Is Klingon an Ohlonean Language? — a Comparison of Mutsun and Klingon
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Trekkies Beware! Paramount Pictures V. Axanar Productions by Joel M
Thursday, March 23, 2017 LAW BUSINESS TECHNOLOGY BUSINESS TECHNOLOGY LAW TECHNOLOGY LAW BUSINESS RECORDERdaily at www.therecorder.com Trekkies Beware! Paramount Pictures v. Axanar Productions By Joel M. Grossman ovie and far and actually produce a very TV stu- professional movie funded by dios often crowdsourcing? That is the allow their question raised by the case of fans to Paramount Pictures Corp. v. Mengage in behavior which tech- Axanar Productions, Inc. The nically might violate copyright case has not been fully liti- or trademark law. For exam- gated, but the district court’s ple, the studio which owns the ruling on cross-motions for copyright to Star Wars might summary judgment is both let fans produce a short video amusing and instructive. in which fans dress up as Darth To begin with the basic facts, Vader or Princess Leia, and act plaintiff Paramount Pictures Trek films before with no law- out a scene from the film. If and CBS own the copyright to suit from Paramount, Axanar the fans post their homemade the Star Trek television shows sought to go “where no man 10 minute video on You Tube, and Paramount owns the copy- has gone before” and produce the studio probably wouldn’t right to the thirteen full-length a professional Star Trek film, mind. They might even encour- movies that followed. While with a fully professional crew, age such amateur tributes, as the copyright owners allowed many of whom worked on one they might keep interest in the fans to make their own ama- or more Star Trek productions. -
A Secret Vice: the Desire to Understand J.R.R
Mythmoot III: Ever On Proceedings of the 3rd Mythgard Institute Mythmoot BWI Marriott, Linthicum, Maryland January 10-11, 2015 A Secret Vice: The Desire to Understand J.R.R. Tolkien’s Quenya Or, Out of the Frying-Pan Into the Fire: Creating a Realistic Language as a Basis for Fiction Cheryl Cardoza In a letter to his son Christopher in February of 1958, Tolkien said “No one believes me when I say that my long book is an attempt to create a world in which a form of language agreeable to my personal aesthetic might seem real” (Letters 264). He added that The Lord of the Rings “was an effort to create a situation in which a common greeting would be elen síla lúmenn’ omentielmo,1 and that the phrase long antedated the book” (Letters 264-5). Tolkien often felt guilty about this, his most secret vice. Even as early as 1916, he confessed as much in a letter to Edith Bratt: “I have done some touches to my nonsense fairy language—to its improvement. I often long to work at it and don’t let myself ‘cause though I love it so, it does seem a mad hobby” (Letters 8). It wasn’t until his fans encouraged him, that Tolkien started to 1 Later, Tolkien decided that Frodo’s utterance of this phrase was in error as he had used the exclusive form of we in the word “omentielmo,” but should have used the inclusive form to include Gildor and his companions, “omentielvo.” The second edition of Fellowship reflected this correction despite some musings on leaving it to signify Frodo being treated kindly after making a grammatical error in Quenya (PE 17: 130-131). -
Star Trek: Exploring New Worlds Is a Fully Immersive Exhibition That Showcases Star Trek’S Significant Impact on Culture, Society, Arts, Sports, Tech and Fashion
STAR TREK: EXPLORING NEW WORLDS IS A FULLY IMMERSIVE EXHIBITION THAT SHOWCASES STAR TREK’S SIGNIFICANT IMPACT ON CULTURE, SOCIETY, ARTS, SPORTS, TECH AND FASHION. VENUE: SECURITY: AVAILABILITY: ORGANIZATION 5,000–7,000K SF Medium October April rental period of 2019 2020 & CONTACT 12–14 weeks SPECIAL Shawana Lee REQUIREMENTS Group Sales Manager FEE: ADDITIONAL 206 262 3420 Min. ceiling height of $250,000 plus 14 feet, climate control, shipping & RESOURCES [email protected] gallery supervision, installer’s travel Marketing & promo standard electrical sup- Museum of POP Culture costs templates provided ply, traveling installer (formerly EMP Museum) expenses: (est. $8K) EXHIBIT HIGHLIGHTS Set pieces Transporter simulator EXHIBITION ELEMENTS from Star Trek: The Original Series, where visitors can create a film that including a self destruct panel and shows them being beamed to anoth- Artifacts the navigation console. er location and performing in a Star -Costumes Trek-inspired scene. 