The Klingons, and Foster Amity Between for the Move
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The Original Series, Star Trek: the Next Generation, and Star Trek: Discovery
Gender and Racial Identity in Star Trek: The Original Series, Star Trek: The Next Generation, and Star Trek: Discovery Hannah van Geffen S1530801 MA thesis - Literary Studies: English Literature and Culture Dr. E.J. van Leeuwen Dr. M.S. Newton 6 July, 2018 van Geffen, ii Table of Contents Introduction............................................................................................................................. 1 1. Notions of Gender and Racial Identity in Post-War American Society............................. 5 1.1. Gender and Racial Identity in the Era of Star Trek: The Original Series........... 6 1.2. Gender and Racial Identity in the Era of Star Trek: The Next Generation......... 10 1.3. Gender and Racial Identity in the Era of Star Trek: Discovery........................... 17 2. Star Trek: The Original Series........................................................................................... 22 2.1. The Inferior and Objectified Position of Women in Star Trek............................ 23 2.1.1. Subordinate Portrayal of Voluptuous Vina........................................... 23 2.1.2. Less Dependent, Still Sexualized Portrayal of Yeoman Janice Rand.. 25 2.1.3. Interracial Star Trek: Captain Kirk and Nyota Uhura.......................... 26 2.2. The Racial Struggle for Equality in Star Trek..................................................... 28 2.2.1. Collaborating With Mr. Spock: Accepting the Other........................... 28 3. Star Trek: The Next Generation........................................................................................ -
The Human Adventure Is Just Beginning Visions of the Human Future in Star Trek: the Next Generation
AMERICAN UNIVERSITY HONORS CAPSTONE The Human Adventure is Just Beginning Visions of the Human Future in Star Trek: The Next Generation Christopher M. DiPrima Advisor: Patrick Thaddeus Jackson General University Honors, Spring 2010 Table of Contents Basic Information ........................................................................................................................2 Series.......................................................................................................................................2 Films .......................................................................................................................................2 Introduction ................................................................................................................................3 How to Interpret Star Trek ........................................................................................................ 10 What is Star Trek? ................................................................................................................. 10 The Electro-Treknetic Spectrum ............................................................................................ 11 Utopia Planitia ....................................................................................................................... 12 Future History ....................................................................................................................... 20 Political Theory .................................................................................................................... -
Klingon Empire
Original texts and manuscript concept copyright © 2007 by Richard E. Mandel STAR TREK, its on-screen derivatives, and all associated materials are the property of Paramount Pictures Corporation. Multiple references in this document are given under the terms of fair use with regard to international copyright and trademark law. This is a scholarly reference work intended to explain the background and historical aspects of STAR TREK and its spacecraft technology and is not sponsored, approved, or authorized by Paramount Pictures and its affiliated licensees. All visual materials included herein is protected by either implied or statutory copyright and are reproduced either with the permission of the copyright holder or under the terms of fair use as defined under current international copyright law. All visual materials used in this work without clearance were obtained from public sources through public means and were believed to be in the public domain or available for inclusion via the fair use doctrine at the time of printing. Cover illustration by Harry Doddema This work is dedicated to Geoffery Mandel, who started it for all of us. Memory Alpha and SFHQ/Mastercom cataloging data: UFP/SFD DTA HR:217622-A SUPPLEMENT A: THE KLINGON EMPIRE TABLE OF CONTENTS THE KLINGON EMPIRE: A BRIEF HISTORY KLINGON HULL NOMENCLATURE TIMELINE (2150s TO PRESENT) STARSHIPS B-1 JUL’KAR CLASS BATTLESHIP B-10 KAR’HARMER CLASS BATTLESHIP C-8/C-9 K’HERR CLASS DREADNOUGHT D-4 DAMA CLASS BATTLECRUISER K-5 DUPAT CLASS CRUISER D-5 HAK’HYL CLASS “WAR” CRUISER The ambush of the U.S.S. -
