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GAME of THRONES® the Follow Tours Include Guides with Special Interest and a Passion for the Game of Thrones
GAME OF THRONES® The follow tours include guides with special interest and a passion for the Game of Thrones. However you can follow the route to explore the places featured in the series. Meet your Game of Thrones Tours Guide Adrian has been a tour guide for many years, with a passion for Game of Thrones®. During filming he was an extra in various scenes throughout the series, most noticeably, a stand in double for Ser Davos. He is also clearly seen guarding Littlefinger before his final demise at the hands of the Stark sisters in Winterfell. Adrian will be able to bring his passion alive through his experience, as well as his love of Northern Ireland. Cairncastle ~ The Neck & North of Winterfell 1 Photo stop of where Sansa learns of her marriage to Ramsay Bolton, and also where Ned beheads Will, the Night’s Watch deserter. Cairncastle Refreshment stop at Ballygally Castle, Ballygally Located on the scenic Antrim coast facing the soft, sandy beaches of Ballygally Bay. The Castle dates back to 1625 and is unique in that it is the only 17th Century building still used as a residence in Northern Ireland today. The hotel is reputedly haunted by a friendly ghost and brave guests can visit the ‘ghost room’ in one of the towers to see for themselves. View Door No. 9 of the Doors of Thrones and collect your first stamp in your Journey of Doors passport! In the hotel foyer you will be able to admire the display cabinets of the amazing Steensons Game of Thrones® inspired jewellery. -
The Many Faced Masculinities in a Game of Thrones Game of Thrones
DOI: 10.13114/MJH.2018.436 Tarihi: 17.08.2018 Mediterranean Journal of Humanities Kabul Tarihi: 28.11.2018 mjh.akdeniz.edu.tr Geliş VIII/2 (2018) 479-497 The Many Faced Masculinities in A Game of Thrones Game of Thrones’da Çok Yüzlü Erkeklik Türleri Cenk TAN ∗ Abstract: A Game of Thrones is a stunning medieval fantasy which tells the story of the immense struggle for power in an ancient world named ‘The Seven Kingdoms’. It was originally written as a series of novels by the American author George R. R. Martin in 1996 and adapted to the TV screen by HBO in 2011. The series has completed its sixth season and is scheduled to go on for a total of eight seasons. Since its first broadcast in 2011, A Game of Thrones has attracted millions of viewers on a global scale and has received a total of 38 Emmy Awards. In A Game of Thrones, gender is one of the central themes, as power relations generally evolve around different gender roles. This study analyses masculinity in A Game of Thrones and the different types of masculinities which are identified through various male and female characters. This classification places all of the characters in two distinct gender categories. It also reveals the impact of these diverse forms of masculinities on the lives of the main characters and the general storyline of the production. Thus, the paper deconstructs the constructed masculinities in A Game of Thrones by exposing their representation through the main characters. Keywords: A Game of Thrones, Masculinity, Raewyn Connell, Gender Roles, Cultural Studies Öz: A Game of Thrones, Yedi Krallık olarak adlandırılan antik bir dünyada iktidar mücadelesini anlatan eşsiz bir fantastik ortaçağ hikâyesidir. -
2021 Rittenhouse Archives Game of Thrones Iron
February 24, 2021 2021 Rittenhouse Archives Game of Thrones Iron Anniversary Season 1 Trading Cards: SRP $29.99 Cost: $138.75 per box, 10 boxes‐$129.50 per box, 30 boxes +$127.00 per box Configuration: 10 boxes per case/8 packs per box/6 cards per pack Purchase Order Due Date: 3‐22‐2021 Release Date: 6‐2‐2021 Style #: RA21GOTIAS1 Min. 1 Inscription Autograph Card Per Box! Min. 2 Autograph Cards Per Box Overall Inscription Autographs Card Signers include: Emilia Clarke (Daenerys Targaryen) Mark Addy (King Robert Baratheon) Sophie Turner (Sansa Stark) Conleth Hill (Lord Varys) Alfie Allen (Theon Greyjoy) Gemma Whelan (Yara Greyjoy) Michiel Huisman (Daario Naharis) Tom Hopper (Dickon Tarly) Indira Varma (Ellaria Sand) Conan Stevens (The Mountain) Jack Gleeson (King Joffrey) and many more! Hundreds of Inscription Variations to Collect! Plus Amazing New Bonus Autographs Autograph/Relic/Quote Cards Featuring Emilia Clarke (Daenerys Targaryen) and Peter Dinklage (Tyrion Lannister) Autograph/Quote Cards signed by Sean Bean (Ned Stark) Dual Autograph Cards with Maisie Williams (Arya Stark), Lena Headey (Cersei Lannister), Conleth Hill (Lord Varys), Sean Bean (Ned Stark), Iwan Rheon (Ramsay Bolton), Nathalie Emmanuel (Missandei) and more! Autograph/Relic Cards Signed by Lena Headey (Cersei Lannister) Series 1 Base Set 99 High‐End Cards of Leading Characters, Featuring All‐New, Inter‐Connective Foil‐Stamping and 9‐Card Puzzle‐ Backs! Series 1 Bonus Cards 99 Copper Parallel Base Cards (Numbered) 99 Gold Parallel Base Cards (Numbered) One‐of‐a‐Kind -
The Art of the Episode - Beginning of the Fifth Act
