Steampunk

Just as Neon Genesis Evangelion remains a cultural touchstone that signalled the end of Japan’s unfounded optimism of the bubble economy era, Attack on Titan is the revenant marking the post-2008 cultural shift from the free movement of globalised neoliberalism to the rising populism of the far-right and the normalisation of conspiracy theories. Game of Thrones, in the end, succumbed to the temptation of uncomplicated crowd-pleasers, which is why it has no re-watch value for me under lockdown. AoT and Eva, on the other hand, tackle what Mark Fisher termed the sense of a cancelled future under capitalist realism.

The article discusses two Polish alternate history novels: Orzeł bielszy niż gołębica (An Eagle Whiter than a Dove) by Konrad T. Lewandowski and Gambit Wielopolskiego (Wielopolski's Gambit) by Adam Przechrzta in the context of the politics of memory of the January Uprising of 1863. Politics of memory, according to Lech M. Nijakowski, can be defined as activities directed towards changing and shaping collective memory. Politics of memory is intentional, society orientated, and focused on achieving political objectives. In the first part of the article, the collective memory and politics of memory of the January Uprising is described. The second part analyses Gambit Wielopolskiego by Adam Przechrzta, its cultural context, and the fashion in which it depicts the uprising. In the third part, the same motifs are used in the reading of Orzeł bielszy niż gołębica by Konrad T. Lewandowski. The interpretation of the novels in this broad context allows for a deeper understanding of the ph...

With the arrival of new technologies, the population has gained easy access to cultural products of almost any historical period. Curiously, one of the most significant years for our contemporaries seems to be the Victorian and Edwardian periods, giving rise to a whole group known as Neo-Victorians. Within this community, a sub-cultural movement, called steampunk, emerges. The members of this group introduce elements of that time in their daily life, manipulating new technologies to resemble inventions of the past. My paper will explore the visibility that this movement has gained thanks to films and novels produced in the twenty-first century and the new identities rising from consuming the elements of Victorian societies and the influence of this cultural products in present-day societies. In my analysis, I will use some works of the Victorian period, such as Bram Stoker’s Dracula (1897) and Lewis Carroll’s Alice’s Adventures in Wonderland (1865) and the reinterpretations of their characters made in contemporary productions, such as the Mina Harker appearing in Stephen Norrington’s The League of Extraordinary Gentlemen (2003) and Tim Burton’s Alice in Wonderland (2010) to show the relevance of Victorian culture within the steampunk movement. To bestow my arguments with an appropriate theoretical framework, I will make use of Butlerian notions about identity and Rosi Braidotti’s ideas on the posthuman and the influence of technology in contemporary societies. My main thesis is that the consumption of the ideas and stereotypes of the late decades of the nineteenth century and the first years of the twentieth have led to an increased visibility of their customs and stereotypical preconceptions in contemporary movements that feel attracted towards this particular historical period.

Originally conceived as an adaptation of the works of Jules Verne by Hayao Miyazaki and eventually developed by Hideaki Anno and the studio Gainax, Nadia: The Secret of Blue Water (1990 - 1991) acts as one of the clearest examples of the fascinating interdependencies that are evident between the Japanese entertainment industries and the movement that has become known as steampunk. Variously defined as ‘neo-victorientalism’ and ‘steampanku’ by those with an interest in its representations of industrial nostalgia, Japanese steampunk has served as a rich resource for representations of Japan’s past, present and future to be filtered through the iconography of fantastical steam-powered and piston-driven machinery. This article offers a close analysis of the series and considers the ways that its reworking of archetypal representations of nineteenth-century science fiction offers opportunities to evaluate the enormously complex and contradictory facets of nostalgic reminiscence. By considering the ways that the series fetishizes referents to this past age of technological development, I evaluate the means through which a legacy of bygone scientific romance and imperial adventure continues to reflect the fin-de-siècle concerns of a latter century and Japan’s own orientation in a globalised and post-colonial world.

