Pub Date : 2021-12-02DOI: 10.5325/intelitestud.23.4.0463
Chhandita Das, P. Tripathi
abstract:This article curates an interdisciplinary convergence of the "place" concept that envisions a postmodern literary city as a proximal zone of ephemeral human experiences with mutual interdependency rather than a modernist homogeneous galore of dystopian or utopian construct. Illustrating upon the alignment of simulation in the literary city of Allahabad (an Indian city that was recently renamed Prayagraj) in Indian English author Neelum Sara Gour's Select Writings, this article will examine Gour's spatial representation of Allahabad as a meaningful construction of its inhabitants subjective and collective experiences without ignoring its pertaining state in shaping human experiences. Such inseparability between place and human experience foregrounds the concept of place-identity as a "substructure of a person's self-identity," which resonates at the core of people's existence or "being there," that is dasein (Martin Heidegger, 1962) and theoretically positions an individual within "world of references," briefly delineating upon nuanced emergence of humanist tradition in place research and its current epoch in contemporary concept of dasein toward postmodern literary geography, interrogating the triad of place-identity, people, and existence, blurring the epistemological debate between identity and existence to the complementary nature of both in terms with place.
本文策划了“地方”概念的跨学科融合，将后现代文学城市设想为相互依存的短暂人类经验的近距离区域，而不是现代主义同质的反乌托邦或乌托邦结构。在印度英语作家Neelum Sara Gour的精选作品中，以阿拉哈巴德文学城市(最近更名为Prayagraj的印度城市)的模拟为例，本文将研究你对阿拉哈巴德的空间表征，作为其居民主观和集体经验的有意义的建构，而不忽视其在塑造人类经验方面的相关状态。地点和人类经验之间的这种不可分割性，使地点认同的概念成为“一个人自我认同的子结构”，它与人们存在或“在那里”的核心产生共鸣，即存在(Martin Heidegger, 1962)，并在理论上将个人置于“参照世界”中。简要描述人文主义传统地研究的微妙出现及其在当代对后现代文学地理学的存在性概念中的当前时代，质疑地点-身份，人与存在的三位一体，模糊身份与存在之间的认识论辩论，以两者在地点方面的互补性。
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Pub Date : 2021-12-02DOI: 10.5325/intelitestud.23.4.0503
A. Fakhrkonandeh, Y. Sümbül
abstract:What a survey of contemporary British drama reveals is a plethora of plays concerned not only with psychological and medical issues, but with precarious individuals, whose symptomatic condition is presented in terms of schizophrenia or schizoid states. Duncan Macmillan's People, Places and Things (2015) can be considered as a distinctive play in this trend, where not only a rehabilitation center features as its setting, but its main character is afflicted with a complex cluster of symptoms: a schizoid personality, addiction, melancholic loss, and Oedipal tension with parents. Taking People, Places and Things as its focal point, and situating its arguments in the context of "Therapy Culture" (Furedi), this article demonstrates that what distinguishes Macmillan's approach is his deconstructive understanding of the aporias besetting three chief spheres of human action, cognition, and affection: the epistemological, ontological and moral position of (1) his own art/ work and its methods/techniques, (2) the (psycho-)therapeutic disciplines and institutes, (3) contemporary social-cultural discourse and political hegemony. Scrutinizing Macmillan's treatment of the foregoing triad, it will be argued how his method can be characterized in two terms: symptomatic-symptomatological and critical-clinical.
