Star Trek

Resumo: Este artigo tem como objetivo relatar experiência pedagógica realizada em turma de 9º ano da escola "X", no ano letivo de 2018. Na atividade, foi utilizada a série televisiva de ficção científica Star Trek (Jornada nas Estrelas) para o ensino de História. Atualmente, é fundamental que os professores busquem maneiras de tornar o ensino mais atrativo, e nesse contexto as séries de TV se revelam importantes ferramentas que auxiliam na leitura de mundo e interpretação histórica. Em especial, a série Star Trek em suas diversas encarnações, devido sua filosofia de tolerância e diversidade, permite ao professor de História problematizar períodos e eventos históricos a partir de alguns episódios com forte teor de crítica social, como é tradição na série. Assim, procuramos determinar a forma-ção histórica de sentido de forma a desenvolver consciência histórica nos alunos, que tiveram como tarefa redigir um texto relacionando ficção e história. No caso apresentado neste artigo utilizamos o episódio "Padrões de Força" (Patterns of Force), da segunda temporada de Star Trek (1968) para ensinar o conteúdo "Nazismo e Genocídio Ju-deu". Palavras-chave: Ensino de História. Ensino Fundamental. Nazismo. Séries de TV. Star Trek. Abstract: This article aims to report a pedagogical experience in the 9th grade class of the school "X", in the academic year of 2018. The sci-fi television series Star Trek was used to teach History in this activity. Nowadays, it is essential that teachers seek ways to make teaching more attractive, and in this context TV series are important tools to help read the world and interpret history. In particular, the Star Trek series in its various incarnations, due to its philosophy of tolerance and diversity, allows the history teacher to problematize historical periods and events from some episodes with a strong social criticism, as traditional in the series. Thus, we try to determine the historical formation of sense in order to develop historical awareness in the students, whose task was to write a text relating fiction and history. In the case presented in this article we use the episode "Patterns of Force", of the second season of Star Trek (1968) to teach the content "Nazism and Jewish Genocide".

Artificial intelligence is often portrayed in science fiction as conscious and humanlike. We explore this phenomenon by analyzing mostly recent TV series and movies in the context of philosophical issues such as the problem of other minds, cognitive theories (computationalism and connectionism), thought experiments such as the Turing Test, the Chinese room, the brain in a vat, what is it like to be a bat and Mary's room. After discussing if direct access to an AI's mind is possible and useful in terms of determining its (un)conscious status, we compare fictional AIs to their human counterparts in terms of relationships, emotions, physicality, and mortality, which ultimately leads to considering the non-humanity of consciousness outside an anthropocentric viewpoint.

In 2016, Abrams produced "Beyond," the third installment of the Star Trek reboot, directed by Asian-American director Justin Lin and featuring black British actor Idris Elba in a lead role as the evil Krall. On the surface, this film appears to be consistent with Abrams’s stated commitment to diversity.  Star Trek "Beyond" includes the most diverse cast of all the reboots, and actors of color are given extended story arcs. Idris Elba’s character Krall, who plays the lead antagonist, is central to the film’s exploration of questions of identity and belonging. However, far from the progressive film it seems to be, "Beyond" reproduces some troubling stereotypes and can be seen to reflect the growing racial divide evident in the US towards the end of Barack Obama’s presidency. Indeed, rather than standing as a corrective to Into Darkness, Beyond can be viewed as its natural successor, extending the disturbing racial politics of that film.

Serving as the sequel to Gene Roddenberry’s original television series, Star Trek: The Next Generation pushed the boundaries of the “final frontier.” At the same time, the show continued the franchise’s celebrated exploration of the human experience, reflecting current social and political events. ST:TNG became immensely successful, spawning four feature films and several television spin-offs.

This collection of new essays explores both the series’ characters and its themes. Topics include the Federation’s philosophy concerning technocracy, sexuality and biopolitics; foreign policy shifts in the Prime Directive; key characters including Jean-Luc Picard, Data, Deanna Troi, Tasha Yar; and Klingon martial arts, music, and history.

Star Trek: The Next Generation (TNG) imagined a future in which all humans belonged to a homogenized, Western dominated, Neoliberal fantasy that no longer needed to address the political histories or identity politics of its past. TNG’s Starship Enterprise-D set out on an imperialist assimilation project that positioned the Federation—imagined as white, heteronormative humans and properly assimilated “aliens”—against queer, undesirable and dangerous, alien societies. In a close reading of the stories, characters, and societies explored by the Enterprise, I problematize and denaturalize these assumptions around identity and desire? I ask, how can Star Trek’s own allegorical lens be reapplied to queer the dominant narratives within Star Trek and to imagine human futures that support queer futurity?

