Game Of Thrones Research Articles

Along came this song

This article explores the use of songs in fantasy televisual media, considering what types of songs are being sung, where they are placed within the context of the show, and by whom they are being sung. I analyze elements of culture and character that enhance worldbuilding as well as explore the use of repetition through leitmotifs, context, and intertextual references. I focus on songs from The Witcher: Blood Origin , Game of Thrones , and The Witcher. Invoking Petra Zimmerman’s concept of the “semantic co-text” (2013), I examine the context of each song, including what occurs before and after the choice for characters to sing, considering what drives them to the point of song and what it adds to their internal story. This, combined with a hermeneutic approach to semiotic analysis, allows for a close reading of the lyric text. Finally, I draw together the analysis through a consideration of the phonaesthetic choices ( Fimi 2010 ) and the performance of each song as an act of “musicking” (Small 1998) to consider them as individual moments as well as connected motifs within the broader fantasy context. Songs in longform fantasy media enrich the fabric of the text and provide audiences textual clues to hook into and return to. Music is integral to cultural practices; therefore, when examining texts which create new fan communities and new fantastic contexts, it is imperative to pursue the elements which support interior authenticity and allow audiences to accept the context and authority of the story being told.

Challengers are Coming for Nvidia's Crown: In AI's Game of Thrones, Don't Count Out the Upstarts

Challengers are Coming for Nvidia's Crown: In AI's Game of Thrones, Don't Count Out the Upstarts

ИНТЕРПРЕТАЦИИ ТЕРМИНА «МОНОКУЛЬТУРА» ДО И ПОСЛЕ ЦИФРОВОГО СОСТОЯНИЯ

The article is devoted to the analysis of the phenomenon of monoculture, chronologically divided into pre-digital and digital. Pre-digital monoculture is presented through the critical analysis of cultural consumption. Using the case of such cultural texts as Game of Thrones, Harry Potter and Star Wars, the author shows that pre-digital monoculture is a part of popular culture. It was the consumption of various symbols that marked the dominance of a cultural text in the pre-digital era. In an attempt to characterize the digital monoculture, the author refers to Alan Kirby’s theory of digimodernism and the theory of technofeudalism by J. Dean and Y. Varoufakis, also offering his own definition of the term.

Audience-authored paratexts: legitimation of online discourse about Game of Thrones

Abstract With the increasing proliferation of the internet, audience-authored online paratexts continue to gain significance in culture and in the communicative structures of narrative texts. This article takes a critical look at the ways in which Gérard Genette’s concept of paratext (1987) has been used in contemporary scholarship. The article offers a model of online paratexts based on an interdisciplinary understanding of paratextuality and internet-age culture. Ways in which paratexts become legitimate in online environments are considered through the analysis of HBO’s popular TV series Game of Thrones (2011–2019). Legitimation extends from production-authored paratexts to audience-authored paratexts, reflecting changes in the relationship between authors and readers typical to contemporary culture. Finally, the article introduces the concept of paratextual reauthoring, which refers to the practice of canonizing alternative interpretations of texts via the use of online paratexts.

Familiarity enhances functional connectivity between visual and nonvisual regions of the brain during natural viewing.

We explored the neural correlates of familiarity with people and places using a naturalistic viewing paradigm. Neural responses were measured using functional magnetic resonance imaging, while participants viewed a movie taken from Game of Thrones. We compared inter-subject correlations and functional connectivity in participants who were either familiar or unfamiliar with the TV series. Higher inter-subject correlations were found between familiar participants in regions, beyond the visual brain, that are typically associated with the processing of semantic, episodic, and affective information. However, familiarity also increased functional connectivity between face and scene regions in the visual brain and the nonvisual regions of the familiarity network. To determine whether these regions play an important role in face recognition, we measured responses in participants with developmental prosopagnosia (DP). Consistent with a deficit in face recognition, the effect of familiarity was significantly attenuated across the familiarity network in DP. The effect of familiarity on functional connectivity between face regions and the familiarity network was also attenuated in DP. These results show that the neural response to familiarity involves an extended network of brain regions and that functional connectivity between visual and nonvisual regions of the brain plays an important role in the recognition of people and places during natural viewing.