BAKA L. Patrik: Gőzexpressz. Dávid Ádám: Millennium expressz-trilógia = LŐRINCZ Gábor – DOMONKOSI Ágnes (szerk.): Stílus – variativitás – műfordítás. Köszöntő kötet Lőrincz Julianna 70. születésnapjára, Selye János Egyetem, Komárom, 2020, 19–31.

How might the past have looked had its “future” occurred before it was supposed to? This is the theoretical space inhabited by Steampunk, an intertextual, interdisciplinary movement that is, at once, an aesthetic, a Science-Fiction (SF) and Fantasy subgenre, and the basis for a thriving subculture. Steampunk fiction, a fantastical reimagining of the historical Victorian and Edwardian eras (1837–1910) foments an aesthetic that depicts how a pre-Great War, nineteenth century world may have appeared if “a few key technologies been developed further” and a good bit earlier (Guizzo 48). Steampunk is a neologism (Veale 58) that denotes a burgeoning subgenre of Science Fiction (SF), itself a subgenre of Speculative Fiction, and a near-relative of the well-established SF subgenre known as Alternate History. Because the background and setting of narratives in this category can be characterized as a stylized marriage between contemporary nanotechnology (Dawdy)—in the retro-tech form of steampower and clockwork—and a revival of Victoriana (Perschon 181), i.e., accoutrements and objects d’art from the Victorian epoch, the core concepts of Steampunk have been likened to a more recent movement in academia known as “Neo-Victorianism” (Llewellyn 172).

BOOKS Alice in Transmedia Wonderland. Curiouser and Curio ser New Forms of a Children’s Classic. Jefferson: McFarland, 2016. (forthcoming) Body-Texts in the Novels of Angela Carter. Writing from a Corporeagraphic Point of View . Lewiston, Lampeter: The Edwin Mellen Press, 2008. ( pp. 372, ISBN10: 0-7734-48926 ISBN13: 978-0-7734-4892-6) EDITORIAL WORK 5. Co-editor of EJES special journal issue Feminist Interventions in Intermedial Studies (forthcoming in 2017) with Dr Catriona McAra 4. Exploring the Cultural History of Continental Europ ean Freak Shows and Enfreakment. Eds. Anna Kérchy and Andrea Zittlau. Newcastle Upon Ty e: Cambridge Scholars Press. 2012. (Isbn13: 978-1-4438-4134-4 Isbn: 1-443 8-4134-X) 3. Postmodern Reinterpretations of Fairy Tales: How Ap plying New Methods Generates New Meanings. Ed. Anna Kérchy. Lewiston, Lampeter: The Edwin Me llen Press, 2011. (pp. 520, ISBN10: 0-7734-1519-X ISBN13: 978-0-7734-151 9-5) 2. The Iconology of Law and Order . Legal and Cosmic . (P...

This article highlights a growing confusion between two recent movements: retro-futurism and steampunk. While these each involve visual representations of the past
and future, they can be distinguished by their modes of production. Both avant-garde and popular approaches to futurism are considered, and measured against ideas of retro-futurism and steampunk. The latter’s manifestation within a culture of tinkering, DIY, and craft are contrasted with retro-futurism’s characterization as a detached sensibility that mourns the lost belief in progress. While steampunks celebrate “making” and often build strong ethical claims for their work, the movement’s engagement with craft traditions is generally under-theorized; ultimately, in its lack of self-reflectivity, steampunk provides a mirror for our shifting understanding of craft, human agency, and the global implications of making in the early twenty-first century.

ABSTRACT
In medieval Jewish folklore, golems are man-shaped automata, usually formed of clay, and activated by magic words written on or hidden within their heads. They are activated by magic, but generally do not have magical powers. Terry Pratchett’s Discworld series uses golems as inexhaustible energy sources—untiring, immensely strong, and able to function in environments fatal to other beings. They thus function as simultaneous metaphors for two components of the Industrial Revolution: the steam that powered the machines, and the disposable human labor that ran them. They play a major role in Pratchett’s “technology” sub-series, in which Discworld equivalents of the telegraph, the printing press, modern postal services and banking and so on threaten the power of the wizards and the balance of social class and international relations. But what happens when these self-aware beings begin to purchase themselves and become owners of the means of production? In this series, Pratchett offers an interesting and nuanced critique of the socially transformative power of technological innovation.