The paper focuses on the use of diegetic or source music in the »Star Trek« universe. Its main purpose is to investigate which references are used in »Star Trek: The Original Series« (1966-1969), »Star Trek: The Next Generation« (1987-1994), "Star Trek: Deep Space Nine" (1993-1999), »Star Trek: Voyager« (1995-2001), "Star Trek: Enterprise" (2001-2005), and »Star Trek: Discovery« (2017ff.) to construct a particular prospect of music as one of the most important parts of our cultural heritage from the future's point of view.

Elokuvan suhdetta menneisyyteen ja tulevaisuuteen on viime aikoina käsitelty varsin paljon, mutta huomio on kohdistunut ennen kaikkea niihin lajityyppeihin, joilla on eksplikoidusti "ajallinen" orientaatio. On kirjoitettu sekä historiallisen elokuvan tavasta kertoa menneisyydestä että tieteiselokuvan tavasta kuvata tulevaisuutta. Tarkoitukseni on tässä artikkelissa kääntää asetelma päinvastaiseksi ja kysyä: miten tieteisfiktio kuvaa menneisyyttä? Kaiken kaikkiaan nyt-hetkessä eläminen on jatkuvaa menneisyyden kokemusten ja tulevaisuuden odotuksen välistä vuoropuhelua. Käsitykset menneestä ja tulevasta eivät ole toisistaan riippumattomia: mistäpä muualta tieteiskirjailija tai elokuvaohjaaja etsisi ymmärrystä tulevaisuuden kuvaamiseksi ellei menneisyydestä. Historiasta tieteisfiktioiden tekijät usein noutavat myös kerronnallista ja kuvallista raaka-ainetta.

Popular culture surrounds us: It is the products we consume, the movies we watch, the music we listen to, and the books we read. It is on our televisions, our phones, and our computers. Popular Culture in the Twenty-First Century engages with these texts and offers a diverse selection of contemporary scholarship from a wide variety of perspectives. These essays, adapted from presentations at the first annual Ray Browne Conference on Popular Culture held at Bowling Green State University in 2012, participate in an ongoing dialogue about popular culture's importance in both the academy and our everyday lives. This collection honors the diversity, depth, and breadth of popular culture studies by examining contemporary television, film, video games, internet fandom, cultures and subcultures, and gender, sexuality, and identity politics. Popular Culture in the Twenty-First Century reflects the necessity of exploring our common experiences and the many cultural modes that shape our everyday lives.

In its genre (which we might call literary dystopia), Station Eleven sits comfortably between the gritty burlesque of Colson Whitehead’s Zone One and the deliberate melancholy and lyricism of Orwell’s 1984. In a nutshell, this means that the novel approaches its few instances of gore and mayhem rather delicately. The novel is more concerned with finding the elements of humanity that are worth preserving than with fetishizing the death and destruction of apocalypse. With this focus, Station Eleven is fertile ground for allusions that run the gamut from Shakespeare to Star Trek, but Mandel is also careful to craft her own world within the novel.

As new advances in science and space exploration get understood and published, they open up new perspectives to interpreting recorded ancient history as well as works of fiction that were created before the discoveries came to light. Star Trek, a TV and movie series that started in the 60s showcased advanced use of technology that was either the writer's imagination or inspired by research efforts of those times. Much of the science of Star Trek showed is reality now, and many other concepts are still being explored through scientific research and could be future possibilities. Mahabharata, whose timeline is estimated to be between 6000 BCE and 2000 BCE considered mythology and hence possibly parable but also proven to be a record of actual events, has many fascinating descriptions of advanced technology in the realm of medicine, warfare and telecommunication. This research paper attempts to compare the Mahabharata and Star Trek with the latest advances in modern science.