The art of the episode - beginning of the fifth act. The eighth and final season of Game of Thrones has begun. As a reminder: Dramaturgically speaking, this series is rather a long epic feature film and follows the corresponding rules. This structural structure is complemented by a historical drama in the tradition of Shakespeare. Therefore, Game of Thrones doesn't follow the rules of a series in which each episode must have a dramatic climax on the vertical narrative level. With this series of weekly comments on this series I complete the book "Game of Thrones sehen", published in 2017. With this eighth season the fifth act begins. Accordingly, the art of the first episode of this last season is not only to recall important aspects of the previous action after the long production and waiting period, but also to organize the necessary explicit action for the decisive fifth act. References to previous events must be included, especially to those of the first act, in this case the first and second season, which corresponds to the dramaturgical requirements of a last act of a feature film. This referential level is already established in the first scene when we observe a boy (Felix Jamieson) walking through the crowd to climb a tree to better observe the approaching troops. This scene reflects on the one hand the scene from the first season, in which Bran spotted the approaching caravan of King Robert from the lookout at Winterfell Castle. The boy's about the same age as Bran was in the first season. -
A Game of Thrones a Song of Ice and Fire by George R.R. Martin
A Game of Thrones A Song of Ice and Fire by George R.R. Martin Book One: A Game of Thrones Book Two: A Clash of Kings Book Three: A Storm of Swords Book Four: A Feast for Crows Book Five: A Dance with Dragons Book Six: The Winds of Winter (being written) Book Seven: A Dream of Spring “ Fire – Dragons, Targaryens Lord of Light Ice – Winter, Starks, the Wall White Walkers Spoilers!! Humans as meaning-makers – Jerome Bruner Humans as story-tellers – narrative theory Humans as mythopoeic–Carl G. Jung, Joseph Campbell The mythic themes in A Song of Ice and Fire are ancient Carl Jung: Archetypes are powerful & primordial images & symbols Collective unconscious Carl Jung’s archetypes Great Mother; Father; Hero; Savior… Joseph Campbell – The Power of Myth The Hero’s Journey Carole Pearson – the 12 archetypes Ego stage: Innocent; Orphan; Caretaker; Warrior Soul transformation: Seeker; Destroyer; Lover; Creator; Self: Ruler; Magician; Sage; Fool Maureen Murdock – The Heroine’s Journey The Great Mother (& Maiden, & Crone), the Great Father, the child, the Shadow, the wise old man, the trickster, the hero…. In the mystery of the cycle of seasons In ancient gods & goddesses In myth, fairy tale & fantasy & the Seven in A Game of Thrones The Gods: The Old Gods The Seven (Norse mythology): Maiden, Mother, Crone Father, Warrior, Smith Stranger (neither male or female) R’hilor (Lord of light) Others: The Drowned God, Mother Rhoyne The family sigils Stark - Direwolf Baratheon – Stag Lannister – Lion Targaryen -
The Many Faced Masculinities in a Game of Thrones Game
View metadata, citation and similar papers at core.ac.uk brought to you by CORE DOI: 10.13114/MJH.2018.436 Tarihi: 17.08.2018 Mediterranean Journal of Humanities Kabul Tarihi: 28.11.2018 mjh.akdeniz.edu.tr Geliş VIII/2 (2018) 479-497 The Many Faced Masculinities in A Game of Thrones Game of Thrones’da Çok Yüzlü Erkeklik Türleri Cenk TAN ∗ Abstract: A Game of Thrones is a stunning medieval fantasy which tells the story of the immense struggle for power in an ancient world named ‘The Seven Kingdoms’. It was originally written as a series of novels by the American author George R. R. Martin in 1996 and adapted to the TV screen by HBO in 2011. The series has completed its sixth season and is scheduled to go on for a total of eight seasons. Since its first broadcast in 2011, A Game of Thrones has attracted millions of viewers on a global scale and has received a total of 38 Emmy Awards. In A Game of Thrones, gender is one of the central themes, as power relations generally evolve around different gender roles. This study analyses masculinity in A Game of Thrones and the different types of masculinities which are identified through various male and female characters. This classification places all of the characters in two distinct gender categories. It also reveals the impact of these diverse forms of masculinities on the lives of the main characters and the general storyline of the production. Thus, the paper deconstructs the constructed masculinities in A Game of Thrones by exposing their representation through the main characters. -
Game of Thrones Background Guide Table of Contents
