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Teljes Gőzzel Teljes gőzzel Bevezetés a steampunk olvasásába © PaedDr. Baka Patrik, PhD. Selye János Egyetem Tanárképző Kar Lektorálták: Dr. habil. PaedDr. Keserű József, PhD. H. Nagy Péter, PhD. ISBN 978-80-8122-352-5 Selye János Egyetem Tanárképző Kar Baka L. Patrik Teljes gőzzel Bevezetés a steampunk olvasásába Komárom, 2020 A kiadvány az Emberi Erőforrások Minisztériuma és a Pro Selye Univerzitas n.o. támogatásával készült. Feleségemnek, Barbarának, egyszerűen csak mindenért... „Ellentétesség az út mozgása, engedés az út tulajdonsága. Az ég alatt minden a létből fakad s a lét a nemlétből fakad.” (Lao-ce, Tao te King, Az Erény:40; Weöres Sándor fordítása) „Idézd fel lelkedben a múltat: a földi hatalmak oly gyakori össze- roppanását. Ebből kiszámíthatod a jövőt. Mert a jövőben is minden teljesen ugyanígy történik, és lehetetlenség kikapcsolódni a mostani folyamatok ritmusából. Ennélfogva egyre megy, negyven évig szem- léled-e az emberi létet, vagy tízezer évig. Mert láthatsz-e többet?” (Marcus Aurelius, Elmélkedések, VII:49; Huszti József fordítása) Tartalomjegyzék Bevezetés ............................................................................................................ 11 1. Gőzerővel – A steampunk mint spekulatív fikciós szubzsáner .................. 17 1.1. Kérdésfelvetés ........................................................................................... 19 1.2. A steampunk fogalma – Definíciók .......................................................... 23 1.3. A steampunk jellemzői és kritikai fogadtatása ......................................... 26 1.4. Csak az a steampunk – Monográfiák és folyóiratok ................................. 34 1.5. A steampunk műfajközi megközelíthetősége – Párhuzamok és ellentétek ...................................................................... 37 1.6. A steampunk a műfajok és alműfajok hálójában – Zsánerek és szubzsánerek genealógiája ................................................. 43 1.7. A steampunk fajtái és történeti stratégiái .................................................. 52 1.8. A steampunk alfái – Az irányzat hajnala .................................................. 55 1.8.1. Keith Roberts: Gőzkorszak. Pavane ................................................ 55 1.8.2. K. W. Jeter: Morlockok éjszakája .................................................... 58 1.8.3. Tim Powers: Anubisz kapui .............................................................. 61 1.8.4. James P. Blaylock: Lord Kelvin’s Machine (Lord Kelvin gépezete) 63 1.8.5. William Gibson – Bruce Sterling: A gépezet ................................... 65 1.8.6. Paul di Filippo: The Steampunk Trilogy (Gőzpunk trilógia) ............ 67 2. Angolszász steampunk regények ................................................................. 69 2.1. Steampunk szimfóniák (Stephen Baxter: Antijég vs. George Mann: Mechanikus London) ........................................................ 71 2.1.1. Steampunk-jelleg és műfajközi háló ................................................ 72 2.1.2. Világépítés és korrajz .................................................................... 77 2.1.3. Narráció és poétika .......................................................................... 84 2.2. Gőz és verejték (Scott Westerfeld: Leviatán-trilógia) .............................. 91 2.2.1. A narrációban (is ott) rejlő kettősség ............................................... 92 2.2.2. Steampunk barkácsok ...................................................................... 94 2.2.3. Biopunk darwinisták ........................................................................ 99 2.2.4. Versus ............................................................................................. 107 2.2.5. (A) Tesla(punk) felemelkedése ...................................................... 117 2.2.6. Zsánerklasszisok ............................................................................ 119 2.2.7. Hierarchiák ..................................................................................... 122 2.2.8. Történelmek ................................................................................... 124 2.2.9. Kapcsolások ................................................................................... 127 3. Magyar steampunk regények .................................................................... 133 3.1. A magyar steampunk kezdetei (W. Hamilton Green: Mars 1910) .......... 135 3.1.1. Zsánerek és szubzsánerek hálójában .............................................. 