Connecticut Department of Energy and Environmental Protection Plotting a Course to Section 22: the Next Generation
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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 .................................................................................................................... -
Beyond the Final Frontier: Star Trek, the Borg and the Post-Colonial
Beyond the Final Frontier: Star Trek, the Borg and the Post-colonial Lynette Russell and Nathan Wolski Over the last three decades, Star Trek has become, to use Bernardi's term, a "mega-text" (1998: 11). Star Trek's mega-text consists of much more than the various studio-produced television series and films - it also includes (among other things) novels, Internet chat groups, conventions and fanzines. That Star Trek's premise of space exploration is a thinly disguised metaphor for colonialism has been extensively analysed (see Bernardi, 1998; Hastie, 1996; Ono 1996; Richards, 1997). Boyd describes the utopian future presented in Star Trek the Next Generation (STNG) as based on "nineteenth-century essentialist definitions of human nature, building ... on faith in perfection, progress, social evolution, and free will" (1996: 96-97). Exploration, colonisation and assimilation are never far from the surface of the STNG text. Less apparent, however, are aspects of the series which challenge the hegemonic view of this narrative and which present a post-colonial critique. In this paper we will explore a range of post-colonial moments and an emerging self reflexivity in the second generation series, focusing on those episodes of Star Trek: the Next Generation (STNG) and Star Trek: Voyager which feature an alien race known as the Borg. Others in space Much has been written about the role of the alien in science fiction as a means of exploring issues of otherness. As Wolmark notes: "Science fiction provides a rich source of metaphors for the depiction of otherness and the 'alien' is one of the most familiar: it enables difference to be constructed in terms of binary oppositions which reinforce relations of domination and subordination" (1994: 2). -
STAR TREK LAS VEGAS 2019 SCHEDULE of EVENTS
STAR TREK LAS VEGAS 2019 SCHEDULE of EVENTS PLEASE MAKE SURE TO SHOW UP AT THE START TIME TO MAKE SURE YOU DON’T MISS ANYTHING! WE CANNOT GUARANTEE A REPLACEMENT OR MAKE UP TIME IF YOU MISS YOUR PHOTO OP OR AUTOGRAPH. REGISTRATION (Rotunda) Registration is at the Main Entrance from the Casino/Hotel area. Attendee registration is on the left, VIP/CBS/Press/Speakers check-in is on the right. Tuesday, July 30 Pre-Registration (not a neccessity, just a convenience! Get your credentials, wristband and schedule so you don't have to wait again during convention days) 2:00 PM - 3:30 PM - GOLD Patrons only 3:30 PM - 4:30 PM - CAPTAIN'S CHAIR Patrons plus GOLD 4:30 PM - 6:00 PM - COPPER Patrons plus GOLD & CAPTAIN'S CHAIR 6:00 PM - 7:30 PM - GENERAL ADMISSION FULL WEEKEND plus GOLD, CAPTAIN'S CHAIR & COPPER 7:30 PM - 10:00 PM - ALL FULL WEEKEND PASS HOLDERS (GOLD, CAPTAIN'S CHAIR, COPPER & GA WEEKEND Wednesday, July 9:30 AM - 10:30 AM - GOLD, CAPTAIN'S CHAIR, COPPER & GA WEEKEND ONLY 31 10:30 AM - 6:00 PM - OPEN FOR ALL Thursday, August 1 10:00 AM - 6:00 PM - OPEN FOR ALL Friday, August 2 10:00 AM - 6:00 PM - OPEN FOR ALL Saturday, August 3 9:00 AM - 6:00 PM - OPEN FOR ALL Sunday, August 4 9:00 AM - 5:00 PM - OPEN FOR ALL GENE & MAJEL RODDENBERRY EXHIBITION HALL (Amazon Ballroom) The Gene & Majel Roddenberry Exhibition Hall features vendors with exclusive Star Trek products and special offers along with talent autograph areas. -
The Man from Syracuse” (Season 3, Episode 6) by James Heaney
1 Starship: Excelsior 1 “The Man From Syracuse” (Season 3, Episode 6) by James Heaney Transcribed by Peter Stine 1 Note: Lines in brackets were recorded but interrupted. The complete line is left here for fuller context: 2 306 RECAP NARRATOR: Previously on Star Trek... LOCATION: ENTERPRISE-D MAIN BRIDGE (TNG: 1x26 - ACT 4 “The Neutral Zone”) PICARD: Captain's log, supplemental. We have arrived at the edge of the Neutral Zone, where we will now have an opportunity to learn firsthand what happened to our distant outpost. DATA: Captain, there is nothing left of Outpost Delta Zero Five. LAFORGE: Must have been one hell of an explosion. DATA: Sensors indicate no evidence of conventional attack. PICARD: Can you determine what happened? WORF: The outpost was not just destroyed. It's as though some great force just scooped it off the face of the planet. LOCATION: MINING TUNNEL, DYTALLIX B (TNG: 1x25 - ACT 1 “Conspiracy”) PICARD: Tryla Scott. It's said you made Captain faster than anyone in Starfleet history, present company included. Are you that good? TRYLA: Yes, I am. PICARD: Starfleet's finest. Fancy meeting you here. RIXX: We all came secretly, Picard. To discuss the threat. PICARD: What threat? 