一项对当代英国戏剧的调查显示，大量戏剧不仅关注心理和医疗问题，而且关注不稳定的个体，这些个体的症状表现为精神分裂症或分裂样状态。邓肯·麦克米伦(Duncan Macmillan)的《人、地方和事物》(People, Places and Things, 2015)可以被认为是这一趋势中的一部独特的戏剧，它不仅以康复中心为背景，而且它的主角受到一系列复杂症状的折磨:精神分裂人格、成瘾、忧郁的丧失、与父母的俄狄普斯式紧张关系。本文以《人、地点和事物》为中心，将其论点置于“治疗文化”(Furedi)的背景下，证明了麦克米伦方法的独特之处在于他对困扰人类行为、认知和情感三个主要领域的缺陷的解构理解:(1)他自己的艺术/作品及其方法/技术的认识论、本体论和道德立场;(2)(心理)治疗学科和研究所;(3)当代社会文化话语和政治霸权。仔细研究麦克米伦对上述三位一体的治疗，我们将讨论他的方法如何可以用两个术语来描述:症状-症状学和关键-临床。
{"title":"Art as Symptom or Symptomatology? Performative Subjects, Capitalist Performativity, and Performance-Based Therapy in Duncan Macmillan's People, Places and Things","authors":"A. Fakhrkonandeh, Y. Sümbül","doi":"10.5325/intelitestud.23.4.0503","DOIUrl":"https://doi.org/10.5325/intelitestud.23.4.0503","url":null,"abstract":"abstract:What a survey of contemporary British drama reveals is a plethora of plays concerned not only with psychological and medical issues, but with precarious individuals, whose symptomatic condition is presented in terms of schizophrenia or schizoid states. Duncan Macmillan's People, Places and Things (2015) can be considered as a distinctive play in this trend, where not only a rehabilitation center features as its setting, but its main character is afflicted with a complex cluster of symptoms: a schizoid personality, addiction, melancholic loss, and Oedipal tension with parents. Taking People, Places and Things as its focal point, and situating its arguments in the context of \"Therapy Culture\" (Furedi), this article demonstrates that what distinguishes Macmillan's approach is his deconstructive understanding of the aporias besetting three chief spheres of human action, cognition, and affection: the epistemological, ontological and moral position of (1) his own art/ work and its methods/techniques, (2) the (psycho-)therapeutic disciplines and institutes, (3) contemporary social-cultural discourse and political hegemony. Scrutinizing Macmillan's treatment of the foregoing triad, it will be argued how his method can be characterized in two terms: symptomatic-symptomatological and critical-clinical.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"47 1","pages":"503 - 546"},"PeriodicalIF":0.1,"publicationDate":"2021-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84296730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-02DOI: 10.5325/intelitestud.23.4.0573
J. M. George
abstract:Widely considered a hermetic text of avant-garde modernism for its inaccessibility to the "common reader," James Joyce's magnum opus Ulysses is literally esoteric with allusions to Kabbalistic concepts, terms of Hindu cosmology, Trinitarian heresies, and Continental mystics; quasi-ironic references to Dublin Theosophists; the protagonist Leopold Bloom's Freemasonry; and structural use of Platonic/Aristotelian metaphysics. However, the esotericism of Ulysses is not confined to the text's cavalier allusiveness. Nor is the religious origin of Joyce's art merely part of the personal mythology of the author, a relapsed Catholic, whose Eucharistic aesthetic endeavors to "transmut[e] the daily bread of experience into the radiant body of everliving life." This article argues that esotericism is a fundamental principle underlying the composition of Ulysses, its envisaged relationship with the "implied reader," and its larger socio-cultural ramifications. It explores the literary esotericism of Ulysses as analogous to religious esotericism with reference to: the idea of the book as cosmos with the chaotic "word" as its prima materia; its archetypal/symbolic consciousness; the idea of infinity as a hermeneutic principle; manifestation of the ideas of initiation and secrecy as hermeneutic challenges; the self-imposed antithetical character of avant-garde modernism vis-à-vis the mainstream; and the possibility of deciphering a Joycean "vision."
{"title":"Art à la the Occult: The Literary Esotericism of James Joyce's Ulysses","authors":"J. M. George","doi":"10.5325/intelitestud.23.4.0573","DOIUrl":"https://doi.org/10.5325/intelitestud.23.4.0573","url":null,"abstract":"abstract:Widely considered a hermetic text of avant-garde modernism for its inaccessibility to the \"common reader,\" James Joyce's magnum opus Ulysses is literally esoteric with allusions to Kabbalistic concepts, terms of Hindu cosmology, Trinitarian heresies, and Continental mystics; quasi-ironic references to Dublin Theosophists; the protagonist Leopold Bloom's Freemasonry; and structural use of Platonic/Aristotelian metaphysics. However, the esotericism of Ulysses is not confined to the text's cavalier allusiveness. Nor is the religious origin of Joyce's art merely part of the personal mythology of the author, a relapsed Catholic, whose Eucharistic aesthetic endeavors to \"transmut[e] the daily bread of experience into the radiant body of everliving life.\" This article argues that esotericism is a fundamental principle underlying the composition of Ulysses, its envisaged relationship with the \"implied reader,\" and its larger socio-cultural ramifications. It explores the literary esotericism of Ulysses as analogous to religious esotericism with reference to: the idea of the book as cosmos with the chaotic \"word\" as its prima materia; its archetypal/symbolic consciousness; the idea of infinity as a hermeneutic principle; manifestation of the ideas of initiation and secrecy as hermeneutic challenges; the self-imposed antithetical character of avant-garde modernism vis-à-vis the mainstream; and the possibility of deciphering a Joycean \"vision.\"","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"12 1","pages":"573 - 596"},"PeriodicalIF":0.1,"publicationDate":"2021-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74117836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-02DOI: 10.5325/intelitestud.23.4.0437
