A GAME of THRONES George R.R. Martin October 1993 I Don't Outline
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Hbo Premieres the Third Season of Game of Thrones
HBO PREMIERES THE THIRD SEASON OF GAME OF THRONES The new season will premiere simultaneously with the United States on March 31st Miami, FL, March 18, 2013 – The battle for the Iron Throne among the families who rule the Seven Kingdoms of Westeros continues in the third season of the HBO original series, Game of Thrones. Winner of two Emmys® 2011 and six Golden Globes® 2012, the series is based on the famous fantasy books “A Song of Ice and Fire” by George R.R. Martin. HBO Latin America will premiere the third season simultaneously with the United States on March 31st. Many of the events that occurred in the first two seasons will culminate violently, with several of the main characters confronting their destinies. But new challengers for the Iron Throne rise from the most unexpected places. Characters old and new must navigate the demands of family, honor, ambition, love and – above all – survival, as the Westeros civil war rages into autumn. The Lannisters hold absolute dominion over King’s Landing after repelling Stannis Baratheon’s forces, yet Robb Stark –King of the North– still controls much of the South, having yet to lose a battle. In the Far North, Mance Rayder (new character portrayed by Ciaran Hinds) has united the wildlings into the largest army Westeros has ever seen. Only the Night’s Watch stands between him and the Seven Kingdoms. Across the Narrow Sea, Daenerys Targaryen – reunited with her three growing dragons – ventures into Slaver’s Bay in search of ships to take her home and allies to conquer it. -
Representações Femininas Em Game of Thrones: Mediações Entre Os Sete Reinos E a Contemporaneidade
Representações femininas em Game of Thrones: mediações entre os Sete Reinos e a Contemporaneidade Representações femininas em Game of Thrones: mediações entre os Sete Reinos e a Contemporaneidade1 Andréa Corneli Ortis Doutoranda; Universidade Federal de Santa Maria, Santa Maria, RS, Brasil ORCID: https://orcid.org/0000-0002-9865-8411 Flavi Ferreira Lisbôa Filho Doutor; Universidade Federal de Santa Maria, Santa Maria, RS, Brasil ORCID: https://orcid.org/0000-0003-4307-9401 Resumo A presente pesquisa questiona como são representadas as identidades femininas da personagem Sansa Stark, de Game of Thrones, e quais sentidos sobre o feminino contemporâneo são mobilizados pela série. Para isso, buscamos observar nosso objeto através da categoria personagem e interações por meio da análise textual proposta por Casetti e Chio (1999). Após isso, acionamos o conceito de mediação, advindo de um cotejamento entre Williams (1979), Orózco-Gómez (1997) e Martín-Barbero (2001), por meio das categorias gênero, competência e moralidade pública, e percebemos que a série busca problematizar tipos de violência que acontecem na contemporaneidade em relação ao feminino, como sexual, psicológica ou física, casamento infantil e mulher como moeda de troca. Assim, ao longo das temporadas, a personagem é retratada de modo a ascender, porém somente após passar por inúmeros tipos de violência. Portanto, os sentidos negociados entre a ficção e a realidade presentes em Sansa, na série, são formadas de acordo com o ambiente em que vive, valores sociais e privados impostos pela sociedade. Palavras-chave Identidade feminina. Gênero. Representação. Mediações. Game of Thrones. 1 Introdução É cada vez mais difícil tornar-se mulher na sociedade contemporânea, fato que vai de encontro aos tantos anos de lutas que foram travadas para tentar vivermos de maneira 1 Este trabalho é um recorte da dissertação de mestrado de mesmo título. -
Mhysa Or Monster: Masculinization, Mimicry, and the White Savior in a Song of Ice and Fire
