Hierarchy of Masculinities in George R.R. Martin's a Game of Thrones
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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. -
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. -
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 -
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. -
“I'm All That Stands Between Them and Chaos:” a Monstrous Way of Ruling In
ARTICLE https://doi.org/10.1057/s41599-020-00562-3 OPEN “I’m all that stands between them and chaos:” a monstrous way of ruling in A Song of Ice and Fire ✉ Györgyi Kovács 1 The article explores Tyrion Lannister’s rule in King’s Landing in the second volume of A Song of Ice and Fire books, A Clash of Kings. In the reception of ASOIAF and the TV show Game of Thrones, Tyrion was considered one of the best rulers, and the TV show ended by making him 1234567890():,; Hand to a king who delegated the greatest part of ruling to him. The analysis is based on Foucault’s notion of monstrosity in power, which is characterized by a monstrous conduct and includes the excess and potential abuse of power. The article argues that monstrosity in his rule reveals deeper layers in Tyrion’s personality, which is initially suggested to be defined by morality. The article also comes to the conclusion that his morality limits the scope of his monstrous methods, which eventually leads to his fall from power. ✉ 1 Eötvös Loránd University, Faculty of Humanities, Budapest, Hungary. email: [email protected] HUMANITIES AND SOCIAL SCIENCES COMMUNICATIONS | (2020) 7:70 | https://doi.org/10.1057/s41599-020-00562-3 1 ARTICLE HUMANITIES AND SOCIAL SCIENCES COMMUNICATIONS | https://doi.org/10.1057/s41599-020-00562-3 Introduction ne of the most compelling features of George R. R. of his character and anticipates that in the books Tyrion will turn OMartin’s A Song of Ice and Fire (ASOIAF) books is the a villain motivated by vengeance (Bryndenbfish, 2019), which is way they present a richly detailed medieval fantasy world exactly the opposite of how his storyline ended in the TV show. -
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 -
1 Daenerys Targaryen and Feminist Theory in Game of Thrones Lauren
Daenerys Targaryen and Feminist Theory in Game of Thrones Lauren Humphreys Dr. Sarah Wright Duquesne University Senior 1 Over the past several years, Western popular culture has seen an explosion in interest for the fantasy genre, erupting in 2011 when HBO premiered the television drama Game of Thrones. The drama series and the books it is based on have both been praised for their intricate weaving of many plotlines, genres, and thematic specialties. As with any popular culture phenomena, Game of Thrones was privileged enough to have their own creative platform from which to perform social critiques. While most of these criticisms are placed in a medieval and/or fantasy context, many lessons provided by Thrones are relevant to its twenty-first century fan base. From its premier, the show has been admonished for its portrayal of women and its lack of feminist qualities. Sexism runs rampant in all of the Seven Kingdoms of Westeros, with most of the social norms and customs dependent upon(?) the inherent ‘trade value’ of the female population. No woman is safe from the predatory nature of Westerosi men. It is the transaction and exchange of women that makes life in Westeros, and its neighboring continent, Essos, possible. When looking at the series through this lens, it is easy to apply Luce Irigaray’s essay “Women on the Market” to the context of the female characters who inhabit that world. Irigaray’s essay presents the argument that women are just as easily exchanged by men as any other commodity. Her thesis is extremely evident within the world of Game of Thrones, where the functional nature of society is predicated on whether or not women can be exchanged and reproduce. -
After Volunteering for the Night's Watch, Samwell Tarly Leaps Forward on List of Most
After Volunteering for the Night's Watch, Samwell Tarly Leaps Forward on List of Most Likely To Die Next Game of Thrones Predictions. Content warning: Spoilers ahead Washington, DC, April 25, 2019 – Samwell Tarly may have been safe after killing a White Walker and stealing books from the Citadel, but volunteering for the Night’s Watch during the upcoming Battle of Winterfell may be the nail in the coffin for this beloved character. Last week, Samwell Tarly was last in our list of mostly likely to die next, with only 3% of Game of Thrones fans thinking he is likely to die next. This week, one in ten Game of Thrones fans (10%) thinks he is likely to be killed, a seven-point increase since last episode. While Daenerys Targaryen is relatively safe this week (6%), one or both of her dragons are believed to be in danger. Sixteen percent of Game of Thrones fans think her dragons will become extinct, a 6-point increase since last episode (10%). Jaime Lannister (17%), Theon Greyjoy (15%), Jorah Mormont (14%) and The Hound (14%) continue to top the list of mostly likely to die next. The number of Game of Thrones fans who think Jaime Lannister is going to become a White Walker has doubled since the beginning of the season. During the pre-season poll, 8% of Game of Thrones fans believed that Jaimie Lannister was going to become a White Walker next. After the second episode, 16% of fans predict that The Kingslayer is going to join the army of the undead. -
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. -
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.