Loving, Reading, and Traveling: A Psychological and Semiotic Reading of Jules Verne's Around the World in 80 Days
Introductory
Note to the Reader The first time I read Jules Verne’s Around
the World in 80 Days, I was in fourth grade. At the time, the novel felt
long, even overwhelming, but it captivated me with its adventure and its
fascinating characters. It was not just a reading experience: it
became a milestone. My Spanish teacher had asked us to read a book by Jules
Verne, and when I finished, I had to recount the story to my classmates. That
moment turned into my very first public speaking experience, standing in
front of my peers, retelling Fogg and Passepartout’s adventures. Decades later, I rediscovered the book
in the Amazon Kindle store, and reading it again filled me with nostalgia and
curiosity. Now, as a literature professor, I approach this novel not only as
a cherished memory but as a text rich in narrative texture, symbolic depth,
and psychological insight. |
Loving, Reading, and Traveling: A Psychological and Semiotic Reading of Jules Verne's Around the World in 80 Days
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Abstract This
essay explores Jules Verne’s Around the World in 80 Days through the
dual lenses of Erich Fromm’s psychology of love and Roland Barthes’ semiotic
critique. It examines how Phileas Fogg and Jean Passepartout function as
external and internal protagonists, how Aouda catalyzes transformation, and
how Detective Fix sustains narrative tension. By situating the characters
within Fromm’s framework of love as active concern and Barthes’ notion of
myth as ideology, the essay argues that the novel is both a story of personal
growth and a map of 19th-century imperial ideologies. |
Keywords: Jules
Verne, Phileas Fogg, Passepartout, Aouda, Erich Fromm, Roland Barthes,
Orientalism, Semiotics, Love, Ideology |
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Resumen Este
ensayo analiza La vuelta al mundo en 80 días de Jules Verne desde dos
perspectivas críticas: la psicología humanista de Erich Fromm y la crítica
semiótica de Roland Barthes. Se examina cómo Phileas Fogg encarna la
racionalidad imperial, mientras que Passepartout representa la espontaneidad
emocional. Aouda, como catalizadora, revela tanto la capacidad de
transformación personal como los límites de los estereotipos orientalistas.
Fix, por su parte, encarna la obsesión por la vigilancia. La novela, leída
desde estas perspectivas, no es solo una narración de aventuras, sino también
un reflejo de los mitos culturales del siglo XIX. |
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Resumo Este
ensaio explora A Volta ao Mundo em 80 Dias de Jules Verne a partir de
duas lentes: a psicologia do amor de Erich Fromm e a crítica semiótica de
Roland Barthes. Phileas Fogg surge como símbolo da racionalidade imperial
britânica, enquanto Passepartout traz a dimensão humana e caótica da jornada.
Aouda funciona como catalisadora da transformação emocional, mas também como
representação de estereótipos orientalistas. Já o detetive Fix mantém a
tensão narrativa por meio da suspeita e da vigilância. Assim, o romance é
tanto uma narrativa de crescimento humano quanto um mapa dos mitos culturais
do século XIX. |
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In
Jules Verne's Around the World in 80 Days, an ostensibly straightforward
tale of global adventure unfolds as the enigmatic Englishman Phileas Fogg
accepts a wager to circumnavigate the globe in just eighty days. At first
glance, Jules Verne’s novel is a product of its time (the 19th
Century); the plot is an ode to technology, exploration, and British
punctuality. However, by employing a dual theoretical lens, Erich Fromm's
humanist psychology and Roland Barthes' semiotic critique, the characters
emerge as vessels of deeper truths. Through these perspectives, we can
interpret the novel not only as a travel story but as an exploration of love,
identity, and the symbolic operations of narrative.
The
Exterior and Interior Protagonists
Mr. Phileas
Fogg, with his clockwork routine and emotionless disposition, initially appears
as a flat protagonist. His actions drive the plot, but his personal
transformation remains subtle. In contrast, his French valet, Jean
Passepartout, provides the emotional arc of the novel. Verne introduces Fogg as
a man who "never hurried and was always ready" (Verne, ch. 1), a
figure ruled by reason. Passepartout, however, is the relatable counterpart:
reactive, humorous, and often overwhelmed by the chaos of the journey.