KEYWORDS
Pratchett, Terry
Golems
Robots
Industrial Revolution
Marxism
Science fiction

The rise of retrofuturism has introduced a fantastical new line with the DC Bombshells -- heroines without the men, all set in World War II. Their aesthetic and clever adaptation mirrors the best of steampunk rewriting. There's also Gotham by Gaslight, JLA: Age of Wonder, The Golden Age, Batman: Leatherwing, Batman/Houdini, and more. Marvel has offered their own retellings, in the alt-Battleworld, with J. Michael Straczynski's Golden Age-style The Twelve, and with even earlier fantasies back to 1602: Witchhunter Angela. Who's doing it right, and how steampunk are these stories? (Presented at Clockwork Alchemy, May 28 2016, San Jose, CA)

Głównym celem pracy jest zarówno charakterystyka nurtu steampunkowego jak i próba odpowiedzi na pytanie o przyczynę raptownego skoku jego popularności w skali globalnej. Steampunk jest zjawiskiem obejmującym wiele dziedzin sztuki i życia: literaturę, film, komiks, gry wideo, modę, styl życia, subkulturę i muzykę. Skupia społeczności fanów w wielu krajach na świecie, których głównym kanałem komunikacji jest Internet. Jest wytworem postmodernizmu i efektem globalizacji w obrębie kultury popularnej. Mniej więcej w 2007 roku nastąpił, trwający do dzisiaj, nieoczekiwany wzrost popularności nurtu steampunkowego i jego transformacja z niszy subkulturowej do mainstreamowego trendu.

Considering the producers and consumers, one of the fastest-growing industries in the world today is the video game industry. Video games have become an important marketing product with the combined use of art, design, architecture, science and technology. Video games compete with each other through features such as theme, character, sound-image quality, venue diversity, graphic elements, virtual reality content, and trigger the development of this sector with the constantly increasing expectations of the target audience. While the education on the architectural producing processes and architectural productions on professional discussion platforms try to find their balance with their evolving dynamics, video games offer users opportunities for space production in various forms of their own reality, whether they are experts or not. Besides, spaces designed in 3 dimensions allow the user not only to obtain information from a facade surface but also to experience the space with its visually accessible feature from many different directions. The student profile, also called "digital native" in architectural education, cannot use traditional tools as a learning method. In this context, video games, which have been questioned for a while as an educational tool in architecture, equip the user with their dystopian content called 'new old', both provide users with historical events and refer to the principles of structuring in a variety of individual spaces ranging from the urban scale within a social and economic context. During the process, environmental elements are perceived and experienced by using more sensory organs than with physical methods. In this study, first of all, "new old" video game fictions produced by reinterpreting the events in human history and adapting them to the future are examined together with their historical origins and the achievements regarding the history of architecture are analyzed. Afterward, readings are made on dystopian video games and the elements analyzed from the content of the games are compared with the dynamics of architecture. In the light of the data obtained, this study discussing the methodology of how architecture, which is a production tool, can be

Science-fiction comics and graphic novels portray realistic scenarios of how our cities may evolve. These are based on the extrapolation of present trends as well as speculation, “what if” scenarios that can inform us about past, present and future. The objective of this paper is to study these and assess how they can change the way we think about future cities in design. This will be achieved by studying 15 comics and applying a four matrices onto them. A spatiotemporality matrix will be applied as well as a thematic matrix which will be a first comparative analysis to understand how these worlds are constructed. A city type matrix and a matrix of extrapolation and speculation will form a second comparative analysis which will determine what we can learn from the types of cities depicted as well as the methods to reach them.

