title: Steampunk: The Inner Workings

authors: Smith, Garth Michael Parker

subjects: Steampunk

abstract: Steampunk, as a literary genre and cultural phenomena, is a relatively recent innovation that is increasingly receiving critical attention. From the proto-steampunk of Jules Verne and H.G. Wells, through the novels of its acknowledged founding fathers K.W. Jeter, Tim Powers and James Blaylock, to contemporary works by China Miéville, Cherie Priest and Paul Di Filipo, steampunk has been plagued by the lack of a unifying definition. Every author, academic and critic has their own definition of it, which may share similarities with others, but none of them can agree on the core ingredients of the genre.

Related to the important task of defining steampunk is the need to answer the question: 'Is steampunk a literary genre?' In many respects, steampunk has moved beyond the literary world. Fashion, art and sub-cultures have all embraced steampunk as a style, an aesthetic, a way of life and even a philosophy. This could be the reason for the inability to find a single unifying definition of steampunk.

This thesis will argue that, rather than a genre, steampunk is best understood as an aesthetic which can be applied, like any aesthetic, to any literary genre to produce a work that is steampunk-inflected, such as science fiction steampunk, alternate history steampunk, steampunk fantasy, historical steampunk, steampunk romance or gothic steampunk. After evaluating both scholarly and popular definitions of steampunk I will explore four key aspects of the steampunk aesthetic: the neo-Victorian tropes which dominate steampunk texts; the relationship between magic and science in the steampunk universe; the places and people who inhabit steampunk worlds; and the revolutionary message of most steampunk creations. Throughout my discussion will focus primarily on a range of texts acknowledged as steampunk: Michael Moorcock’s The Warlord of the Air (1971), K. W. Jeter’s Infernal Devices (1987), Tim Powers’ The Anubis Gates (1983), William Gibson and Bruce Sterling’s The Difference Engine (1991), Paul Di Filippo’s The Steampunk Trilogy (1995), Neal Stephenson’s The Diamond Age (1995), Gail Carriger’s ‘Parasol Protectorate’ series (2009 – current), Mark Hodder’s ‘Burton and Swinburne’ series (2010 – current), Arcanum: Of Steamworks and Magick Obscura by Troika Games and Runic Games’ Torchlight (2009) and Torchlight 2 (2011).

text: Steampunk: The Inner Workings Steampunk, as a literary genre and cultural phenomena, is a relatively recent innovation that is increasingly receiving critical attention. From the proto-steampunk of Jules Verne and H.G. Wells, through the novels of its acknowledged founding fathers K.W. Jeter, Tim Powers and James Blaylock, to contemporary works by China Miéville, Cherie Priest and Paul Di Filipo, steampunk has been plagued by the lack of a unifying definition. Every author, academic and critic has their own definition of it, which may share similarities with others, but none of them can agree on the core ingredients of the genre.

Related to the important task of defining steampunk is the need to answer the question: 'Is steampunk a literary genre?' In many respects, steampunk has moved beyond the literary world. Fashion, art and sub-cultures have all embraced steampunk as a style, an aesthetic, a way of life and even a philosophy. This could be the reason for the inability to find a single unifying definition of steampunk.

This thesis will argue that, rather than a genre, steampunk is best understood as an aesthetic which can be applied, like any aesthetic, to any literary genre to produce a work that is steampunk-inflected, such as science fiction steampunk, alternate history steampunk, steampunk fantasy, historical steampunk, steampunk romance or gothic steampunk. After evaluating both scholarly and popular definitions of steampunk I will explore four key aspects of the steampunk aesthetic: the neo-Victorian tropes which dominate steampunk texts; the relationship between magic and science in the steampunk universe; the places and people who inhabit steampunk worlds; and the revolutionary message of most steampunk creations. Throughout my discussion will focus primarily on a range of texts acknowledged as steampunk: Michael Moorcock’s The Warlord of the Air (1971), K. W. Jeter’s Infernal Devices (1987), Tim Powers’ The Anubis Gates (1983), William Gibson and Bruce Sterling’s The Difference Engine (1991), Paul Di Filippo’s The Steampunk Trilogy (1995), Neal Stephenson’s The Diamond Age (1995), Gail Carriger’s ‘Parasol Protectorate’ series (2009 – current), Mark Hodder’s ‘Burton and Swinburne’ series (2010 – current), Arcanum: Of Steamworks and Magick Obscura by Troika Games and Runic Games’ Torchlight (2009) and Torchlight 2 (2011).

