new" title="René Thévenin (page does not exist)">René Thévenin</a> [<a href="https://fr.wikipedia.org/wiki/Ren%C3%A9_Th%C3%A9venin" class="extiw" title="fr:René Thévenin">fr</a>], <a href="/w/index.php?title=Th%C3%A9o_Varlet&action=edit&redlink=1" class="new" title="Théo Varlet (page does not exist)">Théo Varlet</a> [<a href="https://fr.wikipedia.org/wiki/Th%C3%A9o_Varlet" class="extiw" title="fr:Théo Varlet">fr</a>], <a href="/wiki/Jacques_Spitz" title="Jacques Spitz">Jacques Spitz</a> and <a href="/wiki/Andr%C3%A9_Maurois" title="André Maurois">André Maurois</a>, this literature failed to renew itself and gradually declined from the 1930s onwards, while at the same time, in the United States, literature of scientific imagination enjoyed great success under the name of "science fiction", with a broadening of its themes. Presented as a new genre, science fiction arrived in France in the 1950s and, seducing French authors and readers, completed the demise of the merveilleux-scientifique current and its generations of writers. A marginal and unassumed genre during the second half of the 20th century, merveilleux scientifique has been the subject of renewed public attention since the late 1990s, thanks to the critical work of a number of researchers and the reappropriation of this forgotten literary genre by authors, particularly in the <a href="/wiki/Comic_strip" title="Comic strip">comic strip</a> medium. <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Origins">Origins</h2>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=1" title="Edit section: Origins">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Edgar_Allan_Poe,_circa_1849,_restored,_squared_off.jpg" class="mw-file-description"><img alt="Portrait photographique en noir et blanc d'un homme." src="//upload.wikimedia.org/wikipedia/commons/thumb/9/97/Edgar_Allan_Poe%2C_circa_1849%2C_restored%2C_squared_off.jpg/220px-Edgar_Allan_Poe%2C_circa_1849%2C_restored%2C_squared_off.jpg" decoding="async" width="220" height="309" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/97/Edgar_Allan_Poe%2C_circa_1849%2C_restored%2C_squared_off.jpg/330px-Edgar_Allan_Poe%2C_circa_1849%2C_restored%2C_squared_off.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/97/Edgar_Allan_Poe%2C_circa_1849%2C_restored%2C_squared_off.jpg/440px-Edgar_Allan_Poe%2C_circa_1849%2C_restored%2C_squared_off.jpg 2x" data-file-width="1556" data-file-height="2188" /></a><figcaption>Published in the first half of the 19th century, <a href="/wiki/Edgar_Allan_Poe" title="Edgar Allan Poe">Edgar Allan Poe</a>'s novels and short stories frequently use the figure of the scientist and the theme of scientific discovery,<a href="#cite_note-1">[1]</a> prefiguring the merveilleux-scientifique genre.</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:D018_-_John_Progr%C3%A8s.png" class="mw-file-description"><img alt="Gravure en noir et blanc d'un homme chevauchant un engin à vapeur qui resemble à un poisson volant mécanique." src="//upload.wikimedia.org/wikipedia/commons/thumb/0/05/D018_-_John_Progr%C3%A8s.png/220px-D018_-_John_Progr%C3%A8s.png" decoding="async" width="220" height="140" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/05/D018_-_John_Progr%C3%A8s.png/330px-D018_-_John_Progr%C3%A8s.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/05/D018_-_John_Progr%C3%A8s.png/440px-D018_-_John_Progr%C3%A8s.png 2x" data-file-width="1682" data-file-height="1070" /></a><figcaption>John Progrès, protector genius of modern times in <a href="/w/index.php?title=Le_Monde_tel_qu%27il_sera&action=edit&redlink=1" class="new" title="Le Monde tel qu'il sera (page does not exist)">Le Monde tel qu'il sera</a> [<a href="https://fr.wikipedia.org/wiki/Le_Monde_tel_qu%27il_sera" class="extiw" title="fr:Le Monde tel qu'il sera">fr</a>], a <a href="/wiki/Social_science_fiction" title="Social science fiction">futuristic</a> novel by <a href="/wiki/%C3%89mile_Souvestre" title="Émile Souvestre">Émile Souvestre</a> (1846).</figcaption></figure> Although some authors, such as <a href="/wiki/Fran%C3%A7ois_Rabelais" title="François Rabelais">Rabelais</a>, experimented with conjectural literature early on in their fictional careers,<a href="#cite_note-2">[2]</a> it wasn't until the 19th century that the genre really took off.<a href="#cite_note-3">[3]</a> In fact, as early as the end of the eighteenth century, <a href="/w/index.php?title=Charles_Georges_Thomas_Garnier&action=edit&redlink=1" class="new" title="Charles Georges Thomas Garnier (page does not exist)">Charles Georges Thomas Garnier</a> [<a href="https://fr.wikipedia.org/wiki/Charles_Georges_Thomas_Garnier" class="extiw" title="fr:Charles Georges Thomas Garnier">fr</a>] began publishing his "<a href="/w/index.php?title=Voyages_imaginaires,_songes,_visions_et_romans_cabalistiques&action=edit&redlink=1" class="new" title="Voyages imaginaires, songes, visions et romans cabalistiques (page does not exist)">Voyages imaginaires, songes, visions et romans cabalistiques</a> [<a href="https://fr.wikipedia.org/wiki/Voyages_imaginaires,_songes,_visions_et_romans_cabalistiques" class="extiw" title="fr:Voyages imaginaires, songes, visions et romans cabalistiques">fr</a>]" between 1787 and 1789, the first collection devoted to the literature of the imaginary.<a href="#cite_note-4">[4]</a> In its thirty-six volumes, the collection offers seventy-four conjectural tales on the themes of utopia, exploration and scientific anticipation.<a href="#cite_note-5">[5]</a> In the 19th century, despite a short-lived attempt at structuring, literature of this kind remained scattered and diffusely published. In 1834, <a href="/w/index.php?title=F%C3%A9lix_Bodin&action=edit&redlink=1" class="new" title="Félix Bodin (page does not exist)">Félix Bodin</a> [<a href="https://fr.wikipedia.org/wiki/F%C3%A9lix_Bodin" class="extiw" title="fr:Félix Bodin">fr</a>] attempted to catalogue all the inventions from which humans could benefit in <a href="/w/index.php?title=Le_Roman_de_l%27avenir&action=edit&redlink=1" class="new" title="Le Roman de l'avenir (page does not exist)">Le Roman de l'avenir</a> [<a href="https://fr.wikipedia.org/wiki/Le_Roman_de_l%27avenir" class="extiw" title="fr:Le Roman de l'avenir">fr</a>]. The following year, Edgar Allan Poe published <a href="/wiki/The_Unparalleled_Adventure_of_One_Hans_Pfaall" title="The Unparalleled Adventure of One Hans Pfaall">The Unparalleled Adventure of One Hans Pfaall</a>, a journalistic hoax detailing a man's incredible journey to the Moon. In 1846, <a href="/wiki/%C3%89mile_Souvestre" title="Émile Souvestre">Émile Souvestre</a> published <a href="/w/index.php?title=Le_Monde_tel_qu%27il_sera&action=edit&redlink=1" class="new" title="Le Monde tel qu'il sera (page does not exist)">Le Monde tel qu'il sera</a> [<a href="https://fr.wikipedia.org/wiki/Le_Monde_tel_qu%27il_sera" class="extiw" title="fr:Le Monde tel qu'il sera">fr</a>], an anticipation tale set in the year 3000. It is still considered a major work of <a href="/wiki/Dystopia" title="Dystopia">dystopian</a> literature. In 1854, C. I. Defontenay broke new ground in scientific fantasy literature with the publication of <a href="/w/index.php?title=Star_ou_%CE%A8_de_Cassiop%C3%A9e&action=edit&redlink=1" class="new" title="Star ou Ψ de Cassiopée (page does not exist)">Star ou Ψ de Cassiopée</a> [<a href="https://fr.wikipedia.org/wiki/Star_ou_%CE%A8_de_Cassiop%C3%A9e" class="extiw" title="fr:Star ou Ψ de Cassiopée">fr</a>]. The novel included detailed descriptions of the habits and customs of an extraterrestrial civilization.<a href="#cite_note-6">[6]</a> However, this production does not establish a specific literary genre due to its scattered nature, as many novelists attribute such ramblings to the narrator's dreams or madness. Nonetheless, it has yet to establish itself.<a href="#cite_note-7">[7]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Jules_Verne_by_%C3%89tienne_Carjat.jpg" class="mw-file-description"><img alt="Portrait photographique en noir et blanc d'un homme." src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4b/Jules_Verne_by_%C3%89tienne_Carjat.jpg/220px-Jules_Verne_by_%C3%89tienne_Carjat.jpg" decoding="async" width="220" height="312" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4b/Jules_Verne_by_%C3%89tienne_Carjat.jpg/330px-Jules_Verne_by_%C3%89tienne_Carjat.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4b/Jules_Verne_by_%C3%89tienne_Carjat.jpg/440px-Jules_Verne_by_%C3%89tienne_Carjat.jpg 2x" data-file-width="2029" data-file-height="2879" /></a><figcaption><a href="/wiki/Jules_Verne" title="Jules Verne">Jules Verne</a>'s novels popularized tales of scientific imagination.</figcaption></figure> This literature underwent a crucial shift with the release of Jules Verne's scientific novels, which played a key role in popularizing a new literary genre. As one of the pioneers of science fiction, Verne's impact on stories rooted in scientific imagination is profound - so much so that it eclipsed a whole emerging literary movement that was slowly coalescing around several writers.<a href="#cite_note-8">[8]</a> Nonetheless, during the rise of Vernian stories, the "scientific marvel" genre emerged cautiously, coinciding with the progress of both <a href="/wiki/Science" title="Science">sciences</a> and <a href="/wiki/Pseudoscience" title="Pseudoscience">pseudosciences</a>. Likewise, from the 1880s onwards, psychiatric observations occupied a place in popular imagination.<a href="#cite_note-9">[9]</a> Indeed, the studies on hypnosis conducted by Doctors <a href="/wiki/James_Braid_(surgeon)" title="James Braid (surgeon)">James Braid</a> and <a href="/wiki/%C3%89tienne_Eug%C3%A8ne_Azam" title="Étienne Eugène Azam">Eugène Azam</a> in the 1840s, followed by the research of Doctor <a href="/wiki/Jean-Martin_Charcot" title="Jean-Martin Charcot">Charcot</a> in the latter part of the nineteenth century, revealed the mysteries of every individual, thereby transforming the once perceived supernatural phenomena into a natural occurrence and providing a rational explanation for the remarkable abilities manifested by convulsionaries or those possessed.<a href="#cite_note-10">[10]</a> This scientific community was enriched by notable researchers like <a href="/wiki/Marie_Curie" title="Marie Curie">Marie</a> and <a href="/wiki/Pierre_Curie" title="Pierre Curie">Pierre Curie</a>, <a href="/wiki/Charles_Richet" title="Charles Richet">Charles Richet</a>, and <a href="/wiki/Camille_Flammarion" title="Camille Flammarion">Camille Flammarion</a>. They systematically investigated unexplained phenomena by focusing on uncovering hidden worlds, long-range communication, and X-ray vision.<a href="#cite_note-:4-11">[11]</a> By the close of the 19th century, public opinion became more sensitive to scientific theories as practices previously regarded as outlandish sought validation as scientific disciplines, including <a href="/wiki/Phrenology" title="Phrenology">phrenology</a>,<a href="#cite_note-12">[12]</a> <a href="/wiki/Hypnotherapy" title="Hypnotherapy">hypnotherapy</a>, and <a href="/wiki/Fakir" title="Fakir">fakirism</a>.<a href="#cite_note-13">[13]</a> Technological advancements, such as the discovery of X-rays and endeavors to communicate with Mars, further contributed to this increasing sensitivity. These newly emerging scientific or pseudo-scientific developments have been prominently featured in publications such as Je sais tout and Lectures pour tous. These magazines consecutively published articles that disseminated and speculated about the future of science, accompanied by <a href="/wiki/Social_science_fiction" title="Social science fiction">anticipatory</a> short stories.<a href="#cite_note-:5-14">[14]</a> <ul class="gallery mw-gallery-packed"> <li class="gallerycaption">Pseudo-sciences and scientific progress provide loose inspiration for the genre</li> <li class="gallerybox" style="width: 120px"> <div class="thumb" style="width: 118px;"><a href="/wiki/File:1895-Dictionary-Phrenolog.png" class="mw-file-description" title="Phrenology, a pseudo-science fashionable in the 19th century."><img alt="Phrenology, a pseudo-science fashionable in the 19th century." src="//upload.wikimedia.org/wikipedia/commons/thumb/1/17/1895-Dictionary-Phrenolog.png/177px-1895-Dictionary-Phrenolog.png" decoding="async" width="118" height="200" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/17/1895-Dictionary-Phrenolog.png/266px-1895-Dictionary-Phrenolog.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/17/1895-Dictionary-Phrenolog.png/355px-1895-Dictionary-Phrenolog.png 2x" data-file-width="710" data-file-height="1200" /></a></div> <div class="gallerytext"><a href="/wiki/Phrenology" title="Phrenology">Phrenology</a>, a <a href="/wiki/Pseudoscience" title="Pseudoscience">pseudo-science</a> fashionable in the 19th century.</div> </li> <li class="gallerybox" style="width: 223.33333333333px"> <div class="thumb" style="width: 221.33333333333px;"><a href="/wiki/File:Mijlocul_hipnotic_d%27a_adormi_u%C4%83_femee_pentru_a_%27i_face_opera%C5%A3iuni_chirurgicale_f%C4%83r%C4%83_s%C4%83_simt%C4%83_durere,_Gazeta_S%C4%83teanului,_20_mar_1888.JPG" class="mw-file-description" title="A hypnotherapy session."><img alt="A hypnotherapy session." src="//upload.wikimedia.org/wikipedia/commons/thumb/8/86/Mijlocul_hipnotic_d%27a_adormi_u%C4%83_femee_pentru_a_%27i_face_opera%C5%A3iuni_chirurgicale_f%C4%83r%C4%83_s%C4%83_simt%C4%83_durere%2C_Gazeta_S%C4%83teanului%2C_20_mar_1888.JPG/332px-Mijlocul_hipnotic_d%27a_adormi_u%C4%83_femee_pentru_a_%27i_face_opera%C5%A3iuni_chirurgicale_f%C4%83r%C4%83_s%C4%83_simt%C4%83_durere%2C_Gazeta_S%C4%83teanului%2C_20_mar_1888.JPG" decoding="async" width="222" height="200" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/86/Mijlocul_hipnotic_d%27a_adormi_u%C4%83_femee_pentru_a_%27i_face_opera%C5%A3iuni_chirurgicale_f%C4%83r%C4%83_s%C4%83_simt%C4%83_durere%2C_Gazeta_S%C4%83teanului%2C_20_mar_1888.JPG/498px-Mijlocul_hipnotic_d%27a_adormi_u%C4%83_femee_pentru_a_%27i_face_opera%C5%A3iuni_chirurgicale_f%C4%83r%C4%83_s%C4%83_simt%C4%83_durere%2C_Gazeta_S%C4%83teanului%2C_20_mar_1888.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/8/86/Mijlocul_hipnotic_d%27a_adormi_u%C4%83_femee_pentru_a_%27i_face_opera%C5%A3iuni_chirurgicale_f%C4%83r%C4%83_s%C4%83_simt%C4%83_durere%2C_Gazeta_S%C4%83teanului%2C_20_mar_1888.JPG 2x" data-file-width="627" data-file-height="567" /></a></div> <div class="gallerytext">A <a href="/wiki/Hypnotherapy" title="Hypnotherapy">hypnotherapy</a> session.</div> </li> <li class="gallerybox" style="width: 307.33333333333px"> <div class="thumb" style="width: 305.33333333333px;"><a href="/wiki/File:Land_of_the_Veda_-_A_Self-torturing_Fakir.jpg" class="mw-file-description" title="A fakir lying on a bed of nails."><img alt="A fakir lying on a bed of nails." src="//upload.wikimedia.org/wikipedia/commons/thumb/d/de/Land_of_the_Veda_-_A_Self-torturing_Fakir.jpg/458px-Land_of_the_Veda_-_A_Self-torturing_Fakir.jpg" decoding="async" width="306" height="200" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/de/Land_of_the_Veda_-_A_Self-torturing_Fakir.jpg/687px-Land_of_the_Veda_-_A_Self-torturing_Fakir.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/de/Land_of_the_Veda_-_A_Self-torturing_Fakir.jpg/916px-Land_of_the_Veda_-_A_Self-torturing_Fakir.jpg 2x" data-file-width="1210" data-file-height="793" /></a></div> <div class="gallerytext">A <a href="/wiki/Fakir" title="Fakir">fakir</a> lying on a <a href="/wiki/Bed_of_nails" title="Bed of nails">bed of nails</a>.</div> </li> <li class="gallerybox" style="width: 152px"> <div class="thumb" style="width: 150px;"><a href="/wiki/File:Pr_Charcot_DSC09405.jpg" class="mw-file-description" title="Charcot teaching a clinical lesson at the Salpêtrière."><img alt="Charcot teaching a clinical lesson at the Salpêtrière." src="//upload.wikimedia.org/wikipedia/commons/thumb/e/ef/Pr_Charcot_DSC09405.jpg/225px-Pr_Charcot_DSC09405.jpg" decoding="async" width="150" height="200" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/ef/Pr_Charcot_DSC09405.jpg/337px-Pr_Charcot_DSC09405.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/ef/Pr_Charcot_DSC09405.jpg/450px-Pr_Charcot_DSC09405.jpg 2x" data-file-width="881" data-file-height="1175" /></a></div> <div class="gallerytext"><a href="/wiki/Jean-Martin_Charcot" title="Jean-Martin Charcot">Charcot</a> teaching <a href="/wiki/A_Clinical_Lesson_at_the_Salp%C3%AAtri%C3%A8re" title="A Clinical Lesson at the Salpêtrière">a clinical lesson at the Salpêtrière</a>.</div> </li> <li class="gallerybox" style="width: 151.33333333333px"> <div class="thumb" style="width: 149.33333333333px;"><a href="/wiki/File:Camille_Flammarion_at_the_eyepiece_of_his_9%C2%BD-inch_Bardou_refractor_at_his_Juvisy_observatory.jpg" class="mw-file-description" title="Camille Flammarion in his observatory."><img alt="Camille Flammarion in his observatory." src="//upload.wikimedia.org/wikipedia/commons/thumb/8/81/Camille_Flammarion_at_the_eyepiece_of_his_9%C2%BD-inch_Bardou_refractor_at_his_Juvisy_observatory.jpg/224px-Camille_Flammarion_at_the_eyepiece_of_his_9%C2%BD-inch_Bardou_refractor_at_his_Juvisy_observatory.jpg" decoding="async" width="150" height="200" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/81/Camille_Flammarion_at_the_eyepiece_of_his_9%C2%BD-inch_Bardou_refractor_at_his_Juvisy_observatory.jpg/337px-Camille_Flammarion_at_the_eyepiece_of_his_9%C2%BD-inch_Bardou_refractor_at_his_Juvisy_observatory.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/81/Camille_Flammarion_at_the_eyepiece_of_his_9%C2%BD-inch_Bardou_refractor_at_his_Juvisy_observatory.jpg/449px-Camille_Flammarion_at_the_eyepiece_of_his_9%C2%BD-inch_Bardou_refractor_at_his_Juvisy_observatory.jpg 2x" data-file-width="1668" data-file-height="2229" /></a></div> <div class="gallerytext"><a href="/wiki/Camille_Flammarion" title="Camille Flammarion">Camille Flammarion</a> in his <a href="/wiki/Camille_Flammarion_Observatory" title="Camille Flammarion Observatory">observatory</a>.</div> </li> <li class="gallerybox" style="width: 146px"> <div class="thumb" style="width: 144px;"><a href="/wiki/File:Marie_and_Pierre_Curie_Converse.jpg" class="mw-file-description" title="Pierre and Marie Curie in their laboratory."><img alt="Pierre and Marie Curie in their laboratory." src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Marie_and_Pierre_Curie_Converse.jpg/216px-Marie_and_Pierre_Curie_Converse.jpg" decoding="async" width="144" height="200" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Marie_and_Pierre_Curie_Converse.jpg/324px-Marie_and_Pierre_Curie_Converse.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Marie_and_Pierre_Curie_Converse.jpg/432px-Marie_and_Pierre_Curie_Converse.jpg 2x" data-file-width="2693" data-file-height="3742" /></a></div> <div class="gallerytext"><a href="/wiki/Pierre_Curie" title="Pierre Curie">Pierre</a> and <a href="/wiki/Marie_Curie" title="Marie Curie">Marie Curie</a> in their laboratory.</div> </li> </ul> The late 19th century witnessed a new generation of writers, such as J.-H. Rosny aîné, utilizing science and pseudoscience for purely fictional purposes.<a href="#cite_note-15">[15]</a> This marked a significant departure from their predecessors, who employed the conjectural element as a pretext, following in the footsteps of <a href="/wiki/Cyrano_de_Bergerac" title="Cyrano de Bergerac">Savinian Cyrano de Bergerac</a>'s utopian, <a href="/wiki/Jonathan_Swift" title="Jonathan Swift">Jonathan Swift</a>'s satires, and Camille Flammarion's astronomical exposés.<a href="#cite_note-16">[16]</a> <div class="mw-heading mw-heading2"><h2 id="Definition">Definition</h2>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=2" title="Edit section: Definition">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id=""Merveilleux_scientifique",_a_literature_of_the_imaginary_with_vaguely_defined_boundaries">"Merveilleux scientifique", a literature of the imaginary with vaguely defined boundaries</h3>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=3" title="Edit section: "Merveilleux scientifique", a literature of the imaginary with vaguely defined boundaries">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:H.G._Wells_by_Beresford.jpg" class="mw-file-description"><img alt="Portrait en noir et blanc d'un homme." src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4b/H.G._Wells_by_Beresford.jpg/220px-H.G._Wells_by_Beresford.jpg" decoding="async" width="220" height="307" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4b/H.G._Wells_by_Beresford.jpg/330px-H.G._Wells_by_Beresford.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4b/H.G._Wells_by_Beresford.jpg/440px-H.G._Wells_by_Beresford.jpg 2x" data-file-width="573" data-file-height="800" /></a><figcaption>Prior to its appropriation by Maurice Renard, the term "merveilleux scientifique" was mainly used to refer to the work of <a href="/wiki/H._G._Wells" title="H. G. Wells">H. G. Wells</a>.</figcaption></figure> The term "scientific marvel" was ambiguous before Maurice Renard's seminal manifesto. It had <a href="/wiki/Polysemy" title="Polysemy">varying meanings</a>.<a href="#cite_note-:6-17">[17]</a> Literary critics coined this neologism in the 19th century to designate all works of fiction relating to science, whether they aimed to merge science and wonder or were generally scientific novels.<a href="#cite_note-18">[18]</a> In 1875, <a href="/wiki/Louis_%C3%89nault" title="Louis Énault">Louis Énault</a>, a journalist, coined the term "scientific marvel" to describe the plot of <a href="/wiki/Victorien_Sardou" title="Victorien Sardou">Victorien Sardou</a>'s La Perle noire which utilizes scientific explanations to justify unlikely events.<a href="#cite_note-:7-19">[19]</a> Literary critic <a href="/wiki/Charles_Le_Goffic" title="Charles Le Goffic">Charles Le Goffic</a> associated the term with the scientific novels of Jules Verne in his study Les romanciers aujourd'hui (1890). The term "Wonder" was coined by <a href="/w/index.php?title=Joseph-Pierre_Durand&action=edit&redlink=1" class="new" title="Joseph-Pierre Durand (page does not exist)">Joseph-Pierre Durand</a> [<a href="https://fr.wikipedia.org/wiki/Joseph-Pierre_Durand" class="extiw" title="fr:Joseph-Pierre Durand">fr</a>], a physiologist, in his book "Le Merveilleux scientifique" in 1894 to describe the scientific study of phenomena that were once deemed marvelous.<a href="#cite_note-20">[20]</a> However, during the early 20th century, literary critics primarily used the term to refer to H. G. Wells' novels. Marcel Réja, a psychiatrist, discussed this usage in his 1904 article published in "<a href="/wiki/Mercure_de_France" title="Mercure de France">Le Mercure de France</a>" titled "H.-G." It is plausible that Maurice Renard initially came across the term "scientific marvel" in H. G. Wells' works. "The Concept of Scientific Marvel in the Writings of Maurice Renard and its Origins in H. G. Wells".<a href="#cite_note-:7-19">[19]</a> Comparing the scientific imagination of Wells and Jules Verne is a recurring theme among critics analyzing the intersection of science and imagination. When Renard published his groundbreaking article, scholars had already been intrigued by this new literary genre for years.<a href="#cite_note-21">[21]</a> <div class="mw-heading mw-heading3"><h3 id="Theorizing_a_literary_genre:_the_"Renardian_merveilleux-scientifique_novel"">Theorizing a literary genre: the "Renardian merveilleux-scientifique novel"</h3>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=4" title="Edit section: Theorizing a literary genre: the "Renardian merveilleux-scientifique novel"">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Maurice_Renard_-_photo_Henri_Manuel.jpg" class="mw-file-description"><img alt="Portrait en noir et blanc d'un homme." src="//upload.wikimedia.org/wikipedia/commons/thumb/0/0a/Maurice_Renard_-_photo_Henri_Manuel.jpg/220px-Maurice_Renard_-_photo_Henri_Manuel.jpg" decoding="async" width="220" height="300" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/0a/Maurice_Renard_-_photo_Henri_Manuel.jpg/330px-Maurice_Renard_-_photo_Henri_Manuel.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/0a/Maurice_Renard_-_photo_Henri_Manuel.jpg/440px-Maurice_Renard_-_photo_Henri_Manuel.jpg 2x" data-file-width="659" data-file-height="900" /></a><figcaption>Between 1909 and 1928, writer Maurice Renard set about theorizing the concept of the scientific marvel.</figcaption></figure> At the turn of the 20th century, the term "scientific marvel" held various connotations until Maurice Renard redefined the phrase in 1909. Follow conventional academic structures including regular author and institution formatting, while using clear, objective language with a passive tone, avoiding personal perspectives and hedging. Additionally, maintain formal register, precise word choice, and grammatical correctness while using consistent citation and avoiding filler words. He outlined his literary agenda in three articles, notably "Du roman merveilleux-scientifique et de son action sur l'intelligence du progrès," which debuted in Le Spectateur during October 1909, and "Le Merveilleux scientifique et La Force mystérieuse de J.-H." Rosny aine was published in La Vie in June 1914 and "Le roman d'hypothese" was published in the magazine ABC in 1928.<a href="#cite_note-22">[nb 1]</a><a href="#cite_note-23">[22]</a> The writer's literary career showcased evolution in not only the definition of the genre but also its name, thereby complicating the understanding of the term "scientific marvel."<a href="#cite_note-24">[23]</a> <div class="mw-heading mw-heading4"><h4 id="The_1909_Manifesto">The 1909 Manifesto</h4>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=5" title="Edit section: The 1909 Manifesto">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote">The merveilleux-scientifique novel is fiction whose basis is a sophism; whose object is to lead the reader to a contemplation of the universe closer to the truth; whose means is the application of scientific methods to the comprehensive study of the unknown and the uncertain.<div class="templatequotecite">— <cite>Maurice Renard</cite></div></blockquote> In the 19th century, literary critics pondered the future of <a href="/wiki/Fantastique" title="Fantastique">fantastique stories</a>. Maurice Renard believed that the gradual disappearance of the supernatural due to scientific advances required a renewal of fantasy. Therefore, writers must use science to create and explore new forms of the marvelous in the face of this disenchantment with the world.<a href="#cite_note-25">[24]</a> In 1909, the writer released a manifesto titled "Du roman merveilleux-scientifique et de son action sur l'intelligence du progrès." The manifesto aimed to establish the existence of a novelistic genre with autonomy and literary value within the critical field.<a href="#cite_note-26">[25]</a> In this article, the author establishes compositional rules for rational novelistic conjecture<a href="#cite_note-27">[26]</a> and introduces the concept of "scientific marvel," previously applied to certain works by writers such as H. G. Wells, J.-H. Rosny aîné, and Jules Verne.<a href="#cite_note-:8-28">[27]</a> However, the author does not simply acknowledge the existence of the "scientific marvel" theme but rather strictly defines and elevates it to a distinct literary genre. In his opinion, the change in status justifies a new syntax, specifically, including a hyphen between the two words, which incidentally changes the noun into an adjective.<a href="#cite_note-29">[28]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Dr_Jekyll_and_Mr_Hyde_poster_edit2.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/78/Dr_Jekyll_and_Mr_Hyde_poster_edit2.jpg/220px-Dr_Jekyll_and_Mr_Hyde_poster_edit2.jpg" decoding="async" width="220" height="153" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/78/Dr_Jekyll_and_Mr_Hyde_poster_edit2.jpg/330px-Dr_Jekyll_and_Mr_Hyde_poster_edit2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/78/Dr_Jekyll_and_Mr_Hyde_poster_edit2.jpg/440px-Dr_Jekyll_and_Mr_Hyde_poster_edit2.jpg 2x" data-file-width="2900" data-file-height="2016" /></a><figcaption>According to <a href="/wiki/Maurice_Renard" title="Maurice Renard">Maurice Renard</a>, proponents of the merveilleux-scientifique genre need to follow the same approach as <a href="/wiki/Robert_Louis_Stevenson" title="Robert Louis Stevenson">Robert Louis Stevenson</a>, with his novel <a href="/wiki/Strange_Case_of_Dr_Jekyll_and_Mr_Hyde" title="Strange Case of Dr Jekyll and Mr Hyde">The Strange Case of Dr. Jekyll and Mr. Hyde</a>, published in 1886.</figcaption></figure> Maurice Renard defines the merveilleux-scientifique novel as a literary genre in which science is utilized as a disruptive element as opposed to a mere setting. The plot follows a rational framework while a scientific law, be it physical, chemical, psychic or biological, is altered or discovered.<a href="#cite_note-:11-30">[29]</a> Then, the novelist must envision all potential ramifications.<a href="#cite_note-31">[30]</a> Furthermore, Renard implores his colleagues to venture into the unknown realms of science, creating a vertiginous experience for the reader.<a href="#cite_note-32">[31]</a> Defined as a "scholarly structured story", the merveilleux-scientifique novel aims to encourage readers to question themselves and view the world from a different perspective.<a href="#cite_note-:11-30">[29]</a> Inspired by the <a href="/wiki/Naturalism_(literature)" title="Naturalism (literature)">naturalist novel</a> of <a href="/wiki/%C3%89mile_Zola" title="Émile Zola">Émile Zola</a>, it serves as a laboratory of ideas, observing how the environment affects the characters.<a href="#cite_note-:11-30">[29]</a> Furthermore, since the legitimacy of the genre stems from its philosophical scope, Maurice Renard chose to publish his article in Le Spectateur - a critical and philosophical journal - instead of a literary review.<a href="#cite_note-33">[32]</a> Renard aimed to establish a literary movement around the genre through his manifesto. He first establishes himself in a genre that is well known to critics by claiming renowned fantasy authors. First and foremost, this work honors Edgar Poe for his establishment of the merveilleux-scientifique novel at its purest level,<a href="#cite_note-34">[nb 2]</a> and then H. G. Wells for expanding the genre through the profusion of his works. Along with the two genre founders, Maurice Renard lists <a href="/wiki/Auguste_Villiers_de_l%27Isle-Adam" title="Auguste Villiers de l'Isle-Adam">Auguste de Villiers de L'Isle-Adam</a>, <a href="/wiki/Robert_Louis_Stevenson" title="Robert Louis Stevenson">Robert Louis Stevenson</a>, and <a href="/wiki/Charles_Derennes" title="Charles Derennes">Charles Derennes</a> as the creators of this new genre, through their respective works <a href="/wiki/The_Future_Eve" title="The Future Eve">The Future Eve</a> (1886), <a href="/wiki/Strange_Case_of_Dr_Jekyll_and_Mr_Hyde" title="Strange Case of Dr Jekyll and Mr Hyde">Strange Case of Dr Jekyll and Mr Hyde</a> (1886), and <a href="/w/index.php?title=Le_Peuple_du_P%C3%B4le&action=edit&redlink=1" class="new" title="Le Peuple du Pôle (page does not exist)">Le Peuple du Pôle</a> [<a href="https://fr.wikipedia.org/wiki/Le_Peuple_du_P%C3%B4le" class="extiw" title="fr:Le Peuple du Pôle">fr</a>] (1907).<a href="#cite_note-35">[33]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Maurice_Renard_-_P%C3%A9ril_bleu.jpg" class="mw-file-description"><img alt="couverture d'un roman titré Le Péril bleu avec un dessin en couleurs d'un ciel bleu." src="//upload.wikimedia.org/wikipedia/commons/thumb/c/cc/Maurice_Renard_-_P%C3%A9ril_bleu.jpg/220px-Maurice_Renard_-_P%C3%A9ril_bleu.jpg" decoding="async" width="220" height="352" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/cc/Maurice_Renard_-_P%C3%A9ril_bleu.jpg/330px-Maurice_Renard_-_P%C3%A9ril_bleu.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/cc/Maurice_Renard_-_P%C3%A9ril_bleu.jpg/440px-Maurice_Renard_-_P%C3%A9ril_bleu.jpg 2x" data-file-width="1760" data-file-height="2819" /></a><figcaption>Maurice Renard's 1909 manifesto was republished as a preface to <a href="/wiki/The_Blue_Peril" title="The Blue Peril">The Blue Peril</a> in 1911, ensuring its posterity.