Der Beitrag diskutiert die Notwendigkeit von Emotionen im futuristischen Gesellschaftsbild von Star Trek anhand der Föderationsgesellschaft und dem Borg-Kollektiv. Es wird herausgestellt, dass die Borg begründet durch ihren Willen zur Perfektion sich vollkommen einer fortgeschrittenen Technologie unterwerfen und die Individualität von einzelnen Borgdrohnen negieren. Emotionen spielen bei den Borg keine Rolle. Die Borg kann man damit als transhumanistische Staatsordnung interpretieren, die starke Parallelen zu Hobbes’ Leviathan aufweist. / The paper discusses the necessity of emotions in the futuristic concept of society in Star Trek and compares the Federation society with the Borg Collective. We show that the Borg driven by their will to achieve perfection submit to a sophisticated technology and negate the individuality of single Borg drones. In this society, emotions are irrelevant. Thus the Borg may be seen as a manifestation of transhumanism which shows certain parallels to Hobbes’ Leviathan.

Teilw. zugl.: Los Angeles, Univ. of California, Diss. u.d.T.: Bernardi, Daniel: The wrath of whiteness. / Filmography: p - Includes bibliographical references and index.

Thesis (M.F.A.)--York University, 2007. Graduate Programme in Film (Screenwriting). / Typescript. Includes bibliographical references (leaves 147-149). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29622

Orientador: Prof. Dr. Miguel Alfredo Carid Naveira / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Antropologia Social. Defesa: Curitiba, 13/10/2016 / Inclui referências : f. 307-318 / Resumo: A ficção científica pode ser entendida como uma forma antropológica de pensamento sobre a alteridade. Nesta dissertação aborda-se esta relação tendo como foco a série televisiva de Star Trek: Voyager. Para tal é realizada uma imersão no percurso filosófico do conceito de alteridade e da invenção da filosofia e, posteriormente, do pensamento antropológico, como formas de ficção sobre o Outro. Construindo uma etnografia pautada na interação entre indivíduos e máquinas, entendeu-se que estas últimas ocupavam o espaço de uma alteridade radicalmente outra, dado seu desposicionamento relacional. Uma vez que este esquema foi demarcado, entendeu-se que a ficção científica em questão era responsável por apresentar duas perspectivas ontológicas diferentes. Uma delas é o que chamei de ontologia da individualidade que existe nos mais variados coletivos humanoides de Star Trek. A outra, em oposição, é aparentemente exclusiva dos Borg e se constitui como uma ontologia da assimilação, na qual o conceito de individualidade, bem como sociedade, não pode ser pensado. Palavras-Chave: Antropologia da Ficção Científica, Star Trek, Ontologias e Indivíduos / Abstract: The science fiction could be understood as a type of anthropological thinking about the alterity. In this dissertation we aim to understand this relation by focusing in the TV Show Star Trek: Voyager. To do that we create a type of reflexion about the philosophical thinking on the concept of alterity and also the invention of philosophy itself. And later in the antropological thinking, as kinds of fiction about the Other. Our grounding is an etnography where we focus on the interation between individuals and machines. The later as a type of radical alterity completely alien to the notion of individual. After this scheme has been created, we understood that the science fiction is based on two kinds of ontological perspectives. The first is the ontology of the individual, mutual for different types of humanoids and their societies in Star Trek. The other is exclusively for the Borg as it is based in the notion of assimilation. Key words: Anthopology of Science Fiction, Star Trek, Ontologies, Individuals

Living with Star Trek investigates the connections between Star Trek fandom and the Star Trek text. This study identifies and examines the American themes of utopia, community and self-improvement inherent within the fictional text which also form the thematic framework for letters written by fans to express their affection for the series. These letters represent a `network of support', whereby a community of fans is able to communicate with each other through written correspondence sent to producers, edited collections, and fan magazines. In talking about the series, fans confess and share intimate stories, often based around trauma or bereavement, and at the same time describe how Star Trek has played an important and inspirational part in their daily lives; Star Trek's utopian vision and communal spirit has given them the impetus to enact positive change. Drawing together the themes identified in the text and fan letters, the first half of the thesis examines Star Trek's use of history, narrative and myth to tell its futuristic stories. In particular, I examine how Star Trek has used the distinctive literary tradition of the Puritan American Jeremiad to create a didactic narrative that emphasises the attainment of utopia through communal effort and personal change. The second half of the thesis continues this inquiry by examining a range of letters that describe how fans are able to tap into the open nature of the Star Trek text and use it to fulfil needs and desires in their own daily lives. In particular, I stress how the letters are not just examples of fan affection but also represent a reciprocal relationship where fans can criticise and engage with the programme as well as use it as a form of motivation.