3 LOCATION: ENTERPRISE-D ADMIRAL QUINN'S QUARTERS (TNG: 1x19 - ACT 4 “Coming of Age”) QUINN: Some of us at Starfleet Command became suspicious of certain problems in the Federation. PICARD: What kind of problems? QUINN: Something or someone is trying to destroy the fabric of everything we've built up in the last two hundred years. LOCATION: ENTERPRISE-D HALLWAY (TNG: 1x25 - ACT 4 “Conspiracy”) PICARD: Remember what you told me back at Relva Seven, about the threat that you perceived to the very fabric of the Federation? QUINN: Jean-Luc, you took me far too literally. -
DOCUMENT RESUME ED 358 491 CS 503 190 AUTHOR Allen, Sheilah TITLE the World According to Gene Rodenberry. PUB DATE NOTE PUB TYPE
DOCUMENT RESUME ED 358 491 CS 503 190 AUTHOR Allen, Sheilah TITLE The World according to Gene Rodenberry. PUB DATE [93] NOTE 20p. PUB TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) EDRS PRICE MFO1 /PCO1 Plus Postage. DESCRIPTORS English Instruction; Higher Education; Instructional Innovation; *Mass Media Role; Mathematics Instruction; *Popular Culture; Science Instruction; Secondary Education; Time IDENTIFIERS Deep Space 9; *Star Trek; Star Trek the Next Generation; Story Concepts ABSTRACT A teacher of reading across the curriculum uses stories, many based on the television show "Star Trek"or its derivatives "Star Trek: The Next Generation" (STNG) and "Deep Space 9," to illustrate educational theories and practice,. Theteacher began a discussion of the nature of language, meaning and the significance of literacy by discussing an episode of STNG entitled "Darmok" in which an alien race spoke only in metaphor. Humor is present in many episodes of "Star Trek," as wellas concepts like the power of fear. Cultural differences are explored in a number of episodes of STNG. The teacher uses "Star Trek"as an introduction to a lesson and as an impetus for story writing. One of the most enduring qualities of the three series is their focuson problem solving, which can serve as demonstrations for students. The series are also used for teaching the technique of role playing. Episodes of STNG and of "Deep Space 9" can be used to teach contentareas such as English, mathematics, history, physics, chemistry, and biology: "Clues" involves an examination ofspace and time; "Drumhead" involves a Joe McCarthy-like investigator; "Cause and Effect" involves a time loop; "Time's Arrow," involving backward timetravel and Mark Twain; "Emissary" deals with guilt, responsibility,and explaining the nature of time to an immortal-ace; and "The Forsaken" which involves a "shape-shifting" character. -
25. STAR TREK: GENERATIONS Overture 16-38
DISC ONE: FILM SCORE 1. Main Title The first six STAR TREK films, despite their varied tones, feature bold and declarative main title cues—energetic anthems that promise high adventure amongst the stars. GENERATIONS takes a more reflective and subdued approach, opening with a splash of shimmering, synth-enhanced textures and a mysterioso four-note device (a variant of what will become the film's threat motive). As a lone champagne bottle arcs through the vacuum of space, clustered tones swell majestically under the title, and a quasi-religious chorus wordlessly voices McCarthy’s theme for the paradisiacal Nexus. The threat motive variant resurfaces briefly, before swirling harp and keyboard usher in an ennobling melody for trumpet. This is the first of McCarthy’s “captain’s themes,” used to represent Starfleet and its lofty ideals. Ascending figures culminate in joyous French horn exclamations of Alexander Courage’s classic STAR TREK fanfare from the original television series, as the bottle shatters against the hull of the USS Enterprise-B. 2. Past Glory Mark tree and harp glissandi maintain the dreamlike atmosphere as Captain James T. Kirk (William Shatner), Montgomery Scott (James Doohan) and Pavel Chekov (Walter Koenig) step onto the bridge of the new Enterprise, where Captain John Harriman (Alan Ruck) greets them as honored guests. The Courage fanfare plays softly as Kirk takes in the scene, moving into a statement of the Starfleet theme as Chekov introduces Demora Sulu (Jacqueline Kim), the daughter of Kirk’s former helmsman. The cue finishes with a gentle horn line as Kirk contemplates the rapid passage of years. -
