These are the Voyages?

Author(s):  
Michael G. Robinson

The main thing noticeably absent from Star Trek’s half-century anniversary was a network television series. By 2016, the primary output of the Trek franchise was a set of commercially successful feature films that had retconned a substantial portion of the early series history and consequently left later spin-off television series adrift in continuity limbo. One year later, or perhaps one year too late, three programs emerged to take up the mantle of Trek: Star Trek: Discovery (2017-), The Orville (2017-present) and the “U.S.S Callister” episode of Black Mirror (2017). This chapter investigates how these series make a claim to and justify deviations from, a familiar science fiction formula legendary for diverse themes and progressive ideologies with particular attention invocation of Gene Roddenberry’s vision for Star Trek.

The first two seasons of the television series Star Trek: Discovery, the newest instalment in the long-running and influential Star Trek franchise, received media and academic attention from the moment they arrived on screen. Discovery makes several key changes to Star Trek’s well-known narrative formulae, particularly the use of more serialized storytelling, appealing to audiences’ changed viewing habits in the streaming age – and yet the storylines, in their topical nature and the broad range of socio-political issues they engage with, continue in the political vein of the franchise’s megatext. This volume brings together eighteen essays and one interview about the series, with contributions from a variety of disciplines including cultural studies, literary studies, media studies, fandom studies, history and political science. They explore representations of gender, sexuality and race, as well as topics such as shifts in storytelling and depictions of diplomacy. Examining Discovery alongside older entries into the Star Trek canon and tracing emerging continuities and changes, this volume will be an invaluable resource for all those interested in Star Trek and science fiction in the franchise era.


Author(s):  
Sarah Böhlau

While time travel as a narrative device has been firmly entrenched in popular culture since the late 19th century, its sub-trope, the time loop, has been largely neglected until the 1990s. Star Trek, never a franchise to shy away from bold narrative tools, first introduced a time loop in the Star Trek: The Next Generation episode “Cause and Effect” (1992). Since then, the trope has become a well-known storytelling device, especially within the realms of science fiction television series. A time loop occurs when the temporal fabric of a narrative world enfolds one or several characters in a recurring circular loop, while for the rest of the story world, time flows in its natural direction. Most crucial in many of these narratives is the question of emotional development and human connection, both equally enabled and denied by the time loop. This is also the case in Discovery’s seventh episode “Magic to Make the Sanest Man Go Mad” (2017). This chapter looks at the episode, at the special narrative space created by the time loop, the counterfactuals it generates, and the emotional development it affords to the characters trapped inside – and outside.


2017 ◽  
Vol 28 (02) ◽  
pp. 1750017 ◽  
Author(s):  
Melody Shi Ai Tan ◽  
Ephrance Abu Ujum ◽  
Kuru Ratnavelu

This paper undertakes a social network analysis of two science fiction television series, Stargate and Star Trek. Television series convey stories in the form of character interaction, which can be represented as “character networks”. We connect each pair of characters that exchanged spoken dialogue in any given scene demarcated in the television series transcripts. These networks are then used to characterize the overall structure and topology of each series. We find that the character networks of both series have similar structure and topology to that found in previous work on mythological and fictional networks. The character networks exhibit the small-world effects but found no significant support for power-law. Since the progression of an episode depends to a large extent on the interaction between each of its characters, the underlying network structure tells us something about the complexity of that episode’s storyline. We assessed the complexity using techniques from spectral graph theory. We found that the episode networks are structured either as (1) closed networks, (2) those containing bottlenecks that connect otherwise disconnected clusters or (3) a mixture of both.


