The ubiquity of the ‘Nazi’ – the fictional Doppelgänger of the historical Nazi – in the various media of popular culture is both disturbing and fascinating. There is an important relationship between the ‘Nazi’ and its audience; related to but separate from the historical Nazi, the creation and reception of the ‘Nazi’ both enables and exemplifies the continual processing of the past. Using a purpose-built framework (concept and terminology) for the study of the ‘Nazi’ as a phenomenon in and of itself, in combination with Freud’s concept of the uncanny, this thesis examines the dynamics of the relationship between the ‘Nazi’ and its audience in four examples: television episodes “Deaths-Head Revisited,” “He’s Alive” (The Twilight Zone), and “Patterns of Force” (Star Trek); and Serdar Somuncu’s performances/readings of Mein Kampf. The temporal and geographical context of the episodes (1960s America) seem far removed from Somuncu’s performances (1990s/2000s Germany), but analysing the production and effects of the uncanny moments generated in each case reveals a provocative raison d’être that spans across the geographical and temporal divide. / Graduate / 0311 / 0900

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In this dissertation, I argue that contemporary cultural narratives are infused with ongoing ideologies of Euro-American imperialism that prioritizes Western bodies and ways of engaging with living and nonliving beings. This restriction severely hinders possible responses to the present environmental crisis of the era often called the 'Anthropocene' through constant creation and recreation of imperial power relations and the presumed superiority of Western approaches to living. Taking inspiration from postcolonial theorist Edward Said and theories of cultural studies and empire, I use interdisciplinary methods of narrative analysis to examine threads of imperial ideologies that are (re)told and glorified in popular American science fiction television series Star Trek: Voyager (1995-2001). Voyager follows the Star Trek tradition of exploring the far reaches of space to advance human knowledge, and in doing so writes Western imperial practices of difference into an idealized future. In chapters 2 through 5, I explore how the series highlights American exceptionalism, Manifest Destiny, a belief in endless linear progress, and the creation of a safe 'home' space amidst the 'wild' spaces of the Delta Quadrant. Each of these narrative features, as presented, rely on Western difference and superiority that were fundamental to past and present Euro-American imperial encounters and endeavors. Through the recreation of these ideologies of empire, Voyager normalizes, legitimizes, and universalizes imperial approaches to engagement with other lifeforms. In order to move away from this intertwined thread of past/present/future imperialism, in my final chapter I propose alternatives for ecofeminist-inspired narrative approaches that offer possibilities for non-imperial futures. As my analysis will demonstrate, Voyager is unable to provide new worlds free of imperial ideas, but the possibility exists through the loss of their entire world, and their need to constantly make and remake their world(s). World making provides opportunity for endless possibilities, and science fiction television has the potential to aid in bringing non-imperial worlds to life. These stories push beyond individual and anthropocentric attitudes toward life on earth, and although such stories will not likely be the immediate cause of change in this era of precarity, stories can prime us for thinking in non-imperial ways. / Doctor of Philosophy / In this dissertation, I argue that contemporary cultural narratives feature continuing Euro-American imperialism that prioritizes Western bodies and ideas. These embedded narratives recreate centuries of Western imperial encounters and attitudes, and severely hinder possible responses to the present environmental crisis of the 'modern' era. Taking inspiration from postcolonial theorist Edward Said, I use interdisciplinary methods of narrative analysis to examine threads of imperialism written into popular American science fiction television series Star Trek: Voyager (1995-2001). Voyager follows the Star Trek tradition of exploring the far reaches of space to advance human knowledge, and in doing so inscribes Western imperial practices of difference and power into an idealized future through features of exploration, modernity, and progress. In order to move away from these imperial modes of thinking, I then propose alternatives for new narrative approaches that offer possibilities for non-imperial futures. As my analysis will demonstrate, Voyager is unable to provide new worlds free of imperial ideas, but the possibility exists through the loss of their entire world, and their need to constantly make and remake their world(s). World making provides opportunity for endless possibility, and science fiction television has the potential to aid in bringing non-imperial worlds to life. These stories push beyond individual and human centered attitudes toward life on earth, and although such stories will not likely be the immediate cause of change in this era of environmental crisis, stories can prime us for thinking in non-imperial ways.