A Peircean semiotic analysis of House Stark in A game of thrones

ABSTRACT This study investigates how Peircean semiotics can unpack the multifaceted meanings associated with House Stark, Starks’ sigil ‘direwolf’ and their motto ‘winter is coming’ in George R. R. Martin’s A game of thrones. It presents Charles S. Peirce’s semeiosis, the mathematical and Kantian origins of Peirce’s triadicity and his triadic representation of signs comprising representamen, interpretant and object. In the novel, Peirce’s representamen is the direwolf sigil, the interpretant is the motto ‘winter is coming’ and the object is House Stark. The investigators explore direct relationships between representamen–interpretant (sigil–motto), interpretant–object (motto–House Stark) and object–representamen (House Stark–sigil). They conclude how the context has changed the meaning of Starks’ sigil and motto. While the study posits that every sign and sentence in the novel functions as a Peircean sign, this investigation focuses on three elements of House Stark: the sigil, the motto and the house itself. The novel has excellent room for future research, particularly by applying Peircean semiotics as an analytical tool. This approach promises a fresh perspective on the story’s elements and a deeper understanding of how the narrative reflects and connects to real-world social structures, events and broader themes.

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. Dialoguri transculturale. Evoluția personajului Daenerys Targaryen ca ambasador cultural în Game of Thrones. Acest articol explo­rează discursul multilingv și strategiile diplomatice folosite de Daenerys Targaryen, un personaj central din serialul “Game of Thrones”. Ne concentrăm asupra modului în care Daenerys se folosește de limbile Dothraki și High Valyrian, create cu meticulozitate de lingvistul David Peterson special pentru acest serial TV. Prin analiza discursului, studiul nostru își propune să dezvăluie cum Daenerys mane­vrează influența lingvistică în căutarea puterii și a influenței în lumea fictivă a Westerosului. Explorăm cum, prin abilitățile sale multilingve, Daenerys depășește și negociază barierele lingvistice și culturale pentru a construi alianțe, a crea conexiuni și a-și afirma autoritatea. Prin examinarea dimensiunilor lingvistice implicate în eforturile sale diplomatice, articolul aduce în prim-plan rolul limbii ca instrument puternic de persuasiune, negociere și mediere culturală în contexte sociolingvistice complexe. Concluziile acestei cercetări contribuie semnificativ la înțelegerea diplomației multilingve și la modul în care este prezentată în cultura populară, subliniind importanța centrală a limbii în modelarea discursului politic și relațiilor interpersonale. Cuvinte-cheie: Game of Thrones, limbi construite, limbă și identitate, adaptare culturală, comunicare interculturală. Article history: Received 30 January 2024; Revised 28 May 2024; Accepted 05 June 2024;Available online 25 June 2024; Available print 30 June 2024.

War and Peace in Game of Thrones as An Epic Narrative

This study aims to examine the war and peace themes in the TV series Game of Thrones, which can be considered as an epic a popular culture narrative. Epics’ themes are of war, adventure and chivalry and they reproduce discourse on values, morality, war and peace though one or more protagonists. Epics, traditionally, construct war discourse by concepts like just war, war ethics and honor, and peace discourse by absence of war. In this study, Game of Thrones, has been examined in terms of war and peace themes via Thematic Analysis. Results revealed that Game of Thrones, somewhat differs from traditional epic narratives. Although classical themes like “just war discourse” pops on and off throughout the show, it is also emphasizes that war is not a glorious act. Showing conflicting perspectives of the warring parties, narrative of the show refutes many narratives that serves as justification of war. Moreover, in Game of Thrones universe, peace is not built on the absence of war. Narrative emphasized that non-conflict is not sufficient but a just administration is necessary for peace. In this context, peacebuilding in the Game of Thrones manifests itself in a way that converges with Galtung's conceptualization of peace.

