Fight, Flight Or Finished: Forced Fitness Behaviours in Game of Thrones
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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 -
William Hope Hodgson's Borderlands
William Hope Hodgson’s borderlands: monstrosity, other worlds, and the future at the fin de siècle Emily Ruth Alder A thesis submitted in partial fulfilment of the requirements of Edinburgh Napier University, for the award of Doctor of Philosophy May 2009 © Emily Alder 2009 Contents Acknowledgements 3 Abstract 4 Introduction 5 Chapter One. Hodgson’s life and career 13 Chapter Two. Hodgson, the Gothic, and the Victorian fin de siècle: literary 43 and cultural contexts Chapter Three. ‘The borderland of some unthought of region’: The House 78 on the Borderland, The Night Land, spiritualism, the occult, and other worlds Chapter Four. Spectre shallops and living shadows: The Ghost Pirates, 113 other states of existence, and legends of the phantom ship Chapter Five. Evolving monsters: conditions of monstrosity in The Night 146 Land and The Boats of the ‘Glen Carrig’ Chapter Six. Living beyond the end: entropy, evolution, and the death of 191 the sun in The House on the Borderland and The Night Land Chapter Seven. Borderlands of the future: physical and spiritual menace and 224 promise in The Night Land Conclusion 267 Appendices Appendix 1: Hodgson’s early short story publications in the popular press 273 Appendix 2: Selected list of major book editions 279 Appendix 3: Chronology of Hodgson’s life 280 Appendix 4: Suggested map of the Night Land 281 List of works cited 282 © Emily Alder 2009 2 Acknowledgements I sincerely wish to thank Dr Linda Dryden, a constant source of encouragement, knowledge and expertise, for her belief and guidance and for luring me into postgraduate research in the first place. -
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 . -
Mariana Lima Terres FEMININE POWER in the HBO TV SERIES GAME of THRONES: the CASE of DAENERYS TARGARYEN
Mariana Lima Terres FEMININE POWER IN THE HBO TV SERIES GAME OF THRONES: THE CASE OF DAENERYS TARGARYEN Dissertação submetida ao Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários da Universidade Federal de Santa Catarina para a obtenção do Grau de Mestre em Inglês. Orientadora: Profª. Drª. Viviane M. Heberle FLORIANÓPOLIS 2019 Mariana Lima Terres FEMININE POWER IN THE HBO TV SERIES GAME OF THRONES: THE CASE OF DAENERYS TARGARYEN Esta Dissertação foi julgada adequada para obtenção do Título de “Mestre” e aprovada em sua forma final pelo Programa de Pós Graduação em Inglês: Estudos Linguísticos e Literários. Florianópolis, 27 de fevereiro de 2019. ________________________ Prof. Dr. Celso H. Soufen Tumolo Coordenador do Curso Banca Examinadora: ________________________ Prof.ª Dr.ª Viviane M. Heberle Orientadora Universidade Federal de Santa Catarina ________________________ Prof.ª Dr.ª Susana Bornéo Funck Universidade Federal de Santa Catarina ________________________ Profª. Drª. Renata Kabke Pinheiro Universidade Federal de Pelotas – via interação virtual This is dedicated to my family and friends. ACNOWLEDGEMENTS Firstly, I would like to thank my family, friends and those who helped me going through this incredible journey, which is to produce a Master thesis; for all the support in moments of doubt and anxiety you gave me; for sharing so many moments of happiness and joy during these two years. I know that this would not have happened if I did not have you by my side. Thank you mother and father, Sonia and Ubirajara, for your unconditionally love and help. Thank you dear sisters, Gabriela and Alanna, who gave me strength and persistence all the way. -
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. -
Klawitter.Pdf
