Love Enthroned
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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 . -
“Big on Family”: the Representation of Freaks in Contemporary American Culture
Master’s Degree programme – Second Cycle (D.M. 270/2004) in History of North-American Culture Final Thesis “Big on Family”: The Representation of Freaks in Contemporary American Culture Supervisor Ch. Prof. Simone Francescato Ch. Prof. Fiorenzo Iuliano University of Cagliari Graduand Luigi Tella Matriculation Number 846682 Academic Year 2014 / 2015 TABLE OF CONTENTS TABLE OF ILLUSTRATIONS ............................................................................................. 3 ACKNOWLEDGMENTS ....................................................................................................... 5 INTRODUCTION ................................................................................................................... 6 CHAPTER I: FREAKS IN AMERICA .............................................................................. 11 1.1 – The Notion of “Freak” and the Freak Show ........................................................... 11 1.1.1 – From the Monstrous Races to Bartholomew Fair ................................................. 14 1.1.2 – Freak Shows in the United States ......................................................................... 20 1.1.3 – The Exotic Mode and the Aggrandized Mode ...................................................... 28 1.2 – The Representation of Freaks in American Culture ............................................. 36 1.2.1 – Freaks in American Literature .............................................................................. 36 1.2.2 – Freaks on Screen .................................................................................................. -
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. -
Non-Conforming Femininity in Game of Thrones: an Analysis of Arya Stark and Brienne of Tarth
Dearcadh: Graduate Journal of Gender, Globalisation and Rights Volume 1, 2020 DOI: 10.13025/4nzq-hb04 URL: https://doi.org/10.13025/4nzq-hb04 ORIGINAL ARTICLE________________________________ Non-Conforming Femininity in Game of Thrones: An Analysis of Arya Stark and Brienne of Tarth Trejo Morales, Cristina M.A. Gender, Globalisation, and Rights National University of Ireland, Galway Abstract The male gaze is a theory that was developed by Laura Mulvey (1975), addressing the objectification of women in classic Hollywood films. While the male gaze is highly criticized, it is still applicable today and is presented in the representation of women in current media, like the television show Game of Thrones. The power of the male gaze can be seen in the female character’s nudity, the sexual violence directed towards female characters, and how women access political power through sexuality and fertility (Ferreday, 2015; Genz, 2016; Frankel, 2014). While women in Game of Thrones are not powerless, their access to power is through conforming to typical forms of femininity, which means that their access to power is restrained and controlled. However, not all female characters conform to gender ideals, like Arya Stark and Brienne of Tarth. The objective of this paper is to examine how the male gaze can account for the treatment of non-gender-conforming female characters in Game of Thrones, using feminist qualitative content analysis. Looking at non-gender- conforming characters is critical to understanding the diverse ways the male gaze is used to punish female characters, coercing them into femininity. Based on the analysis undertaken as part of a MA thesis, this paper found that although non-gender- conforming female characters were given more liberties than female characters in Game of Thrones, they were still subjected to the control, coercion, and discipline of the male gaze, even if in non-sexual ways. -
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. -
( 1865) – New Series