The aim of the thesis is to explore depictions of sexuality in popular science fiction film and television through a focus on storytelling, narrative, characters and genre. The thesis analyses science fiction as a film and television genre with a focus on the conventions, interpretations, and definitions of genre as part of larger contexts. Central to the argumentation is films and television series, from Star Wars and Star Trek, to Firefly and Torchwood. The approach allows a consideration of how the storytelling conventions of science fiction are, and have been, affected by its contexts. Through a consideration of a historical de-emphasis on narrative complexity and character formation in science fiction, the thesis displays and analyses a salient tendency towards juvenile and heteronormative narratives. This tendency is represented by a concept that I call the Star’verses, through which this dominant idea of science fiction as a juvenile, techno-centred, masculine, and heteronormative genre became firmly established. This generic cluster has remained a dominant influence on science fiction film and television since the 1980s. However, as argued, a major discursive shift took place in science fiction at the turn of the millennium. This adult turn in science fiction film, and television in particular, is attributed to contextual changes, but also to the influence of television dramaturgy. It explains why science fiction in the 21st century is not as unfamiliar with depictions of sexuality as its predecessors were. This turn does not signal a total abandonment of what the Star’verses represent; it instead contributes to a change to this dominant idea of the generic identity of science fiction. While sexuality has been disassociated from much science fiction, it is also argued that the science fiction narrative has extensive queer potential. Generic conventions, such as aliens and time travel, invite both queer readings and queer storytelling; the latter however is seldom used, especially in science fiction film. A majority of the examples of science fiction narrative that use this queer potential can be found in television. In cinema, however, this progression is remarkably slow. Therefore, the thesis analyses whether the storytelling techniques of Hollywood cinema, to which science fiction film owes much of its dramaturgy, could be considered heteronormative. A comparison is made to television dramaturgy in order to display the possibilities for the serialised, character-focused science fiction narrative. Ultimately, the thesis investigate the possibility for subversive storytelling and whether a normative use of dramaturgy needs to be overthrown in order to tell a subversive story.

This thesis examines the influence of life experiences and personally significant texts on the formation of an individual’s personal and professional identity. Through autoethnographic exploration, the author explores the experiences and texts that have constituted his personal curriculum, shaped the way he views the world around him, and informed the role he hopes to embody as an educator. The author argues that by sharing our stories and analyzing the cultural artifacts we have connected with over a lifetime, we become more cognizant about and better equipped to take responsibility for the people we are in the process of becoming. The sharing and exploration of our lived curricular experiences, he suggests, may cause students to invest more heavily in their education and potentially foster more widely representative and meaningful school cultures. / Graduate / 0727 / 0399 / 0401 / travisrichey@hotmail.com

Thesis (MA)--Stellenbosch University, 1992 / ENGLISH ABSTRACT:The aim of this study was to compile a description of the life and contribution of Stephanus Petrus Erasmus, eastern frontier pioneer and Voortrekker. Secondly, Erasmus has been set against the background of the problems of the frontier farmers of the north-eastern frontier wards, Brak River and Kraai River in the years 1825 - 1837. Stephanus Erasmus was christened as the surname child of Daniel Elardus and cat.har-dria Elisabeth Erasmus in April 1788. In 1804 or 1805 Daniel Erasmus moved from the Graaff-Reinet district to the Swellendam district. Here Stephanus Erasmus married Maartje Wilhelmina Zacharia Kruger in 1812. At least ten children were born out of this marriage, while a second marriage to Anna Maria Neethling produced a daughter. Erasmus moved to the Beaufort district in 1821. From 1822 1824 he -'resided in the Graaff-Reinet area, and from 1825 he settled in the new district of SomersetEast. Like many of the other frontier farmers, this frontier pioneer probably participated in the northeastern migration for economical and geographical reasons. Erasmus played a leading role in this district in the capacity of provisional field cornet for Brak River. From 1835 he