White olk Walkers Free F Night King Night Mance Rayder Ho tch us a e W Ta tʹs Tormund rg h ar ig ye N Alliser Thorne n Jeor Mormont se u Drogo o nt H o m r Osha o Ygri�e M Jorah Mormont Samwell Tarly Rickard Stark Olly Rhaegar Targaryen Rhaella Targaryen Brandon Stark Aerys II Targaryen Viserys Targaryen Jon Snow H o Varys D u a s y e Eddard Stark Daenerys Targaryen n e Ghost Missandei H Viserion Rhaegal Drogon o Grey Worm u Arthur Dayne s e M Robb Stark a r t e Elia Martell l l k r a t S Sansa Stark Oberyn Martell e s Grey Wind u o H S a Arya Stark Lady n d S n Nymeria Sand a k Nymeria e Bran Stark Obara Sand s Tyene Sand Summer Ellaria Sand Rickon Stark Shaggydog H o Catelyn Stark u s Margaery Tyrell e T Lyanna Stark y Olenna Tyrell r e l l Benjen Stark Melisandre Renly Baratheon Shireen Baratheon Howland Reed Meera Reed H o S7 Tommen Baratheon u Jojen Reed Stannis Baratheon s e Myrcella Baratheon R e e d S6 Joffrey Baratheon n o e h t a r Gendry a B Yara Greyjoy S5 Balon Greyjoy e Theon Greyjoy s u o H S4 Robert Baratheon H Podrick Payne o Brienne of Tarth u s e G Euron Greyjoy r S3 e y Aeron Greyjoy jo y Ramsay Bolton Lancel Lannister S2 Robin Arryn e Roose Bolton s u o th Ilyn Payne r S1 H a H T o u High Sparrow se B 297 o e l Tyrion Lannister n t Shae y o a n P Jon Arryn Kevan Lannister Lysa Arryn se u Petyr Baelish Jaime Lannister o Cersei Lannister Gregor Clegane H Edmure Tully Thoros H Tywin Lannister ou Beric Dondarrion s se ow A rr rr a yn Sp Sandor Clegane Ho Walder Frey use Tu r lly H 257 iste ous ann e se L Fr Hou ey Brot herhood use W Ho ithout Banners Clegane A llegian ces Subordinate Sovereign s Lover ip h Master s Direwolf n Lover o i Dragon t a l e Spouse R Victim Spouse s Mercy killer l l i Legend Victim K Sibling Killer Sibling Resurrected Deceased Child Season Parent Child F Alive a m i li es Year s ne eli Lif. -
2021 Rittenhouse Game of Thrones Iron Anniversary Series 1
2021 Game of Thrones Iron Ann. S1 Inscription Variations Beckett.com/News Aimee Richardson as Myrcella Baratheon Avoid Dragons PR: 25-50 Game of Thrones PR: 25-50 Hear Me Roar PR: 100-150 House Baratheon PR: 25-50 House Baratheon (or Lannister?) PR: 25-50 I'm a princess! PR: 25-50 Joffrey's Sister PR: 25-50 Myrcella Baratheon PR: 100-150 Ours is the Fury PR: 50-75 Princess for Hire PR: 50-75 Princess Myrcella PR: 50-75 Secretly a Lannister! PR: 25-50 Tommen's sister PR: 25-50 Alfie Allen as Theon Greyjoy Any last words? PR: 50-75 Do the Right Thing PR: 25-50 Game of Thrones PR: 50-75 HOUSE GREYJOY PR: 25-50 I chose wrong PR: 10-25 I did terrible things PR: 25-50 IRONBORN PR: 25-50 It can always be worse PR: 10-25 Pay the iron price! PR: 10-25 REEK PR: 25-50 Theon Greyjoy PR: 50-75 There is no escape PR: 10-25 Amrita Acharia as Irri Doreah Betrayed Me PR: 25-50 dothraki rule PR: 25-50 dothraki Translator PR: 25-50 Game of Thrones PR: 10-25 handmaiden PR: 50-75 I serve Khaleesi PR: 10-25 Irri PR: 100-150 it is known PR: 50-75 She is a Khaleesi PR: 25-50 The Great Stallion PR: 25-50 Ania Bukstein as Kinvara Game of Thrones PR: 25-50 High Pristess PR: 10-25 Kinvara (cursive) PR: 50-75 Kinvara (print) PR: 150-200 1 2021 Game of Thrones Iron Ann. -
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. -
Master Dialogue from Seasons 1 and 2
Master Dialogue Document for Dothraki—David J. Peterson 1 Master Dialogue Document for Dothraki All scripts and all postproduction work from all seasons will be entered into this document. Note: The audio files in this section can be found in the "Dialogue" folder inside the • • • "Audio Files" folder. Notes 7/12 Script: For the first round, we received the version of the script that was accurate on 7/12/2008. The scenes from there have since changed, but I've left the translations in for the purposes of comparison. Requested Translation: Finalists were given a series of notes to follow in preparing their final proposals. Among these notes were requests that specific phrases be translated (these phrases themselves appear later in the script, anyway, but I translated them separately just in case that's the way they were wanted). They'll come first. Master Dialogue Document for Dothraki—David J. Peterson 2 GoT SEASON 1 Master Dialogue Document for Dothraki—David J. Peterson 3 Legend Section Title: Scene Description rt1.mp3 Introductory comments, or extra scene/transition/setting information. Dothraki (with stress marked). [phonetic transcription of the standard version] /interlinear gloss/ "English translation." Notes: Extra information (explanations, etymologies, subtleties, metaphors, etc.). Master Dialogue Document for Dothraki—David J. Peterson 4 Requested Translation: From ILLYRIO to DROGO (1) Athchomár chomakaán! rt2.mp3 [aT.tSo.»mar tSo.ma.ka.»an] /respect-NOM. respectful-AGT.