This essay consists of a critical analysis of the Italian dubbing of Star Trek. The Original Series (1966-1969), which was partially translated and shown on Italian television between 1979 and 1981.
The study of the dubbing is approached considering translation as a complex cultural phenomenon (drawing on studies such as Even-Zohar and Venuti's), and using the case of Star Trek also as an example of broader phenomena and dynamics, namely the presence of American science fiction series on Italian television, and the difficult relationship in Italy between humanistic and scientific cultures (here, Pierpaolo Antonello's contributions are the milestones), to which the essay attributes the noticeable simplification and flattening the techno-scientific language undergoes during translation in the Star Trek episodes considered.
This general tendency to simplify (and even remove) technical and scientific terminology in the Italian version can be explained by two main factors: the idea that Italian viewers are less well educated scientifically than Americans, and limited investment (in terms of both financial and professional resources), on the part of the TV channel and dubbing company (TMC and ADC).
Both these aspects reveal a perception of a television series as merely a commodity product, typical of the years preceding the current new golden age of American series, but still not unknown in contemporary Italy (as has been shown in other cases, by studies such those by Buonomo, Izzo and Scarpino, and Ranzato).
The analysis of the Italian dubbing of Star Trek in the present essay is accompanied by a preliminary overview of the translation and airing of American science fiction series in Italy between the 1950s and the 1970s, and by a survey of the fortunes of these series across different media over the same period.
Star Trek, at the center of one the biggest and most profitable contemporary cultural franchises, and one of the most well organized fandoms (studied also by Henry Jenkins on more than one occasion), arrived in Italy too with its novelizations and derivative products. The Italian fandom proved to be both remarkably devoted and uncommonly well-informed from the cultural and scientific point of view: after protesting loudly about the poor quality of The Original Series dubbing, the Italian Star Trek Club obtained the right to oversee the translations of many of the subsequent series and publications.
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Al centro del saggio vi è un'analisi critica del doppiaggio italiano di Star Trek. The Original Series, andata in onda negli USA tra 1966 e 1969 e giunta in Italia nel 1979.
L'analisi del doppiaggio affronta il problema della traduzione in senso ampiamente culturale  (sulla scorta di studi come quelli di Even-Zohar e Venuti), adoperando il caso di una delle serie fantascientifiche più famose nella storia del medium televisivo per esemplificare più ampie dinamiche traduttive della fantascienza statunitense in Italia, nonché il difficile rapporto - nel contesto culturale italiano - tra cultura umanistica e scientifica (si vedano su questo i contributi di Pierpaolo Antonello), a cui si può ricondurre il fenomeno di semplificazione e livellamento verso il basso del gergo tecno-scientifico che ha caratterizzato le prime traduzioni della serie.
Il generale depotenziamento della sfera linguisto-lessicale tecnico-scientifica, tanto più rimarchevole vista l'importanza del linguaggio nella costruzione dell'identità e della fortuna della serie originale, si può far risalire in parte a un'idea di pubblico culturalmente più impreparato dell'omologo statunitense, in parte a una più generale trascuratezza nei processi produttivi dell'emittente e della cooperativa di doppiaggio coinvolte (TMC e ADC), entrambi sintomi di una visione del prodotto culturale televisivo in termini di mero consumo, tipica di un'epoca che precedeva la new golden age della televisione americana, e forse non ancora estranea al contesto italiano corrente (come hanno dimostrato, per altri casi, studi di Buonomo, Izzo e Scarpino, Ranzato).
Il caso di studio è contestualizzato da alcuni cenni iniziali sul più ampio tema della traduzione delle serie televisive fantascientifiche americane in Italia tra anni Cinquanta e Settanta, e completato da una ricognizione delle prime fortune della serie a cavallo di diversi media nella penisola.
Star Trek, al centro di un franchise tra i più redditizi del pianeta e di uno dei fandom più organizzati e creativi (di cui si è occupato anche Henry Jenkins a più riprese), giunse in Italia negli anni Settanta anche con novellizzazioni e prodotti derivati. Il fandom nostrano si organizzò precocemente e, dimostrando una capacità di iniziativa e preparazione culturale non comuni, protestò per la scarsa qualità dei primi doppiaggi e ottenne la supervisione di molte traduzioni seguenti.

Star Trek é um fenômeno da cultura pop que cativa legiões de fãs há mais de cinco décadas. Mais do que apenas um programa genérico de ficção científica, ao longo de todo esse tempo Star Trek propôs reflexões sobre diversos problemas sociais. Através da representação de uma sociedade utópica, personificada na instituição conhecida como Federação Unida de Planetas, aprendemos que o mundo visto em Star Trek superou a pobreza e a sociedade de classes, tornando-se uma sociedade pós-capitalista onde acredita-se que "a acumulação de riqueza já não é mais a força motriz da vida", nas palavras do personagem Jean-Luc Picard. A utopia de Star Trek é uma aposta na capacidade humana de evoluir e superar suas contradições históricas.