was field cornet for the new ward of Kraai River where he settled on the farm Mooiplaats. As a respected leader, Erasmus was fully aware of the administrative neglect of the north-eastern frontier wards. The progressive destabilisation of these wards, as well as the conflict between groups of black refugees this the uncertainty regarding dissatisfaction with frontier farmers, contributed insecurity. The question of for concern to Erasmus and his The their and the north-eastern towards the feeling of landownership was a cause fellow pioneer farmers. issue contributed to British government. Like many other frontier farmers, Stephanus Erasmus came into conflict with the authorities with regard to the treatment of his slaves. To make matters worse, a murder charge was brought against him after he had shot and killed a black man in the execution of his duties as field cornet. In 1836 Erasmus went on a hunting expedition in the direction of the Vaal River. During this expedition the Ndebele of Mzilikazi ambushed them on 21 August 1836 and two of Erasmus's sons were killed. Two days later Erasmus took part in the Vaal River battle. Erasmus then returned to the Colony from where he emigrated by the middle of 1837. As the leader of his own trek he held the office of commandant. It appears that he was a distinguished and revered Voortrekker leader. He was, for example, one of the six commandants at the battle of Blood River, and was in a leadership position during the battle of the White-Mfolozi. As a citizen of the Republic of Natal, Erasmus played a leading role in public life. He was a member of the Volksraad as well as a member of the Council of Landdros and Heemrade. After Britain had annexed Natal, Erasmus moved to Winburg and Potchefstroom. In 1845 he went to Ohrigstad where he died in February 1847. / AFRIKAANSE OPSOMMING:Die doel van hierdie studie was om 'n beskrywing van die lewe en bydrae van Stephanus Petrus Erasmus, oosgrenspionier en Voortrekker, te gee. Tweedens is Erasmus geplaas teen die agtergrond van die probleme van die grensboere van die noordoostelike grenswyke, Brakrivier en Kraairivier, in die jare 1825 - 1837. stephanus Erasmus is in April 1788 gedoop as 'n kind van Daniel Elardus en Catharina Elisabeth Erasmus. Teen 1804 of 1805 het Daniel Erasmus van die distrik Graaff-Reinet na die distrik Swellendam verhuis. Stephanus Erasmus is in die distrik in 1812 met Maartje Wilhelmina Zacharia Kruger getroud. uit hierdie huwelik is minstens tien kinders gebore, terwyl nog In dogter uit 'n tweede huwelik met Anna Maria Neethling gebore is. Erasmus het in 1821 na die distrik Beaufort verhuis. Van 1822 1824 was hy in die distrik Graaff-Reinet woonagtig. Sedert 1825 het Erasmus hom in die nuwe distrik Somerset-Oos gevestig. Soos sy mede-grensboere het die grensboerpionier waarskynlik vanwee ekonomiese en geografiese redes aan die noordoosmigrasie deelgeneem. In die distrik het Erasmus In belangrike leiersrol vervul as provisionele veldkornet van Brakrivier en sedert 1835 as veldkornet van die nuwe wyk Kraairivier. Daar het hy hom op die plaas Mooiplaats gevestig. As In gerespekteerde leiersfiguur sou Erasmus deeglik kennis neem van die administratiewe verwaarlosing van die , noordoosgrenswyke. Die toenemende destabilisasie van die noordoosgrenswyke en die konflik tussen groepe swart vlugtelinge en die noordoosgrensboere het tot die gevoel van onveiligheid bygedra. Die reg op grondbesit het Erasmus en sy mede-grensboere na aan die hart gele en onsekerheid rondom hierdie kwessie het tot toenemende ontevredenheid teenoor die Britse regering gelei. Soos talle ander grensboere het Stephanus Erasmus met die regering gebots as gevolg van die behandeling van sy slawe. Om sake te vererger is 'n moordaanklag teen hom aanhangig gemaak nadat hy 'n swartman in die uitvoering van sy pligte as veldkornet doodgeskiet het. In 1836 het Erasmus 'n jagtog in die rigting van die Vaalrivier onderneem. Hiertydens het die Ndebele van Mzilikazi op 21 Augustus 1836 'n verrassingsaanval op sy j agkamp geloods en is onder andere twee van Erasmus se seuns gedood. Hierop het Erasmus twee dae later aan die Vaalrivierslag deelgeneem. Daarna het Erasmus eers na die Kolonie teruggekeer en teen die middel van 1837 het hy geemigreer. As leier van sy eie trek het hy die amp van kommandant beklee. Dit blyk dat hy 'n vername en gewaardeerde Voortrekkerleier was. Hy was byvoorbeeld een van die ses kommandante by die slag van Bloedrivier en ook in 'n leiershoedanigheid tydens die slag van die Wit-Mfolozi. As burger van die Republiek van Natal het Erasmus 'n leiersrol in die openbare lewe gespeel. Hy was naamlik Volksraadslid en lid van die Raad van Landdros en Heemrade in Natal. Na die Britse anneksasie van Natal het die ou Voortrekker na Winburg en Potchefstroom verhuis waarna hy in 1845 na ohrigstad getrek het. Hier is Erasmus in Februarie 1847 oorlede.

