Drones, Clones, and Alpha Babes: Retrofitting Star Trek's by Diana Relke

By Diana Relke

The famous person Trek franchise represents probably the most profitable emanations of well known media in our tradition. The variety of books, either renowned and scholarly, released with reference to celebrity Trek is very large, with increasingly more titles published each year. only a few, although, have checked out megastar Trek when it comes to the dialectics of humanism and the posthuman, the pervasiveness of complicated know-how, and the problems of gender id. In Drones, Clones and Alpha Babes, writer Diana Relke sheds mild on how the superstar Trek narratives effect and are encouraged via transferring cultural values within the usa, utilizing those as portals to the sociopolitical and sociocultural landscapes of the united states, pre- and post-9/11. From her Canadian point of view, Relke specializes in famous person Treks uniquely American model of liberal humanism, extends it right into a broader research of ideological good points, and avoids a totally confident or unfavorable critique, identifying as a substitute to honour the contradictions inherent within the complexity of the topic.

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The doctor shoots back: “When I look at my patient, I don’t see a collective consciousness, I don’t see a hive. ” By the end of the episode, the drone with the “designation” Two-of-Five, is become a fully individuated teenager with the decidedly masculine name of Hugh (“I, Borg”). How the crew and the young drone settle upon “Hugh” as an appropriate name is an interesting play on the binary language around which this episode turns – namely, the self/other and I/thou constructions so central to humanist individualism.

As a character, Janeway is constructed as an authority figure with an unabashed belief in women’s maternal instincts (a point to which I shall return). If Voyager fan fiction is any indication, this is precisely what makes Janeway popular with many female fans, as she reconciles some of the internal conflict experienced by female inheritors of second-wave feminism’s achievements. It’s also what makes her an easy target for any psychoanalytic critic driven by a need to expose Voyager as a reproducer of the patriarchal status quo.

Crusher, they obey him because he’s the Captain. Thus has he overridden their scruples and involved them in slaughtering aliens, whose corpses are then converted into a powerful fuel for enhancing the performance of their warp engines and speeding up their return to Earth. When Janeway discovers that Ransom has betrayed every Federation principle she has struggled to uphold, she is so furious that their argument degenerates into the polarized one of rigid moral absolutes versus complete moral relativism, the issue at the very heart of the American culture wars.

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