Church of God General Conference: McDonough, GA; Digital Archives Library; https://coggc.org/ THE MESSENGER or THE CHURCHES: A MAGAZINE OF SCRIPTURE EXPOSITION, AND MEDIUM OF INTERCOMMUNICATION ON ALL SOCIAL AND PRACTICAL TOPICS OF IMPORTANCE TO THE BROTHERHOOD. WITH TDK CONGREGATIONAL INTELLIGENCE OF THE YEAR I8G5. VOL. L N k w Series. IS DIN ti U LI G H : PRINTED BY A. & W. R. WILSON, 56 IIIGII STREET. MDCCCLXV. Church of God General Conference: McDonough, GA; Digital Archives Library; https://coggc.org/ CONTENTS. PAOE Editorial Introduction J Abraham*. 2 “ The Meekness and Gentleness of Christ ’• . 5 The Gospel in the Second Psalm 8, 17 Paul’s Care for the Weak . , 12 Various Readings, v. 15 The Everlasting Punishment . 20 For whom did Christ dio 22 The Seed of Abraham . 25 Wrong Translations 28 The Throne of Christ 30 Shall Jesns return to Earth again 33 The Names of God 38, 49 Notos on Words . 41, 77 The Gospel in the Eighth Psalm 42 The First three Centuries and the Gospel of the Kingdom 53 “ The Lord is at Hand ” 55, 65 A Unity of Faith in the earlier and later Saints 59 Restored Israel .... 62 Tho Head and tho Heart 03 The High Calling 63 Tho Little Horn of the Goat 69 The Restoration of Israel . 71, 87 The Gospel in Acts xiii. 74 A New hearted Man 78 The Constrast between Protestantism and tho Gospel 79 Tho Time of the Lord’s Coming 81 The Remembrance of the Lord . 85 Faith in tho Lord’s Coming essential to Salvation 90 No more Curse 91 A Right Ambition • • - • 91 Unquenchable Firo 97 The Son of David Enthroned 102 Tho Latter Days 104 Wants of Humanity 109 Remarks on Eccles, xii. -
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. -
Forum Game of Thrones«
Forum Zitation: Spiegel, Simon et al. »Forum GAME OF THRONES«. Zeitschrift für Fantastikforschung 8.1 (2020): 1–36. DOI: https://doi.org/10.16995/ zff.3018. Erstveröffentlichung: 14. August 2020 Copyright: Die Zeitschrift für Fantastikforschung ist eine Open-Access-Zeitschrift mit Peer-Review-Verfahren, die von der Open Library of Humanities veröffentlicht wird. © 2021 Der/die Autor*innen. Dieser Open- Access-Beitrag ist lizenziert durch die Creative-Commons Lizenz BY-NC-ND. Diese Lizenz erlaubt es Wiederverwender*innen, das Material in jedem Medium oder Format nur in nicht angepasster Form zu nichtkommerziellen Zwecken zu kopieren und zu verbreiten, solange der/die Urheber*in genannt wird. Vgl. https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de. Open Access: Die Zeitschrift für Fantastikforschung erscheint ab Ausgabe 1/2019 ausschließlich im Open-Access- Format. Ältere Druckausgaben sind über den Lit Verlag Münster beziehbar. Digitale Archivierung: Die Open Library of Humanities und alle ihre Zeitschriften werden durch den wissenschaftlichen Archivdienst CLOCKSS digital archiviert. The Open Library of Humanities is an open access non-profit publisher of scholarly articles. Spiegel, Simon et al. »Forum GAME OF THRONES«. Zeitschrift für Fantastikforschung 8.1 (2020): 1–36. DOI: https://doi.org/10.16995/zff.3018. FORUM Forum GAME OF THRONES Simon Spiegel1, Daniel Illger2, Sabrina Mittermeier3, Michael Baumann4, Manuela Kalbermatten5 and Elke Brüns6 1 Universität Zürich, CH 2 Freie Universität Berlin, DE 3 Universität Augsburg, DE 4 Ludwig-Maximilians-Universität München, DE 5 Goethe-Universität Frankfurt, DE 6 NYU Berlin, DE Corresponding author: Simon Spiegel ([email protected]) Forum on GAME OF THRONES. 2 Spiegel et al: Forum GAME OF THRONES Die Sehnsucht nach dem Wunderbaren Simon Spiegel Universität Zürich, CH [email protected] Ein kollektives Aufatmen ging durch die sozialen Medien, als HBO am 19. -
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. -
4. 'I AM YOUR KING': Authority in Game of Thrones
4. ‘I AM YOUR KING’: Authority in Game of Thrones Introduction Game of Thrones (hereafter GoT, 2011–), a quasi-mediaeval fantasy series based on George R. R. Martin’s A Song of Ice and Fire (ASOAIF, 1996-), has a significant impact on contemporary pop culture. With an average viewership of 18.4 million per episode, at the peak of its popularity, GoT claims the record for the most-watched TV show in the history of the HBO Network (Beaumont-Thomas 2014). The show and cast have received several prestigious awards, including the Peabody Award 2012, three Hugo Awards for Best Dramatic Presentation in short and long forms, and a total of ten Emmys to date. Like Sherlock, its active and productive fandom spans most social media