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La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Le compositeur canadien Paul Baillargeon a réalisé la musique de plus de quarante épisodes des séries télévisées Star Trek, maintenant traduites et diffusées à travers le monde. Star Trek est l’une des dernières séries télévisuelles américaines ayant utilisé un orchestre symphonique d’envergure avant que ses principaux compositeurs réalisent eux-mêmes leurs bandes sonores à l’aide d’ordinateurs et d’échantillons numériques, remplaçant ainsi la cinquantaine de musiciens qui perpétuait la tradition acoustique de la production musicale à Hollywood. Non seulement ces outils influencent-ils la musique de Paul Baillargeon, mais ils transforment aussi son travail au sein de la postproduction des populaires séries télévisées. Ce regard microscopique sur l’influence des technologies musicales dans la création télévisuelle s’inscrit dans un contexte plus vaste qui concerne les transformations culturelles et sociales issues des rapides progrès technologiques auxquelles nous assistons depuis deux décennies. / Canadian composer Paul Baillargeon wrote the music for more than forty television shows for the Star Trek series, now translated and broadcasted around the world. Star Trek was one of the last television series produced by a complete symphonic orchestra when Paul Baillargeon started using computers and digital samples, thereby replacing those musicians that were perpetuating Hollywood’s acoustical tradition. Not only do these tools affect the music of Paul Baillargeon, they also transform his work among the postproduction team of the popular television series. This close look at how musical technology influences composition and music production for that particular composer is part of a vast context in which technological progress has transformed our cultural and social fields for the past two decades.

<p>Humanity has always dreamed about a better world. These dreams has manifested themselves in the vision of Utopia - the good place, but also the non-existing place. Up until World War II man still wrote optimistic descriptions of this ideal world, and spread the idea through literature. In the aftermath of the atomic bomb and under the influence of the cold war, these publications seized to surface in literary surroundings. Despite this utopia did not die - it has only changed. Today you can find utopia, not primarily in books, but in Science Fiction. TV’s biggest Science Fiction-series, Star Trek, is perhaps the best example of this. The Master's thesis "Utopia Trek - a travel through Star Trek with the concept of utopia" takes you through the history of utopia and into its new habitat, Star Trek, where the essence of a utopia for the 21th century is found, discussed and reevaluated.</p> / <p>Mänskligheten har alltid drömt om en bättre värld. Dessa drömmar har manifesterats i visionen om Utopia - den goda platsen, men också platsen som inte existerar. Fram till andra världskriget skrev man fortfarande optimistiska beskrivningar av denna idealvärld, och spred idén via litteraturen. Efter hotet från atombomben och under påverkan av det kalla kriget, slutade dessa publikationer att dyka uppi litterära sammanhang. Trots detta dog inte drömmen utopia - det har bara förändrats. Idag kan man finna utopia, inte företrädesvis i böcker, utan i science fiction. Tv:s största science fiction-serie, Star Trek, är kanske det bästa exemplet på detta. Magisteruppsatsen "Utopia Trek - utopibegreppets resa genom Star Trek" tar dig genom utopias historia och in i dess nya hemvist, Star Trek, där essensen av ett utopia för 2000-talet upptäcks, diskuteras och omvärderas. </p>