Mhysa or Monster: Masculinization, Mimicry, and the White Savior in A Song of Ice and Fire by Rachel Hartnett A Thesis Submitted to the Faculty of Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL August 2016 Copyright 2016 by Rachel Hartnett ii Acknowledgements Foremost, I wish to express my heartfelt gratitude to my advisor Dr. Elizabeth Swanstrom for her motivation, support, and knowledge. Besides encouraging me to pursue graduate school, she has been a pillar of support both intellectually and emotionally throughout all of my studies. I could never fully express my appreciation, but I owe her my eternal gratitude and couldn’t have asked for a better advisor and mentor. I also would like to thank the rest of my thesis committee: Dr. Eric Berlatsky and Dr. Carol McGuirk, for their inspiration, insightful comments, and willingness to edit my work. I also thank all of my fellow English graduate students at FAU, but in particular: Jenn Murray and Advitiya Sachdev, for the motivating discussions, the all-nighters before paper deadlines, and all the fun we have had in these few years. I’m also sincerely grateful for my long-time personal friends, Courtney McArthur and Phyllis Klarmann, who put up with my rants, listened to sections of my thesis over and over again, and helped me survive through the entire process. Their emotional support and mental care helped me stay focused on my graduate study despite numerous setbacks. Last but not the least, I would like to express my heart-felt gratitude to my sisters, Kelly and Jamie, and my mother. -
El Ecosistema Narrativo Transmedia De Canción De Hielo Y Fuego”
UNIVERSITAT POLITÈCNICA DE VALÈNCIA ESCOLA POLITE CNICA SUPERIOR DE GANDIA Grado en Comunicación Audiovisual “El ecosistema narrativo transmedia de Canción de Hielo y Fuego” TRABAJO FINAL DE GRADO Autor/a: Jaume Mora Ribera Tutor/a: Nadia Alonso López Raúl Terol Bolinches GANDIA, 2019 1 Resumen Sagas como Star Wars o Pokémon son mundialmente conocidas. Esta popularidad no es solo cuestión de extensión sino también de edad. Niñas/os, jóvenes y adultas/os han podido conocer estos mundos gracias a la diversidad de medios que acaparan. Sin embargo, esta diversidad mediática no consiste en una adaptación. Cada una de estas obras amplia el universo que se dio a conocer en un primer momento con otra historia. Este conjunto de historias en diversos medios ofrece una narrativa fragmentada que ayuda a conocer y sumergirse de lleno en el universo narrativo. Pero a su vez cada una de las historias no precisa de las demás para llegar al usuario. El mundo narrativo resultante también es atractivo para otros usuarios que toman parte de mismo creando sus propias aportaciones. A esto se le conoce como narrativa transmedia y lleva siendo objeto de estudio desde principios de siglo. Este trabajo consiste en el estudio de caso transmedia de Canción de Hielo y Fuego la saga de novelas que posteriormente se adaptó a la televisión como Juego de Tronos y que ha sido causa de un fenómeno fan durante la presente década. Palabras clave: Canción de Hielo y Fuego, Juego de Tronos, fenómeno fan, transmedia, narrativa Summary Star Wars or Pokémon are worldwide knowledge sagas. This popularity not just spreads all over the world but also over an age. -
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 ...................................................................................................................... -
“Game of Thrones” Season 5 One Line Cast List NO