sites, in addition to the major fanfiction archives. Set in the imagined world of Westeros and Essos, the series charts the feuds and struggles of several powerful families over the Iron Throne, seat of the hereditary monarchy that unifies the seven so-called kingdoms of Westeros. At the outset, the old Targaryen dynasty has been overthrown in a bloody rebellion, and the new Baratheon dynasty is in crisis, plagued by accusations of incest and illegitimacy. Murder, conspiracy and betrayal are the currency of the day amongst the nobility, whilst the hungry, war-torn commons pose an increasing threat to the political structure. It might be argued, then, central problem in GoT is power and authority—who can and should rule Westeros? What gives anyone the right? As Richard Cor- rigan puts it, ‘the question of who is the “legitimate authority” in the Seven Kingdoms […] is of crucial importance’ (2012, p. -
The Legends of the Jews
Library of the University of ]\orth Carolina Endowed by the Dialectic and Philan- thropic Societies. , ^^l THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA ENDOWED BY THE DIALECTIC AND PHILANTHROPIC SOCIETIES BM530 .G563 v.l c UNIVERSITY OF N.C. AT CHAPEL HILL 00008803413 This book is due at the WALTER R. DAVIS LIBRARY on the last date stamped under "Date Due." If not on hold it Tiay be renewed by bringing it to the library. DATE DATE RET. DUE RET. DUE FEB 1 8 t92 MM Si i^> APfi_l^^ AUG 1 jHQv "^ "^ ]cqp MÖ^lb DEC 2 m^ ^ A I5j9t I X— m§L JüNj2'96 Rev. 1/84 1 aiiß ^ 1 !C"' / THE LEGENDS OF THE JEWS THE LEGENDS OF THE JEWS V. \ BY LOUIS GINZBERG Translated from the German Manuscript by HENRIETTA SZOLD Svv\ I Bible Times and Characters From the Creation to Jacob Philadelphia The Jewish Publication Society of America 1913 Copyright, 1909. BY The Jewish Publication Society of America Sixth Edition Eighteenth Thousand To My Brother Ashbr PREFACE IVas sich nie und nirgends hat hegeben, das allein veraltet nie. The term Rabbinic was applied to the Jewish Literature of post-BibHcal times by those who conceived the Juda- ism of the later epoch to be something different from the Judaism of the Bible, something actually opposed to it. Such observers held that the Jewish nation ceased to exist with the moment when its political independence was de- stroyed. For them the Judaism of the later epoch has been a Judaism of the Synagogue, the spokesmen of which have been the scholars, the Rabbis. -
The Legends of the Jews
THE LEGENDS OF THE JEWS THE LEGENDS OF THE JEWS BY LOUIS GINZBERG TRANSLATED FROM THE GERMAN MANUSCRIPT BY HENRIETTA SZOLD I BIBLE TIMES AND CHARACTERS FROM THE CREATION TO JACOB PHILADELPHIA THE JEWISH PUBLICATION SOCIETY OF AMERICA 1909 COPYRIGHT, 1909, BY THE JEWISH PUBLICATION SOCIETY OF AMERICA 530 C-,5 V.I JL To MY BROTHER ASHER PREFACE Was sich nie und nirgends hat begeben, das allein veraltet nie. The term Rabbinic was applied to the Jewish Literature of post-Biblical times by those who conceived the Juda- ism of the later epoch to be something different from the Judaism of the Bible, something actually opposed to it. Such observers held that the Jewish nation ceased to exist with the moment when its political independence was de- stroyed. For them the Judaism of the later epoch has been a Judaism of the Synagogue, the spokesmen of which have been the scholars, the Rabbis. And what this phase of Juda- ism brought forth has been considered by them to be the product of the schools rather than the product of practical, pulsating life. Poetic phantasmagoria, frequently the vapor- ings of morbid visionaries, is the material out of which these scholars construct the theologic system of the Rabbis, and fairy tales, the spontaneous creations of the people, which take the form of sacred legend in Jewish literature, are denominated the Scriptural exegesis of the Rabbis, and con- demned incontinently as nugce rabbinorum. As the name of a man clings to him, so men cling to names. For the primitive savage the name is part of the essence of a person or thing, and even in the more advanced stages of culture, judgments are not always formed in agreement with viii Preface facts as they are, but rather according to the names by which they are called.