Piqad (Klingon) and Its Usage
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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. -
Iso/Iec Jtc1/Sc22/Wg20 N809r
ISO/IEC JTC1/SC22/WG20 N809R 2001-01-09 Internationalization International Organization for Standardization Organisation internationale de normalisation еждународнаяорганизацияпостандартизации Doc Type: Working Group Document Title: Ordering the Runic script Source: Michael Everson Status: Expert Contribution Date: 2001-01-09 On 2000-12-24 Olle Järnefors published on behalf of the ISORUNES Project in Sweden a proposal for ordering the Runes in the Common Tailorable Template (CTT) of ISO/IEC 14651. In my view this ordering is unsuitable for the CTT for a number of reasons. Runic ordering in ISO/IEC 10646. The Runes are encoded at U+16A0–U+16FF, in a unified set of characters encompassing the four major traditions of Runic use: Germanic, Anglo-Frisian, Danish, and Swedish-Norwegian, and Medieval. The Runes are arranged in the code table agreed by ISO/IEC JTC1/SC2/WG2 in an order based on the the traditional positions of the Runes in abecedaries, namely, the fuþark order. This order is known from hundreds of primary sources which list the Runes in sequence, often with no other text. Most scholarly texts refer to the fuþark in one way or another. Nearly all secondary texts, whether popular introductions to the Runes or New-Age esoterica, give primacy to the traditional fuþark sequence. Runic names in ISO/IEC 10646. The names given to the Runes in the UCS may be a bit clumsy, but they are intended to serve the needs of scholars and amateurs alike; not everyone is familiar with Runic transliteration practices, and not everyone is conversant with the traditional names in Germanic, English, and Scandinavian usage. -
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 -
Is Klingon an Ohlonean Language? — a Comparison of Mutsun and Klingon
Is Klingon an Ohlonean Language? | A Comparison of Mutsun and Klingon Dick Grune [email protected] April 19, 1996 1 Introduction Klingon is an artificial language designed by Marc Okrand [1] in 1985 for Paramount Pictures Cor- poration, to serve as the language of the Klingons in the second Star Trek movie and all subsequent Star Trek and spin-off productions. Its best known expression is Qapla'! = Success! Mutsun (pronounced moot-soon, with the short oo of book, and the t and the s well separated) was an American Indian language of the Ohlonean [3] (= Costanoan) family, which, together with Tsimshian in British Columbia, the Mayan languages in Mexico, and many others, is part of the Penutian stock. It was spoken until the beginning of the 20th century around Mission San Juan Bautista, just south of San Francisco, Ca. Its last speaker, Mrs. Ascensi´onSolorsano de Cervantes, died Jan. 29, 1930, at the age of 74. The most accessible work on Mutsun is a grammar produced as a PhD thesis by this same Marc Okrand [2]. So, naturally, the question arises to what degree Klingon was inspired by Mutsun. Already being in the possession of [1] and having recently been able to put my hands on a copy of [2], I set out reading and comparing, in order to find the answer to this question. Those of you who are just after a juicy bit of gossip will be disappointed: No, Klingon is not more similar to Mutsun than it is to any other American Indian language, neither in vocabulary nor in structure. -
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. -
ISO/IEC JTC1/SC2/WG2 N2664 L2/03-393 A. Administrative B. Technical -- General
ISO/IEC JTC1/SC2/WG2 N2664 L2/03-393 2003-11-02 Universal Multiple-Octet Coded Character Set International Organization for Standardization Organisation internationale de normalisation еждународная организация по стандартизации Doc Type: Working Group Document Title: Preliminary proposal to encode the Cuneiform script in the SMP of the UCS Source: Michael Everson, Karljürgen Feuerherm, Steve Tinney Status: Individual Contribution Date: 2003-11-02 A. Administrative 1. Title Preliminary proposal to encode the Cuneiform script in the SMP of the UCS. 2. Requester’s name Michael Everson, Karljürgen Feuerherm, Steve Tinney 3. Requester type (Member body/Liaison/Individual contribution) Individual contribution. 