When I first read Bill Joy's  2000 WIRED article "why the future doesn't need us" I thought to myself, hasn't this guy ever read any science fiction at all? On reading Ray Kurzweil's The Age of Spiritual Machines, Joy immediately proclaimed it "utopian" and stated that there were only two possibilities of humans in the future and gaining "near immortality" by becoming one with robotic technology--one where machines think for themselves and run everything and one where humans control the thinking of machines. But there are vast numbers of science fiction writers who have postulated several different versions of just such a happening, running the range from dis-utopian to utopian, seeing the good, bad and ugly in-between of all possibilities. This fictional working out of technological progress is what Science Fiction, as a genre, was developed for and which these writers' approach with both insight and in many respects, glee in showing how society could develop---for good, for evil and for the mediocre of every day life.  This essay discusses what Bill Joy missed in his vision.

One of the main innovations of the Star Trek TV and film series of the ’80s and ’90s was the introduction of the “replicator.” Replicators are machines that essentially perform alchemy for citizens of the United Federation of Planets. They’re designed to rearrange the subatomic particles that permeate the universe into specific forms of matter upon request. Program a replicator with the molecular structure of a pizza and you’ll have free pizzas for life. The material abundance represented by this fictional invention is central to Manu Saadia’s claims in his new book, Trekonomics: The Economics of Star Trek.

"Where to Buy: http://www.amazon.com/Draculas-Vampires-Other-Undead-Forms/dp/081086696X/ref=sr_1_2?ie=UTF8&s=books&qid=1240898693&sr=1-2

DESCRIPTION
Since the publication of Dracula in 1897, Bram Stoker's original creation has been a source of inspiration for artists, writers, and filmmakers. From Universal's early black-and-white films and Hammer's Technicolor representations that followed, iterations of Dracula have been cemented in mainstream cinema. This anthology investigates and explores the far larger body of work coming from sources beyond mainstream cinema reinventing Dracula.

Draculas, Vampires and Other Undead Forms assembles provocative essays that examine Dracula films and their movement across borders of nationality, sexuality, ethnicity, gender, and genre since the 1920s. The essays analyze the complexity Dracula embodies outside the conventional landscape of films with which the vampire is typically associated. Focusing on Dracula and Dracula-type characters in film, anime, and literature from predominantly non-Anglo markets, this anthology offers unique perspectives that seek to ground depictions and experiences of Dracula within a larger political, historical, and cultural framework.


TABLE OF CONTENTS

Foreword David J. Skal v

Acknowledgments vii

Introduction: Documenting Dracula and Global Identities in Film, Literature, and Anime John Edgar Browning Caroline Joan (Kay) Picart ix

Part I Tackling Race, Gender, and Modes of Narration in America

1 Manly P. Hall, Dracula (1931), and the Complexities of the Classic Horror Film Sequel Gary D. Rhodes 3

2 The Dracula and the Blacula (1972) Cultural Revolution Paul R. Lehman John Edgar Browning 19

3 The Compulsions of Real/Reel Serial Killers and Vampires: Toward a Gothic Criminology Caroline Joan (Kay) Picart Cecil Greek 37

4 Blood, Lust, and the Fe/Male Narrative in Bram Stoker's Dracula (1992) and the Novel (1897) Lisa Nystrom 63

5 The Borg as Vampire in Star Trek: The Next Generation (1987-1994) and Start Trek: First Contact (1996): An Uncanny Reflection Justin Everett 77

6 When Women Kill: Undead Imagery in the Cinematic Portrait of Aileen Wuornos Caroline Joan (Kay) Picart Cecil Greek 93

Part II Working through Change and Xenophobia in Europe

7 Return Ticket to Transylvania: Relations between Historical Reality and Vampire Fiction Santiago Lucendo 115

8 Racism and the Vampire: The Anti-Slavic Premise of Bram Stoker's Dracula (1897) Jimmie Cain 127

9 The Greateful Un-Dead: Count Dracula and the Transnational Counterculture in Dracula A.D. 1972 (1972) Paul Newland 135

10 Nosferatu the Vampyre (1979) as a Legacy of Romanticism Martina G. L&uumlet;ke 153

Part III Imperialism, Hybridity, and Cross-Cultural Fertilization in Asia

11 "Death and the Maiden": The Pontianak as Excess in Malay Popular Culture Andrew Hock-Soon Ng 167

12 Becoming-Death: The Lollywood Gothicof Khwaja Sarfraz's Zinda Laash (Dracula in Pakistan [US title], 1967) Sean Moreland Summer Pervez begin_of_the_skype_highlighting     end_of_the_skype_highlighting 187