</figcaption></figure> Maurice Renard defines the merveilleux-scientifique novel in opposition to specific works from which he chooses to distance himself. He categorically rejects Jules Verne, accused of contributing to pigeonholing the <a href="/wiki/Scientific_romance" title="Scientific romance">scientific novel</a> as literature for young people, a publishing sector far removed from the intellectual demands Renard aimed to meet.<a href="#cite_note-36">[34]</a> Moreover, Verne is also accused of either popularizing science or extrapolating from reality, while Renard sought to break with reality.<a href="#cite_note-:12-37">[35]</a> Indeed, Jules Verne's focus on writing scientifically plausible novels sets him apart from Renard's theory of imagining science in unknown territories.<a href="#cite_note-38">[36]</a> Verne also refrains from endorsing the educational adventure stories of <a href="/wiki/Paschal_Grousset" title="Paschal Grousset">André Laurie</a> and <a href="/w/index.php?title=Paul_d%27Ivoi&action=edit&redlink=1" class="new" title="Paul d'Ivoi (page does not exist)">Paul d'Ivoi</a> [<a href="https://fr.wikipedia.org/wiki/Paul_d%27Ivoi" class="extiw" title="fr:Paul d'Ivoi">fr</a>],<a href="#cite_note-:11-30">[29]</a> or Albert Robida's humorous anticipations that hold a satirical purpose.<a href="#cite_note-39">[37]</a> The purpose of the merveilleux-scientifique story differs from that of anticipation. While anticipation is satisfied with placing the storyline in the future, merveilleux-scientifique novels envision the outcomes of modern or future innovations.<a href="#cite_note-40">[38]</a> Maurice Renard constructs his plots through the same intellectual means commonly applied in scientific activities,<a href="#cite_note-41">[39]</a> yet they remain rooted in an imaginative, fictional science.<a href="#cite_note-42">[40]</a> The manifesto made a significant impact.<a href="#cite_note-:9-43">[41]</a> After its initial release, critics <a href="/wiki/Edmond_Pillon" title="Edmond Pillon">Edmond Pilon</a> and <a href="/w/index.php?title=Henry_Durand-Davray&action=edit&redlink=1" class="new" title="Henry Durand-Davray (page does not exist)">Henry Durand-Davray</a> [<a href="https://fr.wikipedia.org/wiki/Henry_Durand-Davray" class="extiw" title="fr:Henry Durand-Davray">fr</a>] reaffirmed Renard's article, though it was predominantly its reissue two years later as a preface to <a href="/wiki/The_Blue_Peril" title="The Blue Peril">The Blue Peril</a> that secured its longevity. In 1915, Hubert Matthey published Essai sur le merveilleux dans la littérature française depuis 1800, wherein he frequently alluded to the 1909 manifesto. The term was discussed by critics until 1940, whether in an obituary of Rosny aîné or in the writings of representatives of the genre and its defenders, including <a href="/wiki/Gaston_de_Pawlowski" title="Gaston de Pawlowski">Gaston de Pawlowski</a> and <a href="/wiki/Andr%C3%A9_Maurois" title="André Maurois">André Maurois</a>.<a href="#cite_note-44">[42]</a> During the 1910s and 1920s, two opposing factions emerged. On one hand, there were the advocates of the merveilleux-scientifique novel, who were actually a small group of Maurice Renard's acquaintances. Charles Derennes, <a href="/wiki/Jean_Ray_(author)" title="Jean Ray (author)">Jean Ray</a>, Rosny aîné,<a href="#cite_note-45">[43]</a> <a href="/w/index.php?title=Albert_Dubeux&action=edit&redlink=1" class="new" title="Albert Dubeux (page does not exist)">Albert Dubeux</a> [<a href="https://fr.wikipedia.org/wiki/Albert_Dubeux" class="extiw" title="fr:Albert Dubeux">fr</a>], and <a href="/wiki/Georges_de_La_Fouchardi%C3%A8re" title="Georges de La Fouchardière">Georges de la Fouchardière</a> lavished praise on the writer.<a href="#cite_note-46">[44]</a> However, critics were generally either disinterested or harsh, viewing the genre as populist literature or "childish entertainment." This is exemplified by <a href="/wiki/Jacques_Copeau" title="Jacques Copeau">Jacques Copeau</a>'s scathing attack in a 1912 article published in <a href="/wiki/Nouvelle_Revue_Fran%C3%A7aise" title="Nouvelle Revue Française">La Nouvelle Revue Française</a>.<a href="#cite_note-:9-43">[41]</a> <div class="mw-heading mw-heading4"><h4 id="Evolution_of_the_term:_from_the_"merveilleux-scientifique_novel"_to_the_"novel_of_hypothesis"">Evolution of the term: from the "merveilleux-scientifique novel" to the "novel of hypothesis"</h4>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=6" title="Edit section: Evolution of the term: from the "merveilleux-scientifique novel" to the "novel of hypothesis"">edit</a>]</div> The term "roman merveilleux-scientifique" was developed by Maurice Renard between 1909 and 1928 to earn acknowledgment and prevent the extinction of the genre. The predicament persisted in differentiating the novel from Jules Verne, whose literary style still eclipsed all scientific imaginative literature.<a href="#cite_note-47">[45]</a> Gradually, the lack of success in establishing a literary movement was evident in the author's frustrated tone, especially in the 1923 article "Since Sinbad". However, his comments' sharpness was diminished in "Le roman d'hypothèse," a disillusioned text in which he seemed to have abandoned his literary objectives. After 1928, he refrained from publishing critical articles, and his literary output in this category was minimal: <a href="/w/index.php?title=Le_Ma%C3%AEtre_de_la_lumi%C3%A8re&action=edit&redlink=1" class="new" title="Le Maître de la lumière (page does not exist)">Le Maître de la lumière</a> [<a href="https://fr.wikipedia.org/wiki/Le_Ma%C3%AEtre_de_la_lumi%C3%A8re" class="extiw" title="fr:Le Maître de la lumière">fr</a>] (1933) and the narrative L'an 2000 (1938).<a href="#cite_note-48">[46]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:J.-H._Rosny_a%C3%AEn%C3%A9_-_photo_Henri_Manuel.jpg" class="mw-file-description"><img alt="photographie en noir et blanc d'un homme assis." src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e4/J.-H._Rosny_a%C3%AEn%C3%A9_-_photo_Henri_Manuel.jpg/220px-J.-H._Rosny_a%C3%AEn%C3%A9_-_photo_Henri_Manuel.jpg" decoding="async" width="220" height="293" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e4/J.-H._Rosny_a%C3%AEn%C3%A9_-_photo_Henri_Manuel.jpg/330px-J.-H._Rosny_a%C3%AEn%C3%A9_-_photo_Henri_Manuel.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e4/J.-H._Rosny_a%C3%AEn%C3%A9_-_photo_Henri_Manuel.jpg/440px-J.-H._Rosny_a%C3%AEn%C3%A9_-_photo_Henri_Manuel.jpg 2x" data-file-width="1207" data-file-height="1610" /></a><figcaption>In 1914, Maurice Renard added <a href="/wiki/J.-H._Rosny_a%C3%AEn%C3%A9" title="J.-H. Rosny aîné">J.-H. Rosny aîné</a> to the list of writers of merveilleux-scientifique novels with the release of <a href="/w/index.php?title=La_Force_myst%C3%A9rieuse&action=edit&redlink=1" class="new" title="La Force mystérieuse (page does not exist)">La Force mystérieuse</a> [<a href="https://fr.wikipedia.org/wiki/La_Force_myst%C3%A9rieuse" class="extiw" title="fr:La Force mystérieuse">fr</a>].</figcaption></figure> In 1914, Maurice Renard reviewed Rosny aîné's <a href="/w/index.php?title=La_Force_myst%C3%A9rieuse&action=edit&redlink=1" class="new" title="La Force mystérieuse (page does not exist)">La Force mystérieuse</a> [<a href="https://fr.wikipedia.org/wiki/La_Force_myst%C3%A9rieuse" class="extiw" title="fr:La Force mystérieuse">fr</a>] and used it as an opportunity to develop his own concepts on the merveilleux-scientifique novel. He published this work under his name. The theorist changed his pen name to counter criticism of the genre, which accused it of relying too heavily on fantasy at the expense of scientific rigor. As early as 1908, the writer used the term "conte à structure savante" to refer to these literary goals.<a href="#cite_note-49">[47]</a> However, in 1923's "Depuis Sinbad", they rejected "merveilleux-scientifique" in favor of "parascientifique" to better reflect scientific mysteries.<a href="#cite_note-50">[48]</a> Five years later, the writer's eponymous article "The Novel of Hypothesis" renamed the genre once again, emphasizing its epistemological value. With his new expression, Renard aimed to demonstrate that exploring the unknown could offer fresh insights into reality.<a href="#cite_note-51">[49]</a> However, the impact of these lexical changes was restricted, since the phrase "roman merveilleux-scientifique" had already established itself<a href="#cite_note-52">[nb 3]</a><a href="#cite_note-53">[50]</a> - even if literary critics frequently employed it in a different way to Renard's definition.<a href="#cite_note-54">[51]</a> Alongside the onomastic adjustment, Maurice Renard also revised the list of writers within the genre. In 1914, Rosny aine joined the ranking, and Charles Derennes, who had not produced anything since <a href="/w/index.php?title=Le_Peuple_du_P%C3%B4le&action=edit&redlink=1" class="new" title="Le Peuple du Pôle (page does not exist)">Le Peuple du Pôle</a> [<a href="https://fr.wikipedia.org/wiki/Le_Peuple_du_P%C3%B4le" class="extiw" title="fr:Le Peuple du Pôle">fr</a>], was removed.<a href="#cite_note-55">[52]</a> Once scientific marvels were recognized as a separate genre by critics, it became unnecessary for theorists to defend their purity by excluding authors who introduced sociological or satirical aspects. As the articles progress, Renard demonstrates greater flexibility regarding the use of scientific marvels, recognizing that the genre can serve as a means to an end beyond its own aesthetic purpose. The novelist skillfully interweaves other generic codes, such as through the incorporation of detective plots in "The Blue Peril" (1911) and satire in "<a href="/w/index.php?title=Un_homme_chez_les_microbes&action=edit&redlink=1" class="new" title="Un homme chez les microbes (page does not exist)">Un homme chez les microbes</a> [<a href="https://fr.wikipedia.org/wiki/Un_homme_chez_les_microbes" class="extiw" title="fr:Un homme chez les microbes">fr</a>]" (1928).<a href="#cite_note-56">[53]</a> Throughout his career, Maurice Renard endeavored to perpetuate the merveilleux-scientifique genre even if it required an easing of its theoretical constraints. For a decade, he established the Maurice Renard prize for a novel of scientific imagination with the objective of legitimizing the genre. From 1922 to 1932, the prize was awarded to ten authors, including Marcel Roland and <a href="/wiki/Alexandre_Arnoux" title="Alexandre Arnoux">Alexandre Arnoux</a>. However, their works primarily focused on anticipation and utopia, rendering the nominations a testament to the relaxation of the 1909 manifesto.<a href="#cite_note-57">[nb 4]</a><a href="#cite_note-58">[54]</a> <div class="mw-heading mw-heading2"><h2 id="Popular_literature">Popular literature</h2>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=7" title="Edit section: Popular literature">edit</a>]</div> The merveilleux-scientifique genre emerged in France at the end of the 19th century and thrived until the 1930s, gradually declining in the 1950s. While Maurice Renard's articles were influential, merveilleux-scientifique novels are still considered popular literature due to the themes they explore and their publication media. <div class="mw-heading mw-heading3"><h3 id="A_generation_of_writers_in_love_with_scientific_conjecture">A generation of writers in love with scientific conjecture</h3>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=8" title="Edit section: A generation of writers in love with scientific conjecture">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Guy_de_Maupassant_le_Horla-edition1908.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3f/Guy_de_Maupassant_le_Horla-edition1908.jpg/220px-Guy_de_Maupassant_le_Horla-edition1908.jpg" decoding="async" width="220" height="297" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/3f/Guy_de_Maupassant_le_Horla-edition1908.jpg/330px-Guy_de_Maupassant_le_Horla-edition1908.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/3f/Guy_de_Maupassant_le_Horla-edition1908.jpg/440px-Guy_de_Maupassant_le_Horla-edition1908.jpg 2x" data-file-width="2065" data-file-height="2789" /></a><figcaption><a href="/wiki/Guy_de_Maupassant" title="Guy de Maupassant">Guy de Maupassant</a>'s <a href="/wiki/The_Horla" title="The Horla">The Horla</a> is a merveilleux-scientifique tale before its time.</figcaption></figure> With his short story "<a href="/wiki/The_Horla" title="The Horla">The Horla</a>," Guy de Maupassant published a text ahead of its time that blended the fantastic and scientific approaches. The author narrates the loss of bearings experienced by an individual suffering from the presence of an invisible being in their environment.<a href="#cite_note-59">[55]</a> This 1886 story significantly influenced authors of the merveilleux-scientifique movement, incorporating science, pseudo-science, and spiritualism.<a href="#cite_note-:13-60">[56]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:La_Force_myst%C3%A9rieuse_-_Les_flammes_d%C3%A9vastent_Paris.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/53/La_Force_myst%C3%A9rieuse_-_Les_flammes_d%C3%A9vastent_Paris.jpg/220px-La_Force_myst%C3%A9rieuse_-_Les_flammes_d%C3%A9vastent_Paris.jpg" decoding="async" width="220" height="341" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/53/La_Force_myst%C3%A9rieuse_-_Les_flammes_d%C3%A9vastent_Paris.jpg/330px-La_Force_myst%C3%A9rieuse_-_Les_flammes_d%C3%A9vastent_Paris.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/53/La_Force_myst%C3%A9rieuse_-_Les_flammes_d%C3%A9vastent_Paris.jpg/440px-La_Force_myst%C3%A9rieuse_-_Les_flammes_d%C3%A9vastent_Paris.jpg 2x" data-file-width="600" data-file-height="931" /></a><figcaption>In <a href="/w/index.php?title=La_Force_myst%C3%A9rieuse&action=edit&redlink=1" class="new" title="La Force mystérieuse (page does not exist)">La Force mystérieuse</a> [<a href="https://fr.wikipedia.org/wiki/La_Force_myst%C3%A9rieuse" class="extiw" title="fr:La Force mystérieuse">fr</a>], <a href="/wiki/J.-H._Rosny_a%C3%AEn%C3%A9" title="J.-H. Rosny aîné">Rosny aîné</a> depicts an immense cataclysm that overturns the entire human race.</figcaption></figure> Nevertheless, the scientific marvel genre appeared to thrive in 1887, when Rosny aîné published the short novel <a href="/wiki/Les_Xip%C3%A9huz" title="Les Xipéhuz">Les Xipéhuz</a>, which details an encounter between humans and a non-organic intelligence from distant prehistory.<a href="#cite_note-:14-61">[57]</a> Prior to this, merveilleux-scientifique stories had been published unobtrusively. However, this distinctive text achieved great literary success, increasing publicity for the genre. A versatile author, Rosny aîné created non-anthropocentric narratives where humans are depicted as a modest part of a larger cosmic entity, rather than as an end in themselves.<a href="#cite_note-62">[58]</a> Specifically, his work follows an extensive "war of the kingdoms," from the triumphant emergence of our species in prehistoric times to the eventual replacement of <a href="/wiki/Human" title="Human">Homo sapiens</a> by <a href="/wiki/La_Mort_de_la_Terre" title="La Mort de la Terre">another life form that dominates the Earth's surface</a> in the distant future.<a href="#cite_note-63">[59]</a> Thus, in Les Xipéhuz, Rosny aîné presents a confrontation between primitive humanity and an unfamiliar race, and in <a href="/w/index.php?title=La_Force_myst%C3%A9rieuse&action=edit&redlink=1" class="new" title="La Force mystérieuse (page does not exist)">La Force mystérieuse</a> [<a href="https://fr.wikipedia.org/wiki/La_Force_myst%C3%A9rieuse" class="extiw" title="fr:La Force mystérieuse">fr</a>] (1913), he envisions a modern cataclysm that intensifies, compelling humankind to implement social reorganization. The author achieved massive commercial success with these novels, placing him at the forefront of the merveilleux-scientifique movement among his peers and critics to this day.<a href="#cite_note-64">[60]</a> Selected to join the youthful <a href="/wiki/Prix_Goncourt" title="Prix Goncourt">Goncourt literary society</a> together with his brother <a href="/wiki/J.-H._Rosny_jeune" title="J.-H. Rosny jeune">J.-H. Rosny jeune</a>, he was among the individuals who granted the primary Prix Goncourt to a novel of the merveilleux scientifique: <a href="/wiki/Force_ennemie" title="Force ennemie">Force ennemie</a> by Franco-American writer <a href="/wiki/John_Antoine_Nau" title="John Antoine Nau">John-Antoine Nau</a>, which was published in 1903. The novel centers on the subject of space travel through mental projection, in which an extraterrestrial lodges in the narrator's mind while exploring a potential invasion.<a href="#cite_note-65">[61]</a> Two years later, the Prix Goncourt was awarded to <a href="/w/index.php?title=Les_Civilis%C3%A9s&action=edit&redlink=1" class="new" title="Les Civilisés (page does not exist)">Les Civilisés</a> [<a href="https://fr.wikipedia.org/wiki/Les_Civilis%C3%A9s_(roman,_1905)" class="extiw" title="fr:Les Civilisés (roman, 1905)">fr</a>], a speculative novel by <a href="/wiki/Claude_Farr%C3%A8re" title="Claude Farrère">Claude Farrère</a> that envisions a future conflict between France and Great Britain.<a href="#cite_note-66">[62]</a> Around the same time, the literary works of H. G. Wells also gained popularity, with regular reviews in the French press. Under the inspiration of several French authors, the genre acquired credibility in literature concurrently with Maurice Renard's theorization of it as the merveilleux-scientifique genre. For the writer, this pursuit of credibility was a genuine challenge, given that it was a genre he authored himself.<a href="#cite_note-67">[63]</a> His numerous novels embrace popular<a href="#cite_note-:13-60">[56]</a> scientific imagination themes, beginning with a fundamental premise that he exhaustively explores. For instance, the author presents extreme human transplants in <a href="/wiki/Le_Docteur_Lerne,_sous-dieu" title="Le Docteur Lerne, sous-dieu">Le Docteur Lerne, sous-dieu</a>, an invisible community coexisting with humanity in The Blue Peril, a man possessing enhanced vision in <a href="/wiki/L%27Homme_truqu%C3%A9_(The_Doctored_Man)" title="L'Homme truqué (The Doctored Man)">L'Homme truqué</a>, and a machine able to replicate objects and bodies in Le Singe.<a href="#cite_note-68">[64]</a> In the realm of Wells' literature, Rosny aîné and Maurice Renard emerge as the pioneers of an up-and-coming literary genre despite not being widely recognized by the public.<a href="#cite_note-69">[65]</a> Nevertheless, the genre distinguishes itself by providing readers with sensational and extraordinary experiences, limited only by the author's imagination. These experiences include scenarios such as the <a href="/wiki/Eiffel_Tower" title="Eiffel Tower">Eiffel Tower</a> theft, various invasions, and even apocalyptic endings.<a href="#cite_note-:0-70">[66]</a> In 1908, <a href="/wiki/Jean_de_La_Hire" title="Jean de La Hire">Jean de La Hire</a> released <a href="/w/index.php?title=La_Roue_fulgurante&action=edit&redlink=1" class="new" title="La Roue fulgurante (page does not exist)">La Roue fulgurante</a> [<a href="https://fr.wikipedia.org/wiki/La_Roue_fulgurante" class="extiw" title="fr:La Roue fulgurante">fr</a>]. The novel tells the story of a group of earthlings who are abducted by a spaceship and transported to Mercury and Venus. This widely popular work solidified La Hire's position as a prominent figure in pre-war French science fiction.<a href="#cite_note-71">[67]</a> Converted to profitable popular literature, he further explored the realm of marvelous science with his successful series featuring the adventures of <a href="/wiki/Nyctalope" title="Nyctalope">Léo Saint-Clair le Nyctalope</a>. Additionally, he delved into children's literature with Les Trois Boy-scouts and Les Grandes aventures d'un boy-scout.<a href="#cite_note-72">[68]</a><figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Les_Trois_Yeux_by_Maurice_Leblanc_(book_cover,_1935).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Les_Trois_Yeux_by_Maurice_Leblanc_%28book_cover%2C_1935%29.jpg/220px-Les_Trois_Yeux_by_Maurice_Leblanc_%28book_cover%2C_1935%29.jpg" decoding="async" width="220" height="332" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Les_Trois_Yeux_by_Maurice_Leblanc_%28book_cover%2C_1935%29.jpg/330px-Les_Trois_Yeux_by_Maurice_Leblanc_%28book_cover%2C_1935%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Les_Trois_Yeux_by_Maurice_Leblanc_%28book_cover%2C_1935%29.jpg/440px-Les_Trois_Yeux_by_Maurice_Leblanc_%28book_cover%2C_1935%29.jpg 2x" data-file-width="732" data-file-height="1106" /></a><figcaption>Best known for the adventures of gentleman burglar <a href="/wiki/Ars%C3%A8ne_Lupin" title="Arsène Lupin">Arsène Lupin</a>, <a href="/wiki/Maurice_Leblanc" title="Maurice Leblanc">Maurice Leblanc</a> also tried his hand at the merveilleux scientifique with <a href="/w/index.php?title=Les_Trois_Yeux&action=edit&redlink=1" class="new" title="Les Trois Yeux (page does not exist)">Les Trois Yeux</a> [<a href="https://fr.wikipedia.org/wiki/Les_Trois_Yeux" class="extiw" title="fr:Les Trois Yeux">fr</a>].</figcaption></figure> Popular enthusiasm for new scientific and pseudo-scientific theories was embraced by authors and subsequently translated into adventure novels. Objective evaluations of theories were prioritized in these works. Non-scientist writers of merveilleux-scientifique tales, such as doctors André Couvreur and <a href="/w/index.php?title=Octave_B%C3%A9liard&action=edit&redlink=1" class="new" title="Octave Béliard (page does not exist)">Octave Béliard</a> [<a href="https://fr.wikipedia.org/wiki/Octave_B%C3%A9liard" class="extiw" title="fr:Octave Béliard">fr</a>], drew inspiration from popular science magazines.<a href="#cite_note-:4-11">[11]</a> At the close of the 19th century, <a href="/wiki/Percival_Lowell" title="Percival Lowell">Percival Lowell</a>, an American businessman and amateur astronomer, fervently argued for the presence of <a href="/wiki/Martian_canals" title="Martian canals">canals on Mars</a>. This idea of a Martian civilization captivated French novelists, further popularizing Lowell's theories.<a href="#cite_note-73">[69]</a> Despite not believing in the existence of such canals, French astronomer <a href="/wiki/Camille_Flammarion" title="Camille Flammarion">Camille Flammarion</a> shared in the belief that life existed on Mars. In 1889, the novel Uranie was published, which describes the journey of an astronomer through the stars, with Mars as one of the stages.<a href="#cite_note-74">[70]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Le_Petit_Journal_illustr%C3%A9_(27_avril_1924)_-_Chirurgie_moderne.jpg" class="mw-file-description"><img alt="Illustration de chirurgiens opérant un patient en couverture d'un journal." src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Le_Petit_Journal_illustr%C3%A9_%2827_avril_1924%29_-_Chirurgie_moderne.jpg/220px-Le_Petit_Journal_illustr%C3%A9_%2827_avril_1924%29_-_Chirurgie_moderne.jpg" decoding="async" width="220" height="275" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Le_Petit_Journal_illustr%C3%A9_%2827_avril_1924%29_-_Chirurgie_moderne.jpg/330px-Le_Petit_Journal_illustr%C3%A9_%2827_avril_1924%29_-_Chirurgie_moderne.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Le_Petit_Journal_illustr%C3%A9_%2827_avril_1924%29_-_Chirurgie_moderne.jpg/440px-Le_Petit_Journal_illustr%C3%A9_%2827_avril_1924%29_-_Chirurgie_moderne.jpg 2x" data-file-width="3463" data-file-height="4323" /></a><figcaption>Cover of <a href="/wiki/Le_Petit_Journal_(newspaper)" title="Le Petit Journal (newspaper)">Le Petit Journal</a> comparing the appearance of surgeons to that of "mysterious alchemists" (April 27, 1924).</figcaption></figure> By the end of the 19th century, scientific progress was predominantly viewed as advantageous. However, with subsequent conflicts and wars, this perspective shifted, and the association between scientific advancements and humanity's destructive tendencies became prevalent. Driven by this shift, the figure of the Machiavellian scientist,<a href="#cite_note-75">[71]</a> such as <a href="/wiki/Gustave_Le_Rouge" title="Gustave Le Rouge">Gustave Le Rouge</a>'s <a href="/w/index.php?title=Le_Myst%C3%A9rieux_Docteur_Corn%C3%A9lius&action=edit&redlink=1" class="new" title="Le Mystérieux Docteur Cornélius (page does not exist)">Le Mystérieux Docteur Cornélius</a> [<a href="https://fr.wikipedia.org/wiki/Le_Myst%C3%A9rieux_Docteur_Corn%C3%A9lius_(roman)" class="extiw" title="fr:Le Mystérieux Docteur Cornélius (roman)">fr</a>] (1912-1913), gained popularity. The practitioner is a leader of an underground criminal organization who conducts "carnoplasty" experiments, meaning the modification of human bodies,<a href="#cite_note-76">[72]</a> under the influence of Alexis Carrel's pioneering research on organ transplantation.<a href="#cite_note-77">[73]</a> The outbreak of <a href="/wiki/World_War_I" title="World War I">World War I</a> marked a significant turning point in the innovation of scientific breakthroughs.<a href="#cite_note-78">[74]</a> While writers in the United States, a country relatively spared from the horrors of war, continued to explore science as progress for mankind,<a href="#cite_note-79">[75]</a> European - and particularly French - disillusionment with beneficent science significantly darkened the genre's themes, ultimately becoming essentially pessimistic.<a href="#cite_note-80">[76]</a> Furthermore, during the post-war era, writers of science fiction seemed to have lost their connection to technological advancements (such as <a href="/wiki/Aerospace_engineering" title="Aerospace engineering">astronautical testing</a>, research into <a href="/wiki/Nuclear_physics" title="Nuclear physics">nuclear physics</a>, and <a href="/wiki/Quantum_mechanics" title="Quantum mechanics">quantum mechanics</a>) despite their previous close following of scientific research. Instead, they relied on nostalgic themes such as the end of the world, lost worlds, and evil mad scientists to construct their plots.<a href="#cite_note-81">[77]</a> Contemporary critics generally consider scientific marvels a minor genre with vague and imprecise forms. However, this literature has influenced the evolution of the popular genre,<a href="#cite_note-82">[78]</a> encouraging major authors such as <a href="/wiki/Maurice_Leblanc" title="Maurice Leblanc">Maurice Leblanc</a>, <a href="https://fr.wikipedia.org/wiki/Guy_de_T%C3%A9ramond" class="extiw" title="fr:Guy de Téramond">Guy de Téramond</a>, <a href="/wiki/Gaston_Leroux" title="Gaston Leroux">Gaston Leroux</a>, <a href="/w/index.php?title=Octave_B%C3%A9liard&action=edit&redlink=1" class="new" title="Octave Béliard (page does not exist)">Octave Béliard</a> [<a href="https://fr.wikipedia.org/wiki/Octave_B%C3%A9liard" class="extiw" title="fr:Octave Béliard">fr</a>], <a href="/w/index.php?title=L%C3%A9on_Groc&action=edit&redlink=1" class="new" title="Léon Groc (page does not exist)">Léon Groc</a> [<a href="https://fr.wikipedia.org/wiki/L%C3%A9on_Groc" class="extiw" title="fr:Léon Groc">fr</a>], Gustave Le Rouge, and <a href="/wiki/Jacques_Spitz" title="Jacques Spitz">Jacques Spitz</a><a href="#cite_note-:11-30">[29]</a> to indulge in it. Indeed, this literature is widely accepted within the official culture, provided that its authors also belong to literary circles. Their works are presented as thematic variations of traditional genres, such as utopia or the philosophical tale, and reviewed by the same literary critics as conventional literature.<a href="#cite_note-83">[79]</a> For instance, Maurice Leblanc recounts in <a href="/w/index.php?title=Les_Trois_Yeux&action=edit&redlink=1" class="new" title="Les Trois Yeux (page does not exist)">Les Trois Yeux</a> [<a href="https://fr.wikipedia.org/wiki/Les_Trois_Yeux" class="extiw" title="fr:Les Trois Yeux">fr</a>] (1919) the experience of a scientist who develops a B-ray-treated coating allowing past images to appear on a wall, as during a cinematograph session.<a href="#cite_note-84">[80]</a> Similarly, in <a href="/w/index.php?title=La_Poup%C3%A9e_sanglante&action=edit&redlink=1" class="new" title="La Poupée sanglante (page does not exist)">La Poupée sanglante</a> [<a href="https://fr.wikipedia.org/wiki/La_Poup%C3%A9e_sanglante" class="extiw" title="fr:La Poupée sanglante">fr</a>] (1923), Gaston Leroux incorporates the themes of automata, human transplants, and vampirism within a scientific framework.<a href="#cite_note-85">[81]</a> <div class="mw-heading mw-heading3"><h3 id="The_favourite_themes_of_merveilleux_scientifique">The favourite themes of merveilleux scientifique</h3>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=9" title="Edit section: The favourite themes of merveilleux scientifique">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Andr%C3%A9_Couvreur_-_Une_invasion_de_macrobes.jpg" class="mw-file-description"><img alt="couverture en couleurs d'un roman titré Une Invasion de macrobes avec une illustration représentant un monstre géant et sa tentacule au-dessus d'une ville." src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Andr%C3%A9_Couvreur_-_Une_invasion_de_macrobes.jpg/220px-Andr%C3%A9_Couvreur_-_Une_invasion_de_macrobes.jpg" decoding="async" width="220" height="346" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Andr%C3%A9_Couvreur_-_Une_invasion_de_macrobes.jpg/330px-Andr%C3%A9_Couvreur_-_Une_invasion_de_macrobes.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Andr%C3%A9_Couvreur_-_Une_invasion_de_macrobes.jpg/440px-Andr%C3%A9_Couvreur_-_Une_invasion_de_macrobes.jpg 2x" data-file-width="951" data-file-height="1496" /></a><figcaption>In the early 20th century, science made it possible to dramatically increase the size of microbes. <a href="/w/index.php?title=Professeur_Tornada&action=edit&redlink=1" class="new" title="Professeur Tornada (page does not exist)">Professeur Tornada</a> [<a href="https://fr.wikipedia.org/wiki/Professeur_Tornada" class="extiw" title="fr:Professeur Tornada">fr</a>], a mad scientist in his own right, literally carries out the experiment.<a href="#cite_note-86">[82]</a> Cover of <a href="/w/index.php?title=Andr%C3%A9_Couvreur&action=edit&redlink=1" class="new" title="André Couvreur (page does not exist)">André Couvreur</a> [<a href="https://fr.wikipedia.org/wiki/Andr%C3%A9_Couvreur" class="extiw" title="fr:André Couvreur">fr</a>]'s novel <a href="/w/index.php?title=Une_Invasion_de_macrobes&action=edit&redlink=1" class="new" title="Une Invasion de macrobes (page does not exist)">Une Invasion de macrobes</a> [<a href="https://fr.wikipedia.org/wiki/Une_Invasion_de_macrobes" class="extiw" title="fr:Une Invasion de macrobes">fr</a>], published in 1910 by Éditions <a href="/wiki/Pierre_Lafitte_(journalist)" title="Pierre Lafitte (journalist)">Pierre Lafitte</a>.</figcaption></figure> The merveilleux-scientifique genre, as defined by Maurice Renard, takes as its starting point an alteration of a scientific law, whose consequences the author must imagine. The proponents of this genre are interested not only in pseudosciences considered as deception, such as <a href="/wiki/Levitation_(paranormal)" title="Levitation (paranormal)">levitation</a>, <a href="/wiki/Divination" title="Divination">metagnomy</a>, <a href="/wiki/Metempsychosis" title="Metempsychosis">metempsychosis</a>, and <a href="/wiki/Telepathy" title="Telepathy">telepathy</a>, but also in future discoveries such as <a href="/wiki/Time_travel" title="Time travel">time travel</a>, miniaturization of beings, and carnoplasty.<a href="#cite_note-:10-87">[83]</a> That is why researchers and engineers, who initiate discoveries and the consequent adventures, are the preferred characters in captivating scientific novels. <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:L%27Homme_qui_voit_%C3%A0_travers_les_murailles_-_Guy_de_T%C3%A9ramond.jpg" class="mw-file-description"><img alt="Un homme observe à travers un mur une femme dans son domicile." src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9a/L%27Homme_qui_voit_%C3%A0_travers_les_murailles_-_Guy_de_T%C3%A9ramond.jpg/220px-L%27Homme_qui_voit_%C3%A0_travers_les_murailles_-_Guy_de_T%C3%A9ramond.jpg" decoding="async" width="220" height="340" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9a/L%27Homme_qui_voit_%C3%A0_travers_les_murailles_-_Guy_de_T%C3%A9ramond.jpg/330px-L%27Homme_qui_voit_%C3%A0_travers_les_murailles_-_Guy_de_T%C3%A9ramond.