In this essay I make a narrative analysis, based on the book A Game of Thrones and the tv-series Game of Thrones, about how the relationships between the characters Daenerys Targaryen and Khal Drogo, as well as Daenerys and Viserys, are portrayed in different ways between the versions. I analyze how these differences relate to intersectionality and sexuality, and how the perception is affected on the relationships based on the narratology of the book, towards the tv-series. Since Daenerys has her own chapters in the book, and not Viserys or Drogo, I will in that version base my analysis from her perspective. While from the tv-series, I base my analysis from picture sections, for example, with focusing on the characters and how their emotions can be portrayed, as well as the background music. The relationship between Daenerys and Viserys shows the power play between them, while her relationship with Drogo shows how she gets oppressed, and how she then uses this to her own advantage to gain power. And I show in the analysis when Daenerys tries to save women from sexual violence, which ultimately leads to her losing her power. / I denna uppsats gör jag en narrativ analys, där jag utgår från boken A Game of Thrones och första säsongen av tv-serien Game of Thrones, om hur relationerna mellan karaktärerna Daenerys Targaryen och Khal Drogo, samt Daenerys och Viserys, framställs på olika sätt mellan versionerna. Jag analyserar hur dessa skillnader förhåller sig till intersektionalitet och sexualitet, samt hur synen på relationerna påverkas utifrån narratologin i boken, gentemot tv-serien. I analysen utgår jag från Daenerys perspektiv i boken, då hon har egna kapitel och inte Drogo eller Viserys. Däremot utgår jag från bildutsnitt i tv-serien, till exempel med fokus på karaktärerna och hur deras känslor kan gestaltas, samt bakgrundsmusiken. Relationen mellan Daenerys och Viserys visar maktspelet mellan dem, medan hennes relation till Drogo visar hur hon blir förtryckt och hur hon sedan använder detta till sin egen fördel för att få makt. Jag visar även i analysen när Daenerys försöker rädda kvinnor från sexuellt våld, som i slutändan leder till att hon förlorar sin makt.

Syftet med denna uppsats är att undersöka hur olika typer av femininiteter gestaltas i populärtelevision. Undersökningen kommer att utföras genom att analysera tre utvalda avsnitt ur fantasy serien Game of Thrones. Uppsatsen avser att undersöka hur olika typer av femininiteter konstrueras i narrativet i relation till makt, överlevnad och det maskulina för att slutligen undersöka vilka femininiteter som premieras.   Undersökningen kommer att utföras ur ett narrativt perspektiv, en analysmetod hämtad från boken ”How to Study Television” (1995) av Keith Selby och Ron Cowdery, där konstruktion och narrativ är centrala begrepp. Jostein Gripsrud redogör för hur en berättelse kan definieras i boken ”Mediekulturer Mediesamhälle”(2002) som även används i undersökandet av serien. Den teoretiska ramen för studien består av teorier och begrepp som berör femininitet, feminism, representation som är relevanta för analysen. Stuarts Halls representationsteorier kring stereotyper och skillnader kommer att användas i uppsatsen. Judith Butlers teorier och feministiska perspektiv används genomgående i uppsatsen samt hennes begrepp performativitet. Carrie Paechter redogör för ”hon” och diskuterar terminologin av femininiteter och maskuliniteter utifrån flera perspektiv som också appliceras på analysen. Studiens resultat kommer att relateras till Rosalind Gill som nämns i den tidigare forskningen.   Den genomförda analysen behandlar hur de olika karaktärerna och deras femininiteter kan förstås i relation till makt och överlevnad utifrån deras femininitetsideal. Alla karaktärers femininitet står i grund för hur de tillskrivs sina identiteter och gestaltas i serien. Min slutsats indikerar på att de femininiteter som premieras högst i serien är de som erhåller en specifik makt över sig själva som kvinnor. De flytande karaktärerna och deras femininitetsideal blir mer gynnande än de stereotypa. Min studie påvisar på att makt i sig inte gynnar karaktärerna mest, utan makt över sig själva som karaktärer är den representationen av femininitet som värderas högst.     Nyckelord: Femininitet, Game of Thrones, populärkultur, representation, kvinnlig identitet, performativitet.

