One element from Yesteryear that has become canon by depiction within Star Trek: The Original Series is the Vulcan city of ShiKahr, depicted in a background scene wherein Kirk, Spock and McCoy walk across a natural stone bridge ( first depicted in Star Trek III: The Search for Spock ) in the remastered " Amok Time ".

In 1989, she co-founded the acclaimed NYC political performance troupe Circus Amok and has directed it ever since.

She was also a focus of Tami Gold's documentary Juggling Gender and Circus Amok has been the subject of numerous documentary films.

Music-wise, it kept a fairly similar concept as Amok, as the songs had been written around the same time.

Despite this, some elements which originated in the animated series have been used in subsequent stories, most notably the details of Spock's childhood and Vulcan culture revealed in the episode " Yesteryear ", which were alluded to in the Star Trek: The Next Generation episode " Unification ", in the Star Trek: The Original Series remastered episode " Amok Time ", and in Star Trek: Enterprise.

In the TOS episode " This Side of Paradise ", Leila Kalomi hints at having had a special relationship with Spock some six years earlier, though Spock's remark that he hoped his half-human blood would see him " spared " the agony of pon farr in the episode Amok Time suggests that their relationship was more casual.

* Amok: Malayan mood disorder, more aptly called ' Austronesian Mood Disorder ', in which a person suddenly loses control of himself and goes into a killing frenzy, after which he / she hallucinates and falls into a trance.

Amok episodes of this kind normally end with the attacker being killed by bystanders or committing suicide, eliciting theories that amok may be a form of intentional suicide in cultures where suicide is heavily stigmatized.

The remastered Original Series episode " Amok Time " featured Shikahr in the background as Spock beams up at the episode's end, and the remastered version of " The Ultimate Computer " replaced the Botany Bay-style Woden with an automated grain carrier from " More Tribbles, More Troubles.

Comic Book Guy was partly inspired by a clerk at the Los Angeles Amok book shop who often "" on the high stool, kind of lording over the store with that supercilious attitude and eating behind the counter a big Styrofoam container full of fried clams with a lot of tartar sauce.

A further revival and expansion came in the 1990s with several small independent publishers emerging, such as l ' Association, Amok, Fréon ( The latter two later merged into Frémok ).

* Amok, 1922 ( Original title: Amok ) – novella, initially published with several others in Amok.

* Apocalypse Culture, edited by Adam Parfrey, interview with Sotos ( Amok Books, 1990, ISBN 0-922915-05-9 )

The music for this episode was collected, along with the score for " Amok Time ," on the second release from Crescendo Records of music from the series: the first release other than the music from the pilot episodes.

) He was replaced with Sebastion Amok, and within a few months D. R. I.

At the conclusion of this tour, they replaced Sebastion Amok that went on playing with The Dicks, another Texas band with Josh Pappe.

He created tribbles by using artificial fur stuffed with foam, the Neanderthals in " The Galileo Seven ", and the Romulan Bird of Prey (" Balance of Terror "), and the Vulcan harp first seen in " Charlie X " and later seen in " The Conscience of the King ", " Amok Time ", " The Way to Eden "; and Star Trek V: The Final Frontier.

Parfrey co-founded Amok Press with Kenneth Swezey in 1986 which released the cult classic Apocalypse Culture.

Csihar was replaced by Preben " Prime Evil " Mulvik, previously of Mysticum and Amok, and for the first time the band employed a human drummer in the form of Bard G. Eithun, ex-drummer with Emperor and then of Blood Tsunami.

Martel appeared in the 1967 Star Trek: The Original Series episode " Amok Time " ( as T ' Pring ) and the original The Outer Limits episode " Demon with a Glass Hand " ( 1964 ) written by Harlan Ellison.

Over the next few years, he made numerous films with Fassbinder, including Warum läuft Herr R. Amok?

Homer and Barney's duel is a reference to the classic Star Trek episode " The Gamesters of Triskelion ", complete with one of Star Treks fight themes ( originally from the episode " Amok Time ") and the NASA administrators betting on the combatants in " quatloos ".

* Jamie Kennedy as Amok: A former super-villain with blue skin and the ability to manipulate antimatter.

Amok is also sometimes considered one of the subcategories of dissociative disorders ( cross-cultural variant ).

The syndrome of " Amok " is found in the DSM-IV TR.

Amok typically takes place in a well populated or crowded area.

Amok is often described as a culture-bound ( or culture-specific ) syndrome, which is a psychological condition whose manifestation is strongly shaped by cultural factors.

Amok was officially classified as a psychiatric condition in 1849 based on the numerous reports and case studies which showed that the majority of individuals who committed amok were, in some sense, mentally ill.

Amok, the rarer form, is believed to stem from rage, insult, or a vendetta against a person or society for a wide variety of reasons.