Jeanette E. Goddard
abstract:This article uses Judith Butler's work on speech-act theory in Excitable Speech to examine The Merchant of Venice. Portia as a woman and Shylock as a Jew are outsiders, and both use the language of the Venetian ruling class to attempt to become legitimate speakers. In other words, they use the language of the powerful to challenge power. Shylock is unsuccessful in achieving the status of legitimate speaker and is punished for his attempt. In contrast, Portia disguises herself as a man and has a legitimate speaker, Bellario, vouch for her performance. This combination leads to her success. Both Shylock and Portia highlight the exclusions of the Christian Venetian men's normative language, though they do so differently. Shylock highlights that an illegitimate speaker can appropriate the language and the anxiety this creates. Portia's success demonstrates the failure of those in an authoritative position to accurately identify illegitimate speakers. Additionally, Bellario's letter demonstrates that not all authorized speakers are invested in maintaining its exclusive hegemony. This suggests that as long as the exclusions that shore up authority are based at least in part on visual recognition, there exists the possibility of exploiting visual ambiguity to produce the effect of authority.
{"title":"\"The outward shows be least themselves\": Speech Acts, Authority, and Visual Ambiguity in The Merchant of Venice","authors":"Jeanette E. Goddard","doi":"10.5325/intelitestud.23.4.0437","DOIUrl":"https://doi.org/10.5325/intelitestud.23.4.0437","url":null,"abstract":"abstract:This article uses Judith Butler's work on speech-act theory in Excitable Speech to examine The Merchant of Venice. Portia as a woman and Shylock as a Jew are outsiders, and both use the language of the Venetian ruling class to attempt to become legitimate speakers. In other words, they use the language of the powerful to challenge power. Shylock is unsuccessful in achieving the status of legitimate speaker and is punished for his attempt. In contrast, Portia disguises herself as a man and has a legitimate speaker, Bellario, vouch for her performance. This combination leads to her success. Both Shylock and Portia highlight the exclusions of the Christian Venetian men's normative language, though they do so differently. Shylock highlights that an illegitimate speaker can appropriate the language and the anxiety this creates. Portia's success demonstrates the failure of those in an authoritative position to accurately identify illegitimate speakers. Additionally, Bellario's letter demonstrates that not all authorized speakers are invested in maintaining its exclusive hegemony. This suggests that as long as the exclusions that shore up authority are based at least in part on visual recognition, there exists the possibility of exploiting visual ambiguity to produce the effect of authority.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"39 1","pages":"437 - 462"},"PeriodicalIF":0.1,"publicationDate":"2021-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82443064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-18DOI: 10.5325/intelitestud.23.3.0338
Kyoko Kishimoto, Matthew D. Barton, Edward M. Sadrai, Michael B. Dando, Sharon Cogdill
abstract:This analysis takes up hybridity to consider how dominant ideologies of assimilation, hegemony, and homogeneity in the world today shape the way entertainment, and in this case Star Trek: Picard, is written and produced, with particular attention to Picard himself, Soji Asha, Seven of Nine, Hugh, and Rios. With this framework, we can see past the tropes (like the white savior, "liberal" multiculturalism, and sci-fi's utopian/optimistic imaginings of a world without racism and sexism) that the show seems to promulgate unconsciously to a richer, complexified reading of hybridity as nonconsensual and strategic multiplicity as resistance to hegemony.
本分析以杂杂性为基础，考虑当今世界的同化、霸权和同质性的主流意识形态是如何塑造娱乐方式的，在本例中是《星际迷航:皮卡德》的写作和制作方式，并特别关注皮卡德本人、Soji Asha、Seven of Nine、Hugh和Rios。在这个框架下，我们可以看到这部剧似乎在无意识中传播的那些比喻(比如白人救世主、“自由主义”多元文化主义，以及科幻小说中对一个没有种族主义和性别歧视的世界的乌托邦/乐观想象)，以及对杂糅性的更丰富、更复杂的解读，这种杂糅性是一种非共识的、战略性的多样性，是对霸权的抵抗。
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Pub Date : 2021-09-18DOI: 10.5325/intelitestud.23.3.0389
O. Cade
abstract:In "Context Is for Kings," "The Butcher's Knife Cares Not for the Lamb's Cry," and "Choose Your Pain," three season one episodes of Star Trek: Discovery, the hybrid nature of Starfleet becomes apparent when its scientists come into conflict with its soldiers. The order to treat a potentially sentient tardigrade-like creature as a military resource, subject to what is essentially slavery and vivisection, makes scientific ethics subject to strategic value. In each episode, a separate pairing between scientist and soldier develops, which both critiques the competing philosophies and acts as a metaphor for historical conflicts of this kind.