13 Modernity as Crisis: Goeng Si and Vampires in Hong Kong Cinema Dale Hudson 203

14 Enter the Dracula: The Silent Screams and Cultural Crossroads of Japanese and Hong Kong Cinema Wayne Stein 235

15 Identity Crisis: Imperialist Vampires in Japan? Nicholas Schlegel 261

16 The Western Eastern: Decoding Hybridity and CyberZen Goth(ic) in Vampire Hunter D (1985) Wayne Stein John Edgar Browning 279

Index 295

About the Editors and Contributors 311"

The music of science fiction. Why did it become to sound the way it does and how does the musical mechanisms work? How are space, the extraordinary, the fantastic and the outer-worldly depicted in western science  fiction  filmography? This thesis takes a historical and analytical perspective as it looks closer on the musical constructions we  find in the music of the movies of Star Trek. Using conventional music analytical tools combined with neo-Riemannian theory (nRT) and transformational theory this thesis hopes to shed light on the inner workings in the music of Jerry Goldsmith, James Horner and Michael Giacchino in the iconic  lms: ``Star Trek: The Motion Picture'', ``Star Trek: The Wrath of Khan'', ``Star Trek: First Contact'', ``Star Trek: Nemesis'', ``Star Trek'' and ``Star Trek: Into Darkness''.

Mankind has an intense need for expansion, removal of toxic stagnation, and a way to mature and develop without wiping itself out in catastrophic, geopolitical warfare. Military contracts and research do help us to advance, and space tourism also encourages this SPACER movement. However, what is lacking is a fairly comprehensive, open-minded, long form discussion of the entire settlement plan, based upon new research and the state of technology, engineering, and design now. Furthermore the missing contexts of our mythic and religious pasts, our current biased psychologies and propensity to return to tribalism and anti-Enlightenment, anti-rationalist values, as well as looming threats of a New Cold War and World War 3 need to be added to previous science fiction optimism about a Starfleet, in order to avoid foolish "Star Wars" and other toxic behaviors.

In this article, I examine the cultural and subcultural construction of consumption meanings and practices as they are negotiated from mass media images and objects. Field notes and artifacts from 20 months of fieldwork at Star Trek fan
clubs, at conventions, and in Internet groups, and 67 interviews with Star Trek fans are used as data. Star Trek’s subculture of consumption is found to be constructed as a powerful utopian refuge. Stigma, social situation, and the need for legitimacy shape the diverse subcultures’ consumption meanings and practices. Legitimizing articulations of Star Trek as a religion or myth underscore fans’ heavy investment of self in the text. These sacralizing articulations are used to distance the text from its superficial status as a commercial product. The findings emphasize and describe how consumption often fulfills the contemporary hunger for a conceptual space in which to construct a sense of self and what matters in life. They also reveal broader cultural tensions between the affective investments people make in consumption objects and the encroachment of commercialization.

This is an article I originally wrote when I was leading a men's group in my church. The group's focus was on men and fathers in troubled relationships and family situations.

I updated this article to reflect some more private information regarding the psychological "tricks of the mind" incorporated as subconscious coping mechanisms. My focus was the fictional Captain Kirk.

Resumo: este artigo tem por objetivo analisar o cerceamento da liberdade de ensinar por parte do movimento conhecido como Escola sem Partido (ESP) que, ao defender que os professores na verdade se tratam de doutrinadores de esquerda, pretende limitar a atuação destes em sala de aula, através de legislação que tornaria legal a perseguição e intimidação aos educadores. Em segundo lugar, é nosso objetivo estabelecer, neste contexto, as relações entre a liberdade de cátedra e o ensino laico, já que o projeto ESP, de cunho nitidamente conservador, ataca a primeira e relativiza a segunda. Por fim, utilizamos um episódio da série de ficção científica Star Trek: Deep Space Nine, para efetuar a leitura e propor reflexões acerca dos problemas de pesquisa apresentados no texto. Palavras-chave: Liberdade de ensinar. Ensino laico. Star Trek: Deep Space Nine. Abstract: the purpose of this article is to analyze the restriction of the freedom to teach in the movement known as the Nonpartisan School (ESP-in Portuguese acronym), which, in defending that teachers are actually left-wing educators, intends to limit teaching through legislation that would make it legal to persecute and intimidate educators. Secondly, it is our objective to establish, in this context, the relations between academic freedom and secular teaching, since the ESP project, which is clearly conservative, attacks the former and relativizes the latter. Finally, we use an episode of the science fiction series Star Trek: Deep Space Nine, to read and propose reflections on the research problems presented in the text. Introdução m tempos onde o obscurantismo caminha a passos largos, seja em suas teorias terraplanistas, seja na crítica ao evolucionismo e na defesa do criacionismo, ou ainda: na contestação dos direitos das minorias sociais, o trabalho dos professores vem sendo sistematicamente atacado por movimentos de setores conservadores que têm como objetivo desacreditar o papel libertador e promotor do pensamento crítico da educação. São movimentos de caráter retrógrado que, em última análise, advogam não ser papel da escola se contrapor ao senso comum e que "confundem a educação escolar com aquela fornecida pelos pais e, com isso, o espaço público e privado, o princípio da laicidade * Licenciado e Mestre em História pela Pontifícia Universidade Católica do Rio Grande do Sul. Professor da rede estadual do Rio Grande do Sul.