Sibling Communication In" Star Trek: the Next Generation": Conflicts
DOCUMENT RESUME ED 364 932 CS 508 412 AUTHOR Fuss-Reineck, Marilyn TITLE Sibling Communication in "Star Trek: The Next Generation": Conflicts between Brothers. PUB DATE Nov 93 NOTE 23p.; Paper presented at the Annual Meeting of the Speech Communication Association (79th, Miami, FL, November 18-21, 1993). PUB TYPE Speeches/Conference Papers (150) Viewpoints (Opinion/Position Papers, Essays, etc.) (120) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Class Activities; Conflict; *Conflict Resolution; Cultural Influences; Higher Education; *Intercultural Communication; *Interpersonal Communication; *Sibling Relationship; Siblings IDENTIFIERS *Communication Behavior; Family Communication; *Star Trek (The Next Generation) ABSTRACT "Star Trek: The Next Generation" depicts sibling relationships between Data and Lore (android), Worf and Kurn (Klingon) and Jean-Luc and Robert (human) that illustrate conflictual communication and suggest teaching applications. The most disturbing empirical communication research on conflict between brothers reports that male sibling pairs are consistently more violent than female sibling pairs. The relationship between Data and Lore is introduced in "Datalore," further developed in "Brothers," and concluded in "Descent II." Despite the almost identical "genetic" similarities between the brothers and the fact that they share the same parent and home, their values are dissimilar. Worf and Kurn's relationship is introduced in "Sins of the Father" and continued in "Redemption I and II." Even though the Klingon culture is violent, arguments between brother are not settled by physical attack because the hierarchy contributes to smooth functioning. In the episode "Family," captain Jean-Luc is able to reveal his frailties to his brother Robert, who is placed in his once familiar role of giving advice and protecting his younger brother. -
Klingon D-10 Riskadh Class
Entered Service: 2269 TSTCSOLD&A S All Bradby art R. Torgersen theof Dimensions Length: 302 meters Beam: 183 meters Draft: 40 meters Overview: The Riskadh-class Klingon Assault Cruiser, known to the Federation as the D-10, was first deployed in 2269, not long after the Klingon Empire initiated a brief alliance of technology exchange with the Romulan Star Empire by trading away dozens of D-7 cruisers to the Romulans in exchange for cloaking devices. The Klingons needed a new vessel that would improve on the earlier D-7 by having more powerful weapons and a tougher hull as well as retaining the ability to carry troops into battle. The D-10 was the result and was on its way to supplant the D-7 as the Klingon Empire’s premiere warship. Unfortunately for the Klingons, neither the D-7 nor the new D-10 had the power requirements to accommodate the Romulan cloaking device. Then the Klingon scientist K’tinga discovered that the Romulans were deliberately providing faulty cloaking devices to the Klingons. After K’tinga executed the Romulan ambassador for this treachery (and thus ending the brief Klingon-Romulan alliance), he managed to redesign the D-7 into the new K’tinga class, which was able to properly equip a cloaking device in 2272. No such refit for the D-10 was forthcoming, however. With the K’tinga class now online, the D-10 was deemed too expensive to refit to enable the use of a cloaking device. As a result, production of the Riskadh-class cruiser was retooled to build the K’tinga-class cruiser instead. -
Star Trek: Inquisition #2 Full Script / 22 Pages First Draft: November 14, 2011
CHRISTOPHER PRIEST Star Trek: Inquisition #2 Full Script / 22 Pages First Draft: November 14, 2011 Synopsis: On a training exercise as part of his evaluation for promotion to full Commander, Worf abandons his mission to capture an enigmatic Romulan terrorist leader. Meanwhile, Worf’s former Enterprise crewmates question the fairness of Starfleet’s testing procedure, and openly worry Starfleet is deliberately trying to fail Worf through an unfair and unwinnable set of contrived circumstances. Continuity: Non-canonical. This story takes place somewhere between Star Trek: Nemesis and the Star Trek: Titan series from Pocket Books. Reference: Worf’s parents, Star Trek: Nemesis uniforms, Sovereign Class Enterprise-E, Intrepid-Class (starship Voyager) design specs and bridge layout, Luna-Class U.S.S. Titan. Cover Suggestion Picard and Martok back-to-back, Bat’leths in hand, as deadly Targs close in. STAR TREK and all related characters Copyright © ® CBS Paramount. All Rights Reserved. _____________________________________________ Legend: SPLASH = splash page, usually a full page shot / INSET = a panel within a larger image (often a splash page). Insets are usually small-ish panels / BIG PANEL = payoff shot, money shot. Make a big deal out of these shots (I wouldn’t usually put more than one on a given page), and budget the page so this is the biggest shot on the page / EST = Establishing Shot / EXT = Exterior / INT = Interior / FULL FIGURE = complete figure, head to toe / MED = Medium, usually waist up / MCU or MED C/U = Medium Close-Up, usually -