4. Submission date 2003-11-02 5. Requester’s reference (if applicable) 6. Choose one of the following: 6a. This is a complete proposal No. This is a preliminary proposal 6b. More information will be provided later Yes. B. Technical -- General 1. Choose one of the following: 1a. This proposal is for a new script (set of characters) Yes. Proposed name of script Cuneiform and Cuneiform Numbers. 1b. The proposal is for addition of character(s) to an existing block No. 1b. Name of the existing block 2. Number of characters in proposal 952. 3. Proposed category (see section II, Character Categories) Category B. 4a. Proposed Level of Implementation (1, 2 or 3) (see clause 14, ISO/IEC 10646-1: 2000) Level 1. 4b. Is a rationale provided for the choice? Yes. 4c. If YES, reference Characters are ordinary spacing characters. 5a. Is a repertoire including character names provided? Yes. 5b. If YES, are the names in accordance with the character naming guidelines in Annex L of ISO/IEC 10646-1: 2000? Yes. -
Jtc1/Sc2/Wg2 N3427 L2/08-132
JTC1/SC2/WG2 N3427 L2/08-132 2008-04-08 Universal Multiple-Octet Coded Character Set International Organization for Standardization Organisation Internationale de Normalisation Международная организация по стандартизации Doc Type: Working Group Document Title: Proposal to encode 39 Unified Canadian Aboriginal Syllabics in the UCS Source: Michael Everson and Chris Harvey Status: Individual Contribution Action: For consideration by JTC1/SC2/WG2 and UTC Date: 2008-04-08 1. Summary. This document requests 39 additional characters to be added to the UCS and contains the proposal summary form. 1. Syllabics hyphen (U+1400). Many Aboriginal Canadian languages use the character U+1428 CANADIAN SYLLABICS FINAL SHORT HORIZONTAL STROKE, which looks like the Latin script hyphen. Algonquian languages like western dialects of Cree, Oji-Cree, western and northern dialects of Ojibway employ this character to represent /tʃ/, /c/, or /j/, as in Plains Cree ᐊᓄᐦᐨ /anohc/ ‘today’. In Athabaskan languages, like Chipewyan, the sound is /d/ or an alveolar onset, as in Sayisi Dene ᐨᕦᐣᐨᕤ /t’ąt’ú/ ‘how’. To avoid ambiguity between this character and a line-breaking hyphen, a SYLLABICS HYPHEN was developed which resembles an equals sign. Depending on the typeface, the width of the syllabics hyphen can range from a short ᐀ to a much longer ᐀. This hyphen is line-breaking punctuation, and should not be confused with the Blackfoot syllable internal-w final proposed for U+167F. See Figures 1 and 2. 2. DHW- additions for Woods Cree (U+1677..U+167D). ᙷᙸᙹᙺᙻᙼᙽ/ðwē/ /ðwi/ /ðwī/ /ðwo/ /ðwō/ /ðwa/ /ðwā/. The basic syllable structure in Cree is (C)(w)V(C)(C). -
Comments Received for ISO 639-3 Change Request 2015-046 Outcome
Comments received for ISO 639-3 Change Request 2015-046 Outcome: Accepted after appeal Effective date: May 27, 2016 SIL International ISO 639-3 Registration Authority 7500 W. Camp Wisdom Rd., Dallas, TX 75236 PHONE: (972) 708-7400 FAX: (972) 708-7380 (GMT-6) E-MAIL: [email protected] INTERNET: http://www.sil.org/iso639-3/ Registration Authority decision on Change Request no. 2015-046: to create the code element [ovd] Ӧvdalian . The request to create the code [ovd] Ӧvdalian has been reevaluated, based on additional information from the original requesters and extensive discussion from outside parties on the IETF list. The additional information has strengthened the case and changed the decision of the Registration Authority to accept the code request. In particular, the long bibliography submitted shows that Ӧvdalian has undergone significant language development, and now has close to 50 publications. In addition, it has been studied extensively, and the academic works should have a distinct code to distinguish them from publications on Swedish. One revision being added by the Registration Authority is the added English name “Elfdalian” which was used in most of the extensive discussion on the IETF list. Michael Everson [email protected] May 4, 2016 This is an appeal by the group responsible for the IETF language subtags to the ISO 639 RA to reconsider and revert their earlier decision and to assign an ISO 639-3 language code to Elfdalian. The undersigned members of the group responsible for the IETF language subtag are concerned about the rejection of the Elfdalian language. There is no doubt that its linguistic features are unique in the continuum of North Germanic languages. -
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).