Daenerys Targaryen Research Articles

Language as a Tool of Influence: A Discourse Analysis of Daenerys Targaryen’s Speeches in Dothraki and High Valyrian in Game of Thrones

Language as a Tool of Influence: Discourse Analysis of Daenerys Targaryen’s Speeches in Dothraki and High Valyrian in Game of Thrones. This article delves into the examination of the multilingual discourse and diplomatic strategies employed by Daenerys Targaryen, a central character in the “Game of Thrones” television series. The investigation centers on her utilization of the Dothraki and High Valyrian languages, both meticulously crafted by linguist David Peterson expressly for the show. Employing critical discourse analysis, this study seeks to unravel the linguistic influence wielded by Daenerys in her pursuit of power and influence within the fictional realm of Westeros. Through an analysis of her multilingual abilities, the article explores how Daenerys navigates and negotiates linguistic and cultural barriers to build alliances, forge connections, and assert her authority. Through an examination of the linguistic dimensions inherent in her diplomatic endeavors, the article illuminates the role of language as a potent tool for persuasion, negotiation, and cultural mediation within complex sociolinguistic contexts. The findings of this study significantly enhance our comprehension of multilingual diplomacy and its portrayal in popular culture, emphasizing the pivotal role of language in shaping political discourse and interpersonal relationships. Keywords: Game of Thrones, constructed languages, language and identity, cultural adaptation, intercultural communication.

Sculpting Foucauldian power in Game of Thrones as a transmedia project: a systemic functional multimodal discourse analysis

This study analyses the textual, visual and interactional modes employed in creating and representing Daenerys Targaryen in both Home Box Office TV show Game of Thrones and mobile game Reigns: Game of Thrones as a transmedia project to guide users’ construal of the notion of embodied power. The authors examine the structural, functional and semiotic elements that the two media orchestrate to represent how power is attained, developed and relinquished. The results indicate that the two texts/media put forward two different kinds of power (relations) and levels of users’ interactivity. The TV show employs a more linear and developmental conception of power characterizing Daenerys as a transferrable object of power while the game underlines a more dispersed and pervasive notion of power to decentre absolute power. The show deploys immersive cinematic representations/visual spectacle, converging/diverging serial narration that goes beyond the opulent mise-en-scène and complex scenes to attract users’ attention. As for the game, it deploys intellectual and emotional interactivity, choice and coherence that allow users to experience the story, mechanics and environment as users identify with Daenerys. While the show introduces a host of socipolitical tools to maintain longer reign as different forms of governmentality, the game characterizes disciplinary power where subjects/users are offered training opportunities under the designer’s gaze to internalize a series of procedures and sociopolitical tactics. The findings reiterate Foucault’s notion of power as a system of relations, a capillary power that circulates and subjectifies, whilst subjects/users are spaces where subtractive and productive power are wielded, enacted and/or resisted. Each medium deploys its semiotic-specific resources to create meaning differently. While the TV show relies heavily on visual resources and narrative techniques to make meaning, the game mobilizes certain verbo-visual and interactive resources to make meaning. With the growing attention given to transmedia projects as a social practice with social meanings, this article claims to offer critical implications for social semioticians, film creators and game designers through a systematic analytical framework with a special focus on visual meanings.

Daenerys Targaryen: Transformation to the Monumental

Daenerys Targaryen’s metamorphosis scene is analyzed in this article, with accordance to the millennia old structure of the motif of “the woman and the dragon.” It is suggested in this article, that the visual manifestation of Daenerys in the HBO series Game of Thrones, which was changed from that of George R. R. Martin, A Song of Ice and Fire, is reflecting the complexity of the image of Daenerys. This article demonstrates how the figure of Daenerys is a reception of ancient Greco-Roma, and Early modern art, also embedded with the concept of monumentality that is key to the understanding of fantastic art and is demonstrated in Daenerys metamorphosis image. This definition follows Immanuel Kant’s perception of the sublime, to stress how the fantastic create modern mythologies by presenting “greater than life” figures.

