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Archetypes in Female Characters of Game of Thrones
Sveučilište u Zadru Odjel za anglistiku Preddiplomski sveučilišni studij engleskog jezika i književnosti (dvopredmetni) Gloria Makjanić Archetypes in Female Characters of Game of Thrones Završni rad Zadar, 2018. Sveučilište u Zadru Odjel za anglistiku Preddiplomski sveučilišni studij engleskog jezika i književnosti (dvopredmetni) Archetypes in Female Characters of Game of Thrones Završni rad Student/ica: Mentor/ica: Gloria Makjanić dr. sc. Zlatko Bukač Zadar, 2018. Makjanić 1 Izjava o akademskoj čestitosti Ja, Gloria Makjanić, ovime izjavljujem da je moj završni rad pod naslovom Female Archetypes of Game of Thrones rezultat mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na izvore i radove navedene u bilješkama i popisu literature. Ni jedan dio mojega rada nije napisan na nedopušten način, odnosno nije prepisan iz necitiranih radova i ne krši bilo čija autorska prava. Izjavljujem da ni jedan dio ovoga rada nije iskorišten u kojem drugom radu pri bilo kojoj drugoj visokoškolskoj, znanstvenoj, obrazovnoj ili inoj ustanovi. Sadržaj mojega rada u potpunosti odgovara sadržaju obranjenoga i nakon obrane uređenoga rada. Zadar, 13. rujna 2018. Makjanić 2 Table of Contents 1. Introduction ..................................................................................................................... 3 2. Game of Thrones ............................................................................................................. 4 3. Archetypes ...................................................................................................................... -
'Iron Throne' with a Noncompete? by Emily Wajert (May 16, 2019, 6:01 PM EDT)
Portfolio Media. Inc. | 111 West 19th Street, 5th Floor | New York, NY 10011 | www.law360.com Phone: +1 646 783 7100 | Fax: +1 646 783 7161 | [email protected] Claiming The 'Iron Throne' With A Noncompete? By Emily Wajert (May 16, 2019, 6:01 PM EDT) I can’t seem to take off my employment lawyer hat, even when watching my favorite shows. True to form, the final season of “Game of Thrones” has been filled with twists and turns, battles and heroics, and, of course, alliances and betrayals. With the highly anticipated series finale set to premiere this weekend, one burning question remains[1] — who will end up on the Iron Throne? Over the course of the show’s eight seasons, there have been many worthy (and not-so-worthy) contenders. Up until recently, it seemed the character with the strongest claim to rule Westeros was Daenerys Stormborn of the House Targaryen, the First of Her Name, the Unburnt, Queen of the Andals, the Rhoynar and the First Emily Wajert Men, Queen of Meereen, Khaleesi of the Great Grass Sea, Protector of the Realm, Breaker of Chains and Mother of Dragons (aka Dany). However, Dany’s claim came under threat once characters learned that the honorable Jon Snow actually had an even stronger claim. (For those unfamiliar, Jon Snow recently learned his true identity, which arguably places him ahead of Dany in the line of succession for the throne). Even after learning of his true identity and potentially stronger claim to the throne, Jon Snow continued to swear his allegiance to Dany as his “Queen.” Despite these assurances, Dany was clearly distraught over the idea of a popular Jon Snow competing against her for the throne. -
Download 1St Season of Game of Thrones Free Game of Thrones, Season 1
download 1st season of game of thrones free Game of Thrones, Season 1. Game of Thrones is an American fantasy drama television series created for HBO by David Benioff and D. B. Weiss. It is an adaptation of A Song of Ice and Fire, George R. R. Martin's series of fantasy novels, the first of which is titled A Game of Thrones. The series, set on the fictional continents of Westeros and Essos at the end of a decade-long summer, interweaves several plot lines. The first follows the members of several noble houses in a civil war for the Iron Throne of the Seven Kingdoms; the second covers the rising threat of the impending winter and the mythical creatures of the North; the third chronicles the attempts of the exiled last scion of the realm's deposed dynasty to reclaim the throne. Through its morally ambiguous characters, the series explores the issues of social hierarchy, religion, loyalty, corruption, sexuality, civil war, crime, and punishment. The PlayOn Blog. Record All 8 Seasons Game of Thrones | List of Game of Thrones Episodes And Running Times. Here at PlayOn, we thought. wouldn't it be great if we made it easy for you to download the Game of Thrones series to your iPad, tablet, or computer so you can do a whole lot of binge watching? With the PlayOn Cloud streaming DVR app on your phone or tablet and the Game of Thrones Recording Credits Pack , you'll be able to do just that, AND you can do it offline. That's right, offline . -