This chapter analyzes the sartorial imperialism, colonial cosplay (short for costume play), and anti-imperialist nostalgia of steampunk subculture, an underground lit- erary subgenre turned massively popular subculture. Through a discursive analysis of the rich micro-media of steampunk (blogs, tumblrs, journals, magazines, and digital zines), I unravel the allure of the Victorian era, the pinnacle of European colonialism, for steampunk fans. I ask: What compels steampunks to recycle and rework Victoriana? Is it nostalgia for empire, for the stark simplicity of colonial-era power relations, the clear demarcation between Self and Other? This might explain the popularity of the “British Empire Pith Helmet,” an item the Steampunk Emporium markets with the enthusiastic tag line: “When the sun never sets on your empire, you’ll need some proper shade. Here’s the answer!” A yearning to return to a time when the East was exotic and mysterious—a time that Edward Said would remind us never existed except in the wild imaginations of Westerners. This might elucidate how the steampunk zine The Gatehouse Gazette could publish an is- sue called “VictOrientalism” that did not problematize the Orientalism of ste- ampunk but rather uncritically celebrated it. Thankfully, steampunks of color blogging at sites such as Beyond Victoriana: A Multicultural Perspective on Steampunk and Silver Goggles have recently begun to apply the theoretical insights of postcolonial and critical race theory to the steampunk movement. In addition to critiquing the phenomenon of VictOrientalism, steampunk bloggers of color have initiated a much-needed discussion on the politics of wearing the insignias of empire even in service of ahistorical fantasies.
Loza, Susana. Speculative Imperialisms : Monstrosity and Masquerade in Postracial Times, Lexington Books, 2017. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/hampshire/detail.action?docID=5178662.
Created from hampshire on 2018-01-19 08:48:28.
Copyright © 2017. Lexington Books. All rights reserved.
Speculative Imperialisms 15
They have questioned whether the ironic and anachronistic juxtaposition of imperialist regalia with contemporary accessories invites us to critique the rampant racism and sexism of the colonial past or simply to relive it without (white) guilt. It is my hope that a close examination of the online discourses of steampunks will reveal the answer to these queries.

Farmington Hills: Gale, 2016. 458pp. Print. Dict. of Lit. Biog. 377.

Since 1978, the Dictionary of Literary Biography has been one of the world’s most comprehensive resources for literary studies, covering over 12,000 authors, works, and topics. DLB 377: Twenty-First-Century British Novelists contributes to this critical heritage with biographies of twenty-five novelists: sixteen of them are updated biographies of writers who have appeared in earlier DLBs and nine authors are appearing for the first time.

Öz: Çizgi roman, grafik ile metnin birlikte kurgulanması ile gerçekleşen bir anlatı sanatıdır. Bilimkurgu çizgi romanı ise bilim ve teknoloji unsurlarını kullanarak oluşturulan bir çizgi roman türüdür. Fakat Türkiye'de bilimkurgu çizgi romanı üretimi beklenen düzeyde gerçekleşememektedir. Bu yazıda Türkiye'de bilimkurgu çizgi romanı üretimi için gereken sanatsal, bilimsel, teknolojik ve kültürel altyapı ihtiyaçları incelenecek ve bu tespitler ışığında dünya çapında başarıya ulaşmış bir çizgi roman çözümlemesi yapılacaktır.

Abstract: Comic is a narrative art which both combines together with the text and graphics. The sci-fi comic is a kind of genre elements created using science and technology. But the production of science fiction comics in Turkey cannot occur at the expected level. This subject will be summarized scientific, technological, and cultural infrastructure needs of artistic production in Turkish sci-fi comics and will be given a worldwide comic example.

De hogy mi is pontosan a steampunk? Erre a kérdésre (is) keresi a választ a Teljes gőzzel címet viselő monográfia. Az irányzat szellemiségének alapvető jellemzője vitathatatlanul a szabadságvágy, valamint a következetesen működtetett totális anakronizmus és paleofuturizmus. Számos művészeti ágban – irodalom, film, képregény, zene, DIY kézművesség –, sőt szubkulturális mozgalomként is jelen van. A steampunk mindenekelőtt a viktoriánus éra technológiájának futurista felpörgetésében és a kor társadalmi viszonyainak fellazításában érdekelt, ennek köszönhetően pedig egyszerre nosztalgikus és jövőbelátó is.