In this essay a conclusion about the way female characters are portrayed in fantasy novels will be attempted through an analysis of one selected female character from each selected novel. The works that have been chosen are; J.R.R. Tolkien’s The Lord of the Rings, Robert Jordan’s The Eye of the World and A Game of Thrones by George R.R. Martin. The analysis will be done with the help of examples and theories from both feministic criticism and gender studies. During the course of the discussion the background of the fantasy genre and goal of the scientific theories will be explained.The fantasy genre in itself allows its authors a chance to criticize the norms of our society, freed from the restraints of realism. The findings of this essay however, imply that some fantasy authors forsake this chance in order to more accurately emulate the medieval European society or in fact actively reinforce patriarchal norms.

Submitted by Aelson Maciera (aelsoncm@terra.com.br) on 2017-08-09T14:59:21Z No. of bitstreams: 1 DissCMGM.pdf: 2404358 bytes, checksum: dd0bc47365f773e8e2e95e5711c3f00e (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-09T17:07:22Z (GMT) No. of bitstreams: 1 DissCMGM.pdf: 2404358 bytes, checksum: dd0bc47365f773e8e2e95e5711c3f00e (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-09T17:07:31Z (GMT) No. of bitstreams: 1 DissCMGM.pdf: 2404358 bytes, checksum: dd0bc47365f773e8e2e95e5711c3f00e (MD5) / Made available in DSpace on 2017-08-09T17:12:31Z (GMT). No. of bitstreams: 1 DissCMGM.pdf: 2404358 bytes, checksum: dd0bc47365f773e8e2e95e5711c3f00e (MD5) Previous issue date: 2016-06-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Known as the Age of Conversation, the present time is marked by horizontal communication, based on connectivity between people and their networking. This setting reconfigures the media landscape from new conversation environments such as podcast. The present dissertationinvestigates the contents of Podcasteros produced by a network of Brazilian fans of the television series Game of Thrones (HBO, United States, 2011-present). The understanding of the series, the strategies used by HBO and content produced by fans aims to discuss a business model based on participatory culture that prioritizes dialogue not always friendly between producers and fans. At first, the series will be presented whose complex narrative universe unfolds through multiple plots, characters and settings - which leads the viewer to search for information on other platforms to understand not only what is narrated as sharing, networking, their impressions and versions of history. Observe the discursive network of fans around the series, therefore, requires the understanding that it is formed from ephemeral and temporary ties and marked by discursive diversity of its members. Finally, the Podcasteros content analysis will be addressed. The methodology proposed merges content analysis and netnography and is an investigative journey that seeks to meet the specific characteristics of the object and its sound nature in the context of discursive networks of fans and their dialogic practices. / Conhecida como a Era das Conversas, a atualidade é marcada pela comunicação horizontal, baseada na conectividade entre as pessoas e suas redes de interesse. Esse cenário reconfigura a paisagem midiática a partir de novos ambientes de conversação, como o podcast. A presente pesquisa investiga o conteúdo do Podcasteros, produzido por uma rede de fãs brasileiros do seriado televisivo Game of Thrones (HBO, Estados Unidos, 2011-atual). A compreensão da série, das estratégias utilizadas pela HBO e do conteúdo produzido por fãs servem para discutir um modelo de negócios baseado na cultura ligada em rede que prioriza o diálogo, nem sempre amistoso, entre produtores e fãs. Em um primeiro momento, será apresentada a série cujo universo narrativo complexo se desdobra por meio de múltiplas tramas, personagens e cenários – o que leva o espectador a buscar informações em outras plataformas para entender não somente o que é narrado como compartilhar, em rede, suas impressões e versões da história. Observar a rede dos fãs em torno da obra, para tanto, requer o entendimento de que tal ambiente é formado por vínculos efêmeros e temporários e marcado pela diversidade discursiva de seus membros. Posto isto, trataremos da apresentação e análise de conteúdo do Podcasteros. Dentro desta perspectiva, a metodologia de captação e seleção escolhida para a pesquisa foi baseada na Netnografia, no armazenamento dos comentários e na decupagem do material sonoