By Diana M.A. Relke
The big name Trek franchise represents essentially the most profitable emanations of renowned media in our tradition. The variety of books, either well known and scholarly, released just about superstar Trek is very large, with increasingly more titles published each year. only a few, although, have checked out big name Trek when it comes to the dialectics of humanism and the posthuman, the pervasiveness of complicated expertise, and the problems of gender identification. In Drones, Clones and Alpha Babes, writer Diana Relke sheds gentle on how the superstar Trek narratives impression and are stimulated through moving 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 viewpoint, Relke specializes in big name Trek’s uniquely American model of liberal humanism, extends it right into a broader research of ideological gains, and avoids a totally confident or unfavorable critique, settling on as a substitute to honour the contradictions inherent within the complexity of the topic.
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Additional info for Drones, Clones, And Alpha Babes: Retrofitting Star Trek's Humanism, Post-9 11
I remember now. It wasn’t enough to assimilate me. I had to give myself freely to the Borg – to you. ” In addition to illuminating the dominatrix aspect of the Borg Queen, these words recall John Stuart Mill’s nineteenth-century insight into patriarchy: Men do not want solely the obedience of women, they want their sentiments. All men, except the most brutish, desire to have, in the woman most nearly connected with them, not a forced slave but a willing one, not a slave merely, but a favourite.
Sara Ruddick, “Thinking about Mothering and Putting Maternal Thinking to Use,” 5–6. IF FREUD WAS RIGHT, all of us are haunted by infantile memories of an omnipotent mother with the power to grant our every desire and deny our every need. This figure, who apparently dominated our lives before we were even aware of the existence of fathers, bears the signifier of patriarchal power – the phallus. Patriarchal gender arrangements ensure that we never entirely get over this pre-oedipal fantasy, which is thought to be more acute in men, thanks to the punishing demands of masculinity.
While this destabilization can certainly be read in terms of what Berlant calls the collapse of “the political and the personal into a world of public intimacy, a nation made for adult citizens” (1), the fact that this microcosm of American nationhood is presided over by a female ﬁgure of authority gives Voyager a slightly progressive edge. The issue of family versus village is debated vis-à-vis the Borg, who undergo a ﬁnal phase in their gender transformation across several key episodes, in which we see the Queen and her collective as a mirror held up to reﬂect American family values as Janeway and her crew (re)deﬁne them.