The Romulan War, V3
STAR TREK THE ROMULAN WAR Volume III A novel by Stephen Fender Edited by Lynda Dietz Published by JRP Jolly Rogers Productions 2 Star Trek: The Romulan War, Volume 3 Copyright © 2016 Stephen A. Fender www.jollyrogersproductions.net Seattle, WA. First Edition: 2016 Published through Jolly Rogers Productions (JRP) ©, a subsidiary division of StephenFender.com All rights reserved. Contact: [email protected] Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Cover art provided by Thomas Raube (Euderion.DeviantArt.com) Star Trek © is a registered trademark of CBS and/or Paramount Studios. I’d like to personally thank CBS for not shutting my project down. This derivative work was created as a work of fandom, using purely fan-created material or expired material, and no official affiliation with CBS, Paramount, or their subsidiaries or any other known work of fandom is implied. This work may not be sold or resold and is intended for entertainment purposes only. The author and the fan contributors wish to personally thank CBS and Paramount for Star Trek in all its forms, and I hope that we’ve paid homage to it with respect. Star Trek: The Romulan War – Volume III 3 Acknowledgements I’d like to thank the following individuals who backed the Kickstarter campaign to get these books produced. Without each of them, this would never have been possible. Adam Lentz Kevin Gong Alan Massey Lambert Chow Alan Stevenson Larry J. Destefano Alexander J. Shepherd Lawrence Amrose Andrea Casamassima Lawrence Nelson Andrew Buse Lee Horrocks Andrew Clark Lee W. -
The Klingon Empire 1.1 – the Homeworld 4 1.2 – Important Places 5 1.3 – History of the Empire 6
INSTITUTE OF ALIEN STUDIES Klingon Warrior Academy Warrior’s Manual This document is a publication of STARFLEET Academy - A department of STARFLEET, The International Star Trek Fan Association, Inc. It is intended for the private use of our members. STARFLEET holds no claims to any trademarks, copyrights, or properties held by CBS Paramount Television, any of its subsidiaries, or on any other company's or person's intellectual properties which may or may not be contained within. The contents of this publication are copyright (c)2008 STARFLEET, The International Star Trek Fan Association, Inc. and the original authors. All rights reserved. No portion of this document may be copied or republished in any or form without the written consent of the Commandant, STARFLEET Academy or the original author(s). All materials drawn in from sources outside of STARFLEET are used per Title 17, Chapter 1, Section 107: Limitations on exclusive rights: Fair Use, of the United States code. The material as used is for educational purposes only and no profit is made from the use of the material. STARFLEET and STARFLEET Academy are granted irrevocable rights of usage of this material by the original author. Contributors: Larry French, Carol Thompson, and Wayne L. Killough, Jr., Gary Hollifield, Jr., Eric Schulman,Dewald de Coning, and George Pimentel Published October 2008 Revised March 2011 Updated October 2014 Material herein was copied or summarized from www.ditl.org , http://en.wikipedia.org/wiki/Klingon and linked pages, http://memory-alpha.org/en/wiki/ , http://startrek.wikia.com/wiki/Klingon , http://en.hiddenfrontier.com/index.php/Klingon , The Klingon Dictionary, Klingon for the Galactic Traveler, Star Trek Encyclopedia: Expanded Version, and various Star Trek episodes and licensed novels. -
Star Trek Reference Books
Star Trek Reference Books Credited and creatural Fox impinged his kiang re-equip scabbled scabrously. Marsh wites unanimously. Ephram is barren: she amputate unbeknown and obumbrate her trichome. The novel featuring the notion that is certainly these stories starring each giving the reference books division, which explores the first Gene Roddenberry and so ably continued in were many novels. If we need only, appeal by his roots and let locate know those the author is available from Montreal, and often we went forward the same university. David Mack, this is key good. Enterprise discover out of this powerful and dangerous artifacts scattered to unknown locations in space, Federation starships are assigned to attempt to hamper them. Mack, Dilmore and summer would last to surge some tweaking, but an updated adaption would offer fine. Continuum, and elk the desert is of Vulcan. Needed in spirit world with Wikis and such? Discuss this news said at Trek BBS! It so it makes us keep the next generation novel wraps up well established star trek reference books novel and vulcan. Trip, adding in Captain Archer as a second content to however the reader to. Cerritos to hear a significant game rare is a chess, part soccer, and park poker. Dean Wesley Smith, ed. Vulcan High Command provided by star charts for cloud Enterprise. The third the set in the thirty of mountain Trek: Discovery, the latest television series if the the universe. Wit, wisdom, humor and philosophy culled directly from the scripts of the greatest TV adventure of evidence time created by Gene Roddenberry! As external is, a consequent of Republicans will conclude, reasonably enough, that Trump would still guilty. -