“Game of Thrones” Season 5 One Line Cast List NO. CHARACTER ARTIST 1 TYRION LANNISTER PETER DINKLAGE 3 CERSEI LANNISTER LENA HEADEY 4 DAENERYS EMILIA CLARKE 5 SER JAIME LANNISTER NIKOLAJ COSTER-WALDAU 6 LITTLEFINGER AIDAN GILLEN 7 JORAH MORMONT IAIN GLEN 8 JON SNOW KIT HARINGTON 10 TYWIN LANNISTER CHARLES DANCE 11 ARYA STARK MAISIE WILLIAMS 13 SANSA STARK SOPHIE TURNER 15 THEON GREYJOY ALFIE ALLEN 16 BRONN JEROME FLYNN 18 VARYS CONLETH HILL 19 SAMWELL JOHN BRADLEY 20 BRIENNE GWENDOLINE CHRISTIE 22 STANNIS BARATHEON STEPHEN DILLANE 23 BARRISTAN SELMY IAN MCELHINNEY 24 MELISANDRE CARICE VAN HOUTEN 25 DAVOS SEAWORTH LIAM CUNNINGHAM 32 PYCELLE JULIAN GLOVER 33 MAESTER AEMON PETER VAUGHAN 36 ROOSE BOLTON MICHAEL McELHATTON 37 GREY WORM JACOB ANDERSON 41 LORAS TYRELL FINN JONES 42 DORAN MARTELL ALEXANDER SIDDIG 43 AREO HOTAH DEOBIA OPAREI 44 TORMUND KRISTOFER HIVJU 45 JAQEN H’GHAR TOM WLASCHIHA 46 ALLISER THORNE OWEN TEALE 47 WAIF FAYE MARSAY 48 DOLOROUS EDD BEN CROMPTON 50 RAMSAY SNOW IWAN RHEON 51 LANCEL LANNISTER EUGENE SIMON 52 MERYN TRANT IAN BEATTIE 53 MANCE RAYDER CIARAN HINDS 54 HIGH SPARROW JONATHAN PRYCE 56 OLENNA TYRELL DIANA RIGG 57 MARGAERY TYRELL NATALIE DORMER 59 QYBURN ANTON LESSER 60 MYRCELLA BARATHEON NELL TIGER FREE 61 TRYSTANE MARTELL TOBY SEBASTIAN 64 MACE TYRELL ROGER ASHTON-GRIFFITHS 65 JANOS SLYNT DOMINIC CARTER 66 SALLADHOR SAAN LUCIAN MSAMATI 67 TOMMEN BARATHEON DEAN-CHARLES CHAPMAN 68 ELLARIA SAND INDIRA VARMA 70 KEVAN LANNISTER IAN GELDER 71 MISSANDEI NATHALIE EMMANUEL 72 SHIREEN BARATHEON KERRY INGRAM 73 SELYSE -
Questions Are Coming. a Game of Thrones Quiz by Scott Hendrickson
Questions are coming. A Game of Thrones Quiz by Scott Hendrickson 1. What is the motto of House Stark? 2. What phrase do you use to tell a dragon to A) Winter is coming. breath fire? B) It's getting chilly. A) Dothraki. C) Burr, my feet are frozen. B) Dracarys. D) Seriously, do they ever heat this castle? C) Valar doharis. D) Light'em up, bitches! 3. Name Tywin Lannister’s three children. 4. Who are King Joffrey Baratheon’s real parents? ____________________, ____________________, & ____________________ & ____________________ ____________________ 5. What material is the weapon used by 6. Circle the locations that are in Westeros: Samuel Tarly to kill a white walker? Winterfell, Braavos, Dorne, Astapor, The Vale, ________________________________ Valyria, Volantis, King’s Landing, Asshai, Highgarden, Tacoma, Kirkland, 7. Hodor? 8. Who appointed Ned Stark as “Hand of the A) Hodor. King”? B) Hodor? A) Jon Arryn C) Hodor! B) Robert Baratheon D) Any of the above. C) Lord Varys D) Stannis Baratheon E) Tywin Lannister 9. Who initiated King Joffrey’s 10. Circle the names of the five non-bastard assassination? Stark children: A) Margery Tyrell B) Lady Olenna Tyrell Poliver, Sansa, Myrcella, Arya, Tommen, C) Petyr Baelish Rungsigul, Rickon, Robb, Ned, Cersei, Bran, D) Tyrion Lannister Rydon, Jon E) Sansa Stark F) Hodor 11. What are the names of Daenarys 12. What song starts playing before the Targaryan’s three dragons? murders occur at the Red Wedding? A) Dragol, Rhaelar and Viserya A) The Pride of the Lion B) Drogon, Rhaegal and Viserion B) The Bear and the Maiden Fair C) Drogo, Rhaegon and Viserios C) Ours is the fury D) Drogal, Rhaegar, and Viseron D) The Rains of Castamere E) Lucky, Dusty, and Ned E) "Shake it off" by Taylor Swift 13. -
Racialization, Femininity, Motherhood and the Iron Throne
THESIS RACIALIZATION, FEMININITY, MOTHERHOOD AND THE IRON THRONE GAME OF THRONES AS A HIGH FANTASY REJECTION OF WOMEN OF COLOR Submitted by Aaunterria Treil Bollinger-Deters Department of Ethnic Studies In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Fall 2018 Master’s Committee: Advisor: Ray Black Joon Kim Hye Seung Chung Copyright by Aaunterria Bollinger 2018 All Rights Reserved. ABSTRACT RACIALIZATION, FEMININITY, MOTHERHOOD AND THE IRON THRONE GAME OF THRONES A HIGH FANTASY REJECTION OF WOMEN OF COLOR This analysis dissects the historic preconceptions by which American television has erased and evaded race and racialized gender, sexuality and class distinctions within high fantasy fiction by dissociation, systemic neglect and negating artistic responsibility, much like American social reality. This investigation of high fantasy creative fiction alongside its historically inherited framework of hierarchal violent oppressions sets a tone through racialized caste, fetishized gender and sexuality. With the cult classic television series, Game of Thrones (2011-2019) as example, portrayals of white and nonwhite racial patterns as they define womanhood and motherhood are dichotomized through a new visual culture critical lens called the Colonizers Template. This methodological evaluation is addressed through a three-pronged specified study of influential areas: the creators of Game of Thrones as high fantasy creative contributors, the context of Game of Thrones -