-ALL.SG./ "Welcome!" Notes: The phrase here translates to, "Respect to the respectful!" When it comes to outsiders, respect is key for the Dothraki: If outsiders respect them and their culture, they won't kill them. -
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. -
Diplomarbeit / Diploma Thesis
DIPLOMARBEIT / DIPLOMA THESIS Titel der Diplomarbeit / Title of the Diploma Thesis „A Game of Genders: The construction and performativity of femininity in the complex television series Game of Thrones” verfasst von / submitted by Anja Ingrid Buttenhauser angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Magistra der Philosophie (Mag. phil.) Wien, 2018 / Vienna, 2018 Studienkennzahl lt. Studienblatt / A 190 344 313 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Lehramtsstudium UF Englisch/ degree programme as it appears on UF Geschichte, Sozialkunde und Politische Bildung the student record sheet: Betreut von / Supervisor: Univ. -Prof. Dr. Sylvia Mieszkowski Declaration of Authenticity I hereby declare that that I have conceived and written this diploma thesis all by myself and in my own words. Any quotations and ideas borrowed from other authors, as well as passages paraphrased from the work of other scholars are clearly indicated as such and acknowledged in the bibliographical references. I am conscious that the incorporation of any material without acknowledgment constitutes plagiarism. Vienna, September 2018 __________________________________ Acknowledgments First of all, I want to express my sincere gratitude to Univ.-Prof. Dr. Sylvia Mieszkowski for being the best supervisor I could have possibly wished for. Not only am I deeply grateful for your academic advice, constructive feedback to my work and all the time you dedicated to the supervision of my diploma thesis, but even more so for continuously pushing me to do my academic best. Moreover, I want to thank my family for their unconditional love. My parents, Hannelore and Robert, for their unwavering faith in me, as well as for continuously supporting me, even when my endeavours led me to the other end of the world. -
GOCASK Government Cabinet of the Seven Kingdoms Topic: “The True Heir of the Seven Kingdoms Dear Delegate: I Have the Pleasure
GOCASK Government Cabinet of the Seven Kingdoms Topic: “The True Heir of the Seven Kingdoms Dear delegate: I have the pleasure of welcoming you to ULSACUNMUN 2020. My name is Kaory Rios and I am honored of being the president and creator of this year´s new committee GOCASK (government Cabinet of the Seven Kingdoms) based on The Game of Thrones series. I'm eager to get to know you, and make the best out of this Model of the United Nations. First of all I would like to tell you a little bit about myself. I´m 18 years old and also a senior in highschool. I enjoy hanging out with my friends, taking pictures, learning new languages, travelling, watching movies, among many other things. My plan is to study film in Puebla and become a director. This is my 5th MUN conference and my third as part of the chair. If there is something I know for sure is that MUN has helped me grow as a person by giving me leadership skills, and the opportunity of having a word that actually matters in world wide problems in order to find the best solution. This topic is more than exciting for me, and hopefully you´ll find the same way. I expect your utmost performance and for you to give your nonpareil effort that is needed for this committee. Remember to be confident with what you say, if you prepared well there is no reason to be nervous. I wish you the best of lucks and I hope this conference to be a remarkable experience for everyone.