The Image of Mother in the fantasy novel "A Game of Thrones" by G. Martin.

The image of the mother is a constant of the world culture, and therefore it can be found in almost any national literature. The research material of this study is the work of the American fantasy writer George Martin. The object of the study is the image of the mother in the novel “A Game of Thrones” from the cycle “A Song of Ice and Fire”. This series of novels has been positively reviewed by critics and warmly received by readers. In this study, the author refers to the image of the mother and conducts a practical analysis of the female characters represented in the novel. Three protagonists representing the above mentioned image of mother were analyzed. The novelist aims to create diverse characters who possess unique personalities. At the same time, each specific protagonist has ambivalence and duality. The primary method of research is a comparative analysis of the heroines selected by the author in order to identify the fundamental characteristics of the image of the mother in the work of George Martin. The principal conclusions of the study are: the presence of a specific writer’s approach to the process of a mother image creation in a fantasy narrative, explained by his desire to create multifaceted characters with unique personalities, as well as the ambivalence and duality of one image in each particular protagonist. These conclusions make it possible to further conduct a more extensive study in order to investigate into other literary images presented in the works of the American writer, since fantasy, as a literary phenomenon, is experiencing increasing scientific interest. The scientific novelty is explained by a sufficient lack of conducted scientific research on the image of the mother in fantasy works, in particular, in the works of George Martin.

Building Suspense: A Critical Examination of Foreshadowing Devices in TV Series Opening Credits

This paper explores the intricate use of foreshadowing devices within the opening credits of television series, unraveling the artful integration of visual, musical, and textual elements. Through detailed case studies of iconic shows such as Game of Thrones, Stranger Things, and Westworld, we dissect the deliberate choices made by creators to engage audiences from the very beginning. The analysis uncovers the narrative nuances embedded in symbols, musical scores, and textual clues, highlighting their role in setting the stage for complex and immersive storylines. Ethical considerations, methodological challenges, and the limitations of the study are also addressed. By contributing insights to television studies and narrative theory, this paper emphasizes the significance of opening credits as a canvas for storytelling in the evolving landscape of contemporary television.

Lessons From Dragons: Teaching Political Science With HBO’s House of the Dragon

Since first airing on HBO in 2011, Game of Thrones (GOT) has proven to be a fruitful text for teaching and studying politics. In 2022 the prequal to GOT—House of The Dragon (HOTD) debuted on HBO. This paper conducts discourse analysis on the entire first season with two goals in mind. First, we demonstrate how pop culture is impacted by real world politics by examining the change in gender and racial representation in HOTD compared to GOT and argue that this change was a product of cultural backlash that GOT received and a result of changing political attitudes over the time of both shows airing. Second, we use the show’s content as text to teach American and Comparative politics concepts. In the appendix we provide three examples of low, mid, and high-stake assignments that use show content in teaching political science courses.

Female Characters of Fantasy in George Raymond Richard Martin’s A Game of Thrones

Fantasy is fiction about bizarre and impossible to which female characters were connected through this work. A Game of Thrones is an epic fantasy novel, under the series. A Song of Ice and Fire. This fantasy novel involves psychological and archetypical personal features to create the middle age’s culture. A good number of female characters were presented who were not just an accessory but an engaging, powerful and successful person belonging to various age groups. Fantasy in this novel develops along with the heroines. Martin’s heroines can be considered as feminists, they were not limited to the stereotypical gender roles. The female protagonists of the series are generally aristocratic women who have to abide the rules which are enforced on them. Women navigate societal expectations in diverse ways, with some conforming, others openly resisting, and a third group employing more subtle, devious methods to oppose prevailing norms. All the women are oppressed, they have to struggle and are limited by the boundaries set by the society typical for many a book of the fantasy genre. They all are affected by the patriarchal society they live in. Martin tries to overcome all these with some female characters with different aspects but believably strong.

Antiviral responses versus virus-induced cellular shutoff: a game of thrones between influenza A virus NS1 and SARS-CoV-2 Nsp1.

Following virus recognition of host cell receptors and viral particle/genome internalization, viruses replicate in the host via hijacking essential host cell machinery components to evade the provoked antiviral innate immunity against the invading pathogen. Respiratory viral infections are usually acute with the ability to activate pattern recognition receptors (PRRs) in/on host cells, resulting in the production and release of interferons (IFNs), proinflammatory cytokines, chemokines, and IFN-stimulated genes (ISGs) to reduce virus fitness and mitigate infection. Nevertheless, the game between viruses and the host is a complicated and dynamic process, in which they restrict each other via specific factors to maintain their own advantages and win this game. The primary role of the non-structural protein 1 (NS1 and Nsp1) of influenza A viruses (IAV) and the pandemic severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2), respectively, is to control antiviral host-induced innate immune responses. This review provides a comprehensive overview of the genesis, spatial structure, viral and cellular interactors, and the mechanisms underlying the unique biological functions of IAV NS1 and SARS-CoV-2 Nsp1 in infected host cells. We also highlight the role of both non-structural proteins in modulating viral replication and pathogenicity. Eventually, and because of their important role during viral infection, we also describe their promising potential as targets for antiviral therapy and the development of live attenuated vaccines (LAV). Conclusively, both IAV NS1 and SARS-CoV-2 Nsp1 play an important role in virus-host interactions, viral replication, and pathogenesis, and pave the way to develop novel prophylactic and/or therapeutic interventions for the treatment of these important human respiratory viral pathogens.

SYMBOLISM OF NINE GREAT HOUSES IN GAME OF THRONES

This study entitled “Symbolism of Nine Great Houses in Game of Thrones”. It aims at identifying symbols that are applied and analyzing the meanings of the symbols implied in each house based on the semiosis process proposed by Peirce. All the data are taken from the Nine Great Houses by watching it repeatedly and listing all the symbols that are related to each house. The writer will identify the symbols that are found and analyses them by using qualitative descriptive methods continued with the semiosis process. The writer chose the Theory of Symbol proposed by Charles Sanders Peirce to analyze the symbols by using his triadic structure which included Object, Representamen, and Interpretant. All three parts must be present for something to be considered a sign or symbol. The results show that four type of Archetypal Symbols found, they are Symbolism of Animals, Symbolism of Colors, Symbolism of Settings, and Symbolism of Objects. These differences have resulted in various interpretations.

Women and Madness in Game of Thrones:

Historically, women do not appear to be escaping the determination to be insane either by adopting prescribed patterns of femininity or by opposing the attributions. No matter how strong or weak a woman is, in the end, there is always a possibility of the loss of the self that turns them into mad women. This paper examines why and how several female protagonists in Game of Thrones are depicted as insane and hysterical as over time their characters grow stronger. The analogous arrangement of madness and femininity blocks their access to the position of normality in this fictional world. Moreover, female abnormality is a clear form of female normality since, weak or strong, women like Daenerys, Sansa, Arya, or Cersei end up being labeled as insane or hysterical by the patriarchal normativity. In the fictional world of Westeros, madness and gender performative discourses form the framework of behavioral traits that lead its female protagonists towards madness. This paper will use gender theories and Butler’s performative acts to explain the attitudes of the writer as well as the creators of Game of Thrones towards female insanity and the reasons behind the depiction.

Психосемантика притягательности персонажей культового фильма и символико-мифологические контексты идентификации субъектов

<p>The personalization of art communication provides a situation of openness, that´s how cult films as well as psychological studies of this phenomenon appear. The article is dedicated to the study of the psychosemantic structure of the attraction of characters in the cult film "Game of Thrones" in the context of viewer’s identification with characters in situations of special art communications. In the study we used a modification of the semantic differential “Attractiveness of film characters” by C. Osgood . 204 people were recruited for this study: 130 people familiar with the series and 74 people not familiar with it. The study revealed the identification of subjects with the characters of the cult film, even if people wasnot quite familiar with them, as well as importance of the attraction factor. The psychosemantic structure of the attraction of the film's main characters is ambivalent, it is simpler and more unambiguous for subjects who feel identified with a certain character, and more complex for subjects who don’t. The results of the study are presented in the context of a discussion about the phenomenon of the cult movie</p>