Cheat Sheet to Westeros and Beyond, Your Guide on Catching up to “Game of Thrones” Before Season 8 Starts April 14
“Game of Thrones” has several great battle scenes, and the sixth season features the Battle of the Bastards, one of the most epic battle scenes ever filmed, movie or television. COURTESY/HBO ith the final season of “Game of Thrones” fast approaching, you might feel a little left out of the pop culture phenomenon as ‘GAME OF your friends and family discuss Targaryens, Starks and Lan- nisters. But it’s not too late to get caught up, if you’re willing to Wtake a crash course in the Seven Realms. THRONES’ Today we’re giving you a cheat sheet to Westeros and beyond, your guide on catching up to “Game of Thrones” before Season 8 starts April 14. This is by no means complete. We definitely recommend you take time later to go back and watch the entire series, which is epic in scale and qual- TV ity. We’ve boiled the show’s 67 episodes down to 28, or a little over 26 hours ‘Game of CHEAT Thrones’ season of viewing. While you won’t get every detail, this list will give you what you 8 premiere need to understand the major plot points. With a bit of dedication, you can 8 p.m. April 14, HBO get through it all in a week. SHEET And if you’re already familiar with Game of Thrones, you can use this as a guide to re-familiarize yourself with the world you’ve been missing for the last 18 months. Your guide to catching up on the Seven Tip: Wikipedia has pretty good summaries for each episode. -
Final Draft Thesis Corrected
REDEFINING MASCULINITY IN GAME OF THRONES !1 Redefining Masculinity through Disability in HBO’s Game of Thrones A Capstone Thesis Submitted to Southern Utah University in partial fulfillment of the requirements for the degree of Master of Arts in Professional Communication April 2016 By Amanda J. Dearman Capstone Committee: Dr. Kevin A. Stein, Ph.D., Chair Dr. Arthur Challis, Ed.D. Dr. Matthew H. Barton, Ph.D. Running head: REDEFINING MASCULINITY IN GAME OF THRONES !3 Acknowledgements I have been blessed with the support of a number of number of people, all of whom I wish to extend my gratitude. The completion of my Master’s degree is an important milestone in my academic career, and I could not have finished this process without the encouragement and faith of those I looked toward for support. Dr. Kevin Stein, I can’t thank you enough for your commitment as not only my thesis chair, but as a professor and colleague who inspired many of my creative endeavors. Under your guidance I discovered my love for popular culture studies and, as a result, my voice in critical scholarship. Dr. Art Challis and Dr. Matthew Barton, thank you both for lending your insight and time to my committee. I greatly appreciate your guidance in both the completion of my Master’s degree and the start of my future academic career. Your support has been invaluable. Thank you. To my family and friends, thank you for your endless love and encouragement. Whether it was reading my drafts or listening to me endlessly ramble on about my theories, your dedication and participation in this accomplishment is equal to that of my own. -
Comparing Depictions of Empowered Women Between a Game of Thrones Novel and Television Series
Journal of Student Research (2012) Volume 1, Issue 3: pp. 14-21 Research Article A Game of Genders: Comparing Depictions of Empowered Women between A Game of Thrones Novel and Television Series Rebecca Jonesa The main women in George R. R. Martin's novel Game of Thrones, first published in 1996, and the adapted television series in 2011, are empowered female figures in a world dominated by male characters. Analyzing shifts in the characters’ portrayals between the two media conveys certain standards of the cultures for which they are intended. While in the novel the characters adhere to a different set of standards for women, the television series portrays these women as more sympathetic, empowered, and realistic with respect to contemporary standards. Using literary archetypes of queen, hero, mother, child, maiden and warrior and applying them to Cersei Lannister, Catelyn Stark, Arya Stark, Sansa Stark, and Daenerys Targeryen, provides a measure for the differences in their presentations. Through the archetypical lens, the shifts in societal and cultural standards between the novel and series’ airing make apparent the changing pressures and expectations for women. By reading the novel and watching the series with these archetypes in mind, the changes in gender norms from 1996 to 2011 become clear. The resulting shift shows the story’s advances in the realm of fantasy in relation to the American society that consumes it. Keywords: English, Film Studies, Women and Gender Studies 1. Introduction The genre of fantasy has a long and sordid history in its differences in portrayal between the two media, utilizing the depictions of women. -