This paper attempts a preliminary survey of relatively unexplored issues related to the translation of science fiction, both in television and cinema. In order to better understand the challenges met by the translators of this particular film and TV genre, in the first part of the essay some specific functions of the science fiction language are explored, namely its importance in the creation of the “cognitive estrangement” (Suvin 1979) vital to the ontological extension and the technological intensification of the future/parallel/alternate worlds proposed by science fiction (Bandiroli 2008). While visual representation is fundamental to achieve the effect of cognitive estrangement in film and TV, it must be corroborated by the dialogue, which is a key factor in creating an equilibrium between the visionary force of the futuristic world and the familiarity of a recognizable situation that will enable the viewer to develop an emotional link with the story and its protagonists. The second part of the paper focuses on three different translation issues regarding film and TV science fiction. The first issue is an extensive presence of various neologisms, typical of science fiction language. The second issue discussed is a recurrent problem of familiar patterns of polite forms used in unfamiliar situations (such as, for example, encounters with alien forms of life). Finally, translation problems stemming from the American-centered nature of film and TV science fiction are briefly considered. The analysis is based primarily on the Star Trek TV series and feature films

Abstract
In the Star Trek universe most of the stories focus on the individual and its uniqueness. The narratives revolve around the characters dealing with their dreams and sorrows. The biggest threat in Star Trek is the loss of individuality and self-determination as represented by the Borg. Every individual, as long as it forms a productive part of society, has humanitas – even non-humans or AIs. Machines sometimes even are the better human beings.

Zusammenfassung
Im Fokus der Geschichten im Star Trek Universum standen von Anfang an die Personen, ihre Charaktere, Stärken, Schwächen und Ängste. Zentral sind stets die Rolle des einzelnen Individuums sowie seine Einzigartigkeit. Die größte Bedrohung stellen der Verlust der eigenen Identität und die Auslöschung aller Individualität dar; rep-räsentiert durch die Borg. Der Artikel zeigt zudem, dass man im Star Trek Universum kein Mensch sein muss, um Menschlichkeit zu haben; im Gegenteil: Maschinen sind manchmal die besseren Menschen.

This is an updated (2017), condensed version of the 1994 journal article "Star Trek Fandom as a Religious Phenomenon."  The original article was featured in the Washington Post and many other media as it was coincidentally published around the same as "Star Trek: Next Generation" ended in 1994 as one of the most popular programs ever.

The first two seasons of Star Trek: Discovery, the newest instalment in the long-running and influential Star Trek franchise, received media and academic attention from the moment they arrived on screen. Discovery makes several key changes to Star Trek’s well-known narrative formulae, particularly the use of more serialized storytelling, appealing to audiences’ changed viewing habits in the streaming age – and yet the storylines, in their topical nature and the broad range of socio-political issues they engage with, continue in the political vein of the series’ megatext.

This volume brings together eighteen essays and one interview about the series, with contributions from a variety of disciplines including cultural studies, literary studies, media studies, fandom studies, history and political science. They explore representations of gender, sexuality and race, as well as topics such as shifts in storytelling and depictions of diplomacy. Examining Discovery alongside older entries into the Star Trek canon and tracing emerging continuities and changes, this volume will be an invaluable resource for all those interested in Star Trek and science fiction in the franchise era.

Now available in August 2018, the complete book. Inspired by 2001: A Space Odyssey, this book presents an entirely new space philosophy for the human species: based in science, aesthetics, ecology, and planetary cooperation.