2018 ◽  
Vol 13 (S349) ◽  
pp. 357-373
Author(s):  
Christiaan Sterken

AbstractThe International Astronomical Union was conceived in 1918, and was formed one year later in Brussels. One of the 32 initial Commissions was the Committee on Stellar Photometry that later on became IAU Commission 25 Astronomical Photometry and Polarimetry, and since 2015 Commission B6 with the same name. The initial functions to be exercised by the Committee were (a)to advise in the matter of notation, nomenclature, definitions, conventions, etc., and(b)to plan and execute investigations requiring the cooperation of several observers or institutions.The basic philosophy was that IAU Commission 25 was to be an advisory body, rather than a decision-making committee that imposes its regulations. This position was reconfirmed at the 10th IAU General Assembly in 1958.From the early days on, the Commission members engaged in the teaching of the principles of photometric measurement – either via the Commission meetings and the ensuing reports, or via external means, such as lectures and publications. The topics of instruction dealt with absorption of light in the atmosphere, the modification imposed by the character of the receiving apparatus, the unequal response of different receivers to a same stimulus, and variations in the data-recorder response from one experiment to another.From the 1930s on it was suggested that IAU Commission 25 takes responsibility in matters of standard stars, standard filters and standard calibration methods.During the first half-century since its foundation, Commission 25 was an active forum for discussions on the basic principles of astronomical photometry, including the associated problems of transformability of magnitudes and colour indices from one instrumental configuration to another. During the second half-century of its existence, the Commission has served as a sort of news agency reporting on the developments in detector engineering, filter technology and data reduction. All along the Commission members were committed to accuracy and precision, a struggle that was primarily driven by the jumps forward in performance and sensitivity of every new detector that was introduced.The development over one century shows that the Commission was continuously touching on the philosophy of precise measurement, where accurate measuring – for a select group of pioneers – was an end in itself.This presentation looks back on the opinions of key players in the photometric standardisation debate, and briefly presents two case studies that illustrate the illusionary accuracy reached over a century in determining, as Commission member Ralph Allan Sampson put it, “a detail like magnitude”.


2016 ◽  
Vol 45 (2) ◽  
pp. 613-635
Author(s):  
Fabrice Defferrard
Keyword(s):  

Star Trek est un univers de science-fiction paradigmatique pour le droit. Il repose pour l’essentiel sur une architecture juridique et judiciaire complexe, inspirée d’un modèle universaliste mettant en valeur les libertés publiques, les droits fondamentaux et une justice équitable. Chargés d’explorer pacifiquement l’espace, les officiers de Starfleet nouent des liens de droit et résolvent des conflits de normes dans des situations parfois inédites qui font de cette divertissante saga un véritable laboratoire du droit.


2017 ◽  
Vol 45 (1) ◽  
pp. 55-76
Author(s):  
Derek Woods

The Great Stink of London took place one year before the publication of George Eliot's The Lifted Veil (1859). As a peak sanitary crisis, the Great Stink helps us to understand the particular telepathy of Eliot's narrator, since The Lifted Veil combines the rhetoric of telepathy with that of a more threatening form of transmission among bodies: foul odor and contagious air. Throughout the figurative structure of Eliot's story, tropes that convey the narrator's ostensibly supernatural experience contain traces – sometimes cryptic, sometimes explicit – of the earthly matter of sanitary crisis. The first section of this essay explores the sanitary dimension of The Lifted Veil, linking the story to sanitary crisis and to Victorian materialist psychology – particularly the work of George Henry Lewes – which conceived mind in physical terms. With the role of sanitation established, the second section shows the importance of the sense of smell to Latimer's first-person narration of telepathy. This section outlines the transition, contemporaneous with sanitary reform, from the use of animal to the use of vegetable perfumes. Throughout the story, vegetable scents act as prophylaxes against the narrator's too-physical telepathy. From these readings, it becomes clear that Eliot writes “extrasensory” perception with recourse to sensory figures. Telepathy and sanitation overlap in this exceptional gothic science fiction in such a way as to demand a new concept of olfactory telepathy.


2006 ◽  
Vol 1 (1) ◽  
pp. 116-122 ◽  
Author(s):  
Ir. Muwardi Nurdin ◽  

Just over 1.5 years have past since the December 26, 2004, tsunami devastated the Province of Aceh, killing or injuring some 100,000 people and multiplying the problems of the province, which was already suffering from battles between the Indonesian army and armed independence forces of the Free Aceh Movement (GAM: Gerkan Aceh Mardeka). The half-century conflict has killed more than 15,000 soldiers and citizens of Banda Aceh, and the government placed Banda Aceh under martial law, limiting the number of foreign visitors. After the tsunami brought the previously unknown city to world attention, most people had to seek answers about where it was on the Internet or in atlases.


2014 ◽  
Vol 03 (01) ◽  
pp. 18-21
Author(s):  
APPN Editorial Team

In an episode of the popular science fiction series Star Trek: The Next Generation, the crew of the USS Enterprise-D happened upon a full Dyson sphere when its gravitational fluctuations brought them to a stop. After some analysis of the sphere, Lieutenant Commander Data informed that the inside surface area of the sphere was equal to "250 million class-M worlds".


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