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. -
'I Watch It for Historic Reasons.' Representation and Reception of The
‘I watch it for historic reasons.’ Representation and reception of the Middle Ages in A Song of Ice and Fire’ and ‘Game of Thrones’ Riccardo Facchini Práticas da História, n.º 4 (2017): 43-73 www.praticasdahistoria.pt Práticas da História, n.º 5 (2017): 43-73 Riccardo Facchini ‘I watch it for historic reasons.’ Representation and reception of the Middle Ages in A Song of Ice and Fire’ and ‘Game of Thrones’ This article aims to analyse several ideas of the Middle Ages that inspired HBO’s TV show Game of Thrones (HBO 2011-), based on George R. R. Martin’s ongoing series of novels A Song of Ice and Fire (1996-). The phenomenon will be read through the concept of “medievalism”, i.e. «the representation, the recep- tion and the post-medieval use of the Middle Ages» (di Carpeg- na Falconieri 2011). After a short introduction concerning the Middle Ages and cinema, I will analyse the new way in which Martin represents and perceives medieval times. This different approach places in the medieval era the disillusionment and the alleged absence of values typical of postmodern times, often hidden behind the notion of historical “realism”. The result is a rejection of the neo-medieval romantic idealization of the Midd- le Ages that characterized most twentieth-century productions. Keywords: Medievalism, Middle Ages, Game of Thrones, A Song of Ice and Fire, Fantasy. “I watch it for historic reasons”: Representação e receção da Idade Média em As Crónicas de Gelo e Fogo e Guerra dos Tronos Este artigo analisa as diversas perceções da Idade Média que inspiraram a série televisiva da HBO Guerra dos Tronos (HBO 2011-), baseada na série de livros de George R. -
1448936119017.Pdf
By Robert J. Schwalb Game Concepts: STEVE KENSON, NICOLE LINDROOS, CHRIS PRAMAS, & ROBERT J. SCHWALB Additional Design: JOE CARRIKER & JESSE SCOBLE Development: STEVE KENSON Development Assistance: CHRIS PRAMAS Editing: KARA HAMILTON Peril at King’s Landing Design: Steve Kenson Additional PaKL Design: R. Kevin Doyle, Jon Leitheusser, Nicholas Logue Proofreading: BRIAN E. KIRBY, CHRIS PRAMAS, EVAN SASS Art Direction and Graphic Design: HAL MANGOLD Cover Art: MICHAEL KOMARCK Back Cover Art: PAOLO PUGGIONI Interior Art: TED GALADAY, JEFF HIMMELMAN, VERONICA JONES, JASON JUTA, BILLY KING, PAT LOBOYKO, BRITT MARTIN, GERMAN NOBILE, TORSTEIN NORDSTRAND, PAOLO PUGGIONI, CHRISTOPHE SWAL Cartography: JARED BLANDO, KEITH CURTIS & ANDY LAW Publisher: CHRIS PRAMAS GREEN RONIN STAFF: Bill Bodden, Joseph D. Carriker, Will Hindmarch, Steve Kenson, Jon Leitheusser, Nicole Lindroos, Hal Mangold, Chris Pramas, Rich Redman, Evan Sass, and Marc Schmalz PLAYTESTERS: Tyler M. Carey, Cody Carver, Tom Castelli, Jacob Chabot, Adam Doochin, Michael Elster, Andy Frades, Mark Hugo, Doug Justice, Brian E. Kirby, Jan Philipp Gürtler, Kristian Hartmann, Dan Heinrich, Lyle Hinckley, Kevin Hamilton, Daniel Hodges, Travis Hodges, Sean Johnson, Glen Kyle, Joe Quarles, Clemens Schäfer, Conrad Schäfer, Michael Simonds, Norman Simonds, Owen K.C. Stephens, Nathan Summar, Rich Tomasso, Bobby Turman A Song of Ice and Fire Roleplaying: A Game of Thrones Edition is © 2012 Green Ronin Publishing, LLC. All rights reserved. Reference to other copyrighted material in no way constitutes a challenge to the respective copyright holders of that material. A Song of Ice and Fire Roleplaying, SIFRP, and associated logos are trademarks of Green Ronin Publishing, LLC. A Song of Ice and Fire is © 1996-2012 George R. -
Carolyne Larrington