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9a/L%27Homme_qui_voit_%C3%A0_travers_les_murailles_-_Guy_de_T%C3%A9ramond.jpg/440px-L%27Homme_qui_voit_%C3%A0_travers_les_murailles_-_Guy_de_T%C3%A9ramond.jpg 2x" data-file-width="1281" data-file-height="1982" /></a><figcaption>In 1913, <a href="https://fr.wikipedia.org/wiki/Guy_de_T%C3%A9ramond" class="extiw" title="fr:Guy de Téramond">Guy de Téramond</a> imagines a man with X-ray vision after a minor operation. Cover of <a href="/w/index.php?title=L%27Homme_qui_voit_%C3%A0_travers_les_murailles&action=edit&redlink=1" class="new" title="L'Homme qui voit à travers les murailles (page does not exist)">L'Homme qui voit à travers les murailles</a> [<a href="https://fr.wikipedia.org/wiki/L%27Homme_qui_voit_%C3%A0_travers_les_murailles" class="extiw" title="fr:L'Homme qui voit à travers les murailles">fr</a>] drawn by <a href="/w/index.php?title=Henri_Armengol&action=edit&redlink=1" class="new" title="Henri Armengol (page does not exist)">Henri Armengol</a> [<a href="https://fr.wikipedia.org/wiki/Henri_Armengol" class="extiw" title="fr:Henri Armengol">fr</a>].</figcaption></figure> <a href="/wiki/Biological_rules" title="Biological rules">Biological laws</a> are a subject of modification for researchers. This renders the human body as a malleable substance for well-intentioned or not so well-intentioned scientists to work with. The themes of <a href="/wiki/Invisibility" title="Invisibility">invisibility</a>, <a href="/wiki/Mutation" title="Mutation">mutation</a>, <a href="/wiki/Immortality" title="Immortality">immortality</a>,<a href="#cite_note-88">[84]</a> and the superman were common in <a href="/wiki/Jean_de_La_Hire" title="Jean de La Hire">Jean de La Hire</a>'s nineteen novels about the Nyctalope's adventures. The Nyctalope is a man with augmented vision and an artificial heart, while the Hictaner is a man hybridized with a shark in <a href="/w/index.php?title=L%27Homme_qui_peut_vivre_dans_l%27eau&action=edit&redlink=1" class="new" title="L'Homme qui peut vivre dans l'eau (page does not exist)">L'Homme qui peut vivre dans l'eau</a> [<a href="https://fr.wikipedia.org/wiki/L%27Homme_qui_peut_vivre_dans_l%27eau" class="extiw" title="fr:L'Homme qui peut vivre dans l'eau">fr</a>] (1910). Louis Boussenard took inspiration from H. G. Wells' <a href="/wiki/The_Invisible_Man" title="The Invisible Man">The Invisible Man</a> to write <a href="/w/index.php?title=Monsieur..._Rien!&action=edit&redlink=1" class="new" title="Monsieur... Rien! (page does not exist)">Monsieur... Rien!</a> [<a href="https://fr.wikipedia.org/wiki/Monsieur..._Rien!" class="extiw" title="fr:Monsieur... Rien!">fr</a>] (1907), a <a href="/wiki/Nihilism" title="Nihilism">nihilist</a> steals the chemical process that allows him to become invisible in order to assassinate Russian <a href="/wiki/Dignitary" title="Dignitary">dignitaries</a>.<a href="#cite_note-89">[85]</a> Authors of scientific marvels systematically seek analogies between scientific phenomena, exploring new facets of augmented humanity. For instance, Maurice Renard's <a href="/w/index.php?title=L%27Homme_au_corps_subtil&action=edit&redlink=1" class="new" title="L'Homme au corps subtil (page does not exist)">L'Homme au corps subtil</a> [<a href="https://fr.wikipedia.org/wiki/L%27Homme_au_corps_subtil" class="extiw" title="fr:L'Homme au corps subtil">fr</a>] (1913) depicts the ability of Professor Bouvancourt to traverse matter using the penetrating power of X-rays on the human body, echoing François Dutilleul's capabilities from Marcel Aymé's <a href="/wiki/Le_Passe-muraille" title="Le Passe-muraille">Le Passe-Muraille</a> (1941). In "Un homme chez les microbes" (1928), Renard utilizes the character of a talented scientist to depict the journey of Fléchambeau, who can shrink himself to meet the atomic people. Conversely, in "<a href="/w/index.php?title=Une_invasion_de_macrobes&action=edit&redlink=1" class="new" title="Une invasion de macrobes (page does not exist)">Une invasion de macrobes</a> [<a href="https://fr.wikipedia.org/wiki/Une_invasion_de_macrobes" class="extiw" title="fr:Une invasion de macrobes">fr</a>]" (1909),<a href="#cite_note-:10-87">[83]</a> André Couvreur portrays the opposite process, where the malevolent scientist Tornada causes a tremendous increase in microbe size.<a href="#cite_note-90">[86]</a> In 1912, Paul Arosa presented Les Mystérieuses Études du professeur Kruhl, which featured a German scientist who succeeded in sustaining the head of a guillotined man, similar to the <a href="/wiki/Magic_(illusion)" title="Magic (illusion)">magic</a> performances of <a href="/wiki/Georges_M%C3%A9li%C3%A8s" title="Georges Méliès">Georges Méliès</a> and music-hall shows that exhibited living severed heads. The same year saw the publication of L'Homme à deux têtes by F.C. Rosensteel, which similarly explored this macabre theme. <a href="/w/index.php?title=Henri-Georges_Jeanne&action=edit&redlink=1" class="new" title="Henri-Georges Jeanne (page does not exist)">Henri-Georges Jeanne</a> [<a href="https://fr.wikipedia.org/wiki/Henri-Georges_Jeanne" class="extiw" title="fr:Henri-Georges Jeanne">fr</a>]'s<a href="#cite_note-91">[87]</a> <a href="/w/index.php?title=L%27Homme_qui_devint_gorille&action=edit&redlink=1" class="new" title="L'Homme qui devint gorille (page does not exist)">L'Homme qui devint gorille</a> [<a href="https://fr.wikipedia.org/wiki/L%27Homme_qui_devint_gorille" class="extiw" title="fr:L'Homme qui devint gorille">fr</a>] in 1921,<a href="#cite_note-92">[nb 5]</a> on the other hand, involved Professor Fringue transplanting an individual's brain into the skull of a gorilla. In <a href="/w/index.php?title=Trois_Ombres_sur_Paris&action=edit&redlink=1" class="new" title="Trois Ombres sur Paris (page does not exist)">Trois Ombres sur Paris</a> [<a href="https://fr.wikipedia.org/wiki/Trois_Ombres_sur_Paris" class="extiw" title="fr:Trois Ombres sur Paris">fr</a>] (1929),<a href="#cite_note-93">[nb 6]</a> a researcher formulates a method to create superhumans for the purpose of equalizing all men.<a href="#cite_note-94">[88]</a> <a href="/w/index.php?title=Les_Petits_Hommes_de_la_pin%C3%A8de&action=edit&redlink=1" class="new" title="Les Petits Hommes de la pinède (page does not exist)">Les Petits Hommes de la pinède</a> [<a href="https://fr.wikipedia.org/wiki/Les_Petits_Hommes_de_la_pin%C3%A8de" class="extiw" title="fr:Les Petits Hommes de la pinède">fr</a>] (1927) by Octave Béliard provides another instance of biological laws being manipulated, when a scientist creates a population of 30 cm-tall individuals with accelerated growth that eventually surpasses the scientist's control.<a href="#cite_note-95">[89]</a> Finally, <a href="/wiki/Louis_Fourestier" title="Louis Fourestier">Louis Forest</a>'s On Vole des Enfants à Paris (1906) and Guy de Téramond's L'Homme qui Peut Tout (1910) explore the possibility of transforming the minds of children and criminals to enhance their cognitive abilities, while <a href="/w/index.php?title=Raoul_Bigot&action=edit&redlink=1" class="new" title="Raoul Bigot (page does not exist)">Raoul Bigot</a> [<a href="https://fr.wikipedia.org/wiki/Raoul_Bigot" class="extiw" title="fr:Raoul Bigot">fr</a>] depicts in Nounlegos (1919) a phrenologist scientist who developed a device for reading the human brain, without resorting to brain modification.<a href="#cite_note-96">[90]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Gustave_Le_Rouge_-_Le_Prisonnier_de_la_plan%C3%A8te_Mars.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/ab/Gustave_Le_Rouge_-_Le_Prisonnier_de_la_plan%C3%A8te_Mars.jpg/220px-Gustave_Le_Rouge_-_Le_Prisonnier_de_la_plan%C3%A8te_Mars.jpg" decoding="async" width="220" height="316" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/ab/Gustave_Le_Rouge_-_Le_Prisonnier_de_la_plan%C3%A8te_Mars.jpg/330px-Gustave_Le_Rouge_-_Le_Prisonnier_de_la_plan%C3%A8te_Mars.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/ab/Gustave_Le_Rouge_-_Le_Prisonnier_de_la_plan%C3%A8te_Mars.jpg/440px-Gustave_Le_Rouge_-_Le_Prisonnier_de_la_plan%C3%A8te_Mars.jpg 2x" data-file-width="1338" data-file-height="1920" /></a><figcaption>Propelled to his cost on the <a href="/wiki/Mars" title="Mars">planet Mars</a>, Robert Darvel encounters a Martian bat in <a href="/w/index.php?title=Le_Prisonnier_de_la_plan%C3%A8te_Mars&action=edit&redlink=1" class="new" title="Le Prisonnier de la planète Mars (page does not exist)">Le Prisonnier de la planète Mars</a> [<a href="https://fr.wikipedia.org/wiki/Le_Prisonnier_de_la_plan%C3%A8te_Mars" class="extiw" title="fr:Le Prisonnier de la planète Mars">fr</a>] in 1908.</figcaption></figure> The popularization of pseudoscientific theories inspired fiction writers to explore the psychic realm. Gustave Le Rouge, in his two-part work <a href="/w/index.php?title=Le_Prisonnier_de_la_plan%C3%A8te_Mars&action=edit&redlink=1" class="new" title="Le Prisonnier de la planète Mars (page does not exist)">Le Prisonnier de la planète Mars</a> [<a href="https://fr.wikipedia.org/wiki/Le_Prisonnier_de_la_plan%C3%A8te_Mars" class="extiw" title="fr:Le Prisonnier de la planète Mars">fr</a>] (1908) and <a href="/w/index.php?title=La_Guerre_des_vampires&action=edit&redlink=1" class="new" title="La Guerre des vampires (page does not exist)">La Guerre des vampires</a> [<a href="https://fr.wikipedia.org/wiki/La_Guerre_des_vampires" class="extiw" title="fr:La Guerre des vampires">fr</a>] (1909), envisions an interstellar journey accomplished through the collective psychic energy of thousands of yogis who successfully propel protagonist engineer Robert Dravel to Mars.<a href="#cite_note-97">[91]</a> In L' me du docteur Kips (1912), Maurice Champagne portrays metempsychosis through a fakir who aids in the reincarnation of the hero in India.<a href="#cite_note-98">[92]</a> Joseph Jacquin and Aristide Fabre investigate the <a href="/wiki/Cryptobiosis" title="Cryptobiosis">anabiosis</a> abilities of fakirs in Le sommeil sous les blés (1927)<a href="#cite_note-99">[93]</a> while scientists artificially generate life by theft of psychic energy in Ville hantée (1911-1912) by Léon Groc<a href="#cite_note-100">[94]</a> and Le Voleur de cerveaux (1920) by <a href="/w/index.php?title=Jean_de_Quirielle&action=edit&redlink=1" class="new" title="Jean de Quirielle (page does not exist)">Jean de Quirielle</a> [<a href="https://fr.wikipedia.org/wiki/Jean_de_Quirielle" class="extiw" title="fr:Jean de Quirielle">fr</a>].<a href="#cite_note-101">[95]</a> Finally, authors in the scientific genre emphasize the risks of using telepathy and mind control, exemplified in André Couvreur and Michel Corday's Le Lynx (1911). The novel chronicles the adventures of a person who gains the ability to read minds by consuming a drug.<a href="#cite_note-102">[96]</a> Similarly, in <a href="/w/index.php?title=Lucifer_(novel)&action=edit&redlink=1" class="new" title="Lucifer (novel) (page does not exist)">Lucifer (novel)</a> [<a href="https://fr.wikipedia.org/wiki/Lucifer_(roman)" class="extiw" title="fr:Lucifer (roman)">fr</a>], Jean de La Hire depicts Baron Glô van Warteck, a villainous mastermind who has created a tool that boosts his psychic abilities. He employs this device to enslave his adversaries and prey worldwide.<a href="#cite_note-:5-14">[14]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:On_a_vol%C3%A9_la_tour_Eiffel.jpg" class="mw-file-description"><img alt="Illustration en couleur représentant un bras immense qui jaillit d'un nuage pour s'emparer de la tour Eiffel." src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3b/On_a_vol%C3%A9_la_tour_Eiffel.jpg/220px-On_a_vol%C3%A9_la_tour_Eiffel.jpg" decoding="async" width="220" height="336" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/3b/On_a_vol%C3%A9_la_tour_Eiffel.jpg/330px-On_a_vol%C3%A9_la_tour_Eiffel.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/3b/On_a_vol%C3%A9_la_tour_Eiffel.jpg/440px-On_a_vol%C3%A9_la_tour_Eiffel.jpg 2x" data-file-width="1310" data-file-height="2000" /></a><figcaption>Cover of the novel On a volé la tour Eiffel (1923) by <a href="/w/index.php?title=L%C3%A9on_Groc&action=edit&redlink=1" class="new" title="Léon Groc (page does not exist)">Léon Groc</a> [<a href="https://fr.wikipedia.org/wiki/L%C3%A9on_Groc" class="extiw" title="fr:Léon Groc">fr</a>], illustrated by <a href="/w/index.php?title=Henri_Armengol&action=edit&redlink=1" class="new" title="Henri Armengol (page does not exist)">Henri Armengol</a> [<a href="https://fr.wikipedia.org/wiki/Henri_Armengol" class="extiw" title="fr:Henri Armengol">fr</a>].</figcaption></figure> Alteration and speculation of physical or chemical laws are common techniques used by authors in the science fiction genre. In On a volé la tour Eiffel (1921), Léon Groc explores <a href="/wiki/Alchemy" title="Alchemy">alchemy</a> through the character of Gourdon, who develops a method for converting iron into gold.<a href="#cite_note-103">[97]</a> Other writers utilize substances like <a href="/wiki/Radium" title="Radium">radium</a> to generate scientific fantasies in their plots.<a href="#cite_note-104">[98]</a> In Les idées de Monsieur Triggs (1936),<a href="#cite_note-105">[nb 7]</a>Jean Ray presents a stone with properties akin to radium to <a href="/wiki/Harry_Dickson" title="Harry Dickson">Harry Dickson</a>, his valiant private detective. The stone cures skin diseases and causes explosions, thus serving as a unique and powerful tool.<a href="#cite_note-106">[99]</a> Similarly, <a href="/w/index.php?title=Albert_Bailly&action=edit&redlink=1" class="new" title="Albert Bailly (page does not exist)">Albert Bailly</a> [<a href="https://fr.wikipedia.org/wiki/Albert_Bailly" class="extiw" title="fr:Albert Bailly">fr</a>] features a transparent spaceship made of ether in <a href="/w/index.php?title=L%27%C3%89ther_Alpha&action=edit&redlink=1" class="new" title="L'Éther Alpha (page does not exist)">L'Éther Alpha</a> [<a href="https://fr.wikipedia.org/wiki/L%27%C3%89ther_Alpha" class="extiw" title="fr:L'Éther Alpha">fr</a>] (1929),<a href="#cite_note-107">[nb 8]</a> a novel that received the Prix Jules-Verne award in the same year, showcasing his imaginative writing skills.<a href="#cite_note-:5-14">[14]</a> Additionally, authors in the scientific fiction genre speculate about the discovery of rays possessing multiple properties. For instance, in Aigle et colombe, novelist <a href="/wiki/Ren%C3%A9_of_Anjou" title="René of Anjou">René d'Anjou</a> portrays the alchemist Fédor Romalewski developing various inventions based on scientific discoveries, including super-radium, X-rays, and Z-rays.<a href="#cite_note-108">[100]</a> The vanishing of certain materials is a recurring motif in conjectural literature,<a href="#cite_note-109">[101]</a> exemplified by the loss of metal in <a href="/wiki/Gaston_de_Pawlowski" title="Gaston de Pawlowski">Gaston de Pawlowski</a>'s<a href="#cite_note-110">[102]</a> Les Ferropucerons (1912)<a href="#cite_note-111">[nb 9]</a> and <a href="/wiki/Serge-Simon_Held" title="Serge-Simon Held">Serge-Simon Held</a>'s<a href="#cite_note-112">[103]</a> La Mort du fer (1931). Additionally, scientific innovations played a significant role in this imaginative literature. With his series of novels, Le Nyctalope, Jean de La Hire portrays advanced technology in vivid detail, featuring aircraft that can hover, electric submarines, rockets propelled by Hertzian waves, and highly advanced weaponry.<a href="#cite_note-113">[104]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Le_Messager_de_la_plan%C3%A8te.jpg" class="mw-file-description"><img alt="couverture titrée L'Almanach scientifique 1925 avec un dessin représentant deux hommes face à un extraterrestre." src="//upload.wikimedia.org/wikipedia/commons/thumb/0/00/Le_Messager_de_la_plan%C3%A8te.jpg/220px-Le_Messager_de_la_plan%C3%A8te.jpg" decoding="async" width="220" height="306" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/00/Le_Messager_de_la_plan%C3%A8te.jpg/330px-Le_Messager_de_la_plan%C3%A8te.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/00/Le_Messager_de_la_plan%C3%A8te.jpg/440px-Le_Messager_de_la_plan%C3%A8te.jpg 2x" data-file-width="450" data-file-height="626" /></a><figcaption>In 1924, <a href="/w/index.php?title=Jos%C3%A9_Moselli&action=edit&redlink=1" class="new" title="José Moselli (page does not exist)">José Moselli</a> [<a href="https://fr.wikipedia.org/wiki/Jos%C3%A9_Moselli" class="extiw" title="fr:José Moselli">fr</a>] recounts the encounter between two polar explorers and a stranded <a href="/wiki/Mercury_(planet)" title="Mercury (planet)">Mercury</a> inhabitant in <a href="/wiki/Antarctica" title="Antarctica">Antarctica</a>, in <a href="/w/index.php?title=Le_Messager_de_la_plan%C3%A8te&action=edit&redlink=1" class="new" title="Le Messager de la planète (page does not exist)">Le Messager de la planète</a> [<a href="https://fr.wikipedia.org/wiki/Le_Messager_de_la_plan%C3%A8te" class="extiw" title="fr:Le Messager de la planète">fr</a>].</figcaption></figure> Intimately connected to <a href="/wiki/Adventure_fiction" title="Adventure fiction">adventure novels</a> due to their association with the extraordinary, conjectural novels give significant emphasis to travel,<a href="#cite_note-114">[105]</a> whether it be on unexplored territories of Earth, other planets, or even through time with the exploration of unknown life forms. - J.H. Rosny aîné extensively examined these topics in Les Navigateurs de l'infini (1925) and its sequel <a href="/w/index.php?title=Les_Astronautes&action=edit&redlink=1" class="new" title="Les Astronautes (page does not exist)">Les Astronautes</a> [<a href="https://fr.wikipedia.org/wiki/Les_Astronautes_(roman)" class="extiw" title="fr:Les Astronautes (roman)">fr</a>] (1960), along with the terrestrial realms uncovered in <a href="/w/index.php?title=Les_Profondeurs_de_Kyamo&action=edit&redlink=1" class="new" title="Les Profondeurs de Kyamo (page does not exist)">Les Profondeurs de Kyamo</a> [<a href="https://fr.wikipedia.org/wiki/Les_Astronautes_(roman)" class="extiw" title="fr:Les Astronautes (roman)">fr</a>] (1891) and <a href="/w/index.php?title=Nymph%C3%A9e&action=edit&redlink=1" class="new" title="Nymphée (page does not exist)">Nymphée</a> [<a href="https://fr.wikipedia.org/wiki/Nymph%C3%A9e_(roman)" class="extiw" title="fr:Nymphée (roman)">fr</a>] (1893, co-written with his brother J.-H. Rosny jeune). These works follow the protagonist, an explorer journeying through uncharted territories, as he discovers alternate civilizations. The solar system is a popular subject for novelists to describe the possibility of inhabited planets.<a href="#cite_note-115">[106]</a> Some famous examples include Mercury in Jean de La Hire's La Roue fulgurante (1908) and José Moselli's Le Messager de la planète (1924), Venusians in Maurice Leblanc's Les Trois Yeux (1920), and Martians in various novels about the Red Planet, such as Arnould Galopin's Docteur Oméga and Henri Gayar's Aventures merveilleuses de Serge Myrandhal (1908). Some famous examples include Mercury in Jean de La Hire's La <a href="/w/index.php?title=La_Roue_fulgurante&action=edit&redlink=1" class="new" title="La Roue fulgurante (page does not exist)">La Roue fulgurante</a> [<a href="https://fr.wikipedia.org/wiki/La_Roue_fulgurante" class="extiw" title="fr:La Roue fulgurante">fr</a>] (1908) and José Moselli's <a href="/w/index.php?title=Le_Messager_de_la_plan%C3%A8te&action=edit&redlink=1" class="new" title="Le Messager de la planète (page does not exist)">Le Messager de la planète</a> [<a href="https://fr.wikipedia.org/wiki/Le_Messager_de_la_plan%C3%A8te" class="extiw" title="fr:Le Messager de la planète">fr</a>] (1924), <a href="/wiki/Venus" title="Venus">Venusians</a> in Maurice Leblanc's <a href="/w/index.php?title=Les_Trois_Yeux&action=edit&redlink=1" class="new" title="Les Trois Yeux (page does not exist)">Les Trois Yeux</a> [<a href="https://fr.wikipedia.org/wiki/Les_Trois_Yeux" class="extiw" title="fr:Les Trois Yeux">fr</a>] (1920), and <a href="/wiki/Mars_in_fiction" title="Mars in fiction">Martians</a> in various novels about the Red Planet, such as Arnould Galopin's Docteur Oméga and Henri Gayar's<a href="#cite_note-116">[107]</a> <a href="/w/index.php?title=Les_Robinsons_de_la_plan%C3%A8te_Mars&action=edit&redlink=1" class="new" title="Les Robinsons de la planète Mars (page does not exist)">Les Robinsons de la planète Mars</a> [<a href="https://fr.wikipedia.org/wiki/Les_Robinsons_de_la_plan%C3%A8te_Mars" class="extiw" title="fr:Les Robinsons de la planète Mars">fr</a>] (1908). In addition to life forms discovered on lost or neighboring planets, this literature exposes the existence of races that surround us without our awareness. One example of such a race is the Sarvants, an intelligent arachnoid species that evolves in the stratosphere. Maurice Renard details this discovery in The Blue Peril (1911).<a href="#cite_note-117">[108]</a> Similarly, in Rosny aîné's short story <a href="/w/index.php?title=Un_autre_monde_(nouvelle)&action=edit&redlink=1" class="new" title="Un autre monde (nouvelle) (page does not exist)">Un autre monde (nouvelle)</a> [<a href="https://fr.wikipedia.org/wiki/Un_autre_monde_(nouvelle)" class="extiw" title="fr:Un autre monde (nouvelle)">fr</a>] (1895), the narrator Gueldrois employs his augmented vision to detect invisible geometric life forms prevalent in our surroundings.<a href="#cite_note-118">[109]</a> Finally, the concept of time travel, with or without the aid of a machine, is widely explored by scientific fiction writers. In his novel <a href="/w/index.php?title=L%27Horloge_des_si%C3%A8cles&action=edit&redlink=1" class="new" title="L'Horloge des siècles (page does not exist)">L'Horloge des siècles</a> [<a href="https://fr.wikipedia.org/wiki/L%27Horloge_des_si%C3%A8cles" class="extiw" title="fr:L'Horloge des siècles">fr</a>] (1902), Albert Robida describes a scenario where after an unknown cataclysm, the Earth reverses its rotation, causing time to flow backwards.<a href="#cite_note-119">[110]</a> In the satirical novel "<a href="/w/index.php?title=La_Belle_Valence&action=edit&redlink=1" class="new" title="La Belle Valence (page does not exist)">La Belle Valence</a> [<a href="https://fr.wikipedia.org/wiki/La_Belle_Valence" class="extiw" title="fr:La Belle Valence">fr</a>]" (1923), André Blandin and Théo Varlet describe the exploits of <a href="/wiki/Poilu" title="Poilu">Poilus</a> who, having come across <a href="/wiki/The_Time_Machine" title="The Time Machine">The Time Machine</a> described by H. G. Wells, accidentally transport their entire infantry troop to 14th-century Valencia, in the midst of a <a href="/wiki/Reconquista" title="Reconquista">medieval war</a> between the Spanish and Arab armies.<a href="#cite_note-120">[111]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Albert_Rodida_-_La_Vie_Electrique_-_illustration_p241.png" class="mw-file-description"><img alt="Dessin en couleurs d'une usine. Au premier plan, deux bocaux contiennent respectivement un échantillon d'atmosphère avec un cadavre d'oiseau ainsi qu'un échantillon d'eau de rivière avec un poisson et un batracien morts." src="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Albert_Rodida_-_La_Vie_Electrique_-_illustration_p241.png/220px-Albert_Rodida_-_La_Vie_Electrique_-_illustration_p241.png" decoding="async" width="220" height="148" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Albert_Rodida_-_La_Vie_Electrique_-_illustration_p241.png/330px-Albert_Rodida_-_La_Vie_Electrique_-_illustration_p241.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/95/Albert_Rodida_-_La_Vie_Electrique_-_illustration_p241.png/440px-Albert_Rodida_-_La_Vie_Electrique_-_illustration_p241.png 2x" data-file-width="2601" data-file-height="1748" /></a><figcaption>In <a href="/wiki/Le_Vingti%C3%A8me_si%C3%A8cle._La_vie_%C3%A9lectrique" title="Le Vingtième siècle. La vie électrique">La vie électrique</a>, published in 1890, <a href="/wiki/Albert_Robida" title="Albert Robida">Albert Robida</a> depicts with his usual satirical eye the progress of an epidemic, the accidental result of "humanitarian and political" research.</figcaption></figure> Finally, another favorite theme of this literary genre is anticipation. Anticipation novels enable us to envision the effects of technological advancements on daily life, both in the near and distant future, or to envision a future world, whether <a href="/wiki/Utopia" title="Utopia">utopian</a> or <a href="/wiki/Dystopia" title="Dystopia">dystopian</a>. For instance, in 1910-1911, illustrator Henri Lanos and Jules Perrin co-authored Un monde sur le monde, a speculative fiction in an ambiguous future where a billionaire faces an uprising triggered by the erection of a towering city of 1,900 meters. Léon de Tinseau's <a href="/w/index.php?title=Le_Duc_Rollon&action=edit&redlink=1" class="new" title="Le Duc Rollon (page does not exist)">Le Duc Rollon</a> [<a href="https://fr.wikipedia.org/wiki/Le_Duc_Rollon" class="extiw" title="fr:Le Duc Rollon">fr</a>] (1912-1913) portrays a post-apocalyptic world in the year 2000, plunged into savagery after a global warfare. Ben Jackson's<a href="#cite_note-121">[nb 10]</a> novel, L' ge Alpha ou la marche du temps (1942), takes place in a city of the 21st century characterized by high levels of inequality and widespread use of <a href="/wiki/Atomic_energy" title="Atomic energy">atomic energy</a>.<a href="#cite_note-122">[112]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Henri_Lanos_-_La_Fin_du_monde._Destruction_de_la_Terre_par_le_choc_d%27une_com%C3%A8te.jpg" class="mw-file-description"><img alt="Illustration en noir et blanc dépeignant la destruction d'une ville par des météorites et un tsunami gigantesque." src="//upload.wikimedia.org/wikipedia/commons/thumb/0/01/Henri_Lanos_-_La_Fin_du_monde._Destruction_de_la_Terre_par_le_choc_d%27une_com%C3%A8te.jpg/220px-Henri_Lanos_-_La_Fin_du_monde._Destruction_de_la_Terre_par_le_choc_d%27une_com%C3%A8te.jpg" decoding="async" width="220" height="316" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/01/Henri_Lanos_-_La_Fin_du_monde._Destruction_de_la_Terre_par_le_choc_d%27une_com%C3%A8te.jpg/330px-Henri_Lanos_-_La_Fin_du_monde._Destruction_de_la_Terre_par_le_choc_d%27une_com%C3%A8te.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/01/Henri_Lanos_-_La_Fin_du_monde._Destruction_de_la_Terre_par_le_choc_d%27une_com%C3%A8te.jpg/440px-Henri_Lanos_-_La_Fin_du_monde._Destruction_de_la_Terre_par_le_choc_d%27une_com%C3%A8te.jpg 2x" data-file-width="714" data-file-height="1024" /></a><figcaption>"Destruction of the Earth by the impact of a comet", illustration by <a href="/w/index.php?title=Henri_Lanos&action=edit&redlink=1" class="new" title="Henri Lanos (page does not exist)">Henri Lanos</a> [<a href="https://fr.wikipedia.org/wiki/Henri_Lanos" class="extiw" title="fr:Henri Lanos">fr</a>] for <a href="/wiki/Camille_Flammarion" title="Camille Flammarion">Camille Flammarion</a>'s <a href="/wiki/Omega:_The_Last_Days_of_the_World" title="Omega: The Last Days of the World">Omega: The Last Days of the World</a> </figcaption></figure> The theme of anticipated future conflict recurs throughout Albert Robida's works, beginning with <a href="/wiki/War_in_the_20th_Century" title="War in the 20th Century">War in the 20th Century</a> (1887),<a href="#cite_note-:0-70">[66]</a> and continuing in his columns for <a href="/wiki/La_Caricature_(1880%E2%80%931904)" title="La Caricature (1880–1904)">La Caricature</a> and his compositions for La Guerre infernale (1908), a novel by Pierre Giffard written during a time of heightened war tension. Robida's illustrations vividly portray the deadly and innovative nature of the impending war, featuring armored cars, asphyxiating gas and gas masks, gigantic shells, and lookout posts against aerial bombardment. These depictions do not exhibit any nationalistic sentiment. Examples include Captain Danrit's<a href="#cite_note-123">[113]</a> tetralogy <a href="/w/index.php?title=La_Guerre_de_demain&action=edit&redlink=1" class="new" title="La Guerre de demain (page does not exist)">La Guerre de demain</a> [<a href="https://fr.wikipedia.org/wiki/La_Guerre_de_demain" class="extiw" title="fr:La Guerre de demain">fr</a>] (1888-1896) and Albert Bonneau's series <a href="/w/index.php?title=Les_Samoura%C3%AFs_du_Soleil_pourpre&action=edit&redlink=1" class="new" title="Les Samouraïs du Soleil pourpre (page does not exist)">Les Samouraïs du Soleil pourpre</a> [<a href="https://fr.wikipedia.org/wiki/Les_Samoura%C3%AFs_du_Soleil_pourpre" class="extiw" title="fr:Les Samouraïs du Soleil pourpre">fr</a>] (1928-1931).<a href="#cite_note-:0-70">[66]</a> Finally, anticipation can be portrayed as an apocalyptic narrative, like the cataclysm in <a href="/w/index.php?title=La_Force_myst%C3%A9rieuse&action=edit&redlink=1" class="new" title="La Force mystérieuse (page does not exist)">La Force mystérieuse</a> [<a href="https://fr.wikipedia.org/wiki/La_Force_myst%C3%A9rieuse" class="extiw" title="fr:La Force mystérieuse">fr</a>] (1913) by J.-H. Rosny aîné. Following an unknown cosmic disturbance, the luminous spectrum induces a temporary crisis of madness in all living beings, resulting in the decimation of a significant portion of humanity.<a href="#cite_note-124">[114]</a> This topic is also examined by astronomer Camille Flammarion in the 1893 work <a href="/wiki/Omega:_The_Last_Days_of_the_World" title="Omega: The Last Days of the World">Omega: The Last Days of the World</a>. This text is both an anticipatory novel and a scientific essay discussing potential ways for the planet Earth to come to an end.<a href="#cite_note-125">[115]</a> <div class="mw-heading mw-heading3"><h3 id="Publication_media_that_encourage_a_popular_audience">Publication media that encourage a popular audience</h3>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=10" title="Edit section: Publication media that encourage a popular audience">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Journal_des_voyages_n%C2%B0620.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/df/Journal_des_voyages_n%C2%B0620.jpg/220px-Journal_des_voyages_n%C2%B0620.jpg" decoding="async" width="220" height="305" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/df/Journal_des_voyages_n%C2%B0620.jpg/330px-Journal_des_voyages_n%C2%B0620.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/df/Journal_des_voyages_n%C2%B0620.jpg/440px-Journal_des_voyages_n%C2%B0620.jpg 2x" data-file-width="2610" data-file-height="3618" /></a><figcaption><a href="/w/index.php?title=Journal_des_voyages&action=edit&redlink=1" class="new" title="Journal des voyages (page does not exist)">Journal des voyages</a> [<a href="https://fr.wikipedia.org/wiki/Journal_des_voyages" class="extiw" title="fr:Journal des voyages">fr</a>] magazine offers a mix of exploration stories and scientific adventure serials.</figcaption></figure> Maurice Renard encouraged his colleagues to embrace and promote the use of science fiction.<a href="#cite_note-:8-28">[27]</a> Although the genre's theories were initially read by the Parisian literary elite of the early 20th century,<a href="#cite_note-126">[116]</a> proponents of the genre were primarily popular novelists who published their works in large-circulation periodicals and publishing houses geared towards workers. To captivate their readers, writers crafted exciting tales with archetypal heroes and applied these storylines to scientific marvels, as well as popular genres like sentimental literature, historical adventure stories, and detective tales.<a href="#cite_note-:12-37">[35]</a> However, detractors soon labeled the works promoted by Renard as a sub-genre due to their formulaic nature.<a href="#cite_note-127">[117]</a> By the close of the 19th century, various scientific journals published scientific adventure tales alongside popularization articles.