Game of Thrones Background Guide Table of Contents Letter from the Chair Letter from the Crisis Director Committee Logistics Introduction to the Committee Introduction to House Stark Introduction to House Lannister Introduction to House Targaryen Questions to Consider Resources to Use Resources Used Dossiers Appendix Staff of the Committee Chair Azanta Thakur Vice Chair Victoria Lopez Crisis Director Sam Lyons Assistant Crisis Director Ariana Thorpe Under Secretary General Jane Gallagher Taylor Cowser, Secretary General Neha Iyer, Director General Letter from the Chair Dear Delegates, On behalf of our committee, I want to extend a warm welcome to you all to BosMUN XIX. I am so excited that you will be a part of this committee and I expect us all to have a dramatic — yet fantastic — weekend. We have a lot of exciting things in store, so get ready, binge the show, and bring your game face. My name is Azanta Thakur and I will be your Chair for the conference weekend. I’m a senior at Boston University studying Public Health and Environmental Analysis & Policy. This is my fourth BosMUN and I’m really looking forward to my final MUN conference. I’ve held every role in BosMUN; from the Secretariat, to the Dais, to the Crisis Room — I hold this conference very near and dear to my heart. For me, doing my last committee on the greatest TV show of all time was the perfect way to go out with a bang. You have been given the once-in-a-lifetime opportunity to conclude this series the way you want. -
Chaotic Conceptions of Good and Evil Presented in Game of Thrones (TV Series)
Chaotic Conceptions of Good and Evil Presented in Game Of Thrones (TV Series) Agatha Rakasiwi Cahya Nirvana [email protected] Universitas Sains A Qur’an, Wonosobo, Jawa Tengah Atinia Hidayah [email protected] Universitas Sains A Qur’an, Wonosobo, Jawa Tengah Abstract The objectives of this study as it is mentioned in the problem statements is to analyze (1) the chaotic conception of good and evil presented in Game of Thrones (TV series), and (2) the conception of good and evil constructed in Game of Thrones. The method used in this research is qualitative approach. The object of this study is several episodes of Game of Thrones from season one to season eight. In collecting data, the techniques applied by the researcher are listening, reading, identifying, classifying, and selecting. The data analysis method is done by displaying, explaining, and interpreting. As a primary theory for the analysis, the researcher uses study of ethics by Peter Singer and Yaneer Bar-yam’s chaotic concepts. The results of the analysis shows that (1) the series presents chaotic conceptions of good and evil through the complex development of characters in Game of Thrones. (2) the series shows the construction of good and evil conception through four particular issues and cultural systems found in Game of Thrones, which are; how the culture enforce the law, the justice system, slavery, and trial by combat. Keyword: good, evil, chaotic conception, Game of Thrones Introduction The modern world where civilized people lived has put in their mind the common conception of good and evil. It has been taught for many generations and finally accepted in society as a moral belief that one is related to another and put one against the other in representation of positive and negative elements. -
Henry Tudor and Elizabeth of York As Daenerys Targaryen and Jon Snow
Facultat de Filosofia i Lletres Memòria del Treball de Fi de Grau Rewriting Historical Characters: Henry Tudor and Elizabeth of York as Daenerys Targaryen and Jon Snow Maria Antònia Llabrés Font Grau d'Estudis Anglesos Any acadèmic 2018-19 DNI de l’alumne:43472881Y Treball tutelat per José Igor Prieto Arranz Departament de Filologia Espanyola, Moderna i Clàssica S'autoritza la Universitat a incloure aquest treball en el Repositori Autor Tutor Institucional per a la seva consulta en accés obert i difusió en línia, Sí No Sí No amb finalitats exclusivament acadèmiques i d'investigació Paraules clau del treball: reversal gender roles, historical discourse, power, recognition, fantasy Abstract This essay examines the relationship between the historical figures Henry VII and Elizabeth of York, and the fictional characters Jon Snow and Daenerys Targaryen from the popular TV series Game of Thrones. Through the analysis of the similarities between their lives, this project attempts to prove how both fictional characters are based and influenced by Henry VII and Elizabeth of York. Moreover, there is very little previous literature about the life of Elizabeth of York, obscuring and undermining her important role in putting an end to the Wars of the Roses. Thus, besides proving the relationship between these historical characters and the fictional ones, the aim of this paper is also to emphasise the historical importance given to Elizabeth of York in Game of Thrones by means of using her as a main source of inspiration for two of the most important an relevant characters of the series. As a result, this work also intends to prove how Game of Thrones demolishes gender boundaries by using characteristics of both Henry VII and Elizabeth of York to shape the characters of Jon Snow and Daenerys Targaryen. -
A GAME of THRONES by George R.R
