Skip to main content

ETHNOS_APP

Home • Search • Journals • List 0

Victorian steampunk as urban mythology

The city-palimpsest in the series Carnival Row

Bibliographic Data

ID22259622
AuthorsYe G Margaryan (corresponding author), Yervand Margaryan (0000-0001-7396-2399)
Year2025
Volume5
Issue2
Pages244-262
Publication date2025-01-01
Open AccessYes
TypeARTICLE
VenueUrbis et Orbis Microhistory and Semiotics of the City (JOURNAL)
Journal identifiersISSN: 2738-2729 • E-ISSN: 2738-2729
PublisherYaroslav-the-Wise Novgorod State University (PUBLISHER • RU)
DOI10.34680/urbis-2025-5(2)-244-262
OpenAlexW7117460423
LanguageEN

In this study, the TV series Carnival Row (2019–2023) is considered a modern urban myth presented in the aesthetics of Victorian steampunk. The article analyzes the fictional city of Burg as a multi-layered palimpsest of cultural and historical layers that act as tools for criticizing modern urbanism. Steampunk is understood here not as nostalgic decoration but as a retrofuturist optic that fuses past and future to expose the hidden mechanisms of power, social control, and the systematic exclusion of marginalized groups. Drawing on the conceptual frameworks of Henri Lefebvre, Michel Foucault, Andreas Huyssen, Homi Bhabha, Frantz Fanon, and other theorists of critical urbanism and postcolonial studies, the author analyzes the architecture of power, social stratification, and biopolitical practices of the Victorian metropolis as an allegory of the contemporary global city. Particular attention is devoted to the Carnival Row ghetto as a heterotopia of otherness – a space where alternative forms of identity, social imagination, and political resistance emerge. Through metaphors of the body, disease, palimpsest, and carnival, the series appears as a multi-layered commentary on the city as a living organism and an arena of struggle for the “right to the city.” In this context, Victorian steampunk functions as a tool of neoliberal urbanism, revealing new forms of social segregation and repressive mechanisms of a disciplinary society. The carnivalesque, understood in Bakhtin's sense as a temporary liberation from dominant hierarchies, becomes a source of social renewal – a space where society's suppressed energies return as hybrid culture, transgressive laughter, and utopian imagination. Thus, Carnival Row represents the postindustrial city as a complex interweaving of memory and oblivion, trauma and possibility, control and liberation. In this city-palimpsest, imperial past and utopian future exist in a state of constant, tense dialogue

Allegory · Colonialism · Dystopia · Mythology · Palimpsest · Politics · Social criticism · Urbanism · Crime and Detective Fiction Studies · Spatial and Cultural Studies · Walter Benjamin Studies Compilation · Architecture

Highly citedNo

Tools

Open DOIOpen Access
Ethnos_APP • Open Source Project • MIT License • Frontend v2.0.0 • Privacy and Cookies • API Documentation: api.ethnos.app/docs • API Source Code: GitHub • DOI: 10.5281/zenodo.17049435 • Frontend Source Code: GitHub • DOI: 10.5281/zenodo.17050053 • cruz.rio.br • Expectantes Misericordiae