2017 Rittenhouse Woman of Star Trek Trading Cards Checklist
Base Cards Card # Image Card Title 001 Vina and Christopher Pike 002 Number One and Christopher Pike 003 Uhura and James Kirk 004 Uhura and Spock 005 Shahna and James Kirk 006 Christine Chapel and Roger Korby 007 Christine Chapel and Spock 008 Christine Chapel and Dr. McCoy 009 Rand and James Kirk 010 Rand and Charlie Evans 011 Andrea and James Kirk 012 Marla McGivers and Khan 013 Edith Keeler and James Kirk 014 Marta and James Kirk 015 Amanda Grayson and Spock 016 Elizabeth Dehner and Gary Mitchell 017 Leila Kalomi and Spock 018 Zarabeth and Spock 019 Marlena Moreau and James Kirk 020 Romulan Commander and Spock 021 Tonia Barrows and Leonard McCoy 022 Martha Landon and Chekov 023 Carolyn Palamas and Apollo 024 Miramanee and James Kirk 025 Natira and Leonard McCoy 026 Ilia and Decker 027 Saavik and Spock 028 Carol Marcus and James Kirk 029 Gillian Taylor and James Kirk 030 Valeris and Spock 031 Beverly Crusher and Jean-Luc Picard 032 Beverly Crusher and Wesley Crusher 033 Beverly Crusher and Deanna Troi 034 Deanna Troi and William Riker 035 Deanna Troi and Worf 036 Deanna Troi and Reginald Barclay 037 Deanna Troi and Lwaxana Troi 038 Guinan and Jean-Luc Picard 039 Guinan and Worf 040 Borg Queen and Data 041 Borg Queen and Jean-Luc Picard 042 Tasha Yar and Data 043 Lal and Data 044 Kamala and Jean-Luc Picard 045 Ro Laren and William Riker 046 Ro Laren and Guinan 047 Salia and Wesley Crusher 048 Robin Lefler and Wesley Crusher 049 Minuet and William Riker 050 Yuta and William Riker 051 Lwaxana Troi and Jean-Luc Picard 052 Nella Daren and Jean-Luc Picard 053 Anij and Jean-Luc Picard 054 Katherine Pulaski and Worf 055 Katherine Pulaski and Data 056 Eline and Jean-Luc Picard 057 Meribor and Jean-Luc Picard 058 Leah Brahms and Geordi La Forge 059 Ishara Yar and Data 060 Vash and Jean-Luc Picard 061 K'ehleyr and Worf 062 Lily Sloane and Jean-Luc Picard 063 Madeline and Jean-Luc Picard as Dixon Hill 064 Kira Nerys and Benjamin Sisko 065 Kira Nerys and Jadzia Dax 066 Kira Nerys and Odo 067 Jadzia Dax and Benjamin Sisko 068 Jadzia Dax and Dr. -
Major Kira of Star Trek: Ds9: Woman of the Future, Creation of the 90S
MAJOR KIRA OF STAR TREK: DS9: WOMAN OF THE FUTURE, CREATION OF THE 90S Judith Clemens-Smucker A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2020 Committee: Becca Cragin, Advisor Jeffrey Brown Kristen Rudisill © 2020 Judith Clemens-Smucker All Rights Reserved iii ABSTRACT Becca Cragin, Advisor The 1990s were a time of resistance and change for women in the Western world. During this time popular culture offered consumers a few women of strength and power, including Star Trek: Deep Space Nine’s Major Kira Nerys, a character encompassing a complex personality of non-traditional feminine identities. As the first continuing character in the Star Trek franchise to serve as a female second-in-command, Major Kira spoke to women of the 90s through her anger, passion, independence, and willingness to show compassion and love when merited. In this thesis I look at the building blocks of Major Kira to discover how it was possible to create a character in whom viewers could see the future as well as the current and relatable decade of the 90s. By laying out feminisms which surround 90s television and using original interviews with Nana Visitor, who played Major Kira, and Marvin Rush, the Director of Photography on DS9, I examine the creation of Major Kira from her conception to her realization. I finish by using historical and cognitive poetics to analyze both the pilot episode “Emissary” and the season one episode “Duet,” which introduce Major Kira and display character growth. -
Nichelle Nichols (Lt. Uhura) Wants to Make Science of Star Trek Reality," Sun·Herald, June 4, 1977, N.P., Nichols Bio File, NASA HQ
More Than "Just Uhura" Understanding Star Trek's Lt. Uhura, Civil Rights, and Space History Margaret A. Weitekamp s the scene opens on an isolated roadhouse bar, the viewers' A first glimpse inside the establishment reveals a tall, attractive woman striding confidently toward a set of swinging doors, her profile reflected in the photographs hanging along the hallway. As she pushes through the doors, the music booms. She greets some friends at a table and heads straight for the bar, her long hair swing ing behind her, her step in time with the music. At the bar, she places a large order of drinks with alien-sounding names. Her good time with her fellow Starfleet cadets is interrupted, however, when a young man, a local, whom the viewers recognize as an inebriated James T. Kirk, starts hitting on her, trying to buy her a drink: "Her shot's on me," he directs the bartender. "Her shot's on her," she answers. 