While
Fogg is the external agent of the story plot’s motion, Passepartout is
the internal witness, growing visibly throughout the narrative. Their
dynamic mirrors Fromm’s dialectic between sterile conformity and authentic
engagement with life. Both characters complement each other having the reader
question who the real protagonist of the story is; both can be a good response
to the doubt their interaction in the plot presents.
Frommian
Love and Human Transformation
In The
Art of Loving, Erich Fromm posits that love is not a fleeting emotion but
an art, one requiring maturity, discipline, and the overcoming of narcissism. Dr.
Fromm writes, "Love is the active concern for the life and the growth of
that which we love" (Fromm, 1956, p. 25). Early in Verne’s novel, Fogg
embodies what Fromm would label as automaton conformity, a state in
which man suppresses individuality to fit societal mechanisms. This is evident
in Fogg's regulated lifestyle and emotional aloofness. Based on the idea of
Victorian society, Phileas fits society and its mechanisms thoroughly.
However,
as the journey unfolds, Fogg undergoes a subtle evolution catalyzed by two
essential figures in the story’s plot: on the one hand we have Passepartout,
and, on the other hand, there we have Aouda. Passepartout exhibits Frommian
brotherly love through his loyalty, concern, and emotional responsiveness toward
Phileas. Passepartout often chooses conscience over convenience, such as when
he intervenes in Aouda's rescue from suttee in India, an act that disrupts
Fogg’s schedule but aligns with moral duty and the way an English gentleman is
meant to behave under the circumstances described in the novel.
Aouda,
the rescued Parsi widow, becomes the emotional catalyst for Phileas Fogg. Her
presence introduces vulnerability and mutual care. When Fogg learns that he has
seemingly lost the wager, his first instinct is not despair but to ensure
Aouda's well-being and her peace of mind. In her words, "You are more than
brave; you are good" (Verne, ch. 35), affirming Fogg’s latent emotional
depth that is only emerging through, at the beginning, his relationship with
Aouda. His eventual proposal to Parsi widow suggests that Fogg has finally
learned Fromm’s productive love, rooted in care, respect, and
responsibility, rather than passion or possession.
Semiotic
Structures and Barthesian Myth
While
Fromm emphasizes inner transformation, Roland Barthes invites us to read the
novel as a system of signs, revealing how characters function less as
individuals and more as ideological symbols. In Mythologies, Barthes
argues that myth is a type of speech: "Myth transforms history into
nature" (Barthes, 1972, p. 129). In this sense, narratives like Jules
Verne’s mask their ideological underpinnings by presenting them as neutral or
universal individuals.
Phileas
Fogg, in this light, is the mythic subject of imperial rationality: self-possessed,
efficient, and in control of what happens in his life. He is not merely an
Englishman; he is England or rather, what England imagines itself to be at that
moment in history. His mastery of time and space, epitomized by his calm
response to calamities and unexpected events, enacts the colonial fantasy of
global domination through logic and machinery that the Brits projected at that
moment in time.
Jean Passepartout,
by contrast, is a semiotic disruptor. He constantly interferes with Fogg's
plans, unintentionally introducing chaos and thereby injecting spontaneity into
the text, something that can be described as the opposition of what Phileas is
or represents. Barthes would likely interpret Passepartout as the reader's
surrogate, puncturing the illusion of control and revealing the constructed
nature of the narrative. Passepartout is the foil character that makes sense
for the story in the plot’s narrative.
Aouda,
in Barthes' framework, is a problematic figure. Though she provides emotional
depth to the story, she also represents the Orientalist trope, the
exotic woman rescued and civilized by the Western man. As Edward Said notes in Orientalism,
the West often constructs the East as "a passive object of
representation" rather than a subject with agency (Said, 1978, p. 108).