Denna uppsats undersöker TV-serien Star Treks värderingar ur ett politiskt ideologiskt perspektiv. Star Trek är en amerikansk science fiction-serie som skapades av Gene Roddenberry i mitten av 1960-talet. Frågeställningarna behandlar om det finns politiskt relaterade värderingar framställda i Star Trek, vilken politisk ideologi som mest liknar värderingarna i serien, och om det går att tolka det som om Star Trek har en ideologisk värdegrund. Med hjälp av dagordningsteori, kritisk medieteori och teorier om budskap diskuteras TV-bolagens makt över seriens innehåll. De politiska ideologierna konservatism, liberalism och socialism har valts för att kunna jämföras med analysmaterialet. Sex avsnitt från originalserien analyserades med hjälp av en hermeneutik och kvalitativ metod för att bäst kunna få insikt i materialet. Den faktiska analysen har skett med den narratologiska aktantmodellen samt närläsning baserad på kritisk medieteori, där citat bryts ut och tolkas. Resultaten har delats in i tre kategorier, nämligen ekonomi, människosyn och samhällsstruktur för att underlätta sammanställandet. Undersökningen visar att det finns både positivt och negativt framställda värderingar i Star Trek.Ingen politisk ideologi framställs som denenda rätta, men tendensen är att konservatism är minst propagerat för, medan den demokratiska varianten av socialism verkar förespråkas mest. Att resultatet blev splittrat kan härledas till att medieföretagen har stort inflytande över innehållet och att det är svårt att konsekvent framhäva en politisk ideologi i en TV-serie som Star Trek. Detta till följd av formatet på serierna och att de amerikanska TV-bolagen sätter speciella kommersiella krav på produktionen. Det reflekteras också över att politiska värderingar i ett underhållningmedium kan vara effektiva eftersom de politiska budskapen inte har fokus utan intas indirekt. / This thesis examines the values in the TV-series called Star Trek from a political perspective. Star Trek is an American science fiction-series that was created byGene Roddenberry during the mid-1960s. The queries are about whether or not political values are expressed in Star Trek, what political ideology is coherent with those, and if it is possible to interpret this as if Star Trek has an actual politically ideological fundament. Media power over content has been discussed, and because of this there has been made use of critical media theories together with theory of agenda setting and message. The political ideologies of conservatism, liberalism and socialism have been chosen to be compared with the material of analysis.Seven episodes of the original series have been chosen to get a good view of the material by the use of hermeneutic and qualitative research methodology.The analysis was done with the narratological actant model plus a method based on critical media theory, where quotes are being extracted and interpreted. The results have been categorised as either relating to economics, view of mankind or structure of society. The examination shows that there are both positively and negatively described values in Star Trek. No distinct political ideology is being clearly advocated, but there are tendencies for negative views of conservative values aswell as a positive coherence with democratic socialism. The results were difficult to conclude, and this could point towards that the media companies have big influence over their transmitted contents, and that it is difficult to consistently highlight politically ideological values in a television series like Star Trek. This is because the format of TV-series set by american commercial interests puts certain demands on productions. There are reflections about that political values in a medium of entertainment could be effective since the political messages are not in focus but received indirectly.

