ARTICLE ABSTRACTS
ON STAR TREK
OTHER ARTICLES
Daniel Bernardi
Star Trek in the 1960s: Liberal-Humanism and
the Production of Race
Abstract.-- . This essay uncovers and critiques the relationship between the
meaning of race and the liberal-humanist project in Star Trek. While there are no
doubt many factors informing this relationship, it concentrates on the activities of
institutions and decision-makers responsible for the making of the series. This includes
NBC, the network on which the series aired, Gene Roddenberry, the creator and executive
producer, as well as various writers, directors, and actors. These "authors"
were consciously and thus intentionally involved in a liberal-humanist project very much
mindful of such 1960s experiences as the civil rights movement, the anti-war movement, and
the Cold War. Contrary to what is commonly said about this sf series, the essay argues
that Star Trek's liberal-humanist project is exceedingly inconsistent and at
times disturbingly contradictory: it often participates in and facilitates racist practice
in attempting to imagine what Gene Roddenberry called "infinite diversity in infinite
combinations."
Anne Cranny-Francis
Different Identities, Different Voices: Possibilities
and Pleasures in Some of Jean Lorrah's Star Trek Novels
Abstract.-- Fan writer Jean Lorrah has published a number of novels based on
the series, Star Trek and Star Trek: The Next Generation. This article
explores several of Lorrah's novels, tracing within them both conservative and
non-mainstream voices and discourses. Alongside patriarchal representations of gender
relationships, Lorrah offers an exploration of interpersonal intimacy which is
fundamentally subversive of patriarchal strategies. Her female characters are both
feminine and autonomous, victimized but not victims. And in her representation of Vulcan
society Lorrah articulates values which are alien indeed to bourgeois society: solidarity,
cohesion, loyalty, kinship. These novels do not have the shock value of the
sexually-explicit "slash" writings, and yet they voice values and attitudes
which may be equally challenging to mainstream opinion.
Lee E. Heller
The Persistence of Difference: Postfeminism, Popular
Discourse, and Heterosexuality in Star Trek: The Next Generation
Abstract.-- . This discussion examines Star Trek: The Next Generation's
recurring interest in heterosexual desire and its frustration. In several key episodes of
the series, heterosexuality is simultaneously reinscribed as the essential locus of
desire, and disrupted by repeated assertions of the inescapable differences between men
and women. The essay offers a lengthy discussion of two key episodes, "The Perfect
Mate," and "In Theory," in terms of their constructions of the ideal
romantic Other, and their conclusions about the ultimate inaccessibility of that ideal. It
situates this disruption of desire against the backdrop of both current popular culture
discourse about heterosexual romance, and the postfeminist backlash against changing
gender roles.
Sylvia Kelso
"Across Never": Postmodern Theory and Narrative Praxis
in Samuel R. Delany's Nevèrÿon Cycle
Abstract.--. Since the 1960s Samuel Delany's work has frequently been at the
speculative edge of "soft" science, feminism, and post-humanist thought. Its
equally ongoing concern with mythology moves from '60s resistance of white patriarchal
heterosexual myths to their denial, deconstruction, and, with Dhalgren,
demolition of myths and their generating system together. In the Nevèrÿon cycle
postmodern theory informs the construction of a new (form of) mythology. Derridean theory
supplies the "Symbolic Order" of the cycle's blurred margins and centerless
structure, while Foucault's use of S/M experience is paralleled in the series'
"homoerotic Imaginary." Its eroticizing and mythicizing fantasies transgress
generic and cultural boundaries in a manner characteristic of Delany's earlier sf, but
here they also demonstrate the crucial interventions of postmodern theory in a work about
Foucauldian "limit-experiences" that becomes a "limit-experience" in
itself.
Patrick A. McCarthy
Allusions in Ballard's The Drowned World
Abstract.--J.G. Ballard's fiction has received substantial critical attention, much of it focusing on the postmodern qualities of such works as The Atrocity Exhibition, Crash, and Hello America. Ballard's professed disdain for "the alienated and introverted fantasies of James Joyce, Eliot and the writers of the so-called Modernist Movement" might also suggest that his work has little in common with modernist fiction. Yet the line of demarcation between modernism and postmodernism is not always so easily discernible. Ballard's reliance on one technique associated with modernism, the use of allusions to suggest parallels between his work and that of earlier writers, is particularly evident in The Drowned World (1962). Although several critics have referred in passing to Ballard's use of allusions in this work and others, no study has yet examined these allusions in detail. The present set of annotations is offered as a starting point for investigations of Ballard's allusive technique during the early stages of his career.
David Seed
Deconstructing the Body Politic in Bernard Wolfe's Limbo
Abstract.-- Bernard Wolfe's Limbo (1952) remains an unjustifiably
neglected novel despite some signs of growing interest in recent years. It draws on
contemporary cultural criticism to burlesque the development of technology in a number of
important aspects: the use of supercomputers to wage an atomic war particularly and also
to depict a mass movement dedicated to the removal of human aggression by amputating
limbs. The latter movement explains the black joke of the novel's title and emerges as an
exercise in self-mystification since the new prosthetic limbs turn out to be vastly more
powerful than their originals. Like Vonnegut in Player Piano, Wolfe shows
cybernetics to involve a dangerous series of substitutions for the human, dangerous
because they obscure the divided and ambivalent nature of humanity. In order to bring out
such ambivalence Wolfe implicates his surgeon-protagonist Dr. Martine in the novel's power
structures and also uses a series of puns and other word play to alert the reader to a
duplicity not just in Cold War political statements but in expressions of human purpose
more generally. Limbo anticipates later fiction by Pynchon and the cyberpunk
group in its ironic examination of humanity's technological constructs.
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