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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. -
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. -
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. -
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. -
Connecticut Department of Energy and Environmental Protection Plotting a Course to Section 22: the Next Generation
Connecticut Department of Energy and Environmental Protection Plotting a Course to Section 22: The Next Generation 28 August 2014 Merrily A. Gere Stationary Source Control Group The Next Generation SIPRAC Subcommittee Connecticut Department of Energy and Environmental Protection Preorganizer • Section 1. Goal and DEEP issues • Section 2. Other state regulations • Section 3. Our thoughts on Next Generation Section 22 • Section 4. Homework and next steps Connecticut Department of Energy and Environmental Protection Section 1. Goal and DEEP Issues Connecticut Department of Energy and Environmental Protection Goal/ Definition of Success • Develop Next Generation Section 22 to reduce NOx emissions from fuel-burning sources to protect human health and the environment and allow EPA to approve the regulation as RACT for major sources of NOx under the 2008 ozone NAAQS. In addition, the regulation should: – Include a second phase to satisfy RACT under the 2015 ozone NAAQS. – To the extent possible, address the considerations identified in this presentation (HEDD, maintaining CAIR reductions, etc.). – Be clear on its face. Connecticut Department of Energy and Environmental Protection Review: EPA on RACT • Reasonably Available Control Technology • RACT ≡ the lowest emission limitation that a particular source is capable of meeting by the application of control technology that is reasonably available considering technological and economic feasibility. • Levels of control and emissions rates that are achieved in practice by existing sources are technologically