<p>Titel: Genusframställningen i Star Trek – en utopi eller dystopi</p><p>Författare: Gustav Ekholm och Torbjörn Karlsson</p><p>Handledare: Malin Nilsson</p><p>Examinator: Veronica Stoehrel</p><p>Typ av arbete: C-uppsats i Medie och Kommunikationsvetenskap, 10p HT-06</p><p>Plats: Högskolan i Halmstad</p><p>Syfte: Uppsatsen syfte är att fastställa huruvida åtta olika avsnitt ur tv-serien Star Trek belyser genusfrågor och utmanar avsnitten i så fall de rådande genusdiskurserna.</p><p>Metod: Den här uppsatsen fokuserar på åtta Star Trek avsnitt som producerades mellan 1960-talet och 2000-talet.</p><p> Metoden för analysen är en kritisk diskursanalys med utgång från Norman Fairclougs diskurskritiska modell.</p><p>Resultat: Uppsatsens slutsats är att Star Trek-serierna berör genusfrågor i olika utsträckning beroende på vilket årtal avsnitten är från. Det konstateras också att viktiga genusämnen, likt homosexualitet, tas upp men beroende på olika omständigheter saknas ofta ett djup i framställningen.</p><p>Nyckelord: Star Trek, Gene Roddenberry, science fiction, genus, diskurs, diskursanalys, textanalys, makt, tv-serier, dominansförhållanden.</p>

Titel:Genusframställningen i Star Trek – en utopi eller dystopi Författare:Gustav Ekholm och Torbjörn Karlsson Handledare:Malin Nilsson Examinator:Veronica Stoehrel Typ av arbete:C-uppsats i Medie och Kommunikationsvetenskap, 10p HT-06 Plats:Högskolan i Halmstad Syfte:Uppsatsen syfte är att fastställa huruvida åtta olika avsnitt ur tv-serien Star Trek belyser genusfrågor och utmanar avsnitten i så fall de rådande genusdiskurserna. Metod:Den här uppsatsen fokuserar på åtta Star Trek avsnitt som producerades mellan 1960-talet och 2000-talet. Metoden för analysen är en kritisk diskursanalys med utgång från Norman Fairclougs diskurskritiska modell. Resultat:Uppsatsens slutsats är att Star Trek-serierna berör genusfrågor i olika utsträckning beroende på vilket årtal avsnitten är från. Det konstateras också att viktiga genusämnen, likt homosexualitet, tas upp men beroende på olika omständigheter saknas ofta ett djup i framställningen. Nyckelord:Star Trek, Gene Roddenberry, science fiction, genus, diskurs, diskursanalys, textanalys, makt, tv-serier, dominansförhållanden.

Denna studie vill undersöka om koloniala strukturer genomsyrar den senaste i raden av Star Trek-serierna, Enterprise. Med utgångspunkt i äldre forskning om just koloniala strukturer i Star Trek kommer en jämförelse göras om Enterprise först och främst har dessa strukturer och om så är fallet, göra en jämförelse med de andra serierna. Det postkoloniala forskningsfältet tillsammans med ett strukturalistiskt och post-strukturalistiskt tillvägagångssätt som innefattar semiotik och diskursanalys används för att kunna peka på hur de koloniala strukturerna genomsyrar serien. Analysen, som bland annat innefattar besättningens inbördes hierarki, hur andra främmande raser ser ut och vilka egenskaper de har och hur mötet går till med andra kulturer, visar att de koloniala strukturerna fortfarande genomsyrar Star Trek. Enterprise skiljer sig dock från de äldre serierna på ett sådant sätt att det koloniala tar mindre plats, bland annat seriens handling och även hur alla besättningsmedlemmar är med och skapar seriens handling.