136 3.1.2. (Alternatív) Történelem ................................................................. 142 3.1.3. A steampunk és a rabszolgaság ...................................................... 149 3.1.4. (Alternatív) Technológiatörténet .................................................... 150 3.1.5. Támad a Mars ................................................................................ 157 3.1.6. Fragmentált regénypoétika ............................................................ 162 3.2. A szabadságharc steampunk víziója (Pintér Bence – Pintér Máté: A szivarhajó utolsó útja) ......................................................................... 165 3.3. Barkácsistenek és barkácsvilágok (Lakatos István: Dobozváros vs. Óraverzum) ....................................................................................... 179 3. 3. 1. Steampunk és műfajközi háló ...................................................... 180 3. 3. 2. Világ- és karakterépítés s a transzcendencia rejtőzködése ............ 184 3. 3. 3. Narráció és nyelv, autoreferencialitás és intertextualitás ............. 193 3.4. Világ körüli vasutazás (Dávid Ádám: Millennium expressz-trilógia) ..... 199 4. Gőzbetyárok társasága – A magyar steampunk szubkultúra nyomában 211 4.1. A szubkultúrákról .................................................................................... 213 4.2. A steampunk szubkultúra ........................................................................ 217 4.3. A magyar gőzbetyár közösség ................................................................ 223 4.4. Gőzlélekvadászat, avagy három interjú három gőzbetyárral .................. 231 4.4.1. Ifj. Mizsei László (Dr. Leslie Aromo) ............................................ 231 4.4.2. Farkas Judit (Madame Flamara Halvorsen) ................................... 234 4.4.3. Vörös Zoltán (Zackary mester) ...................................................... 236 Bibliográfia ...................................................................................................... 239 Online források, fórumok és hivatkozások ................................................... 248 Filmográfia és diszkográfia ............................................................................ 260 Resumé ............................................................................................................. 261 Bevezetés Melyikünk ne emlékezne arra az ezredforduló környéki „megrázó” képsorra, ami- kor a már nevében is ördögi Dr. Loveless hatalmas, gőzhajtású fémtarantuláján odacsörtet Ulysses S. Grant elnök-tábornok elé, hogy megakadályozza „a világ két nagy óceánját” összekötő vasútvonal átadását? Ha valakinek mégiscsak homá- lyosan derengene a dolog, segítünk: mindez a Barry Sonnenfeld rendezte Vadiúj vadnyugat (Wild Wild West) című, 1999-es film hetvennegyedik percénél látható. Különböző gőzhajtású masinériák – többek között a már emlegetett tudós kerekes széke, a velocipéd, a lépegető vonat vagy a gramofontölcsért idéző hallókészülék – jellemzik a vászonra vitt vadnyugatot, mely világ kétségkívül meggyőzően de- monstrálja a steampunk irányzat hangulatát. De hogy mi is pontosan a steampunk? Erre a kérdésre (is) keresi a választ a Teljes gőzzel címet viselő monográfia. Az irányzat szellemiségének alapvető jel- lemzője 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. Az irányzat kezdeteinek kijelöléséről lehetne vitatkozni, hiszen már Wells, Ver- ne és Mary Shelley művei is magukon hordozták annak ismertetőjegyeit – amiért proto-steampunk műveknek nevezhetjük őket –, álljon itt azonban a műfaj első, tény leges említésének dátuma. K. W. Jeter 1978 áprilisában a Locus Magazine- nak küldött levelében a viktoriánus éra technológiájára építő műveik apropóján „steampunkoknak” nevezi a Tim Powers, James P. Blaylock és az önmaga alkotta kaliforniai írótriót. Jeter ugyanebben a levelében a fantasztikus irodalom követke- ző nagy dobásaként hivatkozik a formálódó irányzatra. A szerző ekkor még két- ségkívül nem gondolhatta, hogy a kissé erőltetett magyarsággal gőzpunknak vagy gőzbetyárnak nevezhető műfaj megjelenése olyan dominóeffektust idéz majd elő, mely nemcsak magát a steampunkot teszi meg a science fiction egyik legterméke- nyebb leágazásává, de olyan társadalmi szubkultúra életre hívója is lesz, melynek 11 divatjával a The New York Times is a címlapján foglalkozik majd (ez utóbbira 2008 májusában került sor). A steampunk megnevezés a gőzerőn alapuló technológián túl a korábbi kon- venciók és keretek elleni lázadást is magába foglalja, s egy olyan alternatív vilá- got takar, melyben az általunk ismert technológiák java már a viktoriánus
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