year: 2013

title: Mindfulness-Based Attention Training in the Navy: A Feasibility Study

authors: Roemer, Anja

subjects: military training

abstract: Mind wandering is common during daily activities and is even more prevalent under stressful conditions, which could lead to lapses in attention and poor performance. Newly recruited military personnel who undergo demanding training often experience high levels of stress. It is therefore imperative to find ways to foster mental health and avoid performance deterioration related to mind wandering in times of intense military training. This feasibility study investigated the effectiveness of an established low-dose mindfulness-based intervention (MBI), called Mindfulness-based Attention Training (MBAT), on mind wandering, attentional performance, and well-being, delivered by a facilitator who was taught how to deliver MBAT. A sample of newly recruited Royal New Zealand Navy (RNZN) Junior Officers (n = 17) undergoing demanding training participated in the 8-week long MBI with one weekly contact session. Measures of well-being and the Sustained Attention to Response Task (SART) were completed 4 weeks prior to the MBAT, at the start of the MBAT, at the end of the MBAT and 4 weeks after completion of the MBAT. Results suggest that MBAT might protect from performance decline during intense training and enhance levels of well-being at follow-up. These findings highlight the valuable role of mindfulness as a component in military training.

text: Mindfulness-Based Attention Training in the Navy: A Feasibility Study Mind wandering is common during daily activities and is even more prevalent under stressful conditions, which could lead to lapses in attention and poor performance. Newly recruited military personnel who undergo demanding training often experience high levels of stress. It is therefore imperative to find ways to foster mental health and avoid performance deterioration related to mind wandering in times of intense military training. This feasibility study investigated the effectiveness of an established low-dose mindfulness-based intervention (MBI), called Mindfulness-based Attention Training (MBAT), on mind wandering, attentional performance, and well-being, delivered by a facilitator who was taught how to deliver MBAT. A sample of newly recruited Royal New Zealand Navy (RNZN) Junior Officers (n = 17) undergoing demanding training participated in the 8-week long MBI with one weekly contact session. Measures of well-being and the Sustained Attention to Response Task (SART) were completed 4 weeks prior to the MBAT, at the start of the MBAT, at the end of the MBAT and 4 weeks after completion of the MBAT. Results suggest that MBAT might protect from performance decline during intense training and enhance levels of well-being at follow-up. These findings highlight the valuable role of mindfulness as a component in military training.

year: 2023-02-01

title: Kaupapa Māori research- Some Kaupapa Māori principles

authors: Smith, Linda Tuhiwai

abstract: This paper was first presented at a conference of Māori academic staff at Massey University in 1996. It predates the publication of Decolonising Methodologies in 1998. You will note that since this paper was first presented our understandings and experiences in using Kaupapa Māori have deepened and we have significant capacity in Kaupapa Māori research. In 1996 there were many topics we could not imagine in depth as we had not completed the work to realise the potential of Kaupapa Māori. Also, our thinking was tentative and we were searching for the pathways to research that made sense in Māori ways. In looking back on the paper I can see my own naïve explorations into ideas that I thought were important. I have resisted the urge to rewrite this paper entirely as I think it stands as a good historical moment of where we were and where we are now. It needs to be read in the context of the 1990s.

text: Kaupapa Māori research- Some Kaupapa Māori principles This paper was first presented at a conference of Māori academic staff at Massey University in 1996. It predates the publication of Decolonising Methodologies in 1998. You will note that since this paper was first presented our understandings and experiences in using Kaupapa Māori have deepened and we have significant capacity in Kaupapa Māori research. In 1996 there were many topics we could not imagine in depth as we had not completed the work to realise the potential of Kaupapa Māori. Also, our thinking was tentative and we were searching for the pathways to research that made sense in Māori ways. In looking back on the paper I can see my own naïve explorations into ideas that I thought were important. I have resisted the urge to rewrite this paper entirely as I think it stands as a good historical moment of where we were and where we are now. It needs to be read in the context of the 1990s.

year: 2015