This thesis aims a critical reading of two American series also aired in Brazil: Star Trek and Heroes. The survey proposes to observe dissensus from the multitude present on both TV series. The multitude (HARDT; NEGRI, 2000) is a social force capable of challenging the sovereign power and to establish new forms of social organization, their presence may present dissensus (RANCIÈRE, 2010), new elements to what is conventionally considered and sense, the sensitive system already established. This movement is associated with materialistic conception of history that suggests seeking tensions against the dominant social order (BENJAMIN, 1987). The Star Trek series debuted in 1966 and its last episode was broadcast in 1969. The series was produced by Desilu Productions and broadcast by NBC, and your transmission took place at a time when American foreign policy has to tend less to an imperialist activity than to a policing action to a supranational order service. The hypothesis is that his narrative shows the will of the multitude to prevent the exercise of the former European sovereignty and to overcome the nationalist struggles. The Heroes series was produced in partnership by Tailwind Productions, NBC, Universal Television and Universal Media Studios. Four seasons were exhibited from 2006 to 2009. The series covers the history of characters who, because of genetic mutations, discover powers that make them special. Although they appear in different parts of the world, there is some force that, in many ways, remains interconnection between the characters. The hypothesis is that the special abilities of Heroes characters may be attached to faculties of the multitude able to oppose the order of global capitalism. The overall objective of this research is, as stated initially, to look for dissensus from multitude inside the series. It is possible to see that these cultural objects do not carry a single system of presentation attached to commercial logic, but let see, within their respective contexts of production, transformative capacities against the established order. It can be said that the tensions in the series denote trouble for tradition defended by the dominator, presenting challenging ways to read the story doing justice to the dominated. / Submitted by Carolini da Rocha (carolini.rocha@unisul.br) on 2017-05-09T12:50:52Z No. of bitstreams: 2 jeanrzhoullou.pdf: 2355014 bytes, checksum: 53c7c03bc132c6a3dc6fa6c11cf22807 (MD5) Jean Raphael Zimmermann Houllou.pdf: 770947 bytes, checksum: 818c2879f4b96ee04555885d98022d3e (MD5) / Approved for entry into archive by Carolini da Rocha (carolini.rocha@unisul.br) on 2017-05-09T12:52:32Z (GMT) No. of bitstreams: 2 jeanrzhoullou.pdf: 2355014 bytes, checksum: 53c7c03bc132c6a3dc6fa6c11cf22807 (MD5) Jean Raphael Zimmermann Houllou.pdf: 770947 bytes, checksum: 818c2879f4b96ee04555885d98022d3e (MD5) / Made available in DSpace on 2017-05-09T12:52:32Z (GMT). No. of bitstreams: 2 jeanrzhoullou.pdf: 2355014 bytes, checksum: 53c7c03bc132c6a3dc6fa6c11cf22807 (MD5) Jean Raphael Zimmermann Houllou.pdf: 770947 bytes, checksum: 818c2879f4b96ee04555885d98022d3e (MD5) Previous issue date: 2016 / A presente tese pretende uma leitura crítica de dois seriados norte-americanos, também veiculados no Brasil: Star Trek e Heroes. O exame propõe observar dissensos da multidão presentes em ambos os seriados de TV. A multidão (HARDT; NEGRI, 2000) é como uma força social capaz de desafiar o poder soberano e instituir novas formas de organização social; sua presença pode apresentar dissensos (RANCIÈRE, 2010), ou seja, novos elementos para aquilo que convencionalmente é considerado e sentido, o regime do sensível já estabelecido. Esse movimento se associa a concepção de história materialista que sugere a procura de tensões contra a ordem social dominante (BENJAMIN, 1987). O seriado Star Trek estreou em 1966 e seu último episódio foi transmitido em 1969. A série foi produzida pela Desilu Productions e exibida pela NBC, e sua transmissão se deu num momento em que a política externa americana passou a tender menos para uma atividade imperialista do que para uma ação de policiamento a serviço de uma ordem supranacional. A hipótese é a de que sua narrativa apresenta a vontade da multidão em impedir o exercício da antiga soberania europeia e em superar as lutas nacionalistas. O seriado Heroes foi produzido em parceria pela Tailwind Productions, NBC,Universal Television e Universal Media Studios. Foram exibidas quatro temporadas de 2006 a 2009. A série aborda a história de personagens que, em razão de mutações genéticas, se descobrem portadores de poderes que os tornam especiais. Embora apareçam em diferentes partes do mundo, existe alguma força que, de variadas formas, mantém os personagens interconectados. A hipótese em Heroes é a de que as habilidades especiais dos personagens podem ser associadas às faculdades da multidão capazes de se opor à ordem do capitalismo global. O objetivo geral desta pesquisa consiste, como afirmado inicialmente, em averiguar dissensos da multidão dentro dos seriados. É possível observar que estes objetos da cultura não carregam um regime único de apresentação ligado à lógica mercantil, mas permitem constatar, dentro de seus respectivos contextos de produção, capacidades transformadoras contra a ordem constituída. Pode-se afirmar que as tensões observadas nos seriados denotam problemas para a tradição defendida pelo dominador apresentando formas desafiadoras à leitura da história e fazendo justiça aos dominados.