100+ props and artifacts -Props from the five Star Trek television series KHAAAAN! video booth and many of the films including: where visitors can recreate the -Scripts, Production -original series tricorder memorable scene from Star Trek II: Documents/Storyboards -communicator phaser The Wrath of Khan -a Borg cube -Sketches -Klingon disruptor pistol Spaceship filming models -Models -Tribbles, and more of the Enterprise, USS Excelsior, a Klingon battle cruiser, and Rare costumes Deep Space Nine space station Films including: Spock’s tunic worn by -Five interpretive -
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........................................................................................ -
Download the Borg Assimilation
RESISTANCE IS FUTILE… BORG CUBES Monolithic, geometric monstrosities capable of YOU WILL BE ASSIMILATED. defeating fleets of ships, they are a force to be Adding the Borg to your games of Star Trek: Ascendancy feared. introduces a new threat to the Galaxy. Where other civilizations may be open to negotiation, the Borg are single-mindedly BORG SPIRES dedicated to assimilating every civilization they encounter into Borg Spires mark Systems under Borg control. the Collective. The Borg are not colonists or explorers. They are Over the course of the game, Borg Spires will build solely focused on absorbing other civilizations’ technologies. new Borg Cubes. The Borg are not controlled by a player, but are a threat to all the forces in the Galaxy. Adding the Borg also allows you to play BORG ASSIMILATION NODES games with one or two players. The rules for playing with fewer Borg Assimilation Nodes are built around Spires. Built than three players are on page 11. Nodes indicate how close the Spire is to completing a new Borg Cube and track that Borg System’s current BORG COMPONENTS Shield Modifier. • Borg Command Console Card & Cube Card BORG TECH CARDS • 5 Borg Cubes & 5 Borg Spires Players claim Borg Tech Cards when they defeat • 15 Borg Assimilation Nodes & 6 Resource Nodes the Borg in combat. The more Borg technology you • 20 Borg Exploration Cards acquire, the better you will fare against the Borg. • 7 Borg System Discs • 20 Borg Technology Cards BORG COMMAND CARDS • 30 Borg Command Cards Borg Command Cards direct the Cubes’ movement • 9 Borg Dice during the Borg’s turn and designate the type of System each Cube targets. -
Warrior Culture and Science Fiction TV
Copyright rests with Florilegium. The contents of the journal may not be copied, reprinted, or posted electronically without the editor's express written permission, although users are welcome to download and print articles for individual use. High-Tech Feudalism: Warrior Culture and Science Fiction TV Graham Knight and Jennifer Smith "Richard ΠΙ with aliens" is how Cornell (102) describes "Sins of the Father," an episode of Star Trek: The Next Generation (hereafter TNG) in which the Klingon warrior Worf, son of Mogh, seeks to restore his family's honour by exposing and challenging those responsible for falsely accusing his dead father of treason to the Klingon Empire. Worf is only partly successful in his quest, and he remains a perpetually marginal figure whose identity is divided by his Klingon heritage, his childhood as a Klingon orphan raised by humans., and his current status as the only Klingon in Starflect, the military arm of the Federation of Planets, an alliance of Earth and other worlds whose relationship with the Klingon Empire is marked by tension, suspicion and, at times, open hostility. As a result of these divisions and struggles, Worf s family is e'ventually stripped of its wealth and rank on the Klingon home-world, and Worfs brother Kurn seeks a ritual death as the only way to absolve his own and his family's disgrace. Historical and cross-cultural motifs are common in TNG, and resonate throughout the secondary texts that have sprung up around the television series— comics, reference books, novelisations of the TV episodes, fan conventions, and numerous Internet sites where devotees debate the minutiae of an imaginary future. -
