Steaming into a Victorian Future: A Steampunk Anthology

Julie Anne Taddeo, Cynthia J. Miller

Language: English

Pages: 360

ISBN: 0810893150

Format: PDF / Kindle (mobi) / ePub


This collection of essays explores the social and cultural aspects of steampunk, examining the various manifestations of this multifaceted genre, in order to better understand the steampunk subculture and its effect on-and interrelationship with-popular culture and the wider society.

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Interview,” 410. 41. Bowser and Croxall, Journal of Neo-Victorian Studies, 5. 42. Jill Dolan, Utopia in Performance: Finding Hope at the Theater (Ann Arbor: University of Michigan Press, 2005), 21. 43. “Steampunk Palin,” Steampunk Palin, http://steampunkpalin.com (28 July 2011). 44. Chris Murphy, “‘Steampunk Palin’ Comic More Insane Than You Imagined,” Comics Alliance, 20 January 2011, www.comicsalliance.com/2011/01/20/steampunk-palin-comic (20 January 2011). 45. Murphy, “‘Steampunk Palin’

“Cyberpunk Meets Charles Babbage: The Difference Engine as Alternative Victorian History,” Victorian Studies 38, no. 1 (Autumn 1994): 1–23. 12. Gibson and Sterling, The Difference Engine, 409. 13. Nicholas Spencer, “Rethinking Technological Ambivalence: Technopolitics and the Luddites in William Gibson and Bruce Sterling’s The Difference Engine,” Contemporary Literature 40, no. 3 (Autumn 1999): 403–429. 14. Stephen Baxter, Anti-Ice (New York: Harper Voyager, 1993), 23. 15. Paul Guinan and

needed to address a perceived lack of knowledge transfer and to establish closer links between museums and the higher education sector.45 Museum Collections and the Production of Steampunk Material Culture Steampunks embrace steam and clockwork technology and Victorian aesthetics and clothing, using them as inspiration for their clothes and material culture. While steampunks adapt them to suit their own aesthetics and desire for a nonconformist approach to contemporary technology, museum

capacity for mastery is that technological knowledge is available to the disempowered: women, children, and members of the working class.”16 To suggest that technology offers a means for the disenfranchised to claim power echoes Donna Haraway’s 1985 “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century.” The cyborged woman relies on any number of technologies, from contraception to prosthetics to digital representation, to construct and empower herself on

and more generally the documented past, as a reservoir of conceptual and material fragments of previous cultures and ways of being. It is from these temporally rendered units of human creation that steampunks craft counterfactual histories. While a number of recent studies have examined the literary, graphic, and artistic qualities of steampunk within popular media, few have directly observed the expressive forms and creativity of those individuals who self-identify as steampunks. As such, this

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