<a href="#cite_note-128">[118]</a> The <a href="/w/index.php?title=Journal_des_voyages&action=edit&redlink=1" class="new" title="Journal des voyages (page does not exist)">Journal des voyages</a> [<a href="https://fr.wikipedia.org/wiki/Journal_des_voyages" class="extiw" title="fr:Journal des voyages">fr</a>], established by <a href="/w/index.php?title=Charles-Lucien_Huard&action=edit&redlink=1" class="new" title="Charles-Lucien Huard (page does not exist)">Charles-Lucien Huard</a> [<a href="https://fr.wikipedia.org/wiki/Charles-Lucien_Huard" class="extiw" title="fr:Charles-Lucien Huard">fr</a>], and <a href="/w/index.php?title=Sciences_et_Voyages&action=edit&redlink=1" class="new" title="Sciences et Voyages (page does not exist)">Sciences et Voyages</a> [<a href="https://fr.wikipedia.org/wiki/Sciences_et_Voyages" class="extiw" title="fr:Sciences et Voyages">fr</a>] magazine, founded by the <a href="/w/index.php?title=Offenstadt_brothers&action=edit&redlink=1" class="new" title="Offenstadt brothers (page does not exist)">Offenstadt brothers</a> [<a href="https://fr.wikipedia.org/wiki/Fr%C3%A8res_Offenstadt" class="extiw" title="fr:Frères Offenstadt">fr</a>], published serialized works in the field of marvelous science in addition to travel accounts. Meanwhile, <a href="/w/index.php?title=La_Science_illustr%C3%A9e&action=edit&redlink=1" class="new" title="La Science illustrée (page does not exist)">La Science illustrée</a> [<a href="https://fr.wikipedia.org/wiki/La_Science_illustr%C3%A9e" class="extiw" title="fr:La Science illustrée">fr</a>] by <a href="/wiki/Louis_Figuier" title="Louis Figuier">Louis Figuier</a> featured popular science articles alongside novels by authors Louis Boussenard and Count <a href="/w/index.php?title=Didier_de_Chousy&action=edit&redlink=1" class="new" title="Didier de Chousy (page does not exist)">Didier de Chousy</a> [<a href="https://fr.wikipedia.org/wiki/Didier_de_Chousy" class="extiw" title="fr:Didier de Chousy">fr</a>]. General interest magazines also published a variety of serialized novels, including <a href="/wiki/Lectures_pour_tous" title="Lectures pour tous">Lectures pour tous</a>, which contained short stories from various authors such as Octave Béliard, Maurice Renard, Raoul Bigot, Noëlle Roger, and J.-H. Rosny aîné. Rosny aîné. Additionally, the magazines operated by Pierre Lafitte - the daily <a href="/w/index.php?title=Excelsior_journal&action=edit&redlink=1" class="new" title="Excelsior journal (page does not exist)">Excelsior journal</a> [<a href="https://fr.wikipedia.org/wiki/Excelsior_(journal)" class="extiw" title="fr:Excelsior (journal)">fr</a>] and monthly <a href="/wiki/Je_sais_tout" title="Je sais tout">Je sais tout</a> - featured works by Guy de Téramond, Léon Groc, André Couvreur, Michel Corday, and additional short stories by Maurice Renard and J.-H. Rosny aîné, Maurice Leblanc, Michel Corday, Paul Arosa, and Jules Perrin were notable authors of speculative fiction in early 20th-century France. Additionally, certain daily newspapers, including <a href="/wiki/L%27Intransigeant" title="L'Intransigeant">L'Intransigeant</a>, which featured multiple novels by Maurice Renard and Léon Groc, and <a href="/wiki/Le_Matin_(France)" title="Le Matin (France)">Le Matin</a>, which published works by Maurice Renard, Jean de La Hire, and Gaston Leroux,<a href="#cite_note-:5-14">[14]</a> provided their readers with sci-fi and fantasy novels. Some other publications, such as L'Assiette au beurre and Le Miroir du Monde, utilized special issues to publish occasional merveilleux-scientifique stories.<a href="#cite_note-:1-129">[119]</a> <ul class="gallery mw-gallery-packed"> <li class="gallerybox" style="width: 121.33333333333px"> <div class="thumb" style="width: 119.33333333333px;"><a href="/wiki/File:Journal_des_voyages_n%C2%B0705_(5_juin_1910).jpg" class="mw-file-description" title="Journal des voyages [fr] No. 705, june 1910."><img alt="Journal des voyages [fr] No. 705, june 1910." src="//upload.wikimedia.org/wikipedia/commons/thumb/3/33/Journal_des_voyages_n%C2%B0705_%285_juin_1910%29.jpg/179px-Journal_des_voyages_n%C2%B0705_%285_juin_1910%29.jpg" decoding="async" width="120" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/33/Journal_des_voyages_n%C2%B0705_%285_juin_1910%29.jpg/270px-Journal_des_voyages_n%C2%B0705_%285_juin_1910%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/33/Journal_des_voyages_n%C2%B0705_%285_juin_1910%29.jpg/359px-Journal_des_voyages_n%C2%B0705_%285_juin_1910%29.jpg 2x" data-file-width="721" data-file-height="1024" /></a></div> <div class="gallerytext"><a href="/w/index.php?title=Journal_des_voyages&action=edit&redlink=1" class="new" title="Journal des voyages (page does not exist)">Journal des voyages</a> [<a href="https://fr.wikipedia.org/wiki/Journal_des_voyages" class="extiw" title="fr:Journal des voyages">fr</a>] No. 705, june 1910.</div> </li> <li class="gallerybox" style="width: 126px"> <div class="thumb" style="width: 124px;"><a href="/wiki/File:Sciences_et_Voyages_n%C2%B04_(novembre_1919).jpg" class="mw-file-description" title="Sciences et Voyages [fr] No. 4, november 1919."><img alt="Sciences et Voyages [fr] No. 4, november 1919." src="//upload.wikimedia.org/wikipedia/commons/thumb/7/72/Sciences_et_Voyages_n%C2%B04_%28novembre_1919%29.jpg/186px-Sciences_et_Voyages_n%C2%B04_%28novembre_1919%29.jpg" decoding="async" width="124" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/72/Sciences_et_Voyages_n%C2%B04_%28novembre_1919%29.jpg/279px-Sciences_et_Voyages_n%C2%B04_%28novembre_1919%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/72/Sciences_et_Voyages_n%C2%B04_%28novembre_1919%29.jpg/372px-Sciences_et_Voyages_n%C2%B04_%28novembre_1919%29.jpg 2x" data-file-width="841" data-file-height="1152" /></a></div> <div class="gallerytext"><a href="/w/index.php?title=Sciences_et_Voyages&action=edit&redlink=1" class="new" title="Sciences et Voyages (page does not exist)">Sciences et Voyages</a> [<a href="https://fr.wikipedia.org/wiki/Sciences_et_Voyages" class="extiw" title="fr:Sciences et Voyages">fr</a>] No. 4, november 1919.</div> </li> <li class="gallerybox" style="width: 120.66666666667px"> <div class="thumb" style="width: 118.66666666667px;"><a href="/wiki/File:La_Science_et_la_Vie_n%C2%B0_69_(mars_1923).jpg" class="mw-file-description" title="Science & Vie No. 69, march 1923."><img alt="Science & Vie No. 69, march 1923." src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b8/La_Science_et_la_Vie_n%C2%B0_69_%28mars_1923%29.jpg/178px-La_Science_et_la_Vie_n%C2%B0_69_%28mars_1923%29.jpg" decoding="async" width="119" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b8/La_Science_et_la_Vie_n%C2%B0_69_%28mars_1923%29.jpg/267px-La_Science_et_la_Vie_n%C2%B0_69_%28mars_1923%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b8/La_Science_et_la_Vie_n%C2%B0_69_%28mars_1923%29.jpg/356px-La_Science_et_la_Vie_n%C2%B0_69_%28mars_1923%29.jpg 2x" data-file-width="582" data-file-height="834" /></a></div> <div class="gallerytext"><a href="/wiki/Science_%26_Vie" title="Science & Vie">Science & Vie</a> No. 69, march 1923.</div> </li> <li class="gallerybox" style="width: 122.66666666667px"> <div class="thumb" style="width: 120.66666666667px;"><a href="/wiki/File:Je_sais_tout_(juin_1928).jpg" class="mw-file-description" title="Je sais tout, june 1928."><img alt="Je sais tout, june 1928." src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d0/Je_sais_tout_%28juin_1928%29.jpg/181px-Je_sais_tout_%28juin_1928%29.jpg" decoding="async" width="121" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d0/Je_sais_tout_%28juin_1928%29.jpg/271px-Je_sais_tout_%28juin_1928%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d0/Je_sais_tout_%28juin_1928%29.jpg/361px-Je_sais_tout_%28juin_1928%29.jpg 2x" data-file-width="3058" data-file-height="4316" /></a></div> <div class="gallerytext"><a href="/wiki/Je_sais_tout" title="Je sais tout">Je sais tout</a>, june 1928.</div> </li> </ul> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Gino_Starace_-_L%27Homme_au_masque_de_chair_(Andr%C3%A9_Delcamp).jpg" class="mw-file-description"><img alt="Couverture d'un roman titré « L'Homme au masque de chair » sur laquelle est représenté un homme dont le visage est entouré de bandages." src="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Gino_Starace_-_L%27Homme_au_masque_de_chair_%28Andr%C3%A9_Delcamp%29.jpg/220px-Gino_Starace_-_L%27Homme_au_masque_de_chair_%28Andr%C3%A9_Delcamp%29.jpg" decoding="async" width="220" height="323" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Gino_Starace_-_L%27Homme_au_masque_de_chair_%28Andr%C3%A9_Delcamp%29.jpg/330px-Gino_Starace_-_L%27Homme_au_masque_de_chair_%28Andr%C3%A9_Delcamp%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/95/Gino_Starace_-_L%27Homme_au_masque_de_chair_%28Andr%C3%A9_Delcamp%29.jpg/440px-Gino_Starace_-_L%27Homme_au_masque_de_chair_%28Andr%C3%A9_Delcamp%29.jpg 2x" data-file-width="1017" data-file-height="1491" /></a><figcaption>An Italian painter, <a href="/w/index.php?title=Gino_Starace&action=edit&redlink=1" class="new" title="Gino Starace (page does not exist)">Gino Starace</a> [<a href="https://fr.wikipedia.org/wiki/Gino_Starace" class="extiw" title="fr:Gino Starace">fr</a>] worked with a number of publishing houses to illustrate <a href="/wiki/Genre_fiction" title="Genre fiction">popular literature</a>, including some merveilleux-scientifique novels such as André Delcamp's L'Homme au masque de chair, published in 1935 in the "Le Livre populaire" collection by <a href="/wiki/Fayard" title="Fayard">Fayard</a>.</figcaption></figure> Several successful publishing houses, frequently producing large print runs, are also engaged in distributing novels related to merveilleux scientifique. However, no particular compilation explicitly categorizes itself as a representative of this genre. Four publishers, namely Albert Méricant, <a href="/w/index.php?title=Jules_Tallandier&action=edit&redlink=1" class="new" title="Jules Tallandier (page does not exist)">Jules Tallandier</a> [<a href="https://fr.wikipedia.org/wiki/%C3%89ditions_Tallandier" class="extiw" title="fr:Éditions Tallandier">fr</a>], <a href="/w/index.php?title=Joseph_Ferenczi&action=edit&redlink=1" class="new" title="Joseph Ferenczi (page does not exist)">Joseph Ferenczi</a> [<a href="https://fr.wikipedia.org/wiki/Ferenczi_%26_fils" class="extiw" title="fr:Ferenczi & fils">fr</a>], and Pierre Lafitte, are notable for their consistent catalogs. <a href="/w/index.php?title=Editions_Albert_Mericant&action=edit&redlink=1" class="new" title="Editions Albert Mericant (page does not exist)">Editions Albert Mericant</a> [<a href="https://fr.wikipedia.org/wiki/%C3%89ditions_Albert_M%C3%A9ricant" class="extiw" title="fr:Éditions Albert Méricant">fr</a>] published multiple works by Gustave Le Rouge and Paul d'Ivoi in the "Le Roman d'Aventures" series (1908-1909). Additionally, works by Leon Groc, Jules Hoche, and Jean de Quirielle were published in the "Les Recits Mysterieux" collection (1912-1914). Editions Tallandier regularly had covers illustrated by <a href="/w/index.php?title=Maurice_Toussaint&action=edit&redlink=1" class="new" title="Maurice Toussaint (page does not exist)">Maurice Toussaint</a> [<a href="https://fr.wikipedia.org/wiki/%C3%89ditions_Tallandier" class="extiw" title="fr:Éditions Tallandier">fr</a>]. They offered two collections, the "Bibliothèque des Grandes Aventures" (1927-1930), featuring authors such as <a href="/w/index.php?title=Henri_Gayar&action=edit&redlink=1" class="new" title="Henri Gayar (page does not exist)">Henri Gayar</a> [<a href="https://fr.wikipedia.org/wiki/Henri_Gayar" class="extiw" title="fr:Henri Gayar">fr</a>], <a href="/w/index.php?title=Norbert_Sevestre&action=edit&redlink=1" class="new" title="Norbert Sevestre (page does not exist)">Norbert Sevestre</a> [<a href="https://fr.wikipedia.org/wiki/Norbert_Sevestre" class="extiw" title="fr:Norbert Sevestre">fr</a>], Paul d'Ivoi, Louis Boussenard, and René Thévenin. This was followed by <a href="/w/index.php?title=Le_Lynx_(literary_collection)&action=edit&redlink=1" class="new" title="Le Lynx (literary collection) (page does not exist)">Le Lynx (literary collection)</a> [<a href="https://fr.wikipedia.org/wiki/Le_Lynx_(collection_litt%C3%A9raire)" class="extiw" title="fr:Le Lynx (collection littéraire)">fr</a>] (1939-1941), with reprints by H. J. Magog, André Couvreur, and Léon Groc. In addition to his periodicals, Pierre Lafitte published science fiction novels through his publishing house <a href="/w/index.php?title=(Editions_Pierre_Lafitte)&action=edit&redlink=1" class="new" title="(Editions Pierre Lafitte) (page does not exist)">(Editions Pierre Lafitte)</a> [<a href="https://fr.wikipedia.org/wiki/%C3%89ditions_Pierre_Lafitte" class="extiw" title="fr:Éditions Pierre Lafitte">fr</a>]. These novels were notably featured in the "Idéal-Bibliothèque" collection, which included works by Clément Vautel and Maurice Renard, as well as in the "Point d'interrogation" detective collection, which featured some speculative works by Maurice Leblanc. Ferenczi & Sons contributed to the distribution of merveilleux-scientifique novels through several collections. Many of the covers were illustrated by Henri Armengol. Some of the collections include "The Great Novels", "Trips and Adventures", "The Adventure Book", "The Small Adventure Novel", "The Secret Police Files," and "The Novels of Guy de Téramond," a collection dedicated to this particular author.<a href="#cite_note-:5-14">[14]</a> Smaller publishers participated in this movement as well, including Editions La Fenêtre ouverte, where writer and translator <a href="/wiki/R%C3%A9gis_Messac" title="Régis Messac">Régis Messac</a> debuted the "<a href="/w/index.php?title=Les_Hypermondes&action=edit&redlink=1" class="new" title="Les Hypermondes (page does not exist)">Les Hypermondes</a> [<a href="https://fr.wikipedia.org/wiki/Les_Hypermondes" class="extiw" title="fr:Les Hypermondes">fr</a>]" collection in 1935. This series focused on scientific tales<a href="#cite_note-130">[nb 11]</a> but was terminated prematurely by <a href="/wiki/World_War_II" title="World War II">World War II</a>.<a href="#cite_note-131">[120]</a> Concurrently, science fiction literature was expanding abroad. Several novels in the scientific imagination genre were translated and published in <a href="/wiki/Italy" title="Italy">Italy</a>, <a href="/wiki/Great_Britain" title="Great Britain">Great Britain</a>, the <a href="/wiki/Czech_Republic" title="Czech Republic">Czech Republic</a>, <a href="/wiki/Russia" title="Russia">Russia</a>, and <a href="/wiki/Spain" title="Spain">Spain</a> a few months after their release in <a href="/wiki/France" title="France">France</a>. Notably, Il Romanzo Mensile, an Italian magazine, published 26 tales of scientific imagination between 1908 and 1933. Some of the most famous stories by authors such as Maurice Renard (<a href="/wiki/L%27Homme_truqu%C3%A9_(The_Doctored_Man)" title="L'Homme truqué (The Doctored Man)">L'Homme truqué</a>), Guy de Téramond (<a href="/w/index.php?title=L%27Homme_qui_voit_%C3%A0_travers_les_murailles&action=edit&redlink=1" class="new" title="L'Homme qui voit à travers les murailles (page does not exist)">L'Homme qui voit à travers les murailles</a> [<a href="https://fr.wikipedia.org/wiki/L%27Homme_qui_voit_%C3%A0_travers_les_murailles" class="extiw" title="fr:L'Homme qui voit à travers les murailles">fr</a>]),<a href="#cite_note-:5-14">[14]</a> and Gaston Leroux (<a href="/w/index.php?title=Le_Fauteuil_hant%C3%A9&action=edit&redlink=1" class="new" title="Le Fauteuil hanté (page does not exist)">Le Fauteuil hanté</a> [<a href="https://fr.wikipedia.org/wiki/Le_Fauteuil_hant%C3%A9" class="extiw" title="fr:Le Fauteuil hanté">fr</a>]) were included. The Transalpine Monthly, published by the daily <a href="/wiki/Corriere_della_Sera" title="Corriere della Sera">Corriere della Sera</a>, showcases a diverse collection of intriguing and imaginative tales from renowned fiction writers across various nations. French novelists of merveilleux scientifique coexist alongside acclaimed authors including Scotland's <a href="/wiki/Arthur_Conan_Doyle" title="Arthur Conan Doyle">Conan Doyle</a>, England's <a href="/wiki/H._Rider_Haggard" title="H. Rider Haggard">Henry Rider Haggard</a>, Ireland's <a href="/wiki/Sheridan_Le_Fanu" title="Sheridan Le Fanu">Sheridan Le Fanu</a>, and Australia's <a href="/wiki/Carlton_Dawe" title="Carlton Dawe">Carlton Dawe</a>.<a href="#cite_note-132">[121]</a> <ul class="gallery mw-gallery-packed"> <li class="gallerybox" style="width: 118px"> <div class="thumb" style="width: 116px;"><a href="/wiki/File:Le_myst%C3%A9rieux_docteur_Corn%C3%A9lius_-_Patria_-_fascicule_n%C2%B04.jpg" class="mw-file-description" title="The adventures of Dr. Cornelius are translated and published abroad. Cover by Julien t' Felt [fr] for the Dutch version published in 1927."><img alt="The adventures of Dr. Cornelius are translated and published abroad. Cover by Julien t' Felt [fr] for the Dutch version published in 1927." src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Le_myst%C3%A9rieux_docteur_Corn%C3%A9lius_-_Patria_-_fascicule_n%C2%B04.jpg/174px-Le_myst%C3%A9rieux_docteur_Corn%C3%A9lius_-_Patria_-_fascicule_n%C2%B04.jpg" decoding="async" width="116" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Le_myst%C3%A9rieux_docteur_Corn%C3%A9lius_-_Patria_-_fascicule_n%C2%B04.jpg/261px-Le_myst%C3%A9rieux_docteur_Corn%C3%A9lius_-_Patria_-_fascicule_n%C2%B04.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Le_myst%C3%A9rieux_docteur_Corn%C3%A9lius_-_Patria_-_fascicule_n%C2%B04.jpg/348px-Le_myst%C3%A9rieux_docteur_Corn%C3%A9lius_-_Patria_-_fascicule_n%C2%B04.jpg 2x" data-file-width="1093" data-file-height="1600" /></a></div> <div class="gallerytext">The adventures of <a href="/w/index.php?title=Dr._Cornelius&action=edit&redlink=1" class="new" title="Dr. Cornelius (page does not exist)">Dr. Cornelius</a> are translated and published abroad. Cover by <a href="/w/index.php?title=Julien_t%27_Felt&action=edit&redlink=1" class="new" title="Julien t' Felt (page does not exist)">Julien t' Felt</a> [<a href="https://fr.wikipedia.org/wiki/Julien_t%27_Felt" class="extiw" title="fr:Julien t' Felt">fr</a>] for the Dutch version published in 1927.</div> </li> <li class="gallerybox" style="width: 120.66666666667px"> <div class="thumb" style="width: 118.66666666667px;"><a href="/wiki/File:Il_Romanzo_Mensile_-_1915-09-15.jpg" class="mw-file-description" title="Riccardo Salvadori, regular illustrator for Il Romanzo Mensile magazine, illustrates the Italian version of Guy de Téramond's L'Homme qui voit à travers les murailles [fr]."><img alt="Riccardo Salvadori, regular illustrator for Il Romanzo Mensile magazine, illustrates the Italian version of Guy de Téramond's L'Homme qui voit à travers les murailles [fr]." src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e9/Il_Romanzo_Mensile_-_1915-09-15.jpg/178px-Il_Romanzo_Mensile_-_1915-09-15.jpg" decoding="async" width="119" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e9/Il_Romanzo_Mensile_-_1915-09-15.jpg/268px-Il_Romanzo_Mensile_-_1915-09-15.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e9/Il_Romanzo_Mensile_-_1915-09-15.jpg/357px-Il_Romanzo_Mensile_-_1915-09-15.jpg 2x" data-file-width="943" data-file-height="1348" /></a></div> <div class="gallerytext"><a href="/wiki/Riccardo_Salvadori" title="Riccardo Salvadori">Riccardo Salvadori</a>, regular illustrator for Il Romanzo Mensile magazine, illustrates the Italian version of <a href="https://fr.wikipedia.org/wiki/Guy_de_T%C3%A9ramond" class="extiw" title="fr:Guy de Téramond">Guy de Téramond</a>'s <a href="/w/index.php?title=L%27Homme_qui_voit_%C3%A0_travers_les_murailles&action=edit&redlink=1" class="new" title="L'Homme qui voit à travers les murailles (page does not exist)">L'Homme qui voit à travers les murailles</a> [<a href="https://fr.wikipedia.org/wiki/L%27Homme_qui_voit_%C3%A0_travers_les_murailles" class="extiw" title="fr:L'Homme qui voit à travers les murailles">fr</a>].</div> </li> <li class="gallerybox" style="width: 128px"> <div class="thumb" style="width: 126px;"><a href="/wiki/File:Maurice_Renard_-_Orlakovy_ruce.jpg" class="mw-file-description" title="Maurice Renard's novel Les Mains d'Orlac was translated into Czech in 1926, six years after its French publication."><img alt="Maurice Renard's novel Les Mains d'Orlac was translated into Czech in 1926, six years after its French publication." src="//upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Maurice_Renard_-_Orlakovy_ruce.jpg/189px-Maurice_Renard_-_Orlakovy_ruce.jpg" decoding="async" width="126" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Maurice_Renard_-_Orlakovy_ruce.jpg/284px-Maurice_Renard_-_Orlakovy_ruce.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Maurice_Renard_-_Orlakovy_ruce.jpg/378px-Maurice_Renard_-_Orlakovy_ruce.jpg 2x" data-file-width="420" data-file-height="567" /></a></div> <div class="gallerytext"><a href="/wiki/Maurice_Renard" title="Maurice Renard">Maurice Renard</a>'s novel <a href="/wiki/Les_Mains_d%27Orlac" title="Les Mains d'Orlac">Les Mains d'Orlac</a> was translated into <a href="/wiki/Czech_language" title="Czech language">Czech</a> in 1926, six years after its French publication.</div> </li> <li class="gallerybox" style="width: 113.33333333333px"> <div class="thumb" style="width: 111.33333333333px;"><a href="/wiki/File:La_Hire_-_Sverkayushcheye_koleso.jpg" class="mw-file-description" title="An interstellar tale, Jean de La Hire's La Roue fulgurante [fr] was translated into Russian in 1908."><img alt="An interstellar tale, Jean de La Hire's La Roue fulgurante [fr] was translated into Russian in 1908." src="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/La_Hire_-_Sverkayushcheye_koleso.jpg/167px-La_Hire_-_Sverkayushcheye_koleso.jpg" decoding="async" width="112" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/La_Hire_-_Sverkayushcheye_koleso.jpg/251px-La_Hire_-_Sverkayushcheye_koleso.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/95/La_Hire_-_Sverkayushcheye_koleso.jpg/335px-La_Hire_-_Sverkayushcheye_koleso.jpg 2x" data-file-width="394" data-file-height="600" /></a></div> <div class="gallerytext">An interstellar tale, <a href="/wiki/Jean_de_La_Hire" title="Jean de La Hire">Jean de La Hire</a>'s <a href="/w/index.php?title=La_Roue_fulgurante&action=edit&redlink=1" class="new" title="La Roue fulgurante (page does not exist)">La Roue fulgurante</a> [<a href="https://fr.wikipedia.org/wiki/La_Roue_fulgurante" class="extiw" title="fr:La Roue fulgurante">fr</a>] was translated into Russian in 1908.</div> </li> <li class="gallerybox" style="width: 118.66666666667px"> <div class="thumb" style="width: 116.66666666667px;"><a href="/wiki/File:Gaston_Leroux_-_The_Machine_to_kill.jpg" class="mw-file-description" title="The English version of Gaston Leroux's La Machine à assassiner [fr] was published by The Macaulay Company in 1935."><img alt="The English version of Gaston Leroux's La Machine à assassiner [fr] was published by The Macaulay Company in 1935." src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Gaston_Leroux_-_The_Machine_to_kill.jpg/175px-Gaston_Leroux_-_The_Machine_to_kill.jpg" decoding="async" width="117" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Gaston_Leroux_-_The_Machine_to_kill.jpg/263px-Gaston_Leroux_-_The_Machine_to_kill.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/8/8d/Gaston_Leroux_-_The_Machine_to_kill.jpg 2x" data-file-width="309" data-file-height="450" /></a></div> <div class="gallerytext">The English version of <a href="/wiki/Gaston_Leroux" title="Gaston Leroux">Gaston Leroux</a>'s <a href="/w/index.php?title=La_Machine_%C3%A0_assassiner&action=edit&redlink=1" class="new" title="La Machine à assassiner (page does not exist)">La Machine à assassiner</a> [<a href="https://fr.wikipedia.org/wiki/La_Machine_%C3%A0_assassiner" class="extiw" title="fr:La Machine à assassiner">fr</a>] was published by The Macaulay Company in 1935.</div> </li> </ul> <div class="mw-heading mw-heading2"><h2 id="Other_media_for_merveilleux_scientifique">Other media for merveilleux scientifique</h2>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=11" title="Edit section: Other media for merveilleux scientifique">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Albert_Robida_-_ND_de_Paris_(version_en_couleurs).jpg" class="mw-file-description"><img alt="dessin en couleurs d'un bâtiment construit sur les tours d'une cathédrale au milieu duquel naviguent de nombreux aéronefs." src="//upload.wikimedia.org/wikipedia/commons/thumb/3/30/Albert_Robida_-_ND_de_Paris_%28version_en_couleurs%29.jpg/220px-Albert_Robida_-_ND_de_Paris_%28version_en_couleurs%29.jpg" decoding="async" width="220" height="318" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/30/Albert_Robida_-_ND_de_Paris_%28version_en_couleurs%29.jpg/330px-Albert_Robida_-_ND_de_Paris_%28version_en_couleurs%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/30/Albert_Robida_-_ND_de_Paris_%28version_en_couleurs%29.jpg/440px-Albert_Robida_-_ND_de_Paris_%28version_en_couleurs%29.jpg 2x" data-file-width="640" data-file-height="925" /></a><figcaption>The towers of <a href="/wiki/Notre-Dame_de_Paris" title="Notre-Dame de Paris">Notre-Dame de Paris</a> cathedral house the central aircraft station in <a href="/wiki/Albert_Robida" title="Albert Robida">Albert Robida</a>'s <a href="/wiki/Le_Vingti%C3%A8me_si%C3%A8cle._La_vie_%C3%A9lectrique" title="Le Vingtième siècle. La vie électrique">Le Vingtième Siècle</a> (1883).</figcaption></figure> <div class="mw-heading mw-heading3"><h3 id="Enchanting_science_through_illustrations">Enchanting science through illustrations</h3>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=12" title="Edit section: Enchanting science through illustrations">edit</a>]</div> Illustrators played a significant role in the development of merveilleux scientifique due to their graphic imagination.<a href="#cite_note-133">[122]</a> The first generation of illustrators ventured to utilize innovative imagery, satire, and caricature in the French press.<a href="#cite_note-:1-129">[119]</a> Albert Robida typifies this group of cartoonists with his comical exploits, like Saturnin Farandoul's <a href="/wiki/Voyages_tr%C3%A8s_extraordinaires_de_Saturnin_Farandoul" title="Voyages très extraordinaires de Saturnin Farandoul">Voyages très extraordinaires</a> (1879), which parodies Jules Verne's <a href="/wiki/Voyages_extraordinaires" title="Voyages extraordinaires">Voyages extraordinaires</a>.<a href="#cite_note-134">[123]</a> Gradually, the illustrations became less exaggerated as artists developed their own unique style. Experimentation occurred on the covers of both magazines and novels, as well as within the pages of speculative fictional accounts.<a href="#cite_note-:1-129">[119]</a> However, publishers maintained closer control over novel cover designs, limiting artistic freedom.<a href="#cite_note-:2-135">[124]</a> In fact, illustrators prioritized technological fantasy over scientific accuracy, resulting in a visual rather than scientific approach. Consequently, scenes frequently portray individuals attired in <a href="/wiki/Suit" title="Suit">three-piece suits</a> and <a href="/wiki/Top_hat" title="Top hat">top hats</a>, mingling with futuristic apparatuses like "telephonoscopes" and aerial railroads.<a href="#cite_note-136">[125]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:France_in_XXI_Century._Microbes.jpg" class="mw-file-description"><img alt="Illustration en couleurs représentant deux savants devant l'image projetée de microbes menaçants." src="//upload.wikimedia.org/wikipedia/commons/thumb/2/29/France_in_XXI_Century._Microbes.jpg/220px-France_in_XXI_Century._Microbes.jpg" decoding="async" width="220" height="126" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/29/France_in_XXI_Century._Microbes.jpg/330px-France_in_XXI_Century._Microbes.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/29/France_in_XXI_Century._Microbes.jpg/440px-France_in_XXI_Century._Microbes.jpg 2x" data-file-width="1510" data-file-height="864" /></a><figcaption>La chasse aux microbes, <a href="/wiki/Chromolithography" title="Chromolithography">color lithograph</a> by <a href="/w/index.php?title=Jean-Marc_C%C3%B4t%C3%A9&action=edit&redlink=1" class="new" title="Jean-Marc Côté (page does not exist)">Jean-Marc Côté</a> for the <a href="/wiki/En_L%27An_2000" title="En L'An 2000">En l'an 2000</a> (1910) series of futuristic postcards.</figcaption></figure> Moreover, illustrators are tasked with illustrating the writings of novelists who extrapolate scientific inventions and those of scientists who aim to popularize scientific knowledge,<a href="#cite_note-137">[126]</a> resulting in a combination of genres and a reciprocal exchange between the fantastical and the scientific. To convey scientific imagery, often consisting of unrealistic visuals, illustrators must employ their imagination to make it understandable to the reader. For instance, when viewed under a microscope, microbes may resemble snakes or amphibians.<a href="#cite_note-:15-138">[127]</a> Illustration is crucial in developing a merveilleux-scientifique imaginary by continuously blending visual elements between the two components. This is achieved through various means, including the evoked theme, the alternating of incredible stories and scientific articles, or the use of photomontage. The use of the technique that combines photographs and painted inserts, which was frequently utilized in Je sais tout magazine, serves to accentuate the connection between wonder and science.<a href="#cite_note-139">[128]</a> Alongside magazine interior illustrations and novel covers, numerous other media aided in the proliferation of this merveilleux-scientifique imagery. For instance, in the 1950s, the chocolatier <a href="/wiki/C%C3%A9moi" title="Cémoi">Cantaloup-Catala</a> published a collection of postcards and collectible images<a href="#cite_note-140">[129]</a> titled "Anticipation... life in the year 2000" to idealize the future means of transportation.<a href="#cite_note-141">[130]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Henri_Lanos_-_transport_a%C3%A9rien.jpg" class="mw-file-description"><img alt="dessin en noir et blanc d'un aéronef accosté au balcon d'un immeuble." src="//upload.wikimedia.org/wikipedia/commons/thumb/5/55/Henri_Lanos_-_transport_a%C3%A9rien.jpg/220px-Henri_Lanos_-_transport_a%C3%A9rien.jpg" decoding="async" width="220" height="312" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/55/Henri_Lanos_-_transport_a%C3%A9rien.jpg/330px-Henri_Lanos_-_transport_a%C3%A9rien.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/55/Henri_Lanos_-_transport_a%C3%A9rien.jpg/440px-Henri_Lanos_-_transport_a%C3%A9rien.jpg 2x" data-file-width="1443" data-file-height="2047" /></a><figcaption>"Une sortie de bal", illustration by Henri Lanos in <a href="/wiki/Je_sais_tout" title="Je sais tout">Je sais tout</a>, February 1905.</figcaption></figure> The depiction of the futuristic city is a recurring theme in the graphic art of merveilleux scientifique. Its significance goes beyond just being a mere setting; it symbolizes the society of the future<a href="#cite_note-142">[131]</a> and provides a pretext for showcasing a favorite illustration theme - the juxtaposition of man and his monumental surroundings.<a href="#cite_note-143">[132]</a> Airborne vehicles dancing against a backdrop of disproportionate architecture is a common feature of this imagery. The planes disembark a constant flow of travelers on the rooftops functioning as flight decks.<a href="#cite_note-:2-135">[124]</a> The merveilleux-scientifique vision is pervaded by exoticism, which is especially emphasized on the book covers. Regardless of the storyline, the illustrators always include a visual element that announces the adventure in a distant and lesser-known nation. The desire to disorient readers is paired with an effort to stimulate their imagination, exemplified by Georges Conrad's illustrations gracing many covers of the Journal des voyages. Conrad draws inspiration from Parisian libraries. In contrast, space travel tales frequently appear in merveilleux-scientifique works, but corresponding illustrations are infrequent and noticeably less groundbreaking.<a href="#cite_note-144">[133]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Jean_de_la_Hire_-_L%27Homme_qui_peut_vivre_dans_l%27eau.