This essay, which began as a book idea, merges ideas about Transhumanism with my personal interests in alchemy, Steampunk, theatre, the work of Carl Jung and Joseph Campbell, computers, technology, and virtual reality. It seeks to illuminate humans' conflicting attitudes toward technology and the impetus for evolution.

Die Textur von fleckigem Antikleder, durch Berührung polierte Messingbeschläge, bizarre dampfbetriebene Apparaturen, eine Fusion von viktorianischer Industrialisierung und futuristischer Technologie: Was sich in den späten 1980er Jahren zunächst in der Literatur und nach und nach in den anderen narrativen Medien, in Mode und Subkultur etablierte, hatte zu Beginn nicht einmal einen Namen. Dabei ließen sich die Wurzeln dieser dezidierten Retro-Science-Fiction lange zurückverfolgen, bis zurück zur Geburt der wissenschaftlichen Utopie selbst: zu Jules Verne, Herbert George Wells und Mary Wollenscroft Shelley. Im 19. Jahrhundert schrieben sie von der Reise in unbekannte Sphären, von der Zeitreise oder der Erschaffung eines künstlichen Menschen, ohne dass sie dabei ein spezielles Genre bedienen mussten. Und selbst als Fritz Lang 1927 seine dampfdurchwirkte Großproduktion METROPOLIS in die Kinos brachte, war noch kein Namen für das Genre gefunden.
Heute hat dieses Phänomen einer rückwärtsgewandten, ‚antimodernen’ Science Fiction einen Namen und ein Programm: Steampunk. Steampunk selbst gleicht einer stilistischen Zeitreise. Der Stil kombiniert die Mode und Architektur der viktorianischen Ära Englands und Amerikas mit Elementen des Kolonialismus’, der frühen Industrialisierung und der langsam aufkommenden Technologien: Dampfkraft, aber auch Elektrizität. Nur von Ferne ahnte man die Existenz einer noch größeren Kraftquelle, der Atomkraft, wie Jules Verne in seinem Roman Vingt mille lieues sous les mers (1870) andeutete – wiederum ohne das Phänomen benennen zu können. Steampunk gehört zu der ‚spekulativen Geschichtsschreibung’ (Was wäre wenn...?) und berichtet von der fiktiven Vergangenheit der Zukunft. Erzählende Werke des Steampunk in Literatur, Film und Game können somit per se als Zeitreise betrachtet werden und faszinieren nicht zuletzt aus diesem Grund ein Publikum unterschiedlichster Generationen. Aus den literarischen und filmischen Fiktionen hatte sich bis nach 2000 ein spezifischer Kleidungsstil entwickelt, der auf Steampunk-Conventions, in Musikvideoclips und burlesken Bühnenshows (das Karnevaleske ist dort ebenfalls bereits angelegt) und eigenen Internetportalen Verbreitung findet.

Mit der Frage „Was wäre gewesen, wenn...?“ setzen die Autoren von „Interventionen in die Zeit“ ein. In Umbruchzeiten – Mauerfall oder das Ende des Sowjetimperiums – haben derlei kontrafaktische Geschichten Konjunktur. Bekanntes erscheint anders, Vergessenes oder Verbotenes als Fakt.
Der Band versammelt Beiträge über kontrafaktische historische Narrative aus vergleichender literatur-, medien- und geschichtswissenschaftlicher Perspektive. Ein besonderer Akzent liegt dabei auf den postsozialistischen Kulturen Osteuropas sowie auf der Frage danach, wie kontrafaktische Narrative als konstituierende und dynamisierende Elemente von Erinnerungskulturen fungieren. Das Kontrafaktische kann ‚Ungeschehenes‘ geschehen machen, kann Geschichte erfinden, Verhandlungsspielräume erweitern, läuft dabei aber immer Gefahr, eine Allianz mit politisch restaurativen Kräften zu bilden.