Winter is coming Carolyne Larrington Winter is coming LES RACINES MÉDIÉVALES DE GAME OF THRONES Traduit de l’anglais par Antoine Bourguilleau ISBN 978‑2‑3793‑3049‑0 Dépôt légal – 1re édition : 2019, avril © Passés Composés / Humensis, 2019 170 bis, boulevard du Montparnasse, 75014 Paris Le code de la propriété intellectuelle n’autorise que « les copies ou reproductions stric‑ tement réservées à l’usage privé du copiste et non destinées à une utilisation collec‑ tive » [article L. 122‑5] ; il autorise également les courtes citations effectuées dans un but d’exemple ou d’illustration. En revanche « toute représentation ou reproduction intégrale ou partielle, sans le consentement de l’auteur ou de ses ayants droit ou ayants cause, est illicite » [article L. 122‑4]. La loi 95‑4 du 3 janvier 1994 a confié au C.F.C. (Centre français de l’exploitation du droit de copie, 20, rue des Grands Augustins, 75006 Paris), l’exclusivité de la gestion du droit de reprographie. Toute photocopie d’oeuvres protégées, exécutée sans son accord préalable, constitue une contrefaçon sanctionnée par les articles 425 et suivants du Code pénal. Sommaire Liste des abréviations ....................................................... 9 Préface ................................................................................ 15 Introduction ....................................................................... 19 Chapitre 1. Le Centre ........................................................ 31 Chapitre 2. Le Nord ......................................................... -
Bow Rulebook Eng.Pdf
TM Calling the Banners When you play the game of thrones, you win or you die. There is no middle ground. –Cersei Lannister Unfurl the banners of the Great Houses of Westeros. To secure power The Houses of Westeros command vast armies of soldiers–some in the Seven Kingdoms and to ensure the survival of their lines, mounted on horses and others on foot. These men are armed not the Houses of Westeros all follow very different paths. Some forge only with spears, swords, and bows, but also siege engines and other strategic alliances, some create complex political intrigues, and still powerful machines of war. Across Westeros, the martial drums are others use deceit and betrayal. But there is no more direct or lasting calling to soldiers, strong and brave, and commanders, cunning path to power than taking to the field of battle. and bold. Will you heed the call? 2 2 Waging War in Westeros • 110 Cards, consisting of: » 14 Commander Cards BattleLore: Battles of Westeros (BOW) is a scenario-based game » 70 Leadership Cards that allows players to recreate military engagements between the » 8 Unit Reference Cards, consisting of: Great Houses of Westeros in the epic fantasy setting from George R. R. Martin’s bestselling novel series A Song of Ice and Fire. In › 4 Stark Unit Reference Cards the BOW core game, players control either House Stark or House › 4 Lannister Unit Reference Cards Lannister. Future expansions will allow players to control other » 16 Skirmish Setup Cards, consisting of: Houses. Each scenario, called a battle, has a battle plan that › 8 Stark Skirmish Setup Cards dictates the formation of the map (called the battlefield), starting › 8 Lannister Skirmish Setup Cards positions of each House’s units, starting resources, special rules, and victory conditions for the game session. -
Masculinity, Violence, and Abjection in a Song of Ice and Fire and Game of Thrones
CRIPPLES AND BASTARDS AND BROKEN THINGS: MASCULINITY, VIOLENCE, AND ABJECTION IN A SONG OF ICE AND FIRE AND GAME OF THRONES Tania Evans January 2019 A thesis submitted for the degree of Doctor of Philosophy Of the Australian National University Declaration of Originality This work has not previously been accepted for any degree and is the result of my own independent investigation, except where otherwise stated. Other sources are acknowledged by explicit references. An earlier version of the chapter “The Bear and the Maiden Fair” is published in Aeternum: The Journal of Contemporary Gothic Studies. All images are owned by Home Box Office (HBO) and are reproduced here for the purposes of research. Table of Contents Abstract ............................................................................................................................................................... 1 Acknowledgements ............................................................................................................................................ 2 Abbreviations ..................................................................................................................................................... 3 List of Figures ..................................................................................................................................................... 4 Introduction ........................................................................................................................................................ 8 Chapter