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/Jean_de_la_Hire_-_L%27Homme_qui_peut_vivre_dans_l%27eau.jpg/220px-Jean_de_la_Hire_-_L%27Homme_qui_peut_vivre_dans_l%27eau.jpg" decoding="async" width="220" height="303" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/Jean_de_la_Hire_-_L%27Homme_qui_peut_vivre_dans_l%27eau.jpg/330px-Jean_de_la_Hire_-_L%27Homme_qui_peut_vivre_dans_l%27eau.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c5/Jean_de_la_Hire_-_L%27Homme_qui_peut_vivre_dans_l%27eau.jpg/440px-Jean_de_la_Hire_-_L%27Homme_qui_peut_vivre_dans_l%27eau.jpg 2x" data-file-width="587" data-file-height="808" /></a><figcaption>After Gino Starace's drawings accompanied <a href="/w/index.php?title=L%27Homme_qui_peut_vivre_dans_l%27eau&action=edit&redlink=1" class="new" title="L'Homme qui peut vivre dans l'eau (page does not exist)">L'Homme qui peut vivre dans l'eau</a> [<a href="https://fr.wikipedia.org/wiki/L%27Homme_qui_peut_vivre_dans_l%27eau" class="extiw" title="fr:L'Homme qui peut vivre dans l'eau">fr</a>] published as a serial in <a href="/wiki/Le_Matin_(France)" title="Le Matin (France)">Le Matin</a> in 1909, Henri Armengol designed the cover for the novel published by <a href="/wiki/S%C3%A1ndor_Ferenczi" title="Sándor Ferenczi">Ferenczi</a> in 1922.<a href="#cite_note-145">[134]</a></figcaption></figure> With the rise of the merveilleux-scientifique genre, illustrators began to establish their own unique styles. Albert Robida, a prosperous cartoonist and novelist, is an emblematic example. He advocated for progress,<a href="#cite_note-:3-146">[135]</a> but also harbored concerns about its potential excesses. Robida conveyed his imaginative concepts and visionary inventions through a diverse range of media, including posters, lithographs, caricatures, and novels. Through all of these art forms, he primarily sought to highlight humanity's flaws with humor. While Robida was a prolific illustrator of this graphic genre between the end of the 19th century and World War I,<a href="#cite_note-147">[136]</a> several emblematic artists of merveilleux-scientifique imagery emerged after the war. Among them is Henri Lanos, who began his career in conjectural graphics by illustrating H.G. Wells' novel "<a href="/wiki/The_Sleeper_Awakes" title="The Sleeper Awakes">The Sleeper Awakes</a>" (1899) and later contributed to many popular science articles. Increasingly popular, the artist developed a unique visual style characterized by frequent use of bird's-eye views depicting chaotic scenes<a href="#cite_note-148">[137]</a> or individuals juxtaposed with massive structures.<a href="#cite_note-:15-138">[127]</a> Notably, Henri Armengol and Maurice Toussaint seamlessly integrated their graphic art with literary works, cementing their legacy as highly productive contributors to this genre. Armengol was the regular illustrator for the Ferenczi publishing house in the 1920s and 1930s, and contributed to the success of the "Les Romans d'aventures" collection with its distinctive green background.<a href="#cite_note-149">[138]</a> Toussaint also illustrated the covers of numerous collections for the Tallandier publishing house, including almost the entire "La Bibliothèque des grandes aventures" collection with its blue-backed covers. Finally, in popular literature illustration, illustrators such as Gino Starace and Georges Vallée collaborated with numerous publishers,<a href="#cite_note-150">[139]</a> whereas the majority only occasionally entered the field of conjecture. For instance, <a href="/wiki/Albert_Guillaume" title="Albert Guillaume">Albert Guillaume</a> illustrated a special issue of L'Assiette au beurre in 1901 dedicated to space, and Arnould Moreau illustrated Octave Béliard's short story La Journée d'un Parisien au xxie siècle in Lectures pour tous in 1910.<a href="#cite_note-:3-146">[135]</a> From the 1920s onwards, Henri Lanos was succeeded by A. Noël as the illustrator of scientific articles in Je sais tout magazine.<a href="#cite_note-151">[140]</a> Noël's drawings are closer to industrial art and primarily focus on technical aspects, which distinguishes them from the poetic style of his predecessor. This shift in generations exemplifies the overall progression of magazines, which increasingly prioritize technical advancements over the thought experiments promoted by the Renardian merveilleux-scientifique model.<a href="#cite_note-152">[141]</a> <ul class="gallery mw-gallery-packed"> <li class="gallerybox" style="width: 271.33333333333px"> <div class="thumb" style="width: 269.33333333333px;"><a href="/wiki/File:France_in_XXI_Century._War_cars.jpg" class="mw-file-description" title="Automobiles de guerre, color lithograph from the En l'an 2000 series (1910)."><img alt="Automobiles de guerre, color lithograph from the En l'an 2000 series (1910)." src="//upload.wikimedia.org/wikipedia/commons/thumb/1/10/France_in_XXI_Century._War_cars.jpg/404px-France_in_XXI_Century._War_cars.jpg" decoding="async" width="270" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/10/France_in_XXI_Century._War_cars.jpg/606px-France_in_XXI_Century._War_cars.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/10/France_in_XXI_Century._War_cars.jpg/807px-France_in_XXI_Century._War_cars.jpg 2x" data-file-width="1600" data-file-height="1011" /></a></div> <div class="gallerytext">Automobiles de guerre, <a href="/wiki/Lithography" title="Lithography">color lithograph</a> from the <a href="/wiki/En_L%27An_2000" title="En L'An 2000">En l'an 2000</a> series (1910).</div> </li> <li class="gallerybox" style="width: 128px"> <div class="thumb" style="width: 126px;"><a href="/wiki/File:L%27Assiette_au_beurre_n%C2%B0_37.jpg" class="mw-file-description" title="L'Assiette au beurre devoted an issue to the conquest of the air. This satirical exercise in anticipation is entirely illustrated by Albert Guillaume (December 1901)."><img alt="L'Assiette au beurre devoted an issue to the conquest of the air. This satirical exercise in anticipation is entirely illustrated by Albert Guillaume (December 1901)." src="//upload.wikimedia.org/wikipedia/commons/thumb/3/34/L%27Assiette_au_beurre_n%C2%B0_37.jpg/189px-L%27Assiette_au_beurre_n%C2%B0_37.jpg" decoding="async" width="126" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/34/L%27Assiette_au_beurre_n%C2%B0_37.jpg/285px-L%27Assiette_au_beurre_n%C2%B0_37.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/34/L%27Assiette_au_beurre_n%C2%B0_37.jpg/379px-L%27Assiette_au_beurre_n%C2%B0_37.jpg 2x" data-file-width="1110" data-file-height="1493" /></a></div> <div class="gallerytext"><a href="/wiki/L%27Assiette_au_Beurre" title="L'Assiette au Beurre">L'Assiette au beurre</a> devoted an issue to the conquest of the air. This satirical exercise in anticipation is entirely illustrated by <a href="/wiki/Albert_Guillaume" title="Albert Guillaume">Albert Guillaume</a> (December 1901).</div> </li> <li class="gallerybox" style="width: 124.66666666667px"> <div class="thumb" style="width: 122.66666666667px;"><a href="/wiki/File:Henri_Lanos_-_Un_monde_sur_le_monde.jpg" class="mw-file-description" title="Henri Lanos illustrates Un monde sur le monde, a dystopian novel co-written with Jules Perrin [fr] and serialized in Nos loisirs [fr] magazine (1910-1911)."><img alt="Henri Lanos illustrates Un monde sur le monde, a dystopian novel co-written with Jules Perrin [fr] and serialized in Nos loisirs [fr] magazine (1910-1911)." src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b7/Henri_Lanos_-_Un_monde_sur_le_monde.jpg/184px-Henri_Lanos_-_Un_monde_sur_le_monde.jpg" decoding="async" width="123" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b7/Henri_Lanos_-_Un_monde_sur_le_monde.jpg/276px-Henri_Lanos_-_Un_monde_sur_le_monde.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b7/Henri_Lanos_-_Un_monde_sur_le_monde.jpg/368px-Henri_Lanos_-_Un_monde_sur_le_monde.jpg 2x" data-file-width="540" data-file-height="749" /></a></div> <div class="gallerytext">Henri Lanos illustrates Un monde sur le monde, a <a href="/w/index.php?title=S%C3%A9rie_et_feuilleton_(fiction)&action=edit&redlink=1" class="new" title="Série et feuilleton (fiction) (page does not exist)">dystopian novel</a> co-written with <a href="/w/index.php?title=Jules_Perrin&action=edit&redlink=1" class="new" title="Jules Perrin (page does not exist)">Jules Perrin</a> [<a href="https://fr.wikipedia.org/wiki/Jules_Perrin" class="extiw" title="fr:Jules Perrin">fr</a>] and serialized in <a href="/w/index.php?title=Nos_loisirs&action=edit&redlink=1" class="new" title="Nos loisirs (page does not exist)">Nos loisirs</a> [<a href="https://fr.wikipedia.org/wiki/Nos_loisirs" class="extiw" title="fr:Nos loisirs">fr</a>] magazine (1910-1911).</div> </li> <li class="gallerybox" style="width: 135.33333333333px"> <div class="thumb" style="width: 133.33333333333px;"><a href="/wiki/File:Monsieur_Rien_-_Louis_Boussenard_-_illustration_de_Georges_Conrad.jpg" class="mw-file-description" title="A variation on the theme of the invisible man, Monsieur... Rien! [fr] by Louis Boussenard (1907) is illustrated by Georges Conrad [fr], a regular contributor to the "La Vie d'aventures" collection."><img alt="A variation on the theme of the invisible man, Monsieur... Rien! [fr] by Louis Boussenard (1907) is illustrated by Georges Conrad [fr], a regular contributor to the "La Vie d'aventures" collection." src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Monsieur_Rien_-_Louis_Boussenard_-_illustration_de_Georges_Conrad.jpg/200px-Monsieur_Rien_-_Louis_Boussenard_-_illustration_de_Georges_Conrad.jpg" decoding="async" width="134" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Monsieur_Rien_-_Louis_Boussenard_-_illustration_de_Georges_Conrad.jpg/300px-Monsieur_Rien_-_Louis_Boussenard_-_illustration_de_Georges_Conrad.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Monsieur_Rien_-_Louis_Boussenard_-_illustration_de_Georges_Conrad.jpg/400px-Monsieur_Rien_-_Louis_Boussenard_-_illustration_de_Georges_Conrad.jpg 2x" data-file-width="1177" data-file-height="1500" /></a></div> <div class="gallerytext">A variation on the theme of the invisible man, <a href="/w/index.php?title=Monsieur..._Rien!&action=edit&redlink=1" class="new" title="Monsieur... Rien! (page does not exist)">Monsieur... Rien!</a> [<a href="https://fr.wikipedia.org/wiki/Monsieur..._Rien!" class="extiw" title="fr:Monsieur... Rien!">fr</a>] by <a href="/wiki/Louis_Henri_Boussenard" title="Louis Henri Boussenard">Louis Boussenard</a> (1907) is illustrated by <a href="/w/index.php?title=Georges_Conrad&action=edit&redlink=1" class="new" title="Georges Conrad (page does not exist)">Georges Conrad</a> [<a href="https://fr.wikipedia.org/wiki/Georges_Conrad" class="extiw" title="fr:Georges Conrad">fr</a>], a regular contributor to the "La Vie d'aventures" collection.</div> </li> <li class="gallerybox" style="width: 120.66666666667px"> <div class="thumb" style="width: 118.66666666667px;"><a href="/wiki/File:Gino_Starace_-_L%27Espion_X.323_-_Le_Canon_du_sommeil_(Paul_d%27Ivoi).jpg" class="mw-file-description" title="Famous illustrator of Fantômas, Gino Starace occasionally ventures into the merveilleux-scientifique genre. Cover of Paul d'Ivoi [fr]'s Canon du sommeil (1908)."><img alt="Famous illustrator of Fantômas, Gino Starace occasionally ventures into the merveilleux-scientifique genre. Cover of Paul d'Ivoi [fr]'s Canon du sommeil (1908)." src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d8/Gino_Starace_-_L%27Espion_X.323_-_Le_Canon_du_sommeil_%28Paul_d%27Ivoi%29.jpg/178px-Gino_Starace_-_L%27Espion_X.323_-_Le_Canon_du_sommeil_%28Paul_d%27Ivoi%29.jpg" decoding="async" width="119" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d8/Gino_Starace_-_L%27Espion_X.323_-_Le_Canon_du_sommeil_%28Paul_d%27Ivoi%29.jpg/268px-Gino_Starace_-_L%27Espion_X.323_-_Le_Canon_du_sommeil_%28Paul_d%27Ivoi%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d8/Gino_Starace_-_L%27Espion_X.323_-_Le_Canon_du_sommeil_%28Paul_d%27Ivoi%29.jpg/357px-Gino_Starace_-_L%27Espion_X.323_-_Le_Canon_du_sommeil_%28Paul_d%27Ivoi%29.jpg 2x" data-file-width="2238" data-file-height="3200" /></a></div> <div class="gallerytext">Famous illustrator of <a href="/wiki/Fant%C3%B4mas" title="Fantômas">Fantômas</a>, Gino Starace occasionally ventures into the merveilleux-scientifique genre. Cover of <a href="/w/index.php?title=Paul_d%27Ivoi&action=edit&redlink=1" class="new" title="Paul d'Ivoi (page does not exist)">Paul d'Ivoi</a> [<a href="https://fr.wikipedia.org/wiki/Paul_d%27Ivoi" class="extiw" title="fr:Paul d'Ivoi">fr</a>]'s Canon du sommeil (1908).</div> </li> <li class="gallerybox" style="width: 117.33333333333px"> <div class="thumb" style="width: 115.33333333333px;"><a href="/wiki/File:Gino_Starace_-_L%27%C3%8Ele_engloutie_(Maurice_Champagne).jpg" class="mw-file-description" title="Underwater explorers and living fossils on the cover of Maurice Champagne [fr]'s L'Île engloutie (1929)."><img alt="Underwater explorers and living fossils on the cover of Maurice Champagne [fr]'s L'Île engloutie (1929)." src="//upload.wikimedia.org/wikipedia/commons/thumb/6/61/Gino_Starace_-_L%27%C3%8Ele_engloutie_%28Maurice_Champagne%29.jpg/173px-Gino_Starace_-_L%27%C3%8Ele_engloutie_%28Maurice_Champagne%29.jpg" decoding="async" width="116" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/61/Gino_Starace_-_L%27%C3%8Ele_engloutie_%28Maurice_Champagne%29.jpg/259px-Gino_Starace_-_L%27%C3%8Ele_engloutie_%28Maurice_Champagne%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/61/Gino_Starace_-_L%27%C3%8Ele_engloutie_%28Maurice_Champagne%29.jpg/345px-Gino_Starace_-_L%27%C3%8Ele_engloutie_%28Maurice_Champagne%29.jpg 2x" data-file-width="535" data-file-height="790" /></a></div> <div class="gallerytext">Underwater explorers and living <a href="/wiki/Fossil" title="Fossil">fossils</a> on the cover of <a href="/w/index.php?title=Maurice_Champagne&action=edit&redlink=1" class="new" title="Maurice Champagne (page does not exist)">Maurice Champagne</a> [<a href="https://fr.wikipedia.org/wiki/Maurice_Champagne_(%C3%A9crivain_fran%C3%A7ais)" class="extiw" title="fr:Maurice Champagne (écrivain français)">fr</a>]'s L'Île engloutie (1929).</div> </li> </ul> <div class="mw-heading mw-heading3"><h3 id="merveilleux-scientifique_theater">merveilleux-scientifique theater</h3>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=13" title="Edit section: merveilleux-scientifique theater">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Spectacle_Les_Invisibles.jpg" class="mw-file-description"><img alt="dessins en couleurs d'êtres reptiliens pourvus d'yeux et de gueules dentées devant un public assis." src="//upload.wikimedia.org/wikipedia/commons/thumb/9/99/Spectacle_Les_Invisibles.jpg/220px-Spectacle_Les_Invisibles.jpg" decoding="async" width="220" height="311" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/99/Spectacle_Les_Invisibles.jpg/330px-Spectacle_Les_Invisibles.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/99/Spectacle_Les_Invisibles.jpg/440px-Spectacle_Les_Invisibles.jpg 2x" data-file-width="724" data-file-height="1024" /></a><figcaption>Following the example of merveilleux-scientifique tales, "Les Invisibles" features science and innovation as the tipping point into a marvelous world.</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Grand-Guignol-L%27homme_qui_a_tu%C3%A9_la_mort-1928.jpg" class="mw-file-description"><img alt="Affiche en couleurs d'une tête décapitée et d'une robe de magistrat posées sur un engin électrique." src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Grand-Guignol-L%27homme_qui_a_tu%C3%A9_la_mort-1928.jpg/220px-Grand-Guignol-L%27homme_qui_a_tu%C3%A9_la_mort-1928.jpg" decoding="async" width="220" height="300" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Grand-Guignol-L%27homme_qui_a_tu%C3%A9_la_mort-1928.jpg/330px-Grand-Guignol-L%27homme_qui_a_tu%C3%A9_la_mort-1928.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Grand-Guignol-L%27homme_qui_a_tu%C3%A9_la_mort-1928.jpg/440px-Grand-Guignol-L%27homme_qui_a_tu%C3%A9_la_mort-1928.jpg 2x" data-file-width="7561" data-file-height="10306" /></a><figcaption><a href="/wiki/Grand-Guignol" class="mw-redirect" title="Grand-Guignol">Grand-Guignol</a> plays are occasionally rooted in the merveilleux-scientifique genre.</figcaption></figure> In October 1884, M. Bauer directed an original presentation at the <a href="/wiki/Th%C3%A9%C3%A2tre_Antoine-Simone_Berriau" title="Théâtre Antoine-Simone Berriau">Théâtre Antoine-Simone Berriau</a> in Paris: "Les Invisibles". The performance showcased microbial life forms using a scientific apparatus that functioned as both a giant microscope and an overhead projector, projecting images on a vast white curtain.<a href="#cite_note-:16-153">[142]</a> The themes explored in the show, such as personification, miniaturization, and the vision of the invisible, were popular in merveilleux-scientifique literature.<a href="#cite_note-154">[143]</a> The figures are elucidated by Laguerche, an actor dressed in formal attire, who assumes the part of a host and intellectual.<a href="#cite_note-:16-153">[142]</a> Scientific theatre usually seeks to disseminate science via entertainment and popularization. However, "Les Invisibles" sets itself apart as it implicates the onlooker in an active capacity. The observer takes on the persona of a laboratory technician who reveals the actual protagonist of the drama: the microbe.<a href="#cite_note-155">[144]</a> Bauer's show falls under the classification of merveilleux-scientifique theater.<a href="#cite_note-156">[145]</a> During this time, educational-scientific theater emphasized different medical disorders. <a href="/wiki/Playwright" title="Playwright">Playwright</a> <a href="/wiki/Andr%C3%A9_de_Lorde" title="André de Lorde">André de Lorde</a> utilized this inspiration to develop his horror performances centering on perilous mental patients, presented at the Théâtre du Grand-Guignol during the early 20th century and beyond. As the son of a doctor, André de Lorde aimed to enhance the authenticity and impact of his productions. Consequently, he partnered with psychologist <a href="/wiki/Alfred_Binet" title="Alfred Binet">Alfred Binet</a> on five occasions to secure scientific validation.<a href="#cite_note-:17-157">[146]</a> Moreover, Lorde staged eerie plays within the merveilleux-scientifique category and maintained a friendship with Maurice Renard.<a href="#cite_note-:18-158">[147]</a> In "L'Horrible Expérience" (1909), a drama co-written with Binet, Dr. Charrier attempts to revive his deceased daughter, but ultimately succumbs to strangulation by her corpse. This story was likely inspired by one of <a href="/wiki/Henri-%C3%89tienne_Beaunis" title="Henri-Étienne Beaunis">Henri-Étienne Beaunis</a>'s<a href="#cite_note-:17-157">[146]</a> Contes Physiologiques. Furthermore, "Le Laboratoire des Hallucinations" (1916) features a different practitioner conducting medical experiments on his wife's lover as an act of revenge.<a href="#cite_note-:18-158">[147]</a> <div class="mw-heading mw-heading2"><h2 id="Déclin_et_disparition">Déclin et disparition</h2>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=14" title="Edit section: Déclin et disparition">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Maurice_Renard.png" class="mw-file-description"><img alt="Photographie en gros plan et en noir et blanc d'un homme moustachu portant un chapeau et un monocle." src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f7/Maurice_Renard.png/220px-Maurice_Renard.png" decoding="async" width="220" height="241" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f7/Maurice_Renard.png/330px-Maurice_Renard.png 1.5x, //upload.wikimedia.org/wikipedia/commons/f/f7/Maurice_Renard.png 2x" data-file-width="433" data-file-height="474" /></a><figcaption>Not without bitterness, Maurice Renard was economically forced to write for a living <a href="/wiki/Interwar_period" title="Interwar period">between the wars</a>.</figcaption></figure> The advocates of the merveilleux-scientifique genre have not succeeded in establishing a well-defined category. They did not endeavor to create a periodical or anthology labeled as such, which would not only provide the genre with coherence and unity, but also allow readers to recognize it as such.<a href="#cite_note-:5-14">[14]</a> This deficiency caused the gradual decline of scientific marvel in the 1930s and beyond.<a href="#cite_note-159">[148]</a> Despite some truly original works, the genre failed to rejuvenate itself and its themes appeared to recede. Space travel was restricted to the solar system, and scientific progress was mainly presented as a hazard rather than a social advancement.<a href="#cite_note-:12-37">[35]</a> Additionally, according to writer <a href="/w/index.php?title=Daniel_Drode&action=edit&redlink=1" class="new" title="Daniel Drode (page does not exist)">Daniel Drode</a> [<a href="https://fr.wikipedia.org/wiki/Daniel_Drode" class="extiw" title="fr:Daniel Drode">fr</a>], the literary style struggles to rid itself of an academic veneer. The protagonist of such anticipation novels tends to utilize language passed down from a distant, bygone era - our own. Even when arriving at Planet X in System Y, their sentiments are conveyed using verbiage akin to that of <a href="/wiki/Louis_Bl%C3%A9riot" title="Louis Blériot">Blériot</a> upon disembarking from his aircraft [...] Should they depict the grandeur of Mars, it is as though <a href="/wiki/Napoleon_III" title="Napoleon III">Napoleon III</a> is extolling the beauty of <a href="/wiki/Biarritz" title="Biarritz">Biarritz</a>. The mere thought of <a href="/wiki/Acad%C3%A9mie_Fran%C3%A7aise" title="Académie Française">academician</a> <a href="/wiki/Claude_Favre_de_Vaugelas" title="Claude Favre de Vaugelas">Vaugelas</a> operating "la chronomachine" instills a sense of dread.<a href="#cite_note-160">[149]</a> Furthermore, authors are producing fewer speculative stories. The most recent novel by J.-H. Rosny aîné, <a href="/wiki/Les_Navigateurs_de_l%27infini" class="mw-redirect" title="Les Navigateurs de l'infini">Les Navigateurs de l'infini</a>, was published in 1925.<a href="#cite_note-161">[nb 12]</a> Similarly, Maurice Renard, who was no longer financially comfortable after the war, spaced out his works on the subject in order to concentrate on more commercially successful stories.<a href="#cite_note-:12-37">[35]</a><a href="#cite_note-162">[150]</a> In his article "Depuis Sinbad" (1923), he expressed his disappointment at such economic limitations. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote">"There's no need to look any further to find out why Wells stopped working along the lines of La Guerre des mondes, and why Rosny aîné so rarely publishes "Xipéhuz" or Force mystérieuse. To make a living by appealing to intelligence, that, yes, would be truly fantastic!"</blockquote> The two largest popular publishing houses, Ferenczi and Tallandier, make no distinction between merveilleux-scientifique novels and adventure and travel stories, giving the genre a lower profile.<a href="#cite_note-163">[151]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Octave_B%C3%A9liard.jpg" class="mw-file-description"><img alt="Photographie-portrait en noir et blanc d'un homme de profil." src="//upload.wikimedia.org/wikipedia/commons/d/dd/Octave_B%C3%A9liard.jpg" decoding="async" width="167" height="238" class="mw-file-element" data-file-width="167" data-file-height="238" /></a><figcaption>Author of novels of scientific imagination, Octave Béliard won the first <a href="/w/index.php?title=Prix_Jules-Verne&action=edit&redlink=1" class="new" title="Prix Jules-Verne (page does not exist)">Prix Jules-Verne</a> [<a href="https://fr.wikipedia.org/wiki/Prix_Jules-Verne" class="extiw" title="fr:Prix Jules-Verne">fr</a>] for La petite fille de Michel Strogoff in 1927, then the <a href="/w/index.php?title=Prix_Maurice-Renard&action=edit&redlink=1" class="new" title="Prix Maurice-Renard (page does not exist)">Prix Maurice-Renard</a> [<a href="https://fr.wikipedia.org/wiki/Prix_Maurice-Renard" class="extiw" title="fr:Prix Maurice-Renard">fr</a>] for <a href="/w/index.php?title=Les_Petits_Hommes_de_la_pin%C3%A8de&action=edit&redlink=1" class="new" title="Les Petits Hommes de la pinède (page does not exist)">Les Petits Hommes de la pinède</a> [<a href="https://fr.wikipedia.org/wiki/Les_Petits_Hommes_de_la_pin%C3%A8de" class="extiw" title="fr:Les Petits Hommes de la pinède">fr</a>] in 1930.</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Lectures_pour_tous_-_Le_prix_Jules-Verne.jpg" class="mw-file-description"><img alt="Texte imprimé d'un magazine présentant le prix Jules-Verne." src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5c/Lectures_pour_tous_-_Le_prix_Jules-Verne.jpg/220px-Lectures_pour_tous_-_Le_prix_Jules-Verne.jpg" decoding="async" width="220" height="240" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5c/Lectures_pour_tous_-_Le_prix_Jules-Verne.jpg/330px-Lectures_pour_tous_-_Le_prix_Jules-Verne.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5c/Lectures_pour_tous_-_Le_prix_Jules-Verne.jpg/440px-Lectures_pour_tous_-_Le_prix_Jules-Verne.jpg 2x" data-file-width="504" data-file-height="549" /></a><figcaption>Advertisement for the Jules Verne Prize in the magazine <a href="/w/index.php?title=Lectures_pour_Tous&action=edit&redlink=1" class="new" title="Lectures pour Tous (page does not exist)">Lectures pour Tous</a> [<a href="https://fr.wikipedia.org/wiki/Lectures_pour_tous_(magazine)" class="extiw" title="fr:Lectures pour tous (magazine)">fr</a>], April 1926.</figcaption></figure> The Prix Maurice-Renard disappeared in 1932 when <a href="/wiki/Serge-Simon_Held" title="Serge-Simon Held">Serge-Simon Held</a> declined to accept his award, while <a href="/wiki/Hachette_(publisher)" class="mw-redirect" title="Hachette (publisher)">Hachette Editions</a> established the Prix Jules-Verne in 1927 via the Lectures pour Tous magazine.<a href="#cite_note-164">[152]</a> The prize's promoters aimed to rejuvenate the scientific novel's foundations by placing it under the famous novelist from Nantes's patronage. In fact, using Jules Verne as a literary reference is helpful in avoiding excessive imagination by emphasizing scientific elements over the fantastic.<a href="#cite_note-165">[153]</a> Additionally, employing this French literary figure serves to reinforce the legitimacy of the genre while supporting a marketing campaign to increase sales of the <a href="/wiki/Pierre-Jules_Hetzel" title="Pierre-Jules Hetzel">Hetzel</a> collection, which has been owned by Hachette since July 1914.<a href="#cite_note-166">[154]</a> In 1925, <a href="/wiki/Soci%C3%A9t%C3%A9_Parisienne_d%27%C3%89dition" title="Société Parisienne d'Édition">Offenstadt Brothers Publishing House</a> lost their case against Abbé Calippe's classification of Sciences et Voyages as a hazardous magazine for young people.<a href="#cite_note-167">[155]</a><a href="#cite_note-168">[156]</a> The ruling adversely affected not only the magazine but also all imaginative scientific literature during the interwar era, causing it to practice self-censorship.<a href="#cite_note-169">[157]</a> After World War II, the literature in question was <a href="/w/index.php?title=Censored_in_France&action=edit&redlink=1" class="new" title="Censored in France (page does not exist)">censored in France</a> [<a href="https://fr.wikipedia.org/wiki/Commission_de_surveillance_et_de_contr%C3%B4le_des_publications_destin%C3%A9es_%C3%A0_l%27enfance_et_%C3%A0_l%27adolescence" class="extiw" title="fr:Commission de surveillance et de contrôle des publications destinées à l'enfance et à l'adolescence">fr</a>]<a href="#cite_note-170">[nb 13]</a> due to concerns about its negative impact on young people and influence on juvenile delinquency. According to writer and essayist Serge Lehman, the "scientific marvel" genre ended in 1953 with B.R. Bruss's <a href="/w/index.php?title=L%27Apparition_des_surhommes&action=edit&redlink=1" class="new" title="L'Apparition des surhommes (page does not exist)">L'Apparition des surhommes</a> [<a href="https://fr.wikipedia.org/wiki/L%27Apparition_des_surhommes" class="extiw" title="fr:L'Apparition des surhommes">fr</a>], the final identifiable novel in the genre.<a href="#cite_note-171">[158]</a> Parallel to this decline, the French public discovered "science fiction", a literary genre imported from the United States by <a href="/wiki/Raymond_Queneau" title="Raymond Queneau">Raymond Queneau</a>, Michel Pilotin, and <a href="/wiki/Boris_Vian" title="Boris Vian">Boris Vian</a>.<a href="#cite_note-172">[159]</a> Its promoters presented it as modern literature created by American authors in the 1920s, of which Jules Verne was only a distant ancestor.<a href="#cite_note-173">[160]</a> This genre not only renewed themes of merveilleux-scientifique, but also surpassed the output of pre-war French writers.<a href="#cite_note-174">[161]</a> Faced with changes in the literary landscape, the younger generation of French authors adopted Anglo-Saxon themes and asserted their control over the "science fiction" genre.<a href="#cite_note-:12-37">[35]</a> Writer B.R. Bruss embraced this dominant genre and explored new themes, including space exploration.<a href="#cite_note-175">[162]</a> As a result, the merveilleux-scientifique genre, considered inferior due to its popular appeal,<a href="#cite_note-176">[163]</a> faded into obscurity while Jules Verne and American authors gained prominence. In collective memory, the latter has overshadowed 50 years of imaginative scientific literature,<a href="#cite_note-:5-14">[14]</a> now known as "literary Atlantis".<a href="#cite_note-:11-30">[29]</a> <div class="mw-heading mw-heading2"><h2 id="Posterity">Posterity</h2>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=15" title="Edit section: Posterity">edit</a>]</div> At the start of the 21st century, the genre of science fiction and fantasy has made a resurgence in popularity. This has been due to not only the republishing of numerous stories from previous decades but also the appropriation of its unique aesthetic and iconic characters by new writers who now have access to these <a href="/wiki/Public_domain" title="Public domain">public domain</a> creations. However, the growing critical study of this speculative literature accompanies this renewed interest.<a href="#cite_note-177">[164]</a> <div class="mw-heading mw-heading3"><h3 id="A_look_back_at_merveilleux_scientifique">A look back at merveilleux scientifique</h3>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=16" title="Edit section: A look back at merveilleux scientifique">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Cae-20-legendrekvater1976couverturefiction270.jpg" class="mw-file-description"><img alt="couverture en couleur du magazine titré Fiction n°270 de juin 1976 représentant un scaphandrier dont le visage est aspiré en dehors du casque brisé." src="//upload.wikimedia.org/wikipedia/commons/thumb/7/73/Cae-20-legendrekvater1976couverturefiction270.jpg/220px-Cae-20-legendrekvater1976couverturefiction270.jpg" decoding="async" width="220" height="339" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/73/Cae-20-legendrekvater1976couverturefiction270.jpg/330px-Cae-20-legendrekvater1976couverturefiction270.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/7/73/Cae-20-legendrekvater1976couverturefiction270.jpg 2x" data-file-width="389" data-file-height="600" /></a><figcaption>Alongside American science fiction short stories, Jean-Jacques Bridenne wrote articles in <a href="/wiki/Fiction_(French_magazine)" title="Fiction (French magazine)">Fiction magazine</a> in the 1950s devoted to a number of French writers of the scientific imagination.</figcaption></figure> <div class="mw-heading mw-heading4"><h4 id="Critical_studies">Critical studies</h4>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=17" title="Edit section: Critical studies">edit</a>]</div> In 1950, Jean-Jacques Bridenne published La Littérature française d'imagination scientifique, sharing pioneering research on novels resulting from late 19th century<a href="#cite_note-:19-178">[165]</a> scientific discoveries and providing insights into the genre. The magazine <a href="/wiki/Fiction_(magazine)" title="Fiction (magazine)">Fiction</a> also published his articles on several turn-of-the-century writers.<a href="#cite_note-179">[166]</a> Enthusiasts of turn-of-the-century popular literature came together in the mid-1960s to share their collections.