Review: The New Female Antihero: The Disruptive Women of Twenty-First-Century US Television, by Sarah Hagelin and Gillian Silverman

Review: <i>The New Female Antihero: The Disruptive Women of Twenty-First-Century US Television</i>, by Sarah Hagelin and Gillian Silverman

The Goddess, Daenerys Targaryen and Me Too Values

AbstractIn this article the author interprets the image of Daenerys Targaryen from the HBO television series,Game of Thrones(2011–19) as an allegory for the Me Too movement and as a symbolic depiction of the concepts of women regaining their power. She follows the connection between the emerging visualization of Daenerys with the tiny dragons and ancient depictions of Goddesses and dragons, and connects this motif to feminist scholars who researched the revival of feminine language in the 1970s and the 1980s of the 20th century. The article also suggests that the nudity of women depicted in fantastic art, particularly in images with women and dragons, are not necessarily titillating but representative of the early feminist stage of women seeking a symbolic power figure. The author also contrasts Daenerys’s visualization with those images, suggesting how she demonstrates the evolution of the motif in light of the changing focal points of feminist movements. Daenerys’s image, she suggests, reflects one of the central issues of the Me Too phenomenon – considering the female body as a sanctuary, which even if exposed and suggestive, is dangerous and forbidden to touch.

Mother of Dragons

Daenerys Targaryen’s metamorphosis scene is analyzed in this article, with accordance to the millennia old structure of the motif of “the woman and the dragon.” It is suggested in this article, that the visual manifestation of Daenerys in the HBO series Game of Thrones, is a reception of ancient Greco-Roma, and Early modern art. This article follows the iconography of four examples: the Minoan figurine of a priestess or goddess that holds serpents in her hands, Medea’s apotheosis on dragons-driven chariot from a vase painting, Saint Margaret wooden relic statue with the tiny dragon, and Cleopatra’s death by snakebites image. By following these examples an iconological line is drawn to connect between Daenerys visualization and the historic examples of the motif, demonstrating reception of not only visual issues but also concepts and meanings. Understanding iconographic and iconological reception in Daenerys television image reflect on conscious and unconscious aspects of her character and the way her figure engages with the viewers.

‘Dracarys’ for all: TV series and experiential learning

Film has been widely used for management learning, mostly with a focus on the story rather than on the film experience. This study draws on arts-based learning literature, film studies and data from learning interactions, and develops a taxonomy of experiential learning with film as a specific art form and emotional medium. The taxonomy includes three elements: making a film experience, processing the experience and cultural aesthetic reflexivity. This study provides process steps and teaching strategies to help move management learners along in the process towards specific learning outcomes. It introduces a film analysis tool as a method that can be used to overcome aesthetic muteness when reflecting on the film experience. The acclaimed and contested TV series Game of Thrones serves as a point of reference, and examples feature the female leader Daenerys Targaryen. The approach is transferable across films and TV series to integrate knowing, experience and emotions and to use popular culture’s critical potential for management learning.

Giving Commands in the TV Series &lt;em&gt;Game of Thrones&lt;/em&gt;

This research attempts to identify the types of commands, sub-types of the commands, and the influence of situational context, power, and social distance in producing commands between characters in the TV series Game of Thrones. The data used are the commands given by the characters, namely Jon Snow, Sansa Stark, Daenerys Targaryen, Tyrion and Cersei Lannister. Holmes’ theory (2013) and some other sources on the categories of commands, Cutting’s theory (2002) on situational context, and Brown &amp; Levinson ‘s theory (1987) on social variables are employed to analyze how the commands were produced. The results show that there are two types of commands: direct and indirect commands. There are 33 direct commands and 57 indirect commands. Some factors such as situational context, power, and social distance have influenced the dominant use of indirect commands.

The visual representation of Daenerys Targaryen in the first season of Game of Thrones

The representation of gender and power relations of female characters is an important area in studies of multimodality. The TV series Game of Thrones , produced by HBO, achieved high notoriety in 2011, becoming a worldwide phenomenon. The object of the present study is Daenerys Targaryen , a character who has a significant role in the narrative, enduring a drastic transformation throughout the first season of the TV series. Based on the grammar of visual design (KRESS; VAN LEEWUEN, 2006), the study analyzed twelve screenshots from six different scenes from the first season of the series. Results show a change in terms of agency, empowerment and independence of the character sustained by her visual representation. Also, from a critical perspective, the study raises issues about feminine representation in the media and notions of gender and culture.