Song of Fire and Ice Book I A GAME OF THRONES by George R.R. Martin A. B. B. “....we hold to the belief that the man who passes “But they have the soft hearts of women. So “....we hold to the belief that the man who passes the “My“My mother mother bids bids me me let letLord Lord Eddard Eddard take takethe black, the “But they have the soft hearts of women. So long as I The most 292,651 Words the sentence should swing the sword. If you long as I am your king, treason shall never go There’s no The Tragedy of sentence should swing the sword. If you would take a andblack, Lady and Sansa Lady has Sansa begged has mercy begged for hermercy father.” for am your king, treason shall never go unpunished. Ser such thing By weight, sympatheticThe most would take a man’s life, you owe it to him to look There’s no 73 Chapters man’s life, you owe it to him to look into his eyes and her father.” Ilyn,unpunished. bring me Serhis head!”Ilyn, bring me his head!” as a happy charactersympathetic is, in into his eyes and hear his final words. And if you For me, Arya such thing it’s Ned’s character is, 8 POV Characters hear his final words. And if you cannot bear to do that, Martin temps us. Yeah, he could take the black. It’d be has theFor me,most Mother’sas a happy story,By weight, but many ways,in many the Ned Stark, cannotthen perhaps bear theto do man that, does then not perhapsdeserve to the die.” man so cool. -
Jon Targaryen a Hero's Journey
Hugvísindasvið Jon Targaryen A Hero's Journey B.A. Essay Ívar Hólm Hróðmarsson May 2014 University of Iceland School of Humanities Department of English Jon Targaryen A Hero's Journey B.A. Essay Ívar Hólm Hróðmarsson Kt.: 180582-2909 Supervisor: Úlfhildur Dagsdóttir May 2014 Abstract This essay examines the journey of Jon Snow, a character from George R. R. Martin's epic fantasy series A Song of Ice and Fire. As of now, May 2014, the series has not been completed, only five out of a planned seven novels have been published, and uncertainty shrouds the fate of every major character. Despite that fact it will be argued that Jon Snow is the true hero of the story and parallels are drawn between his journey and Joseph Campell's theory of the monomyth, also referred to as the hero's journey, presented in The Hero with a Thousand Faces (1949). Campell's theory states that there is a similar pattern that can be found in most narratives, be it fairy tales, myths or adventures. Furthermore, Jon Snow's obscure lineage is explored in detail and an educated guess is made regarding his parentage in order to support the claim that his is the song of ice and fire. Table of Contents Introduction .......................................................................................................... 1 Essential Background Information ...................................................................... 4 Jon's Journey ........................................................................................................ 6 Jon's Parentage .................................................................................................. -
Game of Thrones Season 7 Directors Revealed | EW.Com
Game of Thrones season 7 directors revealed It’s the first official news about Game of Thrones season 7: The next outing of the international fantasy sensation has lined up four acclaimed directors to tackle the 2017 season – including a founding Thrones veteran who’s returning to the show after directing major Hollywood films. The first thing savvy Thrones fans will notice about this list is the number of names. In recent years, Thrones has employed five directors to helm two episodes each. HBO has not yet publicly confirmed the plan by Thrones showrunners David Benioff and Dan Weiss to reduce next season to seven episodes. But given that there are fewer directors on board for season 7, viewers can take that as a sign that things will be different next year. Here are the directors signed on for season 7: – Alan Taylor: An Emmy-winning veteran of The Sopranos, Taylor helped pioneer the visual storytelling style of the show when he helmed the pivotal ninth and 10th episodes of season 1, particularly “Baelor” (the episode where Ned Stark was executed). The Thrones producers were so impressed they gave Taylor four episodes to helm in season 2 – including the premiere and the finale. Then Marvel snatched him up for Thor: The Dark World followed by Taylor reuniting with Emilia Clarke to direct her big-screen role in Terminator: Genisys. Now he’s back on Thrones for the first time since 2012. – Jeremy Podeswa: The Canadian director and Boardwalk Empire veteran scored an Emmy nomination for directing the show’s most controversial hour, season 5’s darkly tense “Unbowed, Unbent, Unbroken.” This year he directed the propulsive season premiere as well as Jon Snow’s riveting resurrection episode, “Home.” – Mark Mylod: A four-time director on the show, the British veteran of Showtime’s Shameless and HBO’s Entourage took on this season’s uniquely textured re-introduction of the The Hound in “The Broken Man,” as well as Arya’s exciting chase sequence in “No One.” – Matt Shakman: A newcomer to the series.