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. -
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). -
Glossopoeia a Contrastive Phonological Study Of
DEPARTAMENT DE FILOLOGIA ANGLESA I DE GERMANÍSTICA Glossopoeia A Contrastive Phonological Study of Sindarin and Klingon Treball de Fi de Grau Author: Mónica Malvárez Ocaña Supervisor: Hortènsia Curell Gotor Grau d’Estudis Anglesos June 2020 jyE qhE5 `B 7r$`B6E tiT16E lE5 Law pain i reviar mistar aen. Not all those who wander are lost. ACKNOWLEDGEMENTS I would like to express my appreciation to Dr. Hortènsia Curell, not only for her help and support during these difficult months that I have been abroad, but also for giving me the opportunity and the freedom to explore other fascinating linguistic areas, such as glossopoeia. I would also like to thank my friends and family for always pushing me to go one step further and to think outside the box. I discovered the universe of Middle-Earth during my childhood, and for that reason, it will always have a special place in my heart. Before going to bed, my father used to read The Hobbit to me. I remember being mesmerized by the story and the characters, and even now, as an adult, I am still mesmerized by what J.R.R. Tolkien created. TABLE OF CONTENTS 1. Introduction ................................................................................................................. 2 2. Constructed Languages ............................................................................................... 3 2.1. Classification of Conlangs ................................................................................ 3 2.1.1. Historical Classification .................................................................... -
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. -
BRIEF of AMICUS CURIAE 13 Plaintiffs, Date: May 9, 2016 14 Time: 9:00 AM V
Case 2:15-cv-09938-RGK-E Document 35-1 Filed 04/27/16 Page 1 of 26 Page ID #:322 1 RANDAZZA LEGAL GROUP, PLLC Marc J. Randazza (SBN 269535) 2 [email protected] Alex J. Shepard (SBN 295058) 3 [email protected] 4035 S. El Capitan Way 4 Las Vegas, NV 89147 Telephone: 702-420-2001 5 Facsimile: 305-437-7662 [email protected] 6 Attorneys for Amicus, 7 Language Creation Society 8 IN THE UNITED STATES DISTRICT COURT 9 CENTRAL DISTRICT OF CALIFORNIA 10 11 PARAMOUNT PICTURES Case No. 2:15-cv-09938-RGK-E CORPORATION, a Delaware 12 corporation; and CBS STUDIOS INC., a Delaware corporation, BRIEF OF AMICUS CURIAE 13 Plaintiffs, Date: May 9, 2016 14 Time: 9:00 AM v. Judge: Hon. R. Gary Klausner 15 Courtroom: 850, 8th Floor AXANAR PRODUCTIONS, INC., 16 a California corporation; ALEC PETERS, an individual, and 17 DOES 1-20, 18 Defendants. 19 20 21 22 23 - i - Brief of Amicus Curiae 2:15-cv-09938-RGK-E Case 2:15-cv-09938-RGK-E Document 35-1 Filed 04/27/16 Page 2 of 26 Page ID #:323 1 TABLE OF CONTENTS 2 3 TABLE OF AUTHORITIES .............................................................................. III 4 MEMORANDUM OF POINTS AND AUTHORITIES ........................................ 1 5 1.0 INTRODUCTION .................................................................................... 1 6 2.0 CREATION AND DEVELOPMENT OF THE KLINGON LANGUAGE ..................... 3 7 3.0 COPYRIGHT LAW DOES NOT PROTECT SPOKEN LANGUAGES ..................... 7 8 4.0 THE INTELLECTUAL PROPERTY CLAUSE WOULD NOT PROTECT A LANGUAGE 14 9 5.0 CONCLUSION ............................................................................... 19 10 11 12 13 14 15 16 17 18 19 20 21 22 23 - ii - Brief of Amicus Curiae 2:15-cv-09938-RGK-E Case 2:15-cv-09938-RGK-E Document 35-1 Filed 04/27/16 Page 3 of 26 Page ID #:324 1 TABLE OF AUTHORITIES CASES 2 3 Adobe Sys. -
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.