Abstract:
This article discusses the neo-Victorian transmedia performance of Emilie Autumn, in the light of the “disproportionate attention” given to sensationalist tropes in feminist and queer criticism (Kohlke and Gutleben 2010: 23). Her burlesque performance may, on the one hand, be criticised as commodified neo-Victorianism, but, on the other hand, it can be seen as disturbing the bland heritage formulae still governing many neo-Victorian adaptations. Autumn comes in various guises that give rise to a plethora of fan engagement and foster controversy and publicity, such as her autobiographical neo-Victorian novel, An Asylum for Wayward Victorian Girls (2009), her music albums, such as Enchant (2003), Opheliac (2006) or Fight Like a Girl (2012), songs (‘Miss Lucy Had Some Leeches’), poems and performances and tours in the USA and Europe. Addressing Autumn as an example of ‘performative’ neo-Victorianism, this article asks the same question that Christine Ferguson has posed with reference to steampunk subcultures: should her transmedia personae be described as an apolitical surface style or is there is any substantial subcultural commitment in her contemporary adaptations of Victorianism?

Keywords: Emilie Autumn, burlesque, feminism, Gothic, post-feminism,
‘sexsation’, steampunk, subculture, transgression, medicine.

Függőhidakat ősidők óta építenek. A legkorábbiak a trópusi övezet magashegységeiben, a Himalájában és az Andokban kötötték össze a vidék addig áthidalhatatlannak tűnő pontjait. […] A Függőhidak alapgondolata ugyanez: olykor messzebbi, máskor közelebbi pontokat kapcsolni egybe. Ez a szándék érthető már a kötetbe került szövegek típusainak áthidalására is, hiszen a spekulatív fikció egyes alkotásait elemző és ütköztető tanulmányoktól a tankönyvfejezetig terjed a skála. De egymásra kapcsolódnak – és ez sokkal fontosabb – az egyes tudományterületek – a pedagógia, a technológiatörténet, a történettudomány, a különböző természettudományi ágak, sőt esetenként még a teológia is –, ahogy egymásból bomlanak ki, vagy egymásba hajlanak a különböző irodalmak és kánonjaik, próza és líra, regény és novella, hazai és külföldi művek, s persze összefonódnak a spekulatív fikció egyes irányzatai, zsánerei is. A különböző magyar oktatási trendek és módosulások apropóján így jutunk el a populáris irodalom és a steampunk irodalomtanításunkba való lehetséges integrálásáig, majd a múltrengető „mi lett volna, ha…?” kérdésből kibomló allohistorizmust követően a különböző mitológiákat és univerzumokat egybefonó fantasyk, s a mai természettudományos ismereteket korrekt módon felpörgető sci-fik révén a test határainak feszegetése és lehetséges kiterjesztése iránt sem maradunk érzéketlenek.