<a href="#cite_note-180">[167]</a> They produced <a href="/wiki/Fanzine" title="Fanzine">fanzines</a> containing book listings and reviews, among which two mimeographed<a href="#cite_note-181">[168]</a> <a href="/wiki/Newsletter" title="Newsletter">newsletters</a> emerged as prominent among collectors: the publication Désiré (1965-1981)<a href="#cite_note-182">[nb 14]</a>, edited by Jean Leclercq, and Le Chasseur d'Illustrés, renamed Le Chercheur des Publications d'autrefois in 1971, (1967-1977) by Marcel Lagneau and <a href="/w/index.php?title=George_Fronval&action=edit&redlink=1" class="new" title="George Fronval (page does not exist)">George Fronval</a> [<a href="https://fr.wikipedia.org/wiki/George_Fronval" class="extiw" title="fr:George Fronval">fr</a>].<a href="#cite_note-183">[169]</a><a href="#cite_note-184">[170]</a> The newsletters' reputations were well-established. Beyond these circles of science fiction enthusiasts, it was not until the 1970s<a href="#cite_note-185">[nb 15]</a> that science fiction specialists delved into the production of merveilleux-scientifique works, which subsequently led to publication for general audiences.<a href="#cite_note-:11-30">[29]</a> In 1973, <a href="/wiki/Jacques_Sadoul" title="Jacques Sadoul">Jacques Sadoul</a> published Histoire de la science-fiction moderne: 1911-1971, which primarily focused on Anglo-Saxon science fiction despite acknowledging the genre's existence in Europe.<a href="#cite_note-186">[171]</a> Pierre Versins' <a href="/w/index.php?title=Encyclopedie_de_l%27utopie,_des_voyages_extraordinaires_et_de_la_science-fiction&action=edit&redlink=1" class="new" title="Encyclopedie de l'utopie, des voyages extraordinaires et de la science-fiction (page does not exist)">Encyclopedie de l'utopie, des voyages extraordinaires et de la science-fiction</a> [<a href="https://fr.wikipedia.org/wiki/Encyclopedie_de_l%27utopie,_des_voyages_extraordinaires_et_de_la_science-fiction" class="extiw" title="fr:Encyclopedie de l'utopie, des voyages extraordinaires et de la science-fiction">fr</a>] (1972) and <a href="/wiki/Jacques_Van_Herp" title="Jacques Van Herp">Jacques Van Herp</a>'s Panorama de la science-fiction (1974) represented the earliest comprehensive research on the genre.<a href="#cite_note-:19-178">[165]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Joseph_Altairac_-_Convention_nationale_SF_-_juillet_2001.JPG" class="mw-file-description"><img alt="Photographie de Joseph Altairac." src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c9/Joseph_Altairac_-_Convention_nationale_SF_-_juillet_2001.JPG/220px-Joseph_Altairac_-_Convention_nationale_SF_-_juillet_2001.JPG" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c9/Joseph_Altairac_-_Convention_nationale_SF_-_juillet_2001.JPG/330px-Joseph_Altairac_-_Convention_nationale_SF_-_juillet_2001.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c9/Joseph_Altairac_-_Convention_nationale_SF_-_juillet_2001.JPG/440px-Joseph_Altairac_-_Convention_nationale_SF_-_juillet_2001.JPG 2x" data-file-width="1600" data-file-height="1200" /></a><figcaption><a href="/wiki/Joseph_Altairac" title="Joseph Altairac">Joseph Altairac</a> publishes in 2018, with his colleague Guy Costes, the <a href="/w/index.php?title=R%C3%A9trofictions,_encyclop%C3%A9die_de_la_conjecture_romanesque_rationnelle_francophone&action=edit&redlink=1" class="new" title="Rétrofictions, encyclopédie de la conjecture romanesque rationnelle francophone (page does not exist)">Rétrofictions, encyclopédie de la conjecture romanesque rationnelle francophone</a> [<a href="https://fr.wikipedia.org/wiki/R%C3%A9trofictions,_encyclop%C3%A9die_de_la_conjecture_romanesque_rationnelle_francophone" class="extiw" title="fr:Rétrofictions, encyclopédie de la conjecture romanesque rationnelle francophone">fr</a>] devoted to French-speaking conjectural literature and imagery.</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Amazing_Stories_April_1926.jpg" class="mw-file-description"><img alt="couverture en couleur de la revue titrée Amazing Stories d'avril 1926 représentant des patineurs devant une gigantesque planète avec anneaux." src="//upload.wikimedia.org/wikipedia/commons/thumb/9/92/Amazing_Stories_April_1926.jpg/220px-Amazing_Stories_April_1926.jpg" decoding="async" width="220" height="303" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/92/Amazing_Stories_April_1926.jpg/330px-Amazing_Stories_April_1926.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/92/Amazing_Stories_April_1926.jpg/440px-Amazing_Stories_April_1926.jpg 2x" data-file-width="2095" data-file-height="2881" /></a><figcaption>In April 1926, <a href="/wiki/Hugo_Gernsback" title="Hugo Gernsback">Hugo Gernsback</a> founded <a href="/wiki/Amazing_Stories" title="Amazing Stories">Amazing Stories</a>, the first magazine devoted exclusively to science fiction.</figcaption></figure> Since the turn of the millennium, the public's fascination with popular serialized fiction, specifically those featuring scientific marvels, has invigorated scholarly analysis of this genre.<a href="#cite_note-187">[172]</a> In 1999, Serge Lehman published "Les mondes perdus de l'anticipation française" in <a href="/wiki/Le_Monde_diplomatique" title="Le Monde diplomatique">Le Monde diplomatique</a>, bringing attention to a neglected section of French-language literary heritage. In 2006, he followed up with the publication of the short story collection "Chasseurs de chimères". The text already adheres to all the given principles and consists of a single sentence without any context to expand on. Therefore, the revised text is L' ge d'or de la science-fiction française (The Golden Age of French Science Fiction), in which he undertakes an initial reflection on this literature of scientific imagination. A number of specialized websites, such as Philippe Ethuin's Archeosf and Jean-Luc Boutel's Sur l'autre face du monde, are also part of this rediscovery movement, taking stock of and critiquing these early works.<a href="#cite_note-188">[173]</a> In 2000, Jean-Marc Lofficier released French Science Fiction, Fantasy, Horror, and Pulp Fiction, an extensive encyclopedia in English about French-language science fiction. In the late 19th and early 20th centuries, academic literature on scientific imagination is gaining significance, and many studies are being published. Jean-Marc Gouanvic published his thesis on French science fiction in the 20th century (1900-1968) in 1994. <a href="/w/index.php?title=Natacha_Vas-Deyres&action=edit&redlink=1" class="new" title="Natacha Vas-Deyres (page does not exist)">Natacha Vas-Deyres</a> [<a href="https://fr.wikipedia.org/wiki/Natacha_Vas-Deyres" class="extiw" title="fr:Natacha Vas-Deyres">fr</a>] wrote Ces Français qui ont écrit demain in 2012, followed by Daniel Fondanèche's La Littérature d'imagination scientifique in 2013. These various critical studies are supported by publications in recently established magazines focusing on popular literature such as Rocambole, Le Belphégor, Le Visage vert, and the digital magazine Res Futurae,<a href="#cite_note-:20-189">[174]</a> as well as highly specialized ones like Le Téléphonoscope, which concentrates on Albert Robida and his works, and Le Quinzinzinzili, the Messacquian bulletin that examines the literary output of <a href="/wiki/R%C3%A9gis_Messac" title="Régis Messac">Régis Messac</a>.<a href="#cite_note-190">[175]</a> In 2018, Guy Costes and Joseph Altairac, both science fiction specialists, published <a href="/w/index.php?title=R%C3%A9trofictions,_encyclop%C3%A9die_de_la_conjecture_romanesque_rationnelle_francophone&action=edit&redlink=1" class="new" title="Rétrofictions, encyclopédie de la conjecture romanesque rationnelle francophone (page does not exist)">Rétrofictions, encyclopédie de la conjecture romanesque rationnelle francophone</a> [<a href="https://fr.wikipedia.org/wiki/R%C3%A9trofictions,_encyclop%C3%A9die_de_la_conjecture_romanesque_rationnelle_francophone" class="extiw" title="fr:Rétrofictions, encyclopédie de la conjecture romanesque rationnelle francophone">fr</a>]. The encyclopedia provides a comprehensive inventory of all French-language conjectural literature and imagery, paying explicit tribute to Pierre Versins' encyclopedia.<a href="#cite_note-191">[176]</a> In 2019, Fleur Hopkins, an art history doctoral student, is curating an exhibition at the <a href="/wiki/Biblioth%C3%A8que_nationale_de_France" title="Bibliothèque nationale de France">Bibliothèque nationale de France</a> titled "Le merveilleux-scientifique. Une science-fiction à la française". This exhibition provides a sincere acknowledgment to the merveilleux-scientifique genre and aims to enhance its visibility amongst the general audience. <div class="mw-heading mw-heading4"><h4 id="A_literary_genre_in_its_own_right">A literary genre in its own right</h4>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=18" title="Edit section: A literary genre in its own right">edit</a>]</div> While scientific marvel was once referred to as various names<a href="#cite_note-192">[nb 16]</a> for imaginative scientific literature in the early 20th century, by the post-war years it became closely associated with the science fiction genre. During this time period, it was commonly called "proto-science fiction", "ancient science fiction", or "primitive science fiction" as it introduced themes found in modern science fiction that emerged in the United States from the 1920s onwards.<a href="#cite_note-193">[177]</a> This link between scientific advancements - identified as the "golden age of French science fiction" by Serge Lehman - and post-war science fiction is evident through their mutual focus on specific themes such as encounters with extraterrestrial life, creation and integration of artificial or augmented beings, and catastrophic events.<a href="#cite_note-:11-30">[29]</a> Certain merveilleux-scientifique novels share similar themes and a narratological character that brings them closer to science-fiction narratives. The novels by Rosny aîné, for example, depict a universe unlike our own, forcing readers to reconstruct their frames of reference to follow the story.<a href="#cite_note-194">[178]</a> However, some researchers challenge the notion that scientific marvel equals "proto-science fiction." Indeed, the interpretation that scientific marvel is merely a genre under construction stems from a teleological viewpoint. However, this interpretation not only erases its own distinct characteristics, but also disregards the fact that it is influenced by various literary traditions, such as the experimental novel, fantasy, and the scientific adventure novel.<a href="#cite_note-195">[179]</a> While discussing scientifiction's<a href="#cite_note-196">[nb 17]</a> definition in <a href="/wiki/Amazing_Stories" title="Amazing Stories">Amazing Stories</a> magazine, Hugo Gernsback cites Edgar Allan Poe, Jules Verne, and H.G. Wells as its models but fails to reference any authors of merveilleux-scientifique novels, denying any connection between the two genres.<a href="#cite_note-197">[180]</a> Despite sharing common ancestors and characteristics, scientific marvel and science fiction exhibit significant differences. For instance, the interwar period's merveilleux-scientifique novel portrays a pessimistic view of science, different from the essentially optimistic discourse of Anglo-Saxon science fiction.<a href="#cite_note-:14-61">[57]</a> <div class="mw-heading mw-heading3"><h3 id="A_century_of_discontinuous_reissues">A century of discontinuous reissues</h3>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=19" title="Edit section: A century of discontinuous reissues">edit</a>]</div> Two significant periods in the republishing of fantastic scientific classics emerged simultaneously with critical works. During the 1960s, a favorable time for French science fiction, the initial massive wave of republications focused on collections of science fiction literature.<a href="#cite_note-198">[181]</a> This resurgence could either be in response to the dominance of Anglo-Saxon science fiction or simply a yearning for a more innocent form of the genre,<a href="#cite_note-199">[182]</a> and although the books were still catered to a niche audience, they were published on a much bigger scale. A second wave of reprints in science fiction literature emerged in the 21st century, with small publishing houses such as <a href="/w/index.php?title=L%27Arbre_vengeur&action=edit&redlink=1" class="new" title="L'Arbre vengeur (page does not exist)">L'Arbre vengeur</a> [<a href="https://fr.wikipedia.org/wiki/%C3%89ditions_L%27Arbre_vengeur" class="extiw" title="fr:Éditions L'Arbre vengeur">fr</a>], <a href="/w/index.php?title=Bragelonne&action=edit&redlink=1" class="new" title="Bragelonne (page does not exist)">Bragelonne</a> [<a href="https://fr.wikipedia.org/wiki/Bragelonne" class="extiw" title="fr:Bragelonne">fr</a>], <a href="/w/index.php?title=Encrage&action=edit&redlink=1" class="new" title="Encrage (page does not exist)">Encrage</a> [<a href="https://fr.wikipedia.org/wiki/Encrage_(maison_d%27%C3%A9dition)" class="extiw" title="fr:Encrage (maison d'édition)">fr</a>], <a href="/w/index.php?title=Les_Moutons_%C3%A9lectriques&action=edit&redlink=1" class="new" title="Les Moutons électriques (page does not exist)">Les Moutons électriques</a> [<a href="https://fr.wikipedia.org/wiki/Les_Moutons_%C3%A9lectriques" class="extiw" title="fr:Les Moutons électriques">fr</a>], and <a href="/wiki/Jean-Marc_Lofficier" title="Jean-Marc Lofficier">Black Coat Press</a> leading the way. In this regard, Jean-Marc Lofficier publishes in both English and French languages through his American-owned publishing company, Black Coat Press. The French-language collection is known as <a href="/w/index.php?title=Rivi%C3%A8re_Blanche_(editorial)&action=edit&redlink=1" class="new" title="Rivière Blanche (editorial) (page does not exist)">Rivière Blanche (editorial)</a> [<a href="https://fr.wikipedia.org/wiki/Rivi%C3%A8re_Blanche_(%C3%A9diteur)" class="extiw" title="fr:Rivière Blanche (éditeur)">fr</a>].<a href="#cite_note-:20-189">[174]</a> <div class="mw-heading mw-heading3"><h3 id="Genre_update">Genre update</h3>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=20" title="Edit section: Genre update">edit</a>]</div> From the mid-20th century onward, the merveilleux-scientifique genre survived only marginally due to the onslaught of American science fiction. René Barjavel and <a href="/wiki/Maurice_Limat" title="Maurice Limat">Maurice Limat</a><a href="#cite_note-200">[183]</a> were instrumental in keeping the genre alive. Barjavel, who claims to be the sole heir of Jules Verne and H. G. Wells, has never used the label 'merveilleux-scientifique'.<a href="#cite_note-201">[184]</a> Paradoxically, while <a href="/wiki/Cinema_of_France" title="Cinema of France">French cinema</a> was also abandoning the genre, it found a new home on television after the war in the form of several successful television shows.<a href="#cite_note-202">[185]</a> The tradition of French televisual fantasy, which was developed thanks to technical innovations that allowed for the creation of live-action fakery, reached its peak in the 1960s and 1970s before declining in the mid-1980s.<a href="#cite_note-203">[186]</a> Exploiting the soap opera genre,<a href="#cite_note-204">[187]</a> TV movies rely heavily on adaptations of science-fiction novels, exemplified by <a href="/w/index.php?title=La_Poup%C3%A9e_sanglante&action=edit&redlink=1" class="new" title="La Poupée sanglante (page does not exist)">La Poupée sanglante</a> [<a href="https://fr.wikipedia.org/wiki/La_Poup%C3%A9e_sanglante_(mini-s%C3%A9rie)" class="extiw" title="fr:La Poupée sanglante (mini-série)">fr</a>] (1976) directed by <a href="/w/index.php?title=Marcel_Cravenne&action=edit&redlink=1" class="new" title="Marcel Cravenne (page does not exist)">Marcel Cravenne</a> [<a href="https://fr.wikipedia.org/wiki/Marcel_Cravenne" class="extiw" title="fr:Marcel Cravenne">fr</a>],<a href="#cite_note-205">[188]</a> <a href="/w/index.php?title=La_Double_Vie_de_Th%C3%A9ophraste_Longuet&action=edit&redlink=1" class="new" title="La Double Vie de Théophraste Longuet (page does not exist)">La Double Vie de Théophraste Longuet</a> [<a href="https://fr.wikipedia.org/wiki/La_Double_Vie_de_Th%C3%A9ophraste_Longuet_(mini-s%C3%A9rie)" class="extiw" title="fr:La Double Vie de Théophraste Longuet (mini-série)">fr</a>] (1981) by <a href="/wiki/Yannick_Andr%C3%A9i" title="Yannick Andréi">Yannick Andréi</a>,<a href="#cite_note-206">[189]</a> and <a href="/w/index.php?title=Le_Myst%C3%A9rieux_Docteur_Corn%C3%A9lius&action=edit&redlink=1" class="new" title="Le Mystérieux Docteur Cornélius (page does not exist)">Le Mystérieux Docteur Cornélius</a> [<a href="https://fr.wikipedia.org/wiki/Le_Myst%C3%A9rieux_Docteur_Corn%C3%A9lius_(mini-s%C3%A9rie)" class="extiw" title="fr:Le Mystérieux Docteur Cornélius (mini-série)">fr</a>] (1984) by <a href="/w/index.php?title=Maurice_Frydland&action=edit&redlink=1" class="new" title="Maurice Frydland (page does not exist)">Maurice Frydland</a> [<a href="https://fr.wikipedia.org/wiki/Maurice_Frydland" class="extiw" title="fr:Maurice Frydland">fr</a>].<a href="#cite_note-207">[190]</a> It relies on successful original creations, including the series <a href="/wiki/Aux_fronti%C3%A8res_du_possible" title="Aux frontières du possible">Aux frontières du possible</a> (1971-1974), which blends elements of a detective series and scientific anticipation,<a href="#cite_note-208">[191]</a> and <a href="/wiki/La_Brigade_des_mal%C3%A9fices" title="La Brigade des maléfices">La Brigade des Maléfices</a> (1971), which combines detective and fantasy genres,<a href="#cite_note-209">[192]</a> as well as the soap opera <a href="/w/index.php?title=Les_Compagnons_de_Baal&action=edit&redlink=1" class="new" title="Les Compagnons de Baal (page does not exist)">Les Compagnons de Baal</a> [<a href="https://fr.wikipedia.org/wiki/Les_Compagnons_de_Baal" class="extiw" title="fr:Les Compagnons de Baal">fr</a>] (1968), which chronicles the esoteric adventures of a journalist controlled by a secret society.<a href="#cite_note-210">[193]</a> If the label "scientific marvel" no longer appears in literature, the foundation of the genre remains intact: the encounter between a human and an extraordinary element, be it an object, a creature, or a physical phenomenon. This principle is handed down to future generations of authors. Authors like René Barjavel (<a href="/wiki/Ashes,_Ashes" title="Ashes, Ashes">Ashes, Ashes</a>, 1943), Pierre Boulle (<a href="/wiki/Planet_of_the_Apes_(novel)" title="Planet of the Apes (novel)">Planet of the Apes</a>, 1963), and Robert Merle (<a href="/w/index.php?title=Les_Hommes_prot%C3%A9g%C3%A9s&action=edit&redlink=1" class="new" title="Les Hommes protégés (page does not exist)">Les Hommes protégés</a> [<a href="https://fr.wikipedia.org/wiki/Les_Hommes_prot%C3%A9g%C3%A9s" class="extiw" title="fr:Les Hommes protégés">fr</a>], 1974) drew inspiration from this heritage and reinterpreted it. Even more recently, authors like Bernard Werber (<a href="/wiki/Empire_of_the_Ants" title="Empire of the Ants">Empire of the Ants</a>, 1991-1996) and Michel Houellebecq (<a href="/wiki/Atomised" title="Atomised">Atomised</a>, 1998)<a href="#cite_note-211">[194]</a> have continued to do so. In the second half of the 20th century, nascent French science fiction (SF) claimed to exclusively hail from the genre across the Atlantic. However, it was actually the result of multiple currents, with marvelous sci-fi serving as just one.<a href="#cite_note-212">[195]</a> In addition to this contemporary science-fiction, which is influenced by both French and Anglo-Saxon traditions, a fully-developed scientific marvel reemerged at the beginning of the 21st century. This genre mainly resurfaced through the medium of comics.<a href="#cite_note-213">[196]</a> It endured informally during the latter half of the 20th century, particularly with <a href="/wiki/Edgar_P._Jacobs" title="Edgar P. Jacobs">Edgar P. Jacobs</a> began with the adventures of <a href="/wiki/Blake_and_Mortimer" title="Blake and Mortimer">Blake and Mortimer</a> in 1946,<a href="#cite_note-214">[197]</a> followed by <a href="/wiki/Jacques_Tardi" title="Jacques Tardi">Jacques Tardi</a>'s <a href="/w/index.php?title=Le_D%C3%A9mon_des_glaces&action=edit&redlink=1" class="new" title="Le Démon des glaces (page does not exist)">Le Démon des glaces</a> [<a href="https://fr.wikipedia.org/wiki/Le_D%C3%A9mon_des_glaces" class="extiw" title="fr:Le Démon des glaces">fr</a>] in 1974 and <a href="/wiki/The_Extraordinary_Adventures_of_Ad%C3%A8le_Blanc-Sec" title="The Extraordinary Adventures of Adèle Blanc-Sec">The Extraordinary Adventures of Adèle Blanc-Sec</a> series in 1976, both of which reuse markers of merveilleux scientifique, such as the resurgence of prehistoric animals. Another Belgian author duo, <a href="/wiki/Fran%C3%A7ois_Schuiten" title="François Schuiten">François Schuiten</a> and <a href="/wiki/Beno%C3%AEt_Peeters" title="Benoît Peeters">Benoît Peeters</a>, published <a href="/wiki/Les_Cit%C3%A9s_obscures" title="Les Cités obscures">Les Cités obscures</a> from 1983, which reflects the influence of Jules Verne and Albert Robida. Finally, a resurgence of scientific marvel occurred through the release of the comic series <a href="/w/index.php?title=La_Brigade_chim%C3%A9rique&action=edit&redlink=1" class="new" title="La Brigade chimérique (page does not exist)">La Brigade chimérique</a> [<a href="https://fr.wikipedia.org/wiki/La_Brigade_chim%C3%A9rique" class="extiw" title="fr:La Brigade chimérique">fr</a>] (2009-2010)<a href="#cite_note-215">[198]</a> by authors Serge Lehman and Fabrice Colin. This work serves as both a tribute to classical literature and a modern reinterpretation, presenting numerous European literary superheroes from the early 20th century while also elucidating their disappearance after the events of World War II and the more general concealment of scientific imagination in literary works.<a href="#cite_note-216">[199]</a> Following this series, Serge Lehman updates the genre with three comics - L'Homme truqué (2013), adapting the short story and novel of the same name by Maurice Renard; <a href="/w/index.php?title=L%27%C5%92il_de_la_Nuit&action=edit&redlink=1" class="new" title="L'Œil de la Nuit (page does not exist)">L'Œil de la Nuit</a> [<a href="https://fr.wikipedia.org/wiki/L%27%C5%92il_de_la_Nuit" class="extiw" title="fr:L'Œil de la Nuit">fr</a>] (2015-2016), featuring the adventures of the Nyctalope; and <a href="/w/index.php?title=Masqu%C3%A9&action=edit&redlink=1" class="new" title="Masqué (page does not exist)">Masqué</a> [<a href="https://fr.wikipedia.org/wiki/Masqu%C3%A9" class="extiw" title="fr:Masqué">fr</a>] (2012-2013), which showcases a resurgence of merveilleux scientifique in the near future.<a href="#cite_note-217">[200]</a> Among the new generation of authors who resurrect literary heritage, <a href="/w/index.php?title=Xavier_Dorison&action=edit&redlink=1" class="new" title="Xavier Dorison (page does not exist)">Xavier Dorison</a> [<a href="https://fr.wikipedia.org/wiki/Xavier_Dorison" class="extiw" title="fr:Xavier Dorison">fr</a>] and <a href="/wiki/Enrique_Breccia" title="Enrique Breccia">Enrique Breccia</a> introduce mechanically enhanced super-soldiers during World War I in <a href="/w/index.php?title=Les_Sentinelles&action=edit&redlink=1" class="new" title="Les Sentinelles (page does not exist)">Les Sentinelles</a> [<a href="https://fr.wikipedia.org/wiki/Les_Sentinelles_(bande_dessin%C3%A9e)" class="extiw" title="fr:Les Sentinelles (bande dessinée)">fr</a>] (2008-2014), Jean-Marc Lofficier and <a href="/wiki/Gil_Formosa" title="Gil Formosa">Gil Formosa</a> tackle Jules Verne's character in <a href="/w/index.php?title=Robur_(comic)&action=edit&redlink=1" class="new" title="Robur (comic) (page does not exist)">Robur (comic)</a> [<a href="https://fr.wikipedia.org/wiki/Robur_(bande_dessin%C3%A9e)" class="extiw" title="fr:Robur (bande dessinée)">fr</a>] (2003-2005), and Alex Alice delves into the mysteries of the <a href="/wiki/Ether" title="Ether">ether</a> in <a href="/w/index.php?title=Le_Ch%C3%A2teau_des_%C3%A9toiles&action=edit&redlink=1" class="new" title="Le Château des étoiles (page does not exist)">Le Château des étoiles</a> [<a href="https://fr.wikipedia.org/wiki/Le_Ch%C3%A2teau_des_%C3%A9toiles" class="extiw" title="fr:Le Château des étoiles">fr</a>] (since 2014). These authors do not simply set their narratives in the <a href="/wiki/Belle_%C3%89poque" title="Belle Époque">Belle Époque</a> or rely on familiar literary figures. Rather, they resurrect several important themes of the genre, including exploration, war, and fantastical inventions. Some even adopt a periodical format, as in Le Château des Étoiles, which was originally published in fascicles as a nod to the 19th-century feuilleton tradition.<a href="#cite_note-218">[201]</a> Since 2005, Black Coat Press has been publishing the anthology series "Tales of the Shadowmen", in addition to its reprint work. These collections comprise short stories that narrate the journeys of heroes and <a href="/wiki/Villain" title="Villain">villains</a> from popular culture during the 19th and 20th centuries. Furthermore, starting from 2007, the series has been available in French under the title "Les Compagnons de l'Ombre" within the Rivière Blanche collection.<a href="#cite_note-219">[202]</a> Since 2015, the collection has published an anthological series of short stories titled "Dimension merveilleux scientifique." The short stories, written by various authors, intend to revive the French-language literary genre that has lost popularity.<a href="#cite_note-:6-17">[17]</a> This renewed fascination with scientific advancements appears to be a facet of the wider <a href="/wiki/Steampunk" title="Steampunk">steampunk</a> trend, an <a href="/wiki/Uchronia" title="Uchronia">uchronian</a> genre of alternative history literature that emerged during the 1990s, reimagining a past, particularly the 19th century, in which technological progress rapidly advanced and became firmly established.<a href="#cite_note-220">[203]</a> The scientific phenomenon is resurfacing alongside various literary genres, including steampunk and <a href="/wiki/Steampunk" title="Steampunk">gaslamp fantasy</a>. Prominent authors of these genres include <a href="/w/index.php?title=Mathieu_Gaborit&action=edit&redlink=1" class="new" title="Mathieu Gaborit (page does not exist)">Mathieu Gaborit</a> [<a href="https://fr.wikipedia.org/wiki/Mathieu_Gaborit" class="extiw" title="fr:Mathieu Gaborit">fr</a>] and <a href="/wiki/Fabrice_Colin" title="Fabrice Colin">Fabrice Colin</a> with <a href="/w/index.php?title=Confessions_d%27un_automate_mangeur_d%27opium&action=edit&redlink=1" class="new" title="Confessions d'un automate mangeur d'opium (page does not exist)">Confessions d'un automate mangeur d'opium</a> [<a href="https://fr.wikipedia.org/wiki/Confessions_d%27un_automate_mangeur_d%27opium" class="extiw" title="fr:Confessions d'un automate mangeur d'opium">fr</a>] (1999), Pierre Pevel with his <a href="/w/index.php?title=Paris_des_Merveilles&action=edit&redlink=1" class="new" title="Paris des Merveilles (page does not exist)">Paris des Merveilles</a> [<a href="https://fr.wikipedia.org/wiki/Paris_des_Merveilles" class="extiw" title="fr:Paris des Merveilles">fr</a>] cycle (2003-2015), and <a href="/wiki/Estelle_Faye" title="Estelle Faye">Estelle Faye</a> with Un éclat de givre (2014). These authors are considered to be the most representative proponents of the early 21st century.<a href="#cite_note-221">[204]</a> <ul class="gallery mw-gallery-traditional"> <li class="gallerybox" style="width: 235px"> <div class="thumb" style="width: 230px; height: 230px;"><a href="/wiki/File:Ren%C3%A9_Barjavel_-_Ravage_(1943).jpg" class="mw-file-description" title="Cover of René Barjavel's novel Ashes, Ashes, 1943."><img alt="Illustration représentant deux petites silhouettes humaines, courbées, nues et vues de dos, qui avancent au milieu de grands troncs d'arbres calcinés." src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Ren%C3%A9_Barjavel_-_Ravage_%281943%29.jpg/142px-Ren%C3%A9_Barjavel_-_Ravage_%281943%29.jpg" decoding="async" width="142" height="200" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Ren%C3%A9_Barjavel_-_Ravage_%281943%29.jpg/213px-Ren%C3%A9_Barjavel_-_Ravage_%281943%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Ren%C3%A9_Barjavel_-_Ravage_%281943%29.jpg/284px-Ren%C3%A9_Barjavel_-_Ravage_%281943%29.jpg 2x" data-file-width="508" data-file-height="714" /></a></div> <div class="gallerytext">Cover of <a href="/wiki/Ren%C3%A9_Barjavel" title="René Barjavel">René Barjavel</a>'s novel <a href="/wiki/Ashes,_Ashes" title="Ashes, Ashes">Ashes, Ashes</a>, 1943.</div> </li> <li class="gallerybox" style="width: 235px"> <div class="thumb" style="width: 230px; height: 230px;"><a href="/wiki/File:Serge_Lehman_(2019).jpg" class="mw-file-description" title="In addition to his work as an essayist and anthologist, Serge Lehman has revived characters from merveilleux-scientifique novels in the comic strip La Brigade chimérique [fr]."><img alt="Capture d'écran de Serge Lehman." src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b6/Serge_Lehman_%282019%29.jpg/185px-Serge_Lehman_%282019%29.jpg" decoding="async" width="185" height="200" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b6/Serge_Lehman_%282019%29.jpg/278px-Serge_Lehman_%282019%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b6/Serge_Lehman_%282019%29.jpg/371px-Serge_Lehman_%282019%29.jpg 2x" data-file-width="1074" data-file-height="1158" /></a></div> <div class="gallerytext">In addition to his work as an essayist and anthologist, <a href="/wiki/Serge_Lehman" title="Serge Lehman">Serge Lehman</a> has revived characters from merveilleux-scientifique novels in the comic strip <a href="/w/index.php?title=La_Brigade_chim%C3%A9rique&action=edit&redlink=1" class="new" title="La Brigade chimérique (page does not exist)">La Brigade chimérique</a> [<a href="https://fr.wikipedia.org/wiki/La_Brigade_chim%C3%A9rique" class="extiw" title="fr:La Brigade chimérique">fr</a>].</div> </li> <li class="gallerybox" style="width: 235px"> <div class="thumb" style="width: 230px; height: 230px;"><a href="/wiki/File:Jean-Marc_%26_Randy_Lofficier.jpg" class="mw-file-description" title="Jean-Marc Lofficier and his wife Randy are contributing to the rediscovery of the merveilleux-scientifique genre with an encyclopedic work, English translations of key works in the genre, and anthologies of short stories and essays published by Black Coat Press."><img alt="Photographie de Jean-Marc et Randy Lofficier." src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Jean-Marc_%26_Randy_Lofficier.jpg/200px-Jean-Marc_%26_Randy_Lofficier.jpg" decoding="async" width="200" height="74" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Jean-Marc_%26_Randy_Lofficier.jpg/300px-Jean-Marc_%26_Randy_Lofficier.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Jean-Marc_%26_Randy_Lofficier.jpg/400px-Jean-Marc_%26_Randy_Lofficier.jpg 2x" data-file-width="1880" data-file-height="700" /></a></div> <div class="gallerytext"><a href="/wiki/Jean-Marc_Lofficier" title="Jean-Marc Lofficier">Jean-Marc Lofficier</a> and his wife Randy are contributing to the rediscovery of the merveilleux-scientifique genre with an encyclopedic work, English translations of key works in the genre, and anthologies of short stories and essays published by Black Coat Press.</div> </li> <li class="gallerybox" style="width: 235px"> <div class="thumb" style="width: 230px; height: 230px;"><a href="/wiki/File:Mons074_Pierre_Pevel.jpg" class="mw-file-description" title="In Le Paris des Merveilles [fr], Pierre Pevel imagines the adventures of magician Louis Denizart Hippolyte Griffont in the early 20th century."><img alt="Photographie de Pierre Pevel." src="//upload.wikimedia.org/wikipedia/commons/thumb/3/32/Mons074_Pierre_Pevel.jpg/200px-Mons074_Pierre_Pevel.jpg" decoding="async" width="200" height="150" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/32/Mons074_Pierre_Pevel.jpg/300px-Mons074_Pierre_Pevel.