Aouda’s symbolic function is less about autonomy and more about fulfilling
narrative closure through romantic resolution.
Detective
Fix, the comic and obnoxious antagonist, embodies the paranoia of the modern
surveillance state that wants to know what individuals are up to. His
relentless suspicion of Phileas Fogg, despite mounting evidence of his
innocence, operates as what Barthes calls a hermeneutic code, a
narrative delay that sustains tension while masking deeper ideological
patterns.
Synthesis:
Love and Ideology in Motion
By
marrying Fromm's ethics of love with Barthes' structuralism, we gain a fuller
understanding of Verne's novel. Fromm helps us see Fogg’s journey not just as
physical but spiritual, a movement from detachment to connection. Barthes, on
the other hand, exposes the ideological undercurrents of that same journey,
revealing how cultural myths of Western supremacy, gender roles, and progress
are embedded in the text.
As
Terry Eagleton notes, "Literature does not exist in some aesthetic realm
divorced from ideology. It is itself a form of ideology" (Eagleton, 2008,
p. 19). Around the World in 80 Days is therefore both a narrative of
emotional awakening and a map of 19th-century semiotic ideologies. Phileas Fogg
becomes a man capable of love, but he remains a signifier of empire.
Passepartout grows as a human but also functions as a comic safety valve for
the story's tensions. Aouda catalyzes moral growth but also reflects cultural
reduction.
In the
end, Verne’s novel, like the journey it depicts, oscillates between freedom and
control, between authentic love and cultural myth. The question is not simply
whether Fogg wins his wager, but whether he becomes more fully human. And
through the eyes of Fromm and Barthes, we see that perhaps he does but only
just.
References
Barthes, R. (1972). Mythologies (A. Lavers, Trans.).
New York: Hill and Wang.
Eagleton, T. (2008). Literary Theory: An Introduction.
Minneapolis: University of Minnesota Press.
Fromm, E. (1956). The Art of Loving. New York:
Harper & Row.
Said, E. (1978). Orientalism. New York: Pantheon
Books.
Verne, J. (1873). Around the World in 80 Days
(translated by George Makepeace Towle). Public domain translation available via
Project Gutenberg. https://www.gutenberg.org/ebooks/103
10 Possible Topics for Literary Criticism
Enthusiasts
1 |
Passepartout
as the true protagonist: emotional arc versus mechanical precision. |
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2 |
Time,
clocks, and punctuality: Verne’s obsession with mechanized life. |
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3 |
Aouda
and Orientalism: rescuing or silencing the “other”? |
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4 |
Inspector
Fix as the embodiment of the surveillance state. |
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5 |
Colonial
geographies: what does it mean to “travel the world” in the 19th century? |
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6 |
The
wager as existential metaphor: is Fogg betting against life itself? |
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7 |
Technology
and transportation: progress or illusion of control? |
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8 |
Humor
and chaos: Passepartout as Barthesian punctum in a structured narrative. |
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9 |
Fromm’s
art of loving: Fogg’s transformation into a man capable of intimacy. |
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10 |
Adventure
fiction as ideology: Eagleton and Said on Verne’s narrative of empire. |
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Literary
Reflective Journaling on Jules Verne’s novel, August 2025: My Notes
Phileas Fogg: The
Exterior Protagonist |
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Jean Passepartout:
The Interior Protagonist |
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Interplay
Between Fogg and Passepartout |
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Aouda: The Catalyst |
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Detective Fix: The
Antagonistic Foil |
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So, Who’s the Central
Character? |
Technically,
Phileas Fogg is the protagonist — he makes the bet, the story revolves around
his deadline, and he experiences personal change by the end.
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In Literary Terms |
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Conclusion Both
are central, but in different ways:
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Final Juxtaposition: Fromm vs. Barthes
Final Juxtaposition - Fromm vs. Barthes by Jonathan Acuña
Loving, Reading, And Traveling- a Psychological and Semiotic Reading of Jules Verne's Around the World ... by Jonathan Acuña
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