Women have traditionally been objects of abuse, exploitation and discrimination (Romero Ruiz). The patriarchal structure dominant in the Victorian period was so strong that women had to be submissive and respect their fathers’ and husbands’ authority, they had to be angels in the house; this was shown in the different cultural productions of that time. In Dracula (1897), Bram Stoker’s most outstanding work, only five female characters appear, and only one of them does not remain a lavish vampire in the end: the innocent Mina Murray. According to Senf, in contrast with traditional vampires, this character is presented as "the antithesis of these destructive creatures" (34); although she is initially shown as the New Woman, she is eventually domesticated and returns to the Victorian notion of womanhood (Moseley).
My paper will focus on the transition from Victorian to Steampunk, as far as cultural productions, that is film and fiction, are concerned, using as examples both the Mina Murray depicted by Stoker and the Mina Harker introduced in Norrington’s production The League of Extraordinary Gentlemen (2003). Norrigton’s Mina meets the features of the New Woman that started to develop in the nineteenth century. She also has the knowledge about scientific and technological reinterpretations of the inventions from that period, adapted to the twenty-first century, which is a prominent characteristic of Neo-Victorian steampunk. Norrington’s character is shown as the New Woman she should have evolved into if she had not been domesticated by Van Helsing and her husband to embrace the Victorian values again by the end of Stoker’s work.
Dracula and The League of Extraordinary Gentlemen will be analyzed as metaphors for the real situation of women in Victorian and Steampunk societies in order to explore the change in gender stereotypes and values. Foucault’s ideas on deviancy and punishment of “the others” and Butler’s notions of gender and identity will be used in my analysis of sexual discrimination and exploitation in the Victorian and contemporary discourses. Although the innocent Miss Murray in Stoker’s production shows some attempts at switching to a more
intellectual, “masculine” way of live, she does not succeed and has to return to the traditional values expected in a lady. However, the Mina Harker depicted in Norrington’s production proves to be not only a successful scientist, but also a strong woman that is accepted as a peer in a masculine group, gains their respect and is eventually treated as an equal.

Since the dawn of the new millennium, the retro-futuristic movement and literary sub-genre known as steampunk has become highly commodified within a number of media. Adapted through its own fin de siècle anxieties, cinema has played a central role in bringing this atavistic phenomenon to the attentions of mainstream audiences. In this article, I will explore how steampunk’s sensational technologies mythologize an alternative Victorian landscape where magic collides with reason. Utilizing mechanical marvels that range in size from floating dreadnaughts to pocket-sized Frankensteinian gizmos, the aesthetic identity of steampunk film is defined by objects that bear the semblance of scientific rationalism – yet are unmistakably anachronistic and fantastical. I will question how the nineteenth century has become a global resource for industrial nostalgias that mourn an age of technological tactility and ‘authenticity’ that is, nevertheless, seemingly indistinguishable from sorcery.

The article discusses two Polish alternate history novels: Orzeł bielszy niż gołębica (An Eagle Whiter than a Dove) by Konrad T. Lewandowski and Gambit Wielopolskiego (Wielopolski’s Gambit) by Adam Przechrzta in the context of the politics of memory of the January Uprising of 1863. Politics of memory, according to Lech M. Nijakowski, can be defined as activities directed towards changing and shaping collective memory. Politics of memory is intentional, society orientated, and focused on achieving political objectives. In the first part of the article, the collective memory and politics of memory of the January Uprising is described. The second part analyses Gambit Wielopolskiego by Adam Przechrzta, its cultural context, and the fashion in which it depicts the uprising. In the third part, the same motifs are used in the reading of Orzeł bielszy niż gołębica by Konrad T. Lewandowski. The interpretation of the novels in this broad context allows for a deeper understanding of the phenomenon of the collective memory of the January Uprising.

This essay analyzes Anthony Lucas’ short film The Mysterious Geographic Explorations of Jasper Morello (2005), an adventure film set at a Steampunk universe, which proposes a revision of literary classics of science fiction as H.G. Wells and Jules Verne. The paper will stress the idea of animation as a means to revisit subsequent texts, establishing re-animating relations between them. Also, the article will highlight the idea of the animator as inventor, describing the procedures that have led Anthony Lucas to a bold combination to join the ‘retro’ with modernity.

As cenas de voo estão presentes em grande parte dos filmes do es-túdio Ghibli, sendo o tema central ou de extrema importância em boa parte de-les.

Nesse artigo vamos traçar um panorama sobre o significado do voo e suas intenções em algumas obras, dando destaque ao filme “Vidas ao vento”, lançado em 2013 e dirigido por Hayao Miyazaki, como também explicitar o uso do gênero steampunk em muitos dos filmes do estúdio.

Serão abordados também, ainda que brevemente, o voo nos filmes “Laputa: O castelo no céu”, “O serviço de entregas da Kiki”, “Porco Rosso”, “A viagem de Chihiro” e “O castelo animado”.