Ulteriori informazioni
Sommario
Acknowledgements
List of Figures
Introduction
Chapter 1 Steampunk: The Politics of Subversion?
Chapter 2 Doctor Geof and Nick Simpson: Sex, War and Masculinity
Chapter 3 Freak Show Femininities: Emilie Autumn
Chapter 4 Steampunk and the Graphic Novel
Chapter 5 Steampunk Romance: Gail Carriger and Kate McAlister
Conclusion
Bibliography
Index
Info autore
Claire Nally is Associate Professor of Modern and Contemporary Literature in the Department of English Literature, Linguistics and Creative Writing at Northumbria University, UK. She is the author of Steampunk: Gender, Subculture and the Neo-Victorian (Bloomsbury, 2019), co-editor or Bloomsbury Library of Gender and Popular Culture and Deputy Editor (including reviews) of the open access journal C21 Literature.
Riassunto
What is steampunk? Fashion craze, literary genre, lifestyle - or all of the above? Playing with the scientific innovations and aesthetics of the Victorian era, steampunk creatively warps history and presents an alternative future, imagined from a nineteenth-century perspective.
In her interdisciplinary book, Claire Nally delves into this contemporary subculture, explaining how the fashion, music, visual culture, literature and politics of steampunk intersect with theories of gender and sexuality. Exploring and occasionally critiquing the ways in which gender functions in the movement, she addresses a range of different issues, including the controversial trope of the Victorian asylum; gender and the graphic novel; the legacies of colonialism; science and the role of Ada Lovelace as a feminist steampunk icon. Drawing upon interviews, theoretical readings and textual analysis, Nally asks: why are steampunks fascinated by our Victorian heritage, and what strategies do they use to reinvent history in the present?
Prefazione
The first scholarly monograph to explore the popular culture phenomena of steampunk through the interdisciplinary channels of fashion, film, visual culture, literature and politics
Testo aggiuntivo
Nally convincingly demonstrates that we need to attend to the particulars of how steampunk is created, received, and even contested, whether in the form of Alan Moore's graphic novels, the multi-genre persona created by Emilie Autumn, or "postfeminist" romance. Her boundary-crossing study thus challenges us to rethink our generalizations about steampunk's joy in anachronism and its fascination with Britain's lost empire.