Blurb inside cover: "Like David Bowie’s Major Tom, 'floating in a most peculiar way', Barry Vacker seems to contemplate Planet Earth through the porthole of a spacecraft. Via critiques of the Apollo program and films like 2001 and Interstellar, Barry offers us a unique opportunity to step back and think of the contradictions of space exploration and our contemporary society. Barry shows we live in a 'post-Apollo' culture torn between a frenetic race towards ever more scientific-technological progress and a just as powerful fall-back into the cultural ideologies of tribal ages of the past. For those who can embrace their non-centrality and possible meaninglessness in a majestic universe, yet yearn for a shared destiny in a sane planetary civilization, Specter of the Monolith is a wonderful and inspiring work." — Carine and Elisabeth Krecke (internationally renowned artists). Available in high-quality paperback in Amazon and Barnes & Noble; available in Kindle and Apple iBook.

Presentation for the Jüdische Institut für Erwachsenenbildung, 1020 Vienna, 9 March 2022: https://www.vhs.at/de/k/288581608

Bereits der geistige Vater des modernen Staates Israel, Theodor Herzl, verfasste im Jahr 1902 mit "Altneuland" einen utopischen Roman. Im 20. Jahrhundert trugen bedeutende jüdische Autoren zur Entstehung der Science Fiction bei. Darüber hinaus wurden Israel und das Judentum auch selbst zum Gegenstand utopischer und fantastischer Entwürfe. Der Vortrag stellt wesentliche Aspekte dieser Literatur vor.

Don Quixote was a pastiche of the main fiction genres of his day. This science fiction murder mystery is a pastiche of the western novel, drawing on Cervantes, Goethe's Faust, Mann's The Magic Mountain, Fitzgerald's The Last Tycoon and Roddenberry's Star Trek. The main clue to the book's theme is Edward Gibbon's The Decline and Fall of the Roman Empire.

"Of all the AVT techniques, voice-over has probably been the least studied and the least valued.
This state of affairs can be found in not only western Europe (where voice-over is limited to
mostly non-fiction programmes) but also in Poland (where voice-over remains the most widely
applied technique of translation for feature films for the television and DVD markets. The aim of
this contribution is to re-evaluate some of the existing academic prejudices against voice-over
and to highlight its advantages in comparison with subtitling and dubbing, given that voice-over
is free of some specific constraints that are present in the other two AVT techniques. The
analysis ± illustrated by selected examples taken from the TV science-fiction series Star Trek ±
focuses on the interaction between the key factors in successful voice-over: (1) the acoustic
EDODQFH EHWZHHQ WKH RULJLQDO ILOP¶V VRXQGWUDFN DQG WKH WH[W GHOLYHUHG E\ WKH UHDGHU  WKH
quality and the quantity of translated text and (3) the timbre and LQWRQDWLRQRIWKHUHDGHU¶VYRLFH
and (4) the way in which the reader synchronises the reading with the original soundtrack. In the
conclusion, the author proposes that the voice-over of feature films could be improved
dramatically by transforming it into DµYRLFH-in-EHWZHHQ¶WHFKQLTXH"

This article traces parallels between James Cook’s 1768 Endeavour voyage to measure the transit of Venus and current initiatives searching for extraterrestrial intelligence (SETI). While separated by vast time and space, both are united in their appeal to celestial frontier science in the service of all humanity, and contain discrepancies between their ethical protocols and probable outcomes. Past, present, and future colonial projects are interwoven by drawing on Dipesh Chakrabarty’s “time-knot,” Star Trek’s “prime directive,” and firsthand experience in SETI’s Indigenous studies working group. This analysis cautions against the current trend toward unabated interstellar imperialism and suggests alternative approaches for engaging outer spaces and beings through celestial wayfinding.

In this chapter, I argue that the "Star Trek" character, Locutus of Borg, is absolutely correct. Life as we have known it is over and resistance is, in fact, futile. In particular, I examine how we are already Borg, what this cyborg assimilation means for us, and how, precisely because of this, the real threat comes not from these hybrid cybernetic organisms but from the enlightenment humanist ideology that underlies and powers the entire "Star Trek" enterprise.

This study sets out to examine the representations and political narratives of selected science fiction television programs (Star Trek, Star Trek: The Next Generation, Star Trek: Deep Space Nine, Doctor Who (circa 2005) and Torchwood).  Utilizing the work of Television Studies, Cultural Studies, Women’s Studies, Ethnic Studies and Queer Studies scholars, as well as the popular work of fans, I assess the discursive productions of these programs and their potential as “social justice television.”  I conclude that each of these programs both interrupt and replicate normative Western discourse, that the interruptions serve as a significant site of social justice despite occurring alongside reification of normative discourse and that social justice workers (both inside and outside the academy) can effectively use these stories in their work.