Theme Enrichment Analysis: a Statistical Test for Identifying
Theme Enrichment Analysis: A Statistical Test for Identifying Significantly Enriched Themes in a List of Stories with an Application to the Star Trek Television Franchise Mikael Onsjo¨ 1 and Paul Sheridan 2;∗ 1Independent Researcher 2Department of Active Life Promotion Science, Graduate School of Medicine, Hirosaki University, 5 Zaifu, Hirosaki, Aomori, Japan, 036-8562 Correspondence*: Paul Sheridan [email protected] ABSTRACT In this paper, we describe how the hypergeometric test can be used to determine whether a given theme of interest occurs in a storyset at a frequency more than would be expected by chance. By a storyset we mean simply a list of stories defined according to a common attribute (e.g., author, movement, period). The test works roughly as follows: Given a background storyset and a sub-storyset of interest, the test determines whether a given theme is over-represented in the sub-storyset, based on comparing the proportions of stories in the sub-storyset and background storyset featuring the theme. A storyset is said to be “enriched” for a theme with respect to a particular background storyset, when the theme is identified as being significantly over-represented by the test. Furthermore, we introduce here a toy dataset consisting of 280 manually themed Star Trek television franchise episodes. As a proof of concept, we use the hypergeometric test to analyze the Star Trek stories for enriched themes. The hypergeometric testing approach to theme enrichment analysis is implemented for the Star Trek thematic dataset in the R package stoRy. A related R Shiny web application can be found at https://github. -
A Fury Scorned
Chapter One AS HE WAITED in his ready room, Captain Jean-Luc Picard wondered exactly what Starfleet wanted from him. The Federation Council had given no orders to Starfleet Command and seemed uncertain of what to do; he suspected that the Council was waiting for its advisors to come up with a plan of action. In the meantime, he was faced with a dilemma that was probably unsolvable and very likely to end in tragedy. No, he told himself. Tragedy was not an outcome to dwell on; he would do whatever it took to prevent it. But what could mere mortals, even a highly trained starship crew, do about a nova that threatened a world of twenty million people? How could the Enterprise help when only days remained before Epictetus III was swallowed by its sun? The Federation Council clearly wanted to do something helpful and compassionate, if possible, during the short time remaining to the people of Epictetus III. If indeed nothing could be done, the Federation could not leave the planet below to its doom without at least a show of concern and an effort to help. There had to be a presence, so that these Federation citizens would know that they were not to be simply abandoned and forgotten. He wondered how much comfort that would be to this proud and thriving colony world, and concluded that he was not seeing the entire problem. There had to be much more to it, and it would take all the skill and ingenuity present in his crew to find a solution—or, at least, to make certain that there was none. -
Popular Imagination and Identity Politics: Reading the Future in Star Trek: Next Generation
Western Journal of Communication, 65(4) (Fall 20011, 392-415 Popular Imagination and Identity Politics: Reading the Future in Star Trek: The Next Generation Brian L. Ott and Eric Aoki Through an analysis of the popular syndicated television series Star Trek: The Next Generation, this essay begins to theorize the relationship between collective visions of the future and the identity politics of the present. Focusing on the tension between the show's utopian rhetoric of the future and its representational practices with regard to race, gender, and sexuality, it is argued that The Next Generation invites audiences to participate in a shared sense of the future that constrains human agency and (re)pro duces the current cultural hegemony with regard to identity politics. The closing section calls for critics to continue politicizing mediated images that appeal to popular imagi nation and to develop and implement a pedagogical practice of counter-imagination. TAR TREK-by which we mean the four dramatic television series, S the animated cartoon, the nine full-length motion pictures, the hundreds of novels and comics, the multi-million-dollar-a-year mer chandizing industry of toys, games, recordings, and clothing, the un precedented exhibit at the National Air and Space Museum in Wash ington D.C., the science modules developed for teaching elementary school children about physics and medicine (Mestel, 1994; Anthony, 1994), the special topics courses at colleges and universities (Nagler, 1994), and the three distinctive fan co-cultures of Trekkers, Trekkies, and slash novelists each with their own annual conventions (Tulloch & Jenkins, 1995; Bacon-Smith, 1992; Penley, 1997)-has been entertain ing audiences, young and old, for forty years now.