How Tragic Flaws Resonate at Scale: Just Ask Shakespeare

What does Hamlet, Daenerys Targaryen and Persona development have in common? As an actress I had an in‐depth understanding of character development but struggled with creating insights from personas. I embarked on a quest to find out why. I interviewed one of the greatest authority's on Shakespeare, John Bell, AO, OBE FRSN about The Bard's greatest gift to storytelling, the invention of personality and characters. I share the realization that came next, how an individual character's tragic flaw can resonate at scale.

The mother of dragons in Dior: fashion, star image and self-presentation on Instagram

ABSTRACT This article analyzes how a celebrity presents her star image on Instagram using fashion through a case study of British film and television star Emilia Clarke’s Instagram profile. Clarke is primarily known for playing the warrior queen Daenerys Targaryen in Game of Thrones (HBO, 2011–19). Previous studies of fashion and social media have focused, for example, on fashion bloggers or influencers as fashion entrepreneurs. In contrast, this study analyzes how fashion can be an important tool for a film and television star on Instagram to communicate. The article’s theoretical framework combines existing studies on celebrity and fashion in legacy media with star studies and theories of social media and celebrity culture. This case study aims to contribute to our understanding of agency when celebrities communicate through fashion using social media.

Not Just Mother, Wife, and Queen: The Ethical and Political Strategies of Female Characters in George R. R. Martin’s A Song of Ice and Fire

The article is a study of the ethical and political motives of the behavioral strategies of the main female characters in the cycle of novels of A Song of Ice and Fire by George Martin. The author of the article identifies three such characters; Caitilin Stark, Daenerys Targaryen, and Cersei Lannister. The article considers their gender and social identity, compliance or non-compliance with the stereotypes of behavior expected from them, as well as the life-building practices they choose, ways to justify the chosen behavioral strategies, and the reasons for their success or failure. It is then assumed that the fulfillment of one’s duty and service, to one’s business, family, or people are no less important for the realization of oneself and the achievement of goals (including imperious ones) than the possession of other resources such as strength, the power of the army, chivalrous valor, cunning, or wealth. This is especially true for those who seek to possess and retain political power. This does not mean that those who are kind and noble do not perish or emerge victorious from conflicts. A correct understanding of the goals and meaning of the ruler’s power is a necessary, but not sufficient, condition. Since it is necessary, one who does not possess these qualities does not have a chance for a long-term retention of power. However, owning only it and nothing more gives the applicant for power an undeniable advantage. It is also significant that the gender of the character does not give any long-term advantage in the political game, which is shown in the series of Martin’s novels. The author of the article convincingly proves that either a man and or a woman can be an ideal ruler with equal success in Martin’s world.

Dwarf, Eunuch, and Banker: The Intuitions of the Modern State in Westeros

The article is dedicated to the analysis of the mechanisms of the interaction of power, money, and knowledge in the context of the pre-modern society described by George Martin in A Song of Ice and Fire. The author notes that Martin created an almost unique picture of a society roughly corresponding to Europe of the late Middle Ages, deprived of the state, but drunk with its intuitions and forebodings. In the framework of this society, personal loyalty, love, physical strength, and beauty, that is, the qualities inherent in most of the main characters, become the main values. However, the future turns to other people; the dwarf Tirion Lannister cares about the welfare of the common people, the eunuch Varis personifies the power of knowledge, and the financiers Petir Bailish and Ilirio Mopatis represent the power of money. Finally, Daenerys Targaryen, after the death of her husband and the birth of her dragons, also becomes not so much a real woman as a living symbol of the upcoming new world order. Her attributes are the absolute power represented by the dragons, and the complete equation of the citizens of the future state, symbolized by the army of impeccable eunuchs. Thus, the confrontation between old and new, and between feudalism and modernity in Martin’s novel is not only at the level of socio-political constructions, but also at the level of aesthetic opposition. Moreover, the gain, most likely, remains with the ugly new times.