Daenerys Targaryen and Privacy of Minors Daenerys Targaryen Is a Fictional Character from George R.R. Martin's a Song of Ice A
Daenerys Targaryen and Privacy of Minors Daenerys Targaryen is a fictional character from George R.R. Martin’s A Song of Ice and Fire series. These books are written in the tradition of epic fantasy and are set in an imaginary world (Westeros) that mirrors our own world during the medieval period with a few magical elements and mythical creatures added in. Daenerys, or Dany as she is called in the series, is the last living Targaryen. The Targaryens first conquered Westeros with dragons and ruled until they were overthrown by Robert Baratheon. Dany’s family attempted to flee Westeros, as the royal children were going to be killed by the rebels. Only Dany and her abusive brother Viserys survived, however, and lived across the Narrow Sea in exile. Dany is sold by her brother to Khal Drogo and she becomes Khaleesi. After tragically losing her husband and unborn child, Dany puts three fossilized dragon eggs into Khal Drogo’s funeral pyre, then places herself into the fire. When the fire clears, Dany and her new three baby dragons emerge (Martin, 1996). She calls them her children and swears to care for them as well as those in her khalasar who did not abandon her after the Khal’s death. In A Clash of Kings (1999) and A Storm of Swords (2000) Martin reveals even more of Dany’s caring nature. Dany is now “The Mother of Dragons” and later, after freeing thousands of slaves, she is called Mhysa by her new people, which means mother. Because Dany is one of the most caring, humanistic characters in the novels, we will use the ethics of care. -
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. -
Game of Thrones V1
GAME OF THRONES THE OPEN WEB’S PICK FOR THE THRONE Winter is coming. The 8th and final season of Game of Thrones is right around the corner. While we can’t predict who will be decapitated next, we can analyze who you’re reading about. 65M page views later—read by +30M readers during the 7th season—we’ve got the results. WE ANALYZED +30M +7K +65M +80M Readers Articles Page Views Mins. Reading NUMBER OF READERS YOUR PICK FOR THE THRONE With so many contenders, you found Daenerys Targaryen and Jon Snow to be your favorites. Daenerys Targaryen Jon Snow Tyrion Lannister Cersei Lannister Jaime Lannister Arya Stark Bran Stark Sansa Stark Robert Baratheon Petyr “Littlefinger” Baelish 5M 10M 15M Daenerys Targaryen (AKA Khaleesi) and Jon Snow The Lannister family, allegedly the bad guys, are have almost twice the readers the Lannister family has, far more read about than the Starks. coming right after. Despite the threat he imposes in the series, the Night King isn’t as popular on the open web. MOST FAN INTEREST ON THE WESTEROS MAP We pinned all the main locations on the Westeros map to see which one has the highest number of readers. Almost all of Westeros’ cities attracted many readers, regardless of their size or the number of characters that come from there. +700K The Wall +1.5M Winterfell +50K Pyke +10K +1M +100K Casterly Rock Riverrun The Eyrie +2M King’s Landing +0.5M Highgarden King’s Landing takes the readership throne, as it’s where the Iron Throne sits, with over 2M readers. -
'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.