Film-Induced Tourism, Destination Branding and Game of Thrones: A Review of the Peñíscola de Cine Project

This paper addresses an alternative perspective on tourism success, emphasising sustainability over traditional quantitative metrics such as arrival numbers. It explores the impact of fiction films and TV series on individuals’ mental representations of destinations featured on screen, as well as the capacity of film discourse to construct a brand aligned with local stakeholders’ interests. Qualitative methods have been employed, conducting a literature review on sustainable film tourism and destination branding. Local news and an interview with the head of the Peñíscola Film Office complemented academic insights. The primary goal is to examine the “Peñíscola de Cine” project as a paradigm of success, initiated by the city council of Peñíscola, Spain. This project positions the municipality as a natural film set through productions like Game of Thrones (2011–2019), illustrating how film can contribute to destination branding and community engagement. The study highlights the positive contribution of film tourism to sustainability by diversifying and de-seasonalising a territory’s offerings. It also attracts a more educated and environmentally conscious audience. However, it cautiously discusses the potential risks, as evidenced by misapplications in Goathland, England, and Skellig Michael, Ireland, following their appearances in Heartbeat (1992–2010) and Star Wars (1977–2019), respectively. The paper concludes by suggesting film-friendly measures for destination management organizations (DMOs), emphasising the pivotal role of film commissions and film offices in crafting effective marketing strategies and capturing the interest of audiovisual production companies.

Artistic Intervention as Scene Construction/Deconstruction: An Analysis of the Display of the Kangxi Throne in the Humboldt Forum in the Context of the Cross-Cultural Exhibition

Based on the research perspective of cross-cultural exhibition analysis, this paper takes case study as the fundamental methodology under the framework of museology and art history research in order to analyse the new display of the Kangxi throne and its screen, which were lost overseas from China during the war years and have been transferred from the Museum of Asian Art in Dahlem to the Humboldt Forum, which is deeply involved in the controversy of its colonial history. This study primarily focuses on the situational methods in which the exhibits were connected to the public under artistic intervention. In the exploratory stage, the “Game of Thrones” project in the Humboldt Lab Dahlem programme offered multiple versions of interpretations, which ultimately prompted the museum to change the scene restoration plan and invite the famous Chinese architect Wang Shu to complete the rooftop installation. Between construction and deconstruction, the artwork’s scenic intervention creates structural descriptions for the presentation of cross-cultural differences, and accommodates ethical conflicts from different sides with its poetic, distanced interpretations, while providing a shared language for comprehending the various facets of nationhood amidst the intersection of history and the present.

Game of thrones: copyright ownership conflicts arising from user-generated content on augmented reality platforms

Game of thrones: copyright ownership conflicts arising from user-generated content on augmented reality platforms

High season is coming: travel motivations of Game of Thrones fans

ABSTRACT Despite substantial evidence that media fans are increasingly travelling to the filming locations for movies and TV series, research on core tribal fan film tourists’ travel motivations remains limited. This paper contributes to the scarce literature on this question with a study of the fan tourism phenomenon inspired by the fiction TV series Game of Thrones. The study is based on 68 semi-structured in-depth interviews with fans of the series; specifically, core fan community members who have travelled to one or more of the series’ filming locations. A thematic analysis of the interview responses reveals three main travel motivations: affective identification with characters; the existence of parallels between fiction and history; and the desire to feel part of a collective identity. The findings suggest that tourism motivated by Game of Thrones is the result of a profound emotional and narrative attachment to the series on the part of fans, with a combination of playful and serious elements. On the theoretical level, this paper contributes to the scholarly literature on fan film tourism. It also reveals that a better understanding of fans’ needs could support tourist destination managers in the creation of added value for fan film tourists.