{"title":"Ethics, Experimentalism, and Hybrid Purpose: Navigating Science and the Military in Star Trek: Discovery","authors":"O. Cade","doi":"10.5325/intelitestud.23.3.0389","DOIUrl":"https://doi.org/10.5325/intelitestud.23.3.0389","url":null,"abstract":"abstract:In \"Context Is for Kings,\" \"The Butcher's Knife Cares Not for the Lamb's Cry,\" and \"Choose Your Pain,\" three season one episodes of Star Trek: Discovery, the hybrid nature of Starfleet becomes apparent when its scientists come into conflict with its soldiers. The order to treat a potentially sentient tardigrade-like creature as a military resource, subject to what is essentially slavery and vivisection, makes scientific ethics subject to strategic value. In each episode, a separate pairing between scientist and soldier develops, which both critiques the competing philosophies and acts as a metaphor for historical conflicts of this kind.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"156 1","pages":"389 - 406"},"PeriodicalIF":0.1,"publicationDate":"2021-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72851320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-18DOI: 10.5325/intelitestud.23.3.0319
Judith Clemens‐Smucker
abstract:"Scorpion, Parts 1 & 2" examines humanity, hybridity, and monstrosity through several lenses, ultimately deciding that remaining human is both desired and important enough that monstrous behavior is accepted to preserve it. In 1989 Star Trek: The Next Generation introduced the Borg, a monstrous, hybrid species that swept through the galaxy assimilating all other species into their single-minded existence. The Borg reigned as the ultimate monster of the franchise until Star Trek: Voyager, when Species 8472 fought its way into the picture. When Voyager confronted this new species, the crew had to decide where its safety lay—did they join forces with their enemy, the Borg, to defeat this new threat, or should they find another way to avoid destruction? While the Voyager crew considered the Borg and Species 8472 as monsters, this episode painted the crew and thus, humanity, alongside the aliens as equally monstrous because of the lengths they went to survive. Humans and aliens are held to different standards in this text when it comes to judging their behavior as monstrous or appropriate, unacceptable or acceptable, but become as monstrous as the species they attempt to escape.
{"title":"Star Trek: Voyager—The Monstrousness of Humans in \"Scorpion, Parts 1 & 2\"","authors":"Judith Clemens‐Smucker","doi":"10.5325/intelitestud.23.3.0319","DOIUrl":"https://doi.org/10.5325/intelitestud.23.3.0319","url":null,"abstract":"abstract:\"Scorpion, Parts 1 & 2\" examines humanity, hybridity, and monstrosity through several lenses, ultimately deciding that remaining human is both desired and important enough that monstrous behavior is accepted to preserve it. In 1989 Star Trek: The Next Generation introduced the Borg, a monstrous, hybrid species that swept through the galaxy assimilating all other species into their single-minded existence. The Borg reigned as the ultimate monster of the franchise until Star Trek: Voyager, when Species 8472 fought its way into the picture. When Voyager confronted this new species, the crew had to decide where its safety lay—did they join forces with their enemy, the Borg, to defeat this new threat, or should they find another way to avoid destruction? While the Voyager crew considered the Borg and Species 8472 as monsters, this episode painted the crew and thus, humanity, alongside the aliens as equally monstrous because of the lengths they went to survive. Humans and aliens are held to different standards in this text when it comes to judging their behavior as monstrous or appropriate, unacceptable or acceptable, but become as monstrous as the species they attempt to escape.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"10 1","pages":"319 - 337"},"PeriodicalIF":0.1,"publicationDate":"2021-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86648502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-18DOI: 10.5325/intelitestud.23.3.0407
Eliza Gellis
abstract:In many ways, Spock is Star Trek's "original Other," defining the role of aliens, androids, and other Others, whose differences—and similarities—allow the show to explore ethical questions and the human experience. But Spock as developed and portrayed by Nimoy—the audience's first and often defining portrayal—offers a uniquely Jewish interpretation of Spock's alienness, Otherness, and hybridity. This article connects previous work on Star Trek and hybridity with Jewish studies, arguing for Spock's Jewish hybridity and demonstrating how Spock's liminal identity reflects Nimoy's interpretation of a Jewish experience. Jewish identity has long destabilized binaries and resisted easy categorization; as such, Nimoy's Jewish Spock refigures the hybrid as more than the sum of its parts, allowing for new perspectives on hybridity, identity, and Otherness. Nimoy's portrayal of Spock is not only a positive self-representation of Jewish identity, it forces us to reconsider the dichotomies that undergird our theorization of hybridity in science fiction and beyond.
