Abstract
In George R. R. Martin’s A Song of Ice and Fire and HBO’s Game of Thrones, the lands of Essos and Wessos are peopled with characters whose lives operate around their faiths. From the confined lives of the dosh khaleen and the complacent Dothraki refrain, ‘It is known’, to Melisandre’s terrifying abilities as a dedicated servant to the Lord of Light and the shadowy independence of the prophesying Quaithe, the women of Essos in particular seem to glean their power and agency through religions—organisations that paradoxically constrain as they empower. In more traditional narratives, medieval and modern, the concept of a power that confines as it enables is, for women, usually reserved for love and/or sexual attraction, but A Song of Ice and Fire and Game of Thrones notably lack this kind of high romantic love story.
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