" In Season 2, Episode 1 (" Amok Time ", 1967 ), Captain Kirk tells Spock, " As one of Finagle's Laws puts it: ' Any home port the ship makes will be somebody else's, not mine.

The other option is extreme shock ; in the TOS episode " Amok Time ", Spock believed he had killed James T. Kirk, his " best friend ", thus providing sufficient shock to nullify the effects of pon farr.

Some Vulcans, such as T ' Pol, Sarek ( in his later years, due to a rare disease which can affect Vulcans over the age of 200 years ), and Soval, carry their emotions close to the surface, and are prone to emotional outbursts, even without outside influences or illness ; T ' Pau certainly displayed restrained but definite emotions in the TOS episode " Amok Time ", including suspicion of the Human visitors followed by admiration and approval of their friendship for Spock, and contempt for Spock's humanity.

It is not established whether females have the same option, and T ' Pring stated in " Amok Time " that a koon-ut-kal-if-fee challenge was the only way she could legally divorce Spock.

The DVD commentary for " Amok Time " says that TOS writer D. C. Fontana named the Vulcan god of death " Shariel ", a bust of whom is seen in Spock's quarters.

As a bit of stage " business " in the episode " Amok Time ", he invented the famous " Live long and prosper " Vulcan salute based on the hand symbol used by Jewish priests ( kohanim ) during the Priestly Blessing in the synagogue.

The last of the four film Fassbinder shot in 1969, was his first in color, Why Does Herr R. Run Amok?

Nevertheless the two were jointly given a directorial award for the project in the 1971 German Film prize competition and Why Does Herr R. Run Amok?

Why Does Herr R. Run Amok?

According to Hanna Schygulla, Fassbinder had no part in making of Why Does Herr R. Run Amok?

Besides I heard her old uncle that stays there has been doin' it ''.

Southern resentment has been over the method of its ending, the invasion, and Reconstruction ; ;

The situation of the South since 1865 has been unique in the western world.

The North should thank its stars that such has been the case ; ;

As it is, they consider that the North is now reaping the fruits of excess egalitarianism, that in spite of its high standard of living the `` American way '' has been proved inferior to the English and Scandinavian ways, although they disapprove of the socialistic features of the latter.

In what has aptly been called a `` constitutional revolution '', the basic nature of government was transformed from one essentially negative in nature ( the `` night-watchman state '' ) to one with affirmative duties to perform.

For lawyers, reflecting perhaps their parochial preferences, there has been a special fascination since then in the role played by the Supreme Court in that transformation -- the manner in which its decisions altered in `` the switch in time that saved nine '', President Roosevelt's ill-starred but in effect victorious `` Court-packing plan '', the imprimatur of judicial approval that was finally placed upon social legislation.

Labor relations have been transformed, income security has become a standardized feature of political platforms, and all the many facets of the American version of the welfare state have become part of the conventional wisdom.

Historically, however, the concept is one that has been of marked benefit to the people of the Western civilizational group.

In recent weeks, as a result of a sweeping defense policy reappraisal by the Kennedy Administration, basic United States strategy has been modified -- and large new sums allocated -- to meet the accidental-war danger and to reduce it as quickly as possible.

The malignancy of such a landscape has been beautifully described by the Australian Charles Bean.

There has probably always been a bridge of some sort at the southeastern corner of the city.

Even though in most cases the completion of the definitive editions of their writings is still years off, enough documentation has already been assembled to warrant drawing a new composite profile of the leadership which performed the heroic dual feats of winning American independence and founding a new nation.

Madison once remarked: `` My life has been so much a public one '', a comment which fits the careers of the other six.

Thus we are compelled to face the urbanization of the South -- an urbanization which, despite its dramatic and overwhelming effects upon the Southern culture, has been utterly ignored by the bulk of Southern writers.

But the South is, and has been for the past century, engaged in a wide-sweeping urbanization which, oddly enough, is not reflected in its literature.

An example of the changes which have crept over the Southern region may be seen in the Southern Negro's quest for a position in the white-dominated society, a problem that has been reflected in regional fiction especially since 1865.

In the meantime, while the South has been undergoing this phenomenal modernization that is so disappointing to the curious Yankee, Southern writers have certainly done little to reflect and promote their region's progress.

Faulkner culminates the Southern legend perhaps more masterfully than it has ever been, or could ever be, done.

The `` approximate '' is important, because even after the order of the work has been established by the chance method, the result is not inviolable.

But it has been during the last two centuries, during the scientific revolution, that our independence from the physical environment has made the most rapid strides.

In the life sciences, there has been an enormous increase in our understanding of disease, in the mechanisms of heredity, and in bio- and physiological chemistry.

Even in domains where detailed and predictive understanding is still lacking, but where some explanations are possible, as with lightning and weather and earthquakes, the appropriate kind of human action has been more adequately indicated.

The persistent horror of having a malformed child has, I believe, been reduced, not because we have gained any control over this misfortune, but precisely because we have learned that we have so little control over it.