{"title":"Spock's Jewish Hybridity","authors":"Eliza Gellis","doi":"10.5325/intelitestud.23.3.0407","DOIUrl":"https://doi.org/10.5325/intelitestud.23.3.0407","url":null,"abstract":"abstract:In many ways, Spock is Star Trek's \"original Other,\" defining the role of aliens, androids, and other Others, whose differences—and similarities—allow the show to explore ethical questions and the human experience. But Spock as developed and portrayed by Nimoy—the audience's first and often defining portrayal—offers a uniquely Jewish interpretation of Spock's alienness, Otherness, and hybridity. This article connects previous work on Star Trek and hybridity with Jewish studies, arguing for Spock's Jewish hybridity and demonstrating how Spock's liminal identity reflects Nimoy's interpretation of a Jewish experience. Jewish identity has long destabilized binaries and resisted easy categorization; as such, Nimoy's Jewish Spock refigures the hybrid as more than the sum of its parts, allowing for new perspectives on hybridity, identity, and Otherness. Nimoy's portrayal of Spock is not only a positive self-representation of Jewish identity, it forces us to reconsider the dichotomies that undergird our theorization of hybridity in science fiction and beyond.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"84 1","pages":"407 - 433"},"PeriodicalIF":0.1,"publicationDate":"2021-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83828002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-18DOI: 10.5325/intelitestud.23.3.0368
Francis Steven Mickus
abstract:"You're a culture of one which is no less valid than one of millions," says Picard to Data. Picard makes an interesting but disconcerting point, for a group's beliefs are indeed valid regardless of size or strength, yet culture by definition cannot be "a culture of one"; a culture is the network of references and practices that bind a society. Picard moreover stands as the example of the terrible cultural cost that comes with what he himself describes as resolving "certain social and political differences" to achieve political and therefore planetary unity. The respect for diversity, exchange, and therefore hybridity informs Prime Directive. That Directive is constantly put to the test, at times dramatically, in given episodes. The planetary cultures in the series are presented as monolithic blocks, where subcultures are a source of tension and bicultural characters are problematic: a character's diverse cultural heritage is seen as oppositional, and one culture must overwhelm the other. What culture can Data the synthetic life form have? What culture can Picard the human lose? While embracing diversity, the show unwittingly illustrates the overarching homogenization needed to achieve interplanetary unity, a sense of unity that ultimately undercuts the hybridity the Star Trek universe wishes to celebrate.
{"title":"A Culture of One: Cultural Homogenization across the Star Trek Universe","authors":"Francis Steven Mickus","doi":"10.5325/intelitestud.23.3.0368","DOIUrl":"https://doi.org/10.5325/intelitestud.23.3.0368","url":null,"abstract":"abstract:\"You're a culture of one which is no less valid than one of millions,\" says Picard to Data. Picard makes an interesting but disconcerting point, for a group's beliefs are indeed valid regardless of size or strength, yet culture by definition cannot be \"a culture of one\"; a culture is the network of references and practices that bind a society. Picard moreover stands as the example of the terrible cultural cost that comes with what he himself describes as resolving \"certain social and political differences\" to achieve political and therefore planetary unity. The respect for diversity, exchange, and therefore hybridity informs Prime Directive. That Directive is constantly put to the test, at times dramatically, in given episodes. The planetary cultures in the series are presented as monolithic blocks, where subcultures are a source of tension and bicultural characters are problematic: a character's diverse cultural heritage is seen as oppositional, and one culture must overwhelm the other. What culture can Data the synthetic life form have? What culture can Picard the human lose? While embracing diversity, the show unwittingly illustrates the overarching homogenization needed to achieve interplanetary unity, a sense of unity that ultimately undercuts the hybridity the Star Trek universe wishes to celebrate.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"10 1","pages":"368 - 388"},"PeriodicalIF":0.1,"publicationDate":"2021-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89895176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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