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/32/Mons074_Pierre_Pevel.jpg/400px-Mons074_Pierre_Pevel.jpg 2x" data-file-width="3072" data-file-height="2304" /></a></div> <div class="gallerytext">In <a href="/w/index.php?title=Le_Paris_des_Merveilles&action=edit&redlink=1" class="new" title="Le Paris des Merveilles (page does not exist)">Le Paris des Merveilles</a> [<a href="https://fr.wikipedia.org/wiki/Le_Paris_des_Merveilles" class="extiw" title="fr:Le Paris des Merveilles">fr</a>], <a href="/wiki/Pierre_Pevel" title="Pierre Pevel">Pierre Pevel</a> imagines the adventures of magician Louis Denizart Hippolyte Griffont in the early 20th century.</div> </li> </ul> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=21" title="Edit section: Notes">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-22"><a href="#cite_ref-22">^</a> Alongside these three main articles, which seek to institutionalize the genre, the writer completes and evolves his thinking with "Two Observations on the Audience. "Mr. Orville Wright..." - Le canard attraction" in Le Spectateur no. 31, January 1912; "Depuis Sinbad" in L'Ami du livre, June 1923; and "Anticipations" in Paris-Soir no. 580, May 1925. </li> <li id="cite_note-34"><a href="#cite_ref-34">^</a> "Edgar Poe, with only two tales, The Truth about the Case of Mr. Valdemar and Recollections of Mr. August Bedloe, founded the pure marvel-scientific novel." </li> <li id="cite_note-52"><a href="#cite_ref-52">^</a> In particular, critic Jean Morel helped establish the term with his article "J.-H. Rosny aîné et le merveilleux scientifique", published in Le Mercure de France in 1926. </li> <li id="cite_note-57"><a href="#cite_ref-57">^</a> After the winner of the 1932 prize, Serge-Simon Held, refused his award so as not to jeopardize his chances of winning the Goncourt, Maurice Renard decided to put an end to the literary prize. </li> <li id="cite_note-92"><a href="#cite_ref-92">^</a> The novel originally appeared in 1911 under the title Le Roman d'un singe. </li> <li id="cite_note-93"><a href="#cite_ref-93">^</a> The novel originally appeared in 1920 under the title Les Surhommes. </li> <li id="cite_note-105"><a href="#cite_ref-105">^</a> The story was published in Harry Dickson's adventures, issue no. 152, entitled Les Sept petites chaises. </li> <li id="cite_note-107"><a href="#cite_ref-107">^</a> The novel first appeared in serial form in the pages of Le Figaro in 1928, under the title Le Baiser de l'infini. </li> <li id="cite_note-111"><a href="#cite_ref-111">^</a> This short story was initially published under the title Au temps des barbares (contes futurs in 1909, before being included under the title "Les Ferropucerons" in Voyage au pays de la quatrième dimension in 1912. </li> <li id="cite_note-121"><a href="#cite_ref-121">^</a> The real author of this novel is Jean-Marie Gerbault, who pretends to be the translator, attributing it to Ben Jackson, an imaginary American author. </li> <li id="cite_note-130"><a href="#cite_ref-130">^</a> While the term "science fiction" was definitively established in the United States in the 1930s, the term "scientific novel" was favored in France at the same time, following the example of "scientific romance" in use in the United Kingdom since the end of the 19th century. </li> <li id="cite_note-161"><a href="#cite_ref-161">^</a> Its sequel, announced the same year, was only published posthumously in 1960 under the title Les Astronautes. </li> <li id="cite_note-170"><a href="#cite_ref-170">^</a> The July 16, 1949 law on publications for young people aims to regulate the distribution of children's books and magazines. </li> <li id="cite_note-182"><a href="#cite_ref-182">^</a> The periodical ceased publication between 1971 and 1974, then reappeared under the title Désiré, l'ami de littérature populaire with a new numbering. </li> <li id="cite_note-185"><a href="#cite_ref-185">^</a> Hosted by Noël Arnaud, Francis Lacassin and Jean Tortel, the pioneering Entretiens sur la paralittérature symposium was held at the Centre culturel international de Cerisy-la-Salle in 1967. </li> <li id="cite_note-192"><a href="#cite_ref-192">^</a> In addition to the term "scientific marvel", the literature of scientific imagination of the early 20th century is also known as "hypothesis novels", "anticipation novels", "chimerical", "extraordinary", etc. </li> <li id="cite_note-196"><a href="#cite_ref-196">^</a> Hugo Gernsback first used and popularized the term "science fiction" in 1929, in an editorial for the magazine Science Wonder Stories. </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=22" title="Edit section: References">edit</a>]</div> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><a href="#cite_ref-1">^</a> (In French) Jérémy Chateau, "Détournements et inconstances de la découverte scientifique dans l'œuvre d'Edgar Allan Poe", in Azélie Fayolle and Yohann Ringuedé (eds.), La découverte scientifique dans les arts, Champs-sur-Marne, LISAA éditeur, coll. "Savoirs en Texte", 2018, 322 pp. (<a rel="nofollow" class="external text" href="https://books.openedition.org/lisaa/767">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fbooks.openedition.org%2Flisaa%2F767">archive</a>), p. 167. </li> <li id="cite_note-2"><a href="#cite_ref-2">^</a> (In French) Costes and Atairac 2018, p. 1682. </li> <li id="cite_note-3"><a href="#cite_ref-3">^</a> (In French) Costes and Atairac 2018, p. 2457. </li> <li id="cite_note-4"><a href="#cite_ref-4">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 304. </li> <li id="cite_note-5"><a href="#cite_ref-5">^</a> (In French) Versins 1972, <abbr>p.</abbr> 944. </li> <li id="cite_note-6"><a href="#cite_ref-6">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 305-306. </li> <li id="cite_note-7"><a href="#cite_ref-7">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 308. </li> <li id="cite_note-8"><a href="#cite_ref-8">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 309. </li> <li id="cite_note-9"><a href="#cite_ref-9">^</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/26285956?seq=1">Gordon 1988</a>, <abbr>p.</abbr> 9. </li> <li id="cite_note-10"><a href="#cite_ref-10">^</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/26285956?seq=1">Gordon 1988</a>, <abbr>p.</abbr> 18. </li> <li id="cite_note-:4-11">^ <a href="#cite_ref-:4_11-0">a</a> <a href="#cite_ref-:4_11-1">b</a> (In French) <a rel="nofollow" class="external text" href="https://www.cairn.info/revue-romantisme-2019-1-page-66.htm?contenu=article">Hopkins 2019a</a>, <abbr>p.</abbr> 67. </li> <li id="cite_note-12"><a href="#cite_ref-12">^</a> (In French) Deherly 2019. </li> <li id="cite_note-13"><a href="#cite_ref-13">^</a> (In French) Hopkins 2018a, <abbr>p.</abbr> 244. </li> <li id="cite_note-:5-14">^ <a href="#cite_ref-:5_14-0">a</a> <a href="#cite_ref-:5_14-1">b</a> <a href="#cite_ref-:5_14-2">c</a> <a href="#cite_ref-:5_14-3">d</a> <a href="#cite_ref-:5_14-4">e</a> <a href="#cite_ref-:5_14-5">f</a> <a href="#cite_ref-:5_14-6">g</a> <a href="#cite_ref-:5_14-7">h</a> (In French) <a rel="nofollow" class="external text" href="https://gallica.bnf.fr/blog/21052019/le-merveilleux-scientifique-dans-le-paysage-litteraire-francais?mode=desktop">Hopkins 2019c</a>. </li> <li id="cite_note-15"><a href="#cite_ref-15">^</a> <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1406">Evans 2018a</a>, § 2. </li> <li id="cite_note-16"><a href="#cite_ref-16">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 13. </li> <li id="cite_note-:6-17">^ <a href="#cite_ref-:6_17-0">a</a> <a href="#cite_ref-:6_17-1">b</a> (In French) Hopkins 2018a, <abbr>p.</abbr> 241. </li> <li id="cite_note-18"><a href="#cite_ref-18">^</a> (In French) Hopkins 2018a, <abbr>p.</abbr> 252. </li> <li id="cite_note-:7-19">^ <a href="#cite_ref-:7_19-0">a</a> <a href="#cite_ref-:7_19-1">b</a> (In French) Hopkins 2018a, <abbr>p.</abbr> 253. </li> <li id="cite_note-20"><a href="#cite_ref-20">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 37. </li> <li id="cite_note-21"><a href="#cite_ref-21">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 2. </li> <li id="cite_note-23"><a href="#cite_ref-23">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 1. </li> <li id="cite_note-24"><a href="#cite_ref-24">^</a> (In French) Hopkins 2018a, <abbr>p.</abbr> 258. </li> <li id="cite_note-25"><a href="#cite_ref-25">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 39-40. </li> <li id="cite_note-26"><a href="#cite_ref-26">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 56. </li> <li id="cite_note-27"><a href="#cite_ref-27">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1296">Hopkins 2018b</a>, § 21. </li> <li id="cite_note-:8-28">^ <a href="#cite_ref-:8_28-0">a</a> <a href="#cite_ref-:8_28-1">b</a> (In French) Hopkins 2018a, <abbr>p.</abbr> 246. </li> <li id="cite_note-29"><a href="#cite_ref-29">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 12. </li> <li id="cite_note-:11-30">^ <a href="#cite_ref-:11_30-0">a</a> <a href="#cite_ref-:11_30-1">b</a> <a href="#cite_ref-:11_30-2">c</a> <a href="#cite_ref-:11_30-3">d</a> <a href="#cite_ref-:11_30-4">e</a> <a href="#cite_ref-:11_30-5">f</a> <a href="#cite_ref-:11_30-6">g</a> <a href="#cite_ref-:11_30-7">h</a> (In French) Hopkins 2019b. </li> <li id="cite_note-31"><a href="#cite_ref-31">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 50. </li> <li id="cite_note-32"><a href="#cite_ref-32">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 51. </li> <li id="cite_note-33"><a href="#cite_ref-33">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 19. </li> <li id="cite_note-35"><a href="#cite_ref-35">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 2-8. </li> <li id="cite_note-36"><a href="#cite_ref-36">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 23. </li> <li id="cite_note-:12-37">^ <a href="#cite_ref-:12_37-0">a</a> <a href="#cite_ref-:12_37-1">b</a> <a href="#cite_ref-:12_37-2">c</a> <a href="#cite_ref-:12_37-3">d</a> <a href="#cite_ref-:12_37-4">e</a> (In French) <a rel="nofollow" class="external text" href="https://gallica.bnf.fr/blog/04062019/de-jules-verne-maurice-renard-les-precurseurs?mode=desktop">Musnik 2019</a>. </li> <li id="cite_note-38"><a href="#cite_ref-38">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1312">Pézard 2018b</a>, § 3. </li> <li id="cite_note-39"><a href="#cite_ref-39">^</a> <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1406">Evans 2018a</a>, § 27. </li> <li id="cite_note-40"><a href="#cite_ref-40">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.cairn.info/revue-romantisme-2019-1-page-66.htm?contenu=article">Hopkins 2019a</a>, <abbr>p.</abbr> 68. </li> <li id="cite_note-41"><a href="#cite_ref-41">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1278">Chabot 2018</a>, § 41. </li> <li id="cite_note-42"><a href="#cite_ref-42">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1278">Chabot 2018</a>, § 37. </li> <li id="cite_note-:9-43">^ <a href="#cite_ref-:9_43-0">a</a> <a href="#cite_ref-:9_43-1">b</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 25. </li> <li id="cite_note-44"><a href="#cite_ref-44">^</a> (In French) Hopkins 2018a, <abbr>p.</abbr> 257. </li> <li id="cite_note-45"><a href="#cite_ref-45">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 4. </li> <li id="cite_note-46"><a href="#cite_ref-46">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 28. </li> <li id="cite_note-47"><a href="#cite_ref-47">^</a> (In French) Hopkins 2018a, <abbr>p.</abbr> 254. </li> <li id="cite_note-48"><a href="#cite_ref-48">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 29-32. </li> <li id="cite_note-49"><a href="#cite_ref-49">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1296">Hopkins 2018b</a>, § 10. </li> <li id="cite_note-50"><a href="#cite_ref-50">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1296">Hopkins 2018b</a>, § 38-39. </li> <li id="cite_note-51"><a href="#cite_ref-51">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 47. </li> <li id="cite_note-53"><a href="#cite_ref-53">^</a> (In French) Hopkins 2018a, <abbr>p.</abbr> 255. </li> <li id="cite_note-54"><a href="#cite_ref-54">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1296">Hopkins 2018b</a>, § 32. </li> <li id="cite_note-55"><a href="#cite_ref-55">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 8. </li> <li id="cite_note-56"><a href="#cite_ref-56">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 16-17. </li> <li id="cite_note-58"><a href="#cite_ref-58">^</a> (In French) Hopkins 2018a, <abbr>p.</abbr> 256. </li> <li id="cite_note-59"><a href="#cite_ref-59">^</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/26285956?seq=1">Gordon 1988</a>, <abbr>p.</abbr> 20. </li> <li id="cite_note-:13-60">^ <a href="#cite_ref-:13_60-0">a</a> <a href="#cite_ref-:13_60-1">b</a> (In French) <a rel="nofollow" class="external text" href="https://www.bnf.fr/sites/default/files/2019-04/biblio_merveilleux_scientifique.pdf">Bibliographie BnF 2019</a>, <abbr>p.</abbr> 6. </li> <li id="cite_note-:14-61">^ <a href="#cite_ref-:14_61-0">a</a> <a href="#cite_ref-:14_61-1">b</a> (In French) Lanuque 2015, <abbr>p.</abbr> 374. </li> <li id="cite_note-62"><a href="#cite_ref-62">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 316-317. </li> <li id="cite_note-63"><a href="#cite_ref-63">^</a> (In French) Serge Lehman, "Une Littérature plus complexe et plus haute", in J.-H. Rosny aîné, Serge Lehman présente La guerre des règnes, Paris, Bragelonne, 2020 (<style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/979-10-281-0774-1" title="Special:BookSources/979-10-281-0774-1">979-10-281-0774-1</a>, pp. 776-781. </li> <li id="cite_note-64"><a href="#cite_ref-64">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.academia.edu/34853066/Rosny_a%C3%AEn%C3%A9_et_le_fantasme_de_l%C3%A2ge_dor_de_lanticipation_fran%C3%A7aise">Hummel 2017</a>, <abbr>p.</abbr> 2. </li> <li id="cite_note-65"><a href="#cite_ref-65">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 319. </li> <li id="cite_note-66"><a href="#cite_ref-66">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.academia.edu/34853066/Rosny_a%C3%AEn%C3%A9_et_le_fantasme_de_l%C3%A2ge_dor_de_lanticipation_fran%C3%A7aise">Hummel 2017</a>, <abbr>p.</abbr> 8. </li> <li id="cite_note-67"><a href="#cite_ref-67">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">Pézard 2018a</a>, § 24. </li> <li id="cite_note-68"><a href="#cite_ref-68">^</a> (In French) Van Herp 1956, <abbr>p.</abbr> 108. </li> <li id="cite_note-69"><a href="#cite_ref-69">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 323-324. </li> <li id="cite_note-:0-70">^ <a href="#cite_ref-:0_70-0">a</a> <a href="#cite_ref-:0_70-1">b</a> <a href="#cite_ref-:0_70-2">c</a> (In French) Boutel 2015, <abbr>p.</abbr> 328. </li> <li id="cite_note-71"><a href="#cite_ref-71">^</a> (In French) "<a rel="nofollow" class="external text" href="http://gotomars.free.fr/litfr.html">Littérature française 'martienne' de 1865 à 1958 ou le "merveilleux scientifique" à l'assaut de la planète rouge. Part 1: 1865 - 1930</a>" <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=http%3A%2F%2Fgotomars.free.fr%2Flitfr.html">archive</a>, on Mars and Science Fiction (accessed January 26, 2020) </li> <li id="cite_note-72"><a href="#cite_ref-72">^</a> (In French) Jean-Guillaume Lanuque, "Jean de la Hire: le patriotisme anticommuniste d'un imaginaire surhumain", Dissidences, no. 5, Spring 2013, § 2 (<a rel="nofollow" class="external text" href="https://preo.u-bourgogne.fr/dissidences/index.php?id=320">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fpreo.u-bourgogne.fr%2Fdissidences%2Findex.php%3Fid%3D320">archive</a>). </li> <li id="cite_note-73"><a href="#cite_ref-73">^</a> (In French) Brian Stableford (trans. from English), "Brian Stableford: préface et postface à l'édition américaine du Mystère des XV", in Emmanuel Gorlier, Nyctalope! L'Univers extravagant de Jean de La Hire, Black Coat Press, coll. "Rivière Blanche", 2011, 171 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-61227-016-6" title="Special:BookSources/978-1-61227-016-6">978-1-61227-016-6</a>), p. 157 </li> <li id="cite_note-74"><a href="#cite_ref-74">^</a> (In French) Costes and Atairac 2018, pp. 760-761. </li> <li id="cite_note-75"><a href="#cite_ref-75">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.noosfere.org/livres/niourf.asp?numlivre=2146610368">Boutel 2020</a>, <abbr>p.</abbr> 37. </li> <li id="cite_note-76"><a href="#cite_ref-76">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.noosfere.org/livres/niourf.asp?numlivre=2146610368">Boutel 2020</a>, <abbr>p.</abbr> 38. </li> <li id="cite_note-77"><a href="#cite_ref-77">^</a> (In French) Gabriel Thoveron, Deux siècles de paralittératures : lecture, sociologie, histoire, t. 2 : de 1895 à 1995, Liège, Éditions du Céfal, coll. "Bibliothèque des Paralittératures", 2008, 452 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-87130-268-1" title="Special:BookSources/978-2-87130-268-1">978-2-87130-268-1</a>, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=mZxYllRe3i0C">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DmZxYllRe3i0C%26printsec%3Dfrontcover">archive</a>), p. 384. </li> <li id="cite_note-78"><a href="#cite_ref-78">^</a> (In French) <a rel="nofollow" class="external text" href="https://journals.openedition.org/belphegor/576">Vas-Deyres 2013</a>, <abbr>p.</abbr> 123. </li> <li id="cite_note-79"><a href="#cite_ref-79">^</a> (In French) <a rel="nofollow" class="external text" href="https://journals.openedition.org/belphegor/576">Vas-Deyres 2013</a>, <abbr>p.</abbr> 126. </li> <li id="cite_note-80"><a href="#cite_ref-80">^</a> (In French) <a rel="nofollow" class="external text" href="https://journals.openedition.org/belphegor/576">Vas-Deyres 2013</a>, <abbr>p.</abbr> 124. </li> <li id="cite_note-81"><a href="#cite_ref-81">^</a> (In French) <a rel="nofollow" class="external text" href="https://journals.openedition.org/belphegor/576">Vas-Deyres 2013</a>, <abbr>p.</abbr> 130. </li> <li id="cite_note-82"><a href="#cite_ref-82">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 298. </li> <li id="cite_note-83"><a href="#cite_ref-83">^</a> (In French) Roger Bozzeto, "Littérature et paralittérature: le cas de la science-fiction", Orientations de recherches et méthodes en littérature générale et comparée, Publications de l'Université Paul Valéry, t. 1, 1984, p. 143. </li> <li id="cite_note-84"><a href="#cite_ref-84">^</a> (In French) Costes and Atairac 2018, pp. 1175-1776. </li> <li id="cite_note-85"><a href="#cite_ref-85">^</a> (In French) Costes and Atairac 2018, p. 1242. </li> <li id="cite_note-86"><a href="#cite_ref-86">^</a> (In French) Claude Deméocq, "Michel Corday, André Couvreur, et... les Éditions Lafitte (1903-1914)", Le Rocambole, no. 12 "Les Éditions Pierre Lafitte (II)", autumn 2000, p. 26 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-912349-12-5" title="Special:BookSources/978-2-912349-12-5">978-2-912349-12-5</a>). </li> <li id="cite_note-:10-87">^ <a href="#cite_ref-:10_87-0">a</a> <a href="#cite_ref-:10_87-1">b</a> (In French) Hopkins 2018a, <abbr>p.</abbr> 248. </li> <li id="cite_note-88"><a href="#cite_ref-88">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 325. </li> <li id="cite_note-89"><a href="#cite_ref-89">^</a> (In French) Costes and Atairac 2018, p. 336. </li> <li id="cite_note-90"><a href="#cite_ref-90">^</a> (In French) Gaîté Lyrique and Fleur Hopkins, "<a rel="nofollow" class="external text" href="https://blogs.mediapart.fr/gaite-lyrique/blog/261119/fleur-hopkins-met-en-lumiere-le-merveilleux-scientifique">Fleur Hopkins met en lumière le merveilleux-scientifique</a>" <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fblogs.mediapart.fr%2Fgaite-lyrique%2Fblog%2F261119%2Ffleur-hopkins-met-en-lumiere-le-merveilleux-scientifique">archive</a>, on Médiapart, November 26, 2019. </li> <li id="cite_note-91"><a href="#cite_ref-91">^</a> (In French) Costes and Atairac 2018, p. 141. </li> <li id="cite_note-94"><a href="#cite_ref-94">^</a> (In French) Costes and Atairac 2018, p. 1302. </li> <li id="cite_note-95"><a href="#cite_ref-95">^</a> (In French) Costes and Atairac 2018, pp. 238-239. </li> <li id="cite_note-96"><a href="#cite_ref-96">^</a> (In French) <a rel="nofollow" class="external text" href="https://gallica.bnf.fr/blog/19062019/de-la-physiognomonie-la-phrenologie?mode=desktop">Deherly 2019</a>. </li> <li id="cite_note-97"><a href="#cite_ref-97">^</a> (In French) Costes and Atairac 2018, p. 1237. </li> <li id="cite_note-98"><a href="#cite_ref-98">^</a> (In French) Costes and Atairac 2018, p. 436. </li> <li id="cite_note-99"><a href="#cite_ref-99">^</a> (In French) Costes and Atairac 2018, p. 1008. </li> <li id="cite_note-100"><a href="#cite_ref-100">^</a> (In French) Costes and Atairac 2018, p. 884. </li> <li id="cite_note-101"><a href="#cite_ref-101">^</a> (In French) Costes and Atairac 2018, p. 1680. </li> <li id="cite_note-102"><a href="#cite_ref-102">^</a> (In French) Costes and Atairac 2018, p. 495. </li> <li id="cite_note-103"><a href="#cite_ref-103">^</a> (In French) Costes and Atairac 2018, p. 885. </li> <li id="cite_note-104"><a href="#cite_ref-104">^</a> Dominiq Jenvrey (Interviewer) and Serge Lehman, "<a rel="nofollow" class="external text" href="http://www.parislike.com/FR/invaders-serge-lehman-video.php">Radium Unlimited</a>" <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=http%3A%2F%2Fwww.parislike.com%2FFR%2Finvaders-serge-lehman-video.php">archive</a>, on ParisLike, 2013 </li> <li id="cite_note-106"><a href="#cite_ref-106">^</a> (In French) Costes and Atairac 2018, p. 1702. </li> <li id="cite_note-108"><a href="#cite_ref-108">^</a> (In French) Costes and Atairac 2018, p. 68. </li> <li id="cite_note-109"><a href="#cite_ref-109">^</a> (In French) Versins 1972, <abbr>p.</abbr> 252. </li> <li id="cite_note-110"><a href="#cite_ref-110">^</a> (In French) Costes and Atairac 2018, p. 1582. </li> <li id="cite_note-112"><a href="#cite_ref-112">^</a> (In French) Costes and Atairac 2018, p. 927. </li> <li id="cite_note-113"><a href="#cite_ref-113">^</a> (In French) André Leborgne, "Les inventions", in Jacques Van Herp, André Leborgne, Yves Oliver-Martin et al, Cahiers d'études n°1: Cahier Jean de La Hire, Éditions de l'Hydre, 1972, pp. 118-119. </li> <li id="cite_note-114"><a href="#cite_ref-114">^</a> (In French) Versins 1972, <abbr>p.</abbr> 82. </li> <li id="cite_note-115"><a href="#cite_ref-115">^</a> (In French) Costes and Atairac 2018, pp. 1816-1819. </li> <li id="cite_note-116"><a href="#cite_ref-116">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 327. </li> <li id="cite_note-117"><a href="#cite_ref-117">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 323. </li> <li id="cite_note-118"><a href="#cite_ref-118">^</a> (In French) Costes and Atairac 2018, p. 1812. </li> <li id="cite_note-119"><a href="#cite_ref-119">^</a> (In French) Costes and Atairac 2018, p. 1777. </li> <li id="cite_note-120"><a href="#cite_ref-120">^</a> (In French) Costes and Atairac 2018, p. 287. </li> <li id="cite_note-122"><a href="#cite_ref-122">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 326. </li> <li id="cite_note-123"><a href="#cite_ref-123">^</a> (In French) Bertrand Tillier, "Robida et la 'guerre de demain' ", in Fritz Taubert, Vincent Chambarlhac, Véronique Liard and Bertrand Tillier (eds.), Veilles de guerre: précurseurs politiques et culturels de la Grande Guerre, Villeneuve-d'Ascq, Presses universitaires du Septentrion, coll. " Histoire et civilisations ", 2018, 268 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-7574-2356-1" title="Special:BookSources/978-2-7574-2356-1">978-2-7574-2356-1</a>), pp. 237-246. </li> <li id="cite_note-124"><a href="#cite_ref-124">^</a> (In French) Costes and Atairac 2018, p. 1817. </li> <li id="cite_note-125"><a href="#cite_ref-125">^</a> (In French) Costes and Atairac 2018, p. 761. </li> <li id="cite_note-126"><a href="#cite_ref-126">^</a> (In French) <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1439">Evans 2018b</a>, § 7. </li> <li id="cite_note-127"><a href="#cite_ref-127">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 300. </li> <li id="cite_note-128"><a href="#cite_ref-128">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 315. </li> <li id="cite_note-:1-129">^ <a href="#cite_ref-:1_129-0">a</a> <a href="#cite_ref-:1_129-1">b</a> <a href="#cite_ref-:1_129-2">c</a> (In French) <a rel="nofollow" class="external text" href="https://www.noosfere.org/livres/niourf.asp?numlivre=2146610368">Boutel 2020</a>, <abbr>p.</abbr> 10. </li> <li id="cite_note-131"><a href="#cite_ref-131">^</a> (In French) Lehman 2006, <abbr>p.</abbr> XII. </li> <li id="cite_note-132"><a href="#cite_ref-132">^</a> (it) Fabrizio Foni, Alla fiera dei mostri: Racconti pulp, orrori e arcane fantasticherie nelle riviste italiane 1899-1932, Latina, Tunué, 2007, 334 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-88-89613-20-7" title="Special:BookSources/978-88-89613-20-7">978-88-89613-20-7</a>, <a rel="nofollow" class="external text" href="https://issuu.com/tunue/docs/l10_op/103">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fissuu.com%2Ftunue%2Fdocs%2Fl10_op%2F103">archive</a>), pp. 96-98. </li> <li id="cite_note-133"><a href="#cite_ref-133">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.noosfere.org/livres/niourf.asp?numlivre=2146610368">Boutel 2020</a>, <abbr>p.</abbr> 5. </li> <li id="cite_note-134"><a href="#cite_ref-134">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.noosfere.org/livres/niourf.asp?numlivre=2146610368">Boutel 2020</a>, <abbr>p.</abbr> 81. </li> <li id="cite_note-:2-135">^ <a href="#cite_ref-:2_135-0">a</a> <a href="#cite_ref-:2_135-1">b</a> (In French) Boutel 2015, <abbr>p.</abbr> 335. </li> <li id="cite_note-136"><a href="#cite_ref-136">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.noosfere.org/livres/niourf.asp?numlivre=2146610368">Boutel 2020</a>, <abbr>p.</abbr> 15. </li> <li id="cite_note-137"><a href="#cite_ref-137">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.cairn.info/revue-de-la-bibliotheque-nationale-de-france-2019-1-page-100.htm">Hopkins 2019d</a>, <abbr>p.</abbr> 102. </li> <li id="cite_note-:15-138">^ <a href="#cite_ref-:15_138-0">a</a> <a href="#cite_ref-:15_138-1">b</a> (In French) <a rel="nofollow" class="external text" href="https://www.cairn.info/revue-de-la-bibliotheque-nationale-de-france-2019-1-page-100.htm">Hopkins 2019d</a>, <abbr>p.</abbr> 103. </li> <li id="cite_note-139"><a href="#cite_ref-139">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.cairn.info/revue-de-la-bibliotheque-nationale-de-france-2019-1-page-100.htm">Hopkins 2019d</a>, <abbr>p.</abbr> 105-107. </li> <li id="cite_note-140"><a href="#cite_ref-140">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.noosfere.org/livres/niourf.asp?numlivre=2146610368">Boutel 2020</a>, <abbr>p.</abbr> 21. </li> <li id="cite_note-141"><a href="#cite_ref-141">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.noosfere.org/livres/niourf.asp?numlivre=2146610368">Boutel 2020</a>, <abbr>p.</abbr> 35. </li> <li id="cite_note-142"><a href="#cite_ref-142">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.noosfere.org/livres/niourf.asp?numlivre=2146610368">Boutel 2020</a>, <abbr>p.</abbr> 19. </li> <li id="cite_note-143"><a href="#cite_ref-143">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.cairn.info/revue-de-la-bibliotheque-nationale-de-france-2019-1-page-100.htm">Hopkins 2019d</a>, <abbr>p.</abbr> 104. </li> <li id="cite_note-144"><a href="#cite_ref-144">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.noosfere.org/livres/niourf.asp?numlivre=2146610368">Boutel 2020</a>, <abbr>p.</abbr> 49. </li> <li id="cite_note-145"><a href="#cite_ref-145">^</a> (In French) Costes and Atairac 2018, p. 1114. </li> <li id="cite_note-:3-146">^ <a href="#cite_ref-:3_146-0">a</a> <a href="#cite_ref-:3_146-1">b</a> (In French) <a rel="nofollow" class="external text" href="https://www.noosfere.org/livres/niourf.asp?numlivre=2146610368">Boutel 2020</a>, <abbr>p.</abbr> 24. </li> <li id="cite_note-147"><a href="#cite_ref-147">^</a> (In French) Costes and Atairac 2018, p. 1768. </li> <li id="cite_note-148"><a href="#cite_ref-148">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.noosfere.org/livres/niourf.asp?numlivre=2146610368">Boutel 2020</a>, <abbr>p.</abbr> 93-94. </li> <li id="cite_note-149"><a href="#cite_ref-149">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.noosfere.org/livres/niourf.asp?numlivre=2146610368">Boutel 2020</a>, <abbr>p.</abbr> 86. </li> <li id="cite_note-150"><a href="#cite_ref-150">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.noosfere.org/livres/niourf.asp?numlivre=2146610368">Boutel 2020</a>, <abbr>p.</abbr> 89. </li> <li id="cite_note-151"><a href="#cite_ref-151">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.cairn.info/revue-de-la-bibliotheque-nationale-de-france-2019-1-page-100.htm">Hopkins 2019d</a>, <abbr>p.</abbr> 110. </li> <li id="cite_note-152"><a href="#cite_ref-152">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.cairn.info/revue-de-la-bibliotheque-nationale-de-france-2019-1-page-100.htm">Hopkins 2019d</a>, <abbr>p.</abbr> 111. </li> <li id="cite_note-:16-153">^ <a href="#cite_ref-:16_153-0">a</a> <a href="#cite_ref-:16_153-1">b</a> (In French) Daniel Raichvarg, Science et spectacle: Figures d'une rencontre, Delagrave, 2000, 327 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-206-08318-6" title="Special:BookSources/978-2-206-08318-6">978-2-206-08318-6</a>), pp. 47-48. </li> <li id="cite_note-154"><a href="#cite_ref-154">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.actusf.com/detail-d-un-article/universite-de-l-imaginaire-fleur">Marron 2018</a>, § Hybridation d'un discours savant et de la merveille. </li> <li id="cite_note-155"><a href="#cite_ref-155">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.actusf.com/detail-d-un-article/universite-de-l-imaginaire-fleur">Marron 2018</a>, § Les Invisibles, un théâtre scientifique?. </li> <li id="cite_note-156"><a href="#cite_ref-156">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.actusf.com/detail-d-un-article/universite-de-l-imaginaire-fleur">Marron 2018</a>, § Un exemple de vulgarisation scientifique. </li> <li id="cite_note-:17-157">^ <a href="#cite_ref-:17_157-0">a</a> <a href="#cite_ref-:17_157-1">b</a> (In French) Flore Garcin-Marrou, "André de Lorde et Alfred Binet: quand le théâtre du Grand-Guignol passionne les scientifiques", Recherches & éducations, no. 5 "Le centenaire de la mort d'Alfred Binet", October 2011, pp. 193-204 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.4000%2Frechercheseducations.836">10.4000/rechercheseducations.836</a>, <a rel="nofollow" class="external text" href="https://journals.openedition.org/rechercheseducations/836">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fjournals.openedition.org%2Frechercheseducations%2F836">archive</a>). </li> <li id="cite_note-:18-158">^ <a href="#cite_ref-:18_158-0">a</a> <a href="#cite_ref-:18_158-1">b</a> (In French) <a rel="nofollow" class="external text" href="https://www.actusf.com/detail-d-un-article/universite-de-l-imaginaire-fleur">Marron 2018</a>, § Un théâtre merveilleux-scientifique : l'union de la féérie et de la vulgarisation?. </li> <li id="cite_note-159"><a href="#cite_ref-159">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 340. </li> <li id="cite_note-160"><a href="#cite_ref-160">^</a> (In French) Serge Lehman, "Une Littérature plus complexe et plus haute", in J.-H. Rosny aîné, Serge Lehman présente La guerre des règnes, Paris, Bragelonne, 2020 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/979-10-281-0774-1" title="Special:BookSources/979-10-281-0774-1">979-10-281-0774-1</a>), p. 770. </li> <li id="cite_note-162"><a href="#cite_ref-162">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/20719637?seq=1">Gouanvic 1994</a>, <abbr>p.</abbr> 81-82. </li> <li id="cite_note-163"><a href="#cite_ref-163">^</a> (In French) <a rel="nofollow" class="external text" href="https://journals.openedition.org/belphegor/576">Vas-Deyres 2013</a>, <abbr>p.