'Thanks, but no thanks." As they banter, she remains unflustered, an equal in the verbal spar ring. When Kirk asks her for her name, she replies, "It's Uhura." 22 MORE THAN " JUST UHURA" 23 The author with actress Nichelle Nichols, who gave an interview for this chapter, in the National Air and Space Museum's art gallery. "Uhura what?" "Just Uhura," she replies. Her brush-off answer is an inside joke for Star Trek fans: in the original 1960s television show, her char acter never had a first name. (Kirk's quest to learn her full name became a running joke throughout the 2009 film .) But Kirk refuses to be deterred by her rebuffs. -
Star Trek Generations
STARTREK.COM: Time Capsule Commentary: When a visitor entered the site's address into his browser, this "splash page" was the first thing he saw. At that time, a typical Internet user might be connected via a dial-up modem running at 2400 baud; today's 56k modems are 24 times faster, and broadband connections are faster still. Given those slow connection speeds, some sites offered two versions: a "graphics-rich" version with images, and a "text- only" version for those users who didn't want to wait for the graphics to download. For this presentation, only the "graphics-rich" version is available. STAR TREK GENERATIONS Enter one of the sites below to access a galaxy of exclusive Generations features. Star Trek Generations Web Site (graphics-rich) Star Trek Generations Web Site (text-only) About this Web site Star Trek (R) is a registered trademark of Paramount Pictures registered in the United States Patent and Trademark Office. TM and Copyright (C) 1995 by Paramount Pictures. ALL RIGHTS RESERVED http://www.startrek.com/custom/include/feature/specials/generations_site/GenerationsBegin.html10/30/2004 3:36:59 PM STARTREK.COM: Time Capsule Commentary: The site was presented in a format that would fit on a 640x480 monitor, typical of those in use at that time. There were no choices for background color or text style, so the site was black Times-font text on white. Links were bright blue, and once you visited them From Paramount Pictures... they turned purple. When a graphic link was STAR TREK GENERATIONS provided, it was common to also provide a text link for those visitors who chose to not display The "Star Trek" generations converge in "Star Trek Generations" starring Patrick Stewart and graphics in their browsers. -
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. -
SOCIOLOGY 2021 | Chapter Showcase
SOCIOLOGY 2021 | Chapter Showcase LEXINGTON BOOKS An Imprint of Rowman & Littlefield LEXINGTON BOOKS CHAPTER SHOWCASE FROM THE EDITOR Over the past year, humankind has been forced into a new normal. This new normal has further oppressed people of color and women, and has reshaped families, education, healthcare, the economy, and the workforce. We also live in a polarized society in which truth and facts are distorted. We’re tackling these new challenges while reckoning with our racist past and present as well as our warming planet. Now, more than ever, sociology provides a crucial space for examining our communities and societies during these tumultuous times. The Lexington Books sociology titles, written by an array of diverse scholars, investigate and scrutinize our social world while simultaneously creating a sense of solidarity that we so desperately need. These selected chapters explore gender, work, and childcare; minority social movements; the impact of natural disasters on social inequality; sexuality and aging; and symbolic interaction in popular culture—all topics that affect and unite each of us. I invite you to publish your next scholarly book with Lexington Books. We publish monographs, edited collections, revised dissertations, and ethnographies by emerging and established scholars, including interdisciplinary and multidisciplinary works. While we publish many standalone titles, we also publish books in series that bring together incisive scholarship around a key subject, such as Breaking Boundaries: New Horizons in Gender & Sexualities, Health and Aging in the Margins, Critical Animal Studies, and Studies in Urban–Rural Dynamics. Click here to see a full list of our series. Lexington Books offers an expedited decision-making process, peer review, and a rapid production process to ensure that your research is published quickly.