This is my chapter in the forthcoming "Star Trek and Philosophy."

I argue that Kirk's interference in the episodes "The Apple" and "The Paradise Syndrome" was unjustified--and that both (unlike Star Trek's usual progressive messages) promoted a conservative anti-communist 1960's message.

In the present research we examine the association between perceived maturity of a group and willingness to form a romantic relationship with a member of that group. In Study 1, we tested the validity of a 2-item measure of self-reported maturity by assessing its relationship with existing measures of maturity and other related measures. The new measure showed evidence of being valid. In Study 2, we modified the scale to examine participants' perceptions of the maturity of fans of various interests (e.g., sport, music, media) and their degree of willingness to form romantic relationships with a member of each fan group. Results revealed a positive correlation between perceived maturity and willingness to date. Together, the results validate the short measure of maturity and demonstrate its utility in finding associations between perceived maturity, content of leisure interests, and prospects of romantic relationship formation.

The chapters in the Handbook present new ideas, practices, and needs affecting second language teaching. This chapter culls three fundamental themes developed across the chapters: (1) multimodal language abilities need to be taught and investigated to engage with the reality of the world in which students learn and use language; (2) the continuously innovative nature of language teaching and learning needs to be grasped by teachers; and (3) research needs to play an integral role in the changing landscape of second language teaching and learning. The chapter also argues that 21st-century L2 language users, learners, teachers, and researchers are increasingly diverse and varied in their needs, goals, and digital familiarity thus requiring that future research look beyond current approaches and learner populations to explore the intersection of learner, context, and technology that defines the langua-technocultural competence that language users need today.

S’il y a une culture qui aujourd’hui cultive le mythe du héros, c’est bien la culture américaine. ll ne se passe pas un jour sans que John et Beth ne soient fêtés en héros car l’un a rapporté un portefeuille, et l’autre a éteint un départ de feu chez son voisin. Mais ce héros peut-il être clairement défini ? Est-il immuable ? Définit-il la nation américaine ? Où apparaît-il ?
La dernière question est la plus simple. Aux Etats-Unis d’Amérique le héros est véhiculé avant tout à travers des oeuvres de la culture populaire.
Qu’est-ce que la culture populaire ? En France ce terme fleure bon le folklore et revêt un côté ringard, voire négatif. On l’oppose systématiquement à la « vraie culture », à l’art, la civilisation pour la reléguer dans le bourbier de la télé-réalité, de Voici magazine, des contes pour enfants, des recettes de cuisine de notre enfance, bref le terme décrit en France les amusements de la France d’en bas qui ne nécessitent que peu de cerveau humain disponible pour détourner la phrase de Patrick Le Lay, PDG de TF1.
Or aux Etats-Unis l’expression « culture populaire » n'est pas liée à un aspect péjoratif mais à une thématisation de phénomènes culturels de masse à diffusion importante.
Pour que l'oeuvre soit populaire et pas seulement un traitement du populaire, il faut qu'elle soit intelligible et accessible à une majorité: par son style, son support, son mode de diffusion.


Puisque le héros américain trouve ses heures de gloire dans la culture populaire., quoi de plus normal donc d’en rechercher une définition sur le médium roi du genre populaire : internet ?

As a fundamentally interdisciplinary sector of study, oceanography spans not only the physical and chemical attributes of large saline aquatic environments, but also overlaps with biological considerations of oceanic flora and fauna, and incorporates a wide variety of sub-topics, from orbital wave dynamics, to plate tectonics, to acoustic oceanography. As a major component of the planetary surface, oceans therefore additionally form a significant component of Earth Science study, particularly in an era of ongoing and accelerating climate change.
However, one interdisciplinary intersection which has largely been hitherto underexplored is that of oceanography’s overlap with the speculative arts, a subset which might be termed speculative oceanography. This paper intends to address this gap in research by collating and reprising existing speculative oceanography, in order to identify and codify the broad areas of interest and future study which arise therefrom. One such area identified, which explores the oceanographic properties of non-terrestrial large aquatic bodies, is herein termed exo-oceanography, for example. The paper concludes with a call for greater interdisciplinary co-operation between oceanographic researchers and speculation methodologies.