"Dragon-Ridden" Days: Yeats, Apocalypse, and the Anthropocene

Dragons, being imaginary creatures, escape the umbra of extinction shadowing multiple species on earth today. We can trace their lineage from Homer (at least in the European tradition) to the personal mount of of Daenerys Targaryen, Drogon, in Game of Thrones; or, from Beowulf to J. R.R. Tolkien’s The Hobbit. Because they are textual creatures, dragons display a re-silience and capacity to mutate that makes them eloquent ontological signifiers in mythic narratives, as motifs of epistemological uncertainty in folklore and cultural memory, and as embodiments of extra-human/pre-modern intrusions in the workings of history. Whereas Chinese dragons are often beneficial to the human species, European variants (including those found in Celtic folklore) are not. Dragons spell death and destruction; they demand human sacrifices, as in the legend of St. George. Their appearance suggests power and menace of extraordinary dimensions, as in Lewis Carroll’s Jabberwock. (The Jabber-wock was first illustrated by John Tenniel in 1871 as a dragon, and the tradition continues well into the present day, in Tim Burton’s Alice in Wonderland, for example.) Dragons collude with destructive forces; their power to annihilate everything that stands for “human” is unwittingly referred to in Kanye West’s words above.2 I suggest in this essay that the image of the dragon offers us a portal into the highly ornate symbolic structures of W. B. Yeats’s historiography and his vision of the apocalyptic.

Progression through Regression: The Inferno of Daenerys Targaryen

A chief warning from George R.R. Martin is that the “night is dark and full of terror.” This article is a critical reflection on a moment from Martin’s masterpiece, A Song of Ice and Fire. Through a close reading of the series, I found that one of the most poignant moments is Daenerys Targaryen’s visionary journey through the House of the Undying. It was in this moment that I found the influence of the indelible Dante Alighieri. My article parallels Daenerys’s journey alongside Dante’s journey through hell in his Inferno. I begin by drawing a comparison between the warning Daenerys is given by Pyat Pree and the warning found outside of the gates of hell in Inferno. I finish by considering the prophecy of the three treasons experienced by Daenerys, mirroring Dante’s vision of Lucifer. While these experiences may seem dark, there are moments of light interspersed. Throughout this article, I also reflect on how Game of Thrones interprets Daenerys’s visions as prophecy. Ultimately, I conclude that the true story of “ice and fire” is the story that leads one from bondage to freedom in the ultimate search for truth.

Daenerys Targaryen Will Save Spain: Game of Thrones, Politics, and the Public Sphere

This article deals with the use of the American television series Game of Thrones (HBO: 2011–) as part of the political discourse of the emerging political party Podemos in Spain. First, we focus on Podemos leader, Pablo Iglesias, who, in 2014, edited a book devoted to analyzing this series from a political science viewpoint. We then move on to study ideologically charged symbolic gestures and the detailed analysis of the parallelisms between Daenerys Targaryen’s revolutionary enterprise and Podemos’s bottom-to-top quest to seize power. We then scrutinize how emergent political forces that threaten the enduring hegemony of traditional parties use popular cultural artifacts to intervene in the social fabric and how they attempt to tune in with the Internet-dedicated, socially networked younger classes. This article, thus, analyzes how the relationship between politics and serialized TV fiction has morphed within the Spanish mediascape, paying special attention to the impact of participatory culture.

AS PAIXÕES E AS FORMAS DE VIDA DE DAENERYS TARGARYEN EM GAME OF THRONES

As narrativas ficcionais seriadas norte-americanas têm conquistado cada vez mais espaço entre os brasileiros, principalmente após a popularização da TV por assinatura e a expansão dos consumidores da internet. Esse tipo de produto cultural é um dos principais responsáveis por disseminar e determinar valores, comportamentos e novas formas de vida. A fim de identificarmos essas formas de vida que têm sido transmitidas à sociedade, motivadas pela grande adesão de público e também pela presença de personagens femininas bem construídas e complexas, escolhemos como corpus de análise para este trabalho a narrativa seriada televisiva Game of Thrones. Ao analisar o percurso de Daenerys Targaryen, ator feminino cujas formas de vida passam por um devir muito significativo na trama, abordaremos seus percursos narrativo e passional com o objetivo de identificar as formas de vida a ela atribuídas, bem como os papéis actanciais, temáticos e patêmicos nela investidos. Utilizaremos em nosso quadro teórico-metodológico a semiótica de base greimasiana, mais especificamente os níveis narrativo e discursivo do percurso gerativo de sentido, além dos preceitos teóricos acerca das paixões e das formas de vida.