</abbr> 131. </li> <li id="cite_note-164"><a href="#cite_ref-164">^</a> (In French) Costes and Atairac 2018, p. 1664. </li> <li id="cite_note-165"><a href="#cite_ref-165">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 310-312. </li> <li id="cite_note-166"><a href="#cite_ref-166">^</a> (In French) Claire Barel-Moisan, "Anticipation et légitimation: le prix 'Jules Verne'", Contextes, no 21, 2018 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.4000%2Fcontextes.6725">10.4000/contextes.6725</a>, <a rel="nofollow" class="external text" href="http://journals.openedition.org/contextes/6725">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=http%3A%2F%2Fjournals.openedition.org%2Fcontextes%2F6725">archive</a>). </li> <li id="cite_note-167"><a href="#cite_ref-167">^</a> (In French) "Carnet de la Revue: la revue Sciences et Voyages jugée par les tribunaux français", Revue des lectures, no. 1 (15th year), January 15, 1926, pp. 19-21 (<a rel="nofollow" class="external text" href="https://gallica.bnf.fr/ark:/12148/bpt6k5742697s/f25.item">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fgallica.bnf.fr%2Fark%3A%2F12148%2Fbpt6k5742697s%2Ff25.item">archive</a>). </li> <li id="cite_note-168"><a href="#cite_ref-168">^</a> (In French) Jacques Van Herp, Je sais tout: le Roi des Magazines, Bruxelles, Recto Verso, coll. "Ides et Autres" (no. 54), 1986, 180 pp., p. 146. </li> <li id="cite_note-169"><a href="#cite_ref-169">^</a> (In French) Lehman 2006, pp. XX-XXI. </li> <li id="cite_note-171"><a href="#cite_ref-171">^</a> (In French) Lanuque 2015, <abbr>p.</abbr> 372. </li> <li id="cite_note-172"><a href="#cite_ref-172">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.academia.edu/34853066/Rosny_a%C3%AEn%C3%A9_et_le_fantasme_de_l%C3%A2ge_dor_de_lanticipation_fran%C3%A7aise">Hummel 2017</a>, <abbr>p.</abbr> 3. </li> <li id="cite_note-173"><a href="#cite_ref-173">^</a> (In French) Lehman 2006, <abbr>p.</abbr> IV-V. </li> <li id="cite_note-174"><a href="#cite_ref-174">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 341-343. </li> <li id="cite_note-175"><a href="#cite_ref-175">^</a> (In French) Bréan 2018, <abbr>p.</abbr> 276. </li> <li id="cite_note-176"><a href="#cite_ref-176">^</a> (In French) Lehman 2006, <abbr>p.</abbr> XVII. </li> <li id="cite_note-177"><a href="#cite_ref-177">^</a> (In French) Lanuque 2015, <abbr>p.</abbr> 376. </li> <li id="cite_note-:19-178">^ <a href="#cite_ref-:19_178-0">a</a> <a href="#cite_ref-:19_178-1">b</a> (In French) Lanuque 2015, <abbr>p.</abbr> 376. </li> <li id="cite_note-179"><a href="#cite_ref-179">^</a> (In French) Jean-luc Boutel, "<a rel="nofollow" class="external text" href="http://www.merveilleuxscientifique.fr/evenements/exposition-bnf-2019-le-merveilleux-scientifique-une-science-fiction-%C3%A0-la-fran%C3%A7aise/">Le merveilleux-scientifique. Une science-fiction à la française</a>" <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=http%3A%2F%2Fwww.merveilleuxscientifique.fr%2Fevenements%2Fexposition-bnf-2019-le-merveilleux-scientifique-une-science-fiction-%25C3%25A0-la-fran%25C3%25A7aise%2F">archive</a>, on Sur l'autre face du monde, 2019 </li> <li id="cite_note-180"><a href="#cite_ref-180">^</a> (In French) Daniel Couégnas, Introduction à la paralittérature, Paris, Seuil, 1992, 200 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-02-013555-9" title="Special:BookSources/978-2-02-013555-9">978-2-02-013555-9</a>), p. 15. </li> <li id="cite_note-181"><a href="#cite_ref-181">^</a> (In French) Sarah Mombert, "Profession: romancier populaire", in Loïc Artiaga (ed.), Le roman populaire: des premiers feuilletons aux adaptations télévisuelles, 1836-1960, Paris, Autrement, coll. "Mémoires : culture" (no. 143), 2008, 186 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-7467-1200-3" title="Special:BookSources/978-2-7467-1200-3">978-2-7467-1200-3</a>), p. 57, n. 7. </li> <li id="cite_note-183"><a href="#cite_ref-183">^</a> (In French) Catherine Frichet, La Collection Bastaire: mémoires de papier (xixe: xxie siècles): Mémoire de Master 2 directed by Ms. Nathalie Ponsard, Université Blaise Pascal - Clermont Université, 2015, 186 pp. (<a rel="nofollow" class="external text" href="https://bastaire.hypotheses.org/files/2017/01/m%C3%A9moire-Frichet-2016.pdf">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fbastaire.hypotheses.org%2Ffiles%2F2017%2F01%2Fm%25C3%25A9moire-Frichet-2016.pdf">archive</a>), p. 76. </li> <li id="cite_note-184"><a href="#cite_ref-184">^</a> (In French) Laurent Séguin, Les collections de romans populaires et leur conservation dans les fonds patrimoniaux de la Bibliothèque nationale de France : l'exemple du " Livre populaire " de la Librairie Arthème Fayard. Dissertation under the supervision of Frédéric Barbier, director of the Centre de recherche en histoire du livre de l'ENSSIB, vol. 1, École nationale supérieure des sciences de l'information et des bibliothèques, January 2005, 78 pp. (<a rel="nofollow" class="external text" href="https://www.enssib.fr/bibliotheque-numerique/documents/652-les-collections-de-romans-populaires-et-leur-conservation-dans-les-fonds-patrimoniaux-de-la-bibliotheque-nationale-de-france.pdf">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fwww.enssib.fr%2Fbibliotheque-numerique%2Fdocuments%2F652-les-collections-de-romans-populaires-et-leur-conservation-dans-les-fonds-patrimoniaux-de-la-bibliotheque-nationale-de-france.pdf">archive</a>), p. 12. </li> <li id="cite_note-186"><a href="#cite_ref-186">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.academia.edu/34853066/Rosny_a%C3%AEn%C3%A9_et_le_fantasme_de_l%C3%A2ge_dor_de_lanticipation_fran%C3%A7aise">Hummel 2017</a>, <abbr>p.</abbr> 4. </li> <li id="cite_note-187"><a href="#cite_ref-187">^</a> (In French) Lanuque 2015, <abbr>p.</abbr> 359. </li> <li id="cite_note-188"><a href="#cite_ref-188">^</a> (In French) Lanuque 2015, <abbr>p.</abbr> 364. </li> <li id="cite_note-:20-189">^ <a href="#cite_ref-:20_189-0">a</a> <a href="#cite_ref-:20_189-1">b</a> (In French) Lanuque 2015, <abbr>p.</abbr> 368. </li> <li id="cite_note-190"><a href="#cite_ref-190">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 355. </li> <li id="cite_note-191"><a href="#cite_ref-191">^</a> (In French) Frédérique Roussel, "RétroFictions", tout l'univers d'anticipations francophones", Libération, September 18, 2018 (<a rel="nofollow" class="external text" href="https://next.liberation.fr/livres/2018/09/18/retrofictions-tout-l-univers-d-anticipations-francophones_1679451">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fnext.liberation.fr%2Flivres%2F2018%2F09%2F18%2Fretrofictions-tout-l-univers-d-anticipations-francophones_1679451">archive</a>). </li> <li id="cite_note-193"><a href="#cite_ref-193">^</a> (In French) Hopkins 2018a, <abbr>p.</abbr> 242. </li> <li id="cite_note-194"><a href="#cite_ref-194">^</a> <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1406">Evans 2018a</a>, § 21. </li> <li id="cite_note-195"><a href="#cite_ref-195">^</a> (In French) Hopkins 2018a, <abbr>p.</abbr> 243-244. </li> <li id="cite_note-197"><a href="#cite_ref-197">^</a> (In French) <a rel="nofollow" class="external text" href="https://www.academia.edu/34853066/Rosny_a%C3%AEn%C3%A9_et_le_fantasme_de_l%C3%A2ge_dor_de_lanticipation_fran%C3%A7aise">Hummel 2017</a>, <abbr>p.</abbr> 16. </li> <li id="cite_note-198"><a href="#cite_ref-198">^</a> (In French) Lanuque 2015, <abbr>p.</abbr> 361. </li> <li id="cite_note-199"><a href="#cite_ref-199">^</a> (In French) Lanuque 2015, <abbr>p.</abbr> 370. </li> <li id="cite_note-200"><a href="#cite_ref-200">^</a> (In French) Lanuque 2015, <abbr>p.</abbr> 360. </li> <li id="cite_note-201"><a href="#cite_ref-201">^</a> (In French) Bréan 2018, <abbr>p.</abbr> 275. </li> <li id="cite_note-202"><a href="#cite_ref-202">^</a> (In French) Baudou and Schleret 1995, <abbr>p.</abbr> 9. </li> <li id="cite_note-203"><a href="#cite_ref-203">^</a> (In French) Baudou and Schleret 1995, <abbr>p.</abbr> 9-10. </li> <li id="cite_note-204"><a href="#cite_ref-204">^</a> (In French) Christian Bosséno, "La télévision française aussi...", CinémAction, Éditions Corlet / Télérama, no. 74 "Le cinéma fantastique", 1st quarter 1995, p. 145 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-85480-870-4" title="Special:BookSources/978-2-85480-870-4">978-2-85480-870-4</a>). </li> <li id="cite_note-205"><a href="#cite_ref-205">^</a> (In French) Baudou and Schleret 1995, <abbr>p.</abbr> 117-118. </li> <li id="cite_note-206"><a href="#cite_ref-206">^</a> (In French) Baudou and Schleret 1995, <abbr>p.</abbr> 140-141. </li> <li id="cite_note-207"><a href="#cite_ref-207">^</a> (In French) Baudou and Schleret 1995, <abbr>p.</abbr> 148-151. </li> <li id="cite_note-208"><a href="#cite_ref-208">^</a> (In French) Baudou and Schleret 1995, <abbr>p.</abbr> 85-87. </li> <li id="cite_note-209"><a href="#cite_ref-209">^</a> (In French) Baudou and Schleret 1995, <abbr>p.</abbr> 80-84. </li> <li id="cite_note-210"><a href="#cite_ref-210">^</a> (In French) Baudou and Schleret 1995, <abbr>p.</abbr> 54-57. </li> <li id="cite_note-211"><a href="#cite_ref-211">^</a> (In French) Bréan 2018, <abbr>p.</abbr> 285. </li> <li id="cite_note-212"><a href="#cite_ref-212">^</a> (In French) Boutel 2015, <abbr>p.</abbr> 303. </li> <li id="cite_note-213"><a href="#cite_ref-213">^</a> (In French) Lanuque 2018, p. 287. </li> <li id="cite_note-214"><a href="#cite_ref-214">^</a> (In French) Lehman 2006, <abbr>p.</abbr> V. </li> <li id="cite_note-215"><a href="#cite_ref-215">^</a> (In French) Lanuque 2018, <abbr>p.</abbr> 288-289. </li> <li id="cite_note-216"><a href="#cite_ref-216">^</a> (In French) Xavier Fournier, Super-héros. Une histoire française, Paris, Huginn & Muninn, 2014, 240 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-36480-127-1" title="Special:BookSources/978-2-36480-127-1">978-2-36480-127-1</a>), pp. 221-222 </li> <li id="cite_note-217"><a href="#cite_ref-217">^</a> (In French) Lanuque 2015, <abbr>p.</abbr> 366. </li> <li id="cite_note-218"><a href="#cite_ref-218">^</a> (In French) Lanuque 2018, pp. 299-300. </li> <li id="cite_note-219"><a href="#cite_ref-219">^</a> (In French) Lanuque 2015, <abbr>p.</abbr> 365. </li> <li id="cite_note-220"><a href="#cite_ref-220">^</a> (In French) Lanuque 2015, <abbr>p.</abbr> 369. </li> <li id="cite_note-221"><a href="#cite_ref-221">^</a> (In French) Marie-Lucie Bougon, "Cosmogony of French fantasy. Genèse et émancipation", Revue de la BNF, no 59, February 2019, p. 44 (<a rel="nofollow" class="external text" href="https://www-cairn-info.wikipedialibrary.idm.oclc.org/revue-de-la-bibliotheque-nationale-de-france-2019-2-page-38.htm">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fwww-cairn-info.wikipedialibrary.idm.oclc.org%2Frevue-de-la-bibliotheque-nationale-de-france-2019-2-page-38.htm">archive</a>). </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="Bibliography">Bibliography</h2>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=23" title="Edit section: Bibliography">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Primary_sources">Primary sources</h3>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=24" title="Edit section: Primary sources">edit</a>]</div> <ul><li>(In French) Maurice Renard, "Du roman merveilleux-scientifique and de son action sur l'intelligence du progrès", Le Spectateur, no 6, October 1909, pp. 245-261 (<a rel="nofollow" class="external text" href="https://journals.openedition.org/resf/1201">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fjournals.openedition.org%2Fresf%2F1201">archive</a>). <ul><li>Manifesto in which Maurice Renard defines the merveilleux-scientifique novel.</li></ul></li> <li>(In French) Maurice Renard, "Le Merveilleux scientifique and La Force mystérieuse de J.-H. Rosny aîné", La Vie, no 16, 15 june 1914, pp. 544-548 (<a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1215">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=http%3A%2F%2Fjournals.openedition.org%2Fresf%2F1215">archive</a>). <ul><li>In this review of Rosny aîné's La Force mystérieuse, Maurice Renard expands on his seminal 1909 article.</li></ul></li> <li>(In French) Hubert Matthey, Essai sur le merveilleux dans la littérature Française depuis 1800, Paris, Librairie Payot, 1915 (<a href="//archive.org/details/essaisurlemervei00mattuoft/page/n3/mode/2up" class="extiw" title="iarchive:essaisurlemervei00mattuoft/page/n3/mode/2up">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Farchive.org%2Fdetails%2Fessaisurlemervei00mattuoft%2Fpage%2Fn3%2Fmode%2F2up">archive</a>). <ul><li>A contemporary work in which Hubert Matthey analyzes the merveilleux-scientifique genre and draws up a chronological table of related works.</li></ul></li> <li>(In French) Maurice Renard, "Le roman d'hypothèse", A.B.C., no. 48, December 1928, pp. 345-346 (<a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1223">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=http%3A%2F%2Fjournals.openedition.org%2Fresf%2F1223">archive</a>). <ul><li>In this article, Maurice Renard renames the term "merveilleux-scientifique" "novel of hypothesis" to extend the genre's epistemological scope.</li></ul></li> <li>Serge Lehman, "Les mondes perdus de l'anticipation française", Le Monde diplomatique, july 1999, pp. 28-29 (<a rel="nofollow" class="external text" href="https://www.monde-diplomatique.fr/1999/07/LEHMAN/3112">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fwww.monde-diplomatique.fr%2F1999%2F07%2FLEHMAN%2F3112">archive</a>). <ul><li>A pioneering article in the rediscovery of the merveilleux-scientifique genre.</li></ul></li></ul> <div class="mw-heading mw-heading3"><h3 id="Publications">Publications</h3>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=25" title="Edit section: Publications">edit</a>]</div> <ul><li>(In French) Claire Barel-Moisan (dir.) and Jean-François Chassay (dir.), Le roman des possibles: l'anticipation dans l'espace médiatique francophone (1860-1940), Montréal, Presses de l'Université de Montréal, coll. "Cavales", 2019, 483 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-7606-4017-7" title="Special:BookSources/978-2-7606-4017-7">978-2-7606-4017-7</a>).</li> <li>(In French) Jacques Baudou and Jean-Jacques Schleret, Merveilleux, fantastique et science-fiction à la télévision française, Bry-sur-Marne / Paris, INA / Huitième art, coll. "Les dossiers du 8e art", 1995, 183 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-908905-09-0" title="Special:BookSources/978-2-908905-09-0">978-2-908905-09-0</a>).</li> <li>(In French) Jean-Luc Boutel, Merveilleux scientifique, Bordeaux, Les Moutons électriques, coll. "Artbooks féeriques", 2020, 96 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-36183-646-7" title="Special:BookSources/978-2-36183-646-7">978-2-36183-646-7</a>, <a rel="nofollow" class="external text" href="https://www.noosfere.org/livres/niourf.asp?numlivre=2146610368">online presentation</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fwww.noosfere.org%2Flivres%2Fniourf.asp%3Fnumlivre%3D2146610368">archive</a> on the NooSFere website).</li> <li>(In French) Simon Bréan (préf. Gérard Klein), La Science-fiction en France: Théorie et histoire d'une littérature, Paris, Presses Université Paris-Sorbonne, coll. "Lettres Francaises", 2012, 96 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-84050-851-9" title="Special:BookSources/978-2-84050-851-9">978-2-84050-851-9</a>).</li> <li>(In French) Guy Costes and Joseph Altairac (préf. Gérard Klein), Rétrofictions, encyclopédie de la conjecture romanesque rationnelle francophone, de Rabelais à Barjavel, 1532-1951, t. 1: lettres A à L, t. 2: lettres M à Z, Amiens / Paris, Encrage / Les Belles Lettres, coll. "Interface" (no 5), 2018, 2458 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-251-44851-0" title="Special:BookSources/978-2-251-44851-0">978-2-251-44851-0</a>).</li> <li>(In French) Jean-Marc Gouanvic, La science-fiction française au xxe siècle (1900-1968): essai de socio-poétique d'un genre en émergence, Amsterdam, Rodopi, coll. "Faux titre: études de langue et littérature françaises" (no 91), 1994, 292 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-90-5183-775-9" title="Special:BookSources/978-90-5183-775-9">978-90-5183-775-9</a>, <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/20719637">20719637</a>; <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fwww.jstor.org%2Fstable%2F20719637%3Fseq%3D1">archive</a>).</li> <li>(In French) Natacha Vas-Deyres, Ces Français qui ont écrit demain: utopie, anticipation et science-fiction au xxe siècle, Paris, Honoré Champion, coll. "Bibliothèque de littérature générale et comparée" (no 103), 2013, 533 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-7453-2371-2" title="Special:BookSources/978-2-7453-2371-2">978-2-7453-2371-2</a>, <a rel="nofollow" class="external text" href="https://journals.openedition.org/belphegor/576">online presentation</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fjournals.openedition.org%2Fbelphegor%2F576">archive</a>).</li> <li>(In French) Natacha Vas-Deyres (dir.), Patrick Bergeron (dir.) and Patrick Guay (dir.), C'était demain: anticiper la science-fiction en France et au Québec (1880-1950), Pessac, Presses universitaires de Bordeaux, coll. "Eidôlon" (no 123), 2018, 423 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/979-10-91052-24-5" title="Special:BookSources/979-10-91052-24-5">979-10-91052-24-5</a>, <a rel="nofollow" class="external text" href="https://www.noosfere.org/livres/niourf.asp?numlivre=2146598843">online presentation</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fwww.noosfere.org%2Flivres%2Fniourf.asp%3Fnumlivre%3D2146598843">archive</a>).</li> <li>(In French) Pierre Versins, Encyclopédie de l'utopie, des voyages extraordinaires et de la science-fiction, Lausanne, L' ge d'Homme, 1972, 1037 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-8251-2965-4" title="Special:BookSources/978-2-8251-2965-4">978-2-8251-2965-4</a>).</li></ul> <div class="mw-heading mw-heading3"><h3 id="Articles">Articles</h3>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=26" title="Edit section: Articles">edit</a>]</div> <div class="mw-heading mw-heading4"><h4 id="Merveilleux_scientifique:_generalities">Merveilleux scientifique: generalities</h4>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=27" title="Edit section: Merveilleux scientifique: generalities">edit</a>]</div> <ul><li>(In French) [Boutel 2015] Jean-Luc Boutel, "La littérature d'imagination scientifique: genèse et continuité d'un genre", in Jean-Guillaume Lanuque (dir.), Dimension Merveilleux scientifique, Encino (Calif.), Black Coat Press, coll. "Rivière Blanche", 2015 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-61227-438-6" title="Special:BookSources/978-1-61227-438-6">978-1-61227-438-6</a>), pp. 295-356.</li> <li>(In French) [Bréan 2015] Simon Bréan, "Fuir l'exotisme: l'"aventure nostalgique" du merveilleux-scientifique français", Nineteenth-Century French Studies, vol. 43, nos 3-4, printemps-été 2015, pp. 194-208 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1353%2Fncf.2015.0010">10.1353/ncf.2015.0010</a>).</li> <li>(In French) [Bréan 2018] Simon Bréan, "Barjavel et le merveilleux-scientifique", in Jean-Guillaume Lanuque (dir.), Dimension Merveilleux scientifique 4, Encino (Calif.), Black Coat Press, coll. "Rivière Blanche", 2018 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-61227-749-3" title="Special:BookSources/978-1-61227-749-3">978-1-61227-749-3</a>), pp. 270-285.</li> <li>(In French) [Chaperon 2001] Danielle Chaperon, "Du roman expérimental au merveilleux-scientifique: Science et fiction en France autour de 1900", Europe: Revue littéraire mensuelle, vol. 870, october 2001, pp. 51-63.</li> <li>(In French) [Deherly 2019] Françoise Deherly, "<a rel="nofollow" class="external text" href="https://gallica.bnf.fr/blog/19062019/de-la-physiognomonie-la-phrenologie?mode=desktop">De la physiognomonie à la phrénologie</a>" <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fgallica.bnf.fr%2Fblog%2F19062019%2Fde-la-physiognomonie-la-phrenologie%3Fmode%3Ddesktop">archive</a>, in the Gallica blog, 19 june 2019 (accessed 22 june 2020).</li> <li>[Evans 2018a] Arthur B. Evans (trad. Patrick Dusoulier), "Science-fiction et fiction scientifique en France: de Jules Verne à J.-H. Rosny aîné", ReS Futurae, vol. 11, 2018 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.4000%2Fresf.1406">10.4000/resf.1406</a>, <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1406">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=http%3A%2F%2Fjournals.openedition.org%2Fresf%2F1406">archive</a>).</li> <li>[Gordon 1988] Rae Beth Gordon, "Le Merveilleux scientifique" and the Fantastic", L'Esprit Créateur, vol. 28, 1988, pp. 9-22 (<a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/26285956">26285956</a>; <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fwww.jstor.org%2Fstable%2F26285956%3Fseq%3D1">archive</a>).</li> <li>(In French) [Hopkins 2018a] Fleur Hopkins, "Généalogie et postérité du genre merveilleux-scientifique (1875-2017): apparitions, déformations et complexités d'une expression", in Jean-Guillaume Lanuque (dir.), Dimension Merveilleux scientifique 4, Encino (Calif.), Black Coat Press, coll. "Rivière Blanche", 2018 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-61227-749-3" title="Special:BookSources/978-1-61227-749-3">978-1-61227-749-3</a>), pp. 241-259.</li> <li>(In French) [Hopkins 2019a] Fleur Hopkins, "Approche épistémocritique du merveilleux-scientifique", Romantisme, Armand Colin, vol. 183, january 2019, pp. 66-78 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-200-93228-2" title="Special:BookSources/978-2-200-93228-2">978-2-200-93228-2</a>, <a rel="nofollow" class="external text" href="https://www.cairn.info/revue-romantisme-2019-1-page-66.htm?contenu=article">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fwww.cairn.info%2Frevue-romantisme-2019-1-page-66.htm%3Fcontenu%3Darticle">archive</a>).</li> <li>(In French) [Hopkins 2019b] Fleur Hopkins, "<a rel="nofollow" class="external text" href="https://gallica.bnf.fr/blog/30042019/le-merveilleux-scientifique-une-atlantide-litteraire?mode=desktop">Le merveilleux-scientifique: une Atlantide littéraire</a>" <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fgallica.bnf.fr%2Fblog%2F30042019%2Fle-merveilleux-scientifique-une-atlantide-litteraire%3Fmode%3Ddesktop">archive</a>, in the Gallica blog, 30 april 2019 (accessed 21 june 2020).</li> <li>(In French) [Hopkins 2019c] Fleur Hopkins, "<a rel="nofollow" class="external text" href="https://gallica.bnf.fr/blog/21052019/le-merveilleux-scientifique-dans-le-paysage-litteraire-francais?mode=desktop">Le merveilleux-scientifique dans le paysage littéraire français</a>" <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fgallica.bnf.fr%2Fblog%2F21052019%2Fle-merveilleux-scientifique-dans-le-paysage-litteraire-francais%3Fmode%3Ddesktop">archive</a>, in the Gallica blog, 21 may 2019 (accessed 22 june 2020).</li> <li>(In French) [Hopkins 2019d] Fleur Hopkins, "L'illustration merveilleuse-scientifique dans la presse de vulgarisation. Entre didactisme et enchantement", Revue de la BNF, no 58, january 2019, pp. 100-111 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-7177-2795-1" title="Special:BookSources/978-2-7177-2795-1">978-2-7177-2795-1</a>, <a rel="nofollow" class="external text" href="https://www.cairn.info/revue-de-la-bibliotheque-nationale-de-france-2019-1-page-100.htm">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fwww.cairn.info%2Frevue-de-la-bibliotheque-nationale-de-france-2019-1-page-100.htm">archive</a>).</li> <li>(In French) [Huftier 2003] Arnaud Huftier, "Déliquescence et déplacement du merveilleux scientifique dans l'entre-deux-guerres: Maurice Renard, André Couvreur et Rosny aîné", in Arnaud Huftier (dir.), La Belgique: un jeu de cartes?, Valenciennes, Presses universitaires de Valenciennes, coll. "Lez Valenciennes" (no 33), 2003, 304 pp. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-905725-57-8" title="Special:BookSources/978-2-905725-57-8">978-2-905725-57-8</a>), pp. 75-132.</li> <li>(In French) [Hummel 2017] Clément Hummel, "Rosny aîné et le fantasme de l'âge d'or de l'anticipation française", Academia.edu, 2017, p. 24 (<a rel="nofollow" class="external text" href="https://www.academia.edu/34853066/Rosny_a%C3%AEn%C3%A9_et_le_fantasme_de_l%C3%A2ge_dor_de_lanticipation_fran%C3%A7aise">read online</a> <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fwww.academia.edu%2F34853066%2FRosny_a%25C3%25AEn%25C3%25A9_et_le_fantasme_de_l%25C3%25A2ge_dor_de_lanticipation_fran%25C3%25A7aise">archive</a>).</li> <li>(In French) [Lanuque 2015] Jean-Guillaume Lanuque, "Le retour du refoulé? Sur le renouveau du merveilleux scientifique", in Jean-Guillaume Lanuque (dir.), Dimension Merveilleux scientifique, Encino (Calif.), Black Coat Press, coll. "Rivière Blanche", 2015 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-61227-438-6" title="Special:BookSources/978-1-61227-438-6">978-1-61227-438-6</a>), pp. 359-377.</li> <li>(In French) [Lanuque 2018] Jean-Guillaume Lanuque, "La bande-dessinée, avenir du merveilleux-scientifique?", in Jean-Guillaume Lanuque (dir.), Dimension Merveilleux scientifique 4, Encino (Calif.), Black Coat Press, coll. "Rivière Blanche", 2018 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-61227-749-3" title="Special:BookSources/978-1-61227-749-3">978-1-61227-749-3</a>), pp. 87-302.</li> <li>(In French) [Lehman 2006] Serge Lehman, "Hypermondes perdus", in Chasseurs de chimères, l'âge d'or de la science-fiction française, Paris, Omnibus, 2006 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-258-07048-6" title="Special:BookSources/978-2-258-07048-6">978-2-258-07048-6</a>), pp. I-XXV.</li> <li>(In French) [Marron 2018] Mathilde Marron, "<a rel="nofollow" class="external text" href="https://www.actusf.com/detail-d-un-article/universite-de-l-imaginaire-fleur">Université de l'Imaginaire: Fleur Hopkins et Les Invisibles</a>" <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fwww.actusf.com%2Fdetail-d-un-article%2Funiversite-de-l-imaginaire-fleur">archive</a>, in ActuSF, 12 april 2018.</li> <li>(In French) [Musnik 2019] Roger Musnik, "<a rel="nofollow" class="external text" href="https://gallica.bnf.fr/blog/04062019/de-jules-verne-maurice-renard-les-precurseurs?mode=desktop">De Jules Verne à Maurice Renard: les précurseurs</a>" <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fgallica.bnf.fr%2Fblog%2F04062019%2Fde-jules-verne-maurice-renard-les-precurseurs%3Fmode%3Ddesktop">archive</a>, in the Gallica blog, 4 june 2019 (accessed 22 june 2020).</li></ul> <div class="mw-heading mw-heading4"><h4 id="Novel:_Le_Merveilleux-scientifique_selon_Maurice_Renard">Novel: Le Merveilleux-scientifique selon Maurice Renard</h4>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=28" title="Edit section: Novel: Le Merveilleux-scientifique selon Maurice Renard">edit</a>]</div> <ul><li>(In French) [Chabot 2018] Hugues Chabot, "Merveilleux-scientifique et merveilleux-logique chez Maurice Renard: une épistémologie romancée?", ReS Futurae, vol. 11, 2018 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.4000%2Fresf.1278">10.4000/resf.1278</a>, <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1278">read online</a>; <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=http%3A%2F%2Fjournals.openedition.org%2Fresf%2F1278">archive</a>).</li> <li>(In French) [Evans 2018b] Arthur B. Evans, "La science-fiction fantastique de Maurice Renard", ReS Futurae, vol. 11, 2018 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.4000%2Fresf.1439">10.4000/resf.1439</a>, <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1296">read online</a>; <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=http%3A%2F%2Fjournals.openedition.org%2Fresf%2F1296">archive</a>).</li> <li>(In French) [Hopkins 2018b] Fleur Hopkins, "Écrire un "conte à structure savante": apparition, métamorphoses et déclin du récit merveilleux-scientifique dans l'œuvre de Maurice Renard (1909-1931)", ReS Futurae, vol. 11, 2018 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.4000%2Fresf.1296">10.4000/resf.1296</a>, <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1383">read online</a>; <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=http%3A%2F%2Fjournals.openedition.org%2Fresf%2F1383">archive</a>).</li> <li>(In French) [Pézard 2018a] Émilie Pézard, "Défense et illustration d'un genre. Le merveilleux scientifique défini par Maurice Renard (1909-1928)", ReS Futurae, vol. 11, 2018 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.4000%2Fresf.1383">10.4000/resf.1383</a>, <a rel="nofollow" class="external text" href="http://journals.openedition.org/resf/1312">read online</a>; <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=http%3A%2F%2Fjournals.openedition.org%2Fresf%2F1312">archive</a>).</li> <li>(In French) [Pézard 2018b] Émilie Pézard, "L'ombre de la merveille. Le merveilleux scientifique au second degré de Maurice Renard", ReS Futurae, vol. 11, 2018 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.4000%2Fresf.1312">10.4000/resf.1312</a>).</li> <li>(In French) [Van Herp 1956] Jacques Van Herp, "Maurice Renard, scribe de miracles", Fiction, OPTA, no 28, march 1956, pp. 107-110.</li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2>[<a href="/w/index.php?title=Merveilleux_scientifique&action=edit&section=29" title="Edit section: External links">edit</a>]</div> <ul><li>"<a rel="nofollow" class="external text" href="https://www.bnf.fr/sites/default/files/2019-04/biblio_merveilleux_scientifique.pdf">Le Merveilleux-scientifique. Une science-fiction à la française - Bibliographie sélective</a>" <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fwww.bnf.fr%2Fsites%2Fdefault%2Ffiles%2F2019-04%2Fbiblio_merveilleux_scientifique.pdf">archive</a>, at bnf.fr, April 2019 (accessed July 30, 2020) (in French) <ul><li>Selective bibliography of studies and novels relating to the merveilleux-scientifique genre.</li></ul></li> <li>"<a rel="nofollow" class="external text" href="https://www.noosfere.org/">NooSFere</a>" <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Fwww.noosfere.org%2F">archive</a> (in French) <ul><li>Online encyclopedia of science fiction.</li></ul></li> <li>Jean-Luc Boutel, "<a rel="nofollow" class="external text" href="http://www.merveilleuxscientifique.fr/">Sur l'autre face du monde</a>" <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=http%3A%2F%2Fwww.merveilleuxscientifique.fr%2F">archive</a> (in French) <ul><li>Blog devoted to merveilleux scientifique.</li></ul></li> <li>Philippe Éthuin, "<a rel="nofollow" class="external text" href="https://archeosf.blogspot.com/">ArchéoSF</a>" <a rel="nofollow" class="external text" href="https://archive.wikiwix.com/cache/?url=https%3A%2F%2Farcheosf.blogspot.com%2F">archive</a> (in French) <ul><li>Site devoted to reviews of early science fiction.</li></ul></li></ul>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Merveilleux_scientifique&oldid=1253457023">https://en.wikipedia.org/w/index.php?title=Merveilleux_scientifique&oldid=1253457023</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:French_literature" title="Category:French literature">French literature</a></li><li><a href="/wiki/Category:Literary_genres" title="Category:Literary genres">Literary genres</a></li><li><a href="/wiki/Category:Science_fiction" title="Category:Science fiction">Science fiction</a></li></ul></div><div id="mw-hidden-catlinks" class="mw-hidden-catlinks mw-hidden-cats-hidden">Hidden categories: <ul><li><a href="/wiki/Category:Articles_with_French-language_sources_(fr)" title="Category:Articles with French-language sources (fr)">Articles with French-language sources (fr)</a></li><li><a href="/wiki/Category:Articles_with_short_description" title="Category:Articles with short description">Articles with short description</a></li><li><a href="/wiki/Category:Short_description_is_different_from_Wikidata" title="Category:Short description is different from Wikidata">Short description is different from Wikidata</a></li></ul></div></div> </div> </main> </div> <div class="mw-footer-container"> <footer id="footer" class="mw-footer" > <ul id="footer-info"> <li id="footer-info-lastmod"> This page was last edited on 26 October 2024, at 02:33 (UTC).</li> <li id="footer-info-copyright">Text is available under the <a href="/wiki/Wikipedia:Text_of_the_Creative_Commons_Attribution-ShareAlike_4.0_International_License" title="Wikipedia:Text of the Creative Commons Attribution-ShareAlike 4.0 International License">Creative Commons Attribution-ShareAlike 4.0 License</a>; additional terms may apply. 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