DOCSLIB.ORG

Impact Word(S)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Impact Word(S) AMERICANS GUESS Cersei and Jaime Lannister MOST LIKELY TO DIE NEXT ON 25% Thought to be SAFE THIS WEEK Tormund Giantsbane 20% 21% 21% Gendry 19% Gilly 15% 13% 10% 10% 10% 5% Cersei Jaime Euron Grey Jon Daenerys lannister lannister greyjoy Worm snow Targaryen 0% Ipsos Poll conducted May 06 – 07, 2019 among 281 US adults who watch game of thrones © 2019 Ipsos Q. Which, if any, of the following major characters in Game of Thrones do you think is likely to die next? (Select up to three) AMERICANS GUESS who is MOST LIKELY TO DIE NEXT ON 25% 20% Cersei Lannister 15% Jon Snow Daenerys Targaryen 10% Jaime Lannister Euron Greyjoy 5% 0% Episode 1 Episode 2 Episode 3 Episode 4 Episode 5 Episode 6 Ipsos Poll conducted May 06 – 07, 2019 among 281 US adults who watch game of thrones © 2019 Ipsos Q. Which, if any, of the following major characters in Game of Thrones do you think is likely to die next? (Select up to three) AMERICANS THINK JON SNOW WILL RULE THE IRON THRONE ON 40% 37% 35% 30% 25% 20% 15% 12% 10% 7% 6% 5% 5% 3% Daenerys Sansa Tyrion Arya Jon Snow Targaryen Stark Lannister Stark Bran Stark 0% Ipsos Poll conducted May 06 – 07, 2019 among 281 US adults who watch game of thrones © 2019 Ipsos Q. In your opinion, who do you think will end up on the Iron Throne, ruling over Westeros? AMERICANS GUESS who is MOST LIKELY TO Rule westeros ON 40% 35% 30% Jon Snow 25% Arya Stark 20% Daenerys Targaryen 15% Cersei Lannister Tyrion Lannister 10% 5% 0% Episode 1 Episode 2 Episode 3 Episode 4 Episode 5 Episode 6 Ipsos Poll conducted May 06 – 07, 2019 among 281 US adults who watch game of thrones © 2019 Ipsos Q. In your opinion, who do you think will end up on the Iron Throne, ruling over Westeros? AMERICANS THINK Jon Snow Should RULE THE IRON THRONE ON 45% 40% 39% 35% 30% 25% 20% 15% 15% 10% 7% 6% 5% 5% 4% Daenerys Arya Tyrion Lord Sansa Jon Snow Targaryen Stark Lannister Varys Stark 0% Ipsos Poll conducted May 06 – 07, 2019 among 281 US adults who watch game of thrones © 2019 Ipsos Q. In your opinion, who do you think should end up on the Iron Throne, ruling over Westeros?.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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 ......................................................................................................................
    [Show full text]
  • “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
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Leaked Email Shows HBO Negotiating with Hackers 12 August 2017, by Matt O'brien and Tali Arbel
    Leaked email shows HBO negotiating with hackers 12 August 2017, by Matt O'brien And Tali Arbel investigation confirmed the authenticity of the email, but said it was an attempt to buy time and assess the situation. The same hackers have subsequently released two dumps of HBO material and demanded a multi- million dollar ransom. Whether or not HBO ever intended to follow through with its $250,000 offer, the email raised questions Friday among security professionals about the importance of the data as well as how it will affect future attacks. "It's interesting that they're spinning it as a bug This file image released by HBO shows Nikolaj Coster- bounty program," said Pablo Garcia, CEO of FFRI Waldau as Jaime Lannister in an episode of "Game of North America, based in Aliso Viejo, California. Thrones," which aired Sunday, Aug. 6, 2017. Hackers "They're being extorted. If it was a bug bounty, it'd released a July 27, 2017, email from HBO in which the be on the up and up." company expressed willingness to pay them $250,000 as part of a negotiation over electronic data swiped from Beyler's email to the hackers said the company was HBO's servers. The hacked HBO material included working "very hard" to review all the material they scripts from five "Game of Thrones" episodes. HBO declined to comment. A person close to the investigation provided, and also trying to figure out a way to confirmed the authenticity of the email, but said it was an make a large transaction in bitcoin, the hackers' attempt to buy time and assess the situation.
    [Show full text]
  • Narrative Structure of a Song of Ice and Fire Creates a Fictional World
    Narrative structure of A Song of Ice and Fire creates a fictional world with realistic measures of social complexity Thomas Gessey-Jonesa , Colm Connaughtonb,c , Robin Dunbard , Ralph Kennae,f,1 ,Padraig´ MacCarrong,h, Cathal O’Conchobhaire , and Joseph Yosee,f aFitzwilliam College, University of Cambridge, Cambridge CB3 0DG, United Kingdom; bMathematics Institute, University of Warwick, Coventry CV4 7AL, United Kingdom; cLondon Mathematical Laboratory, London W6 8RH, United Kingdom; dDepartment of Experimental Psychology, University of Oxford, e f 4 Oxford OX2 6GG, United Kingdom; Centre for Fluid and Complex Systems, Coventry University, Coventry CV1 5FB, United Kingdom; L Collaboration, Institute for Condensed Matter Physics of the National Academy of Sciences of Ukraine, 79011 Lviv, Ukraine; gMathematics Applications Consortium for Science and Industry, Department of Mathematics & Statistics, University of Limerick, Limerick V94 T9PX, Ireland; and hCentre for Social Issues Research, University of Limerick, Limerick V94 T9PX, Ireland Edited by Kenneth W. Wachter, University of California, Berkeley, CA, and approved September 15, 2020 (received for review April 6, 2020) Network science and data analytics are used to quantify static and Schklovsky and Propp (11) and developed by Metz, Chatman, dynamic structures in George R. R. Martin’s epic novels, A Song of Genette, and others (12–14). Ice and Fire, works noted for their scale and complexity. By track- Graph theory has been used to compare character networks ing the network of character interactions as the story unfolds, it to real social networks (15) in mythological (16), Shakespearean is found that structural properties remain approximately stable (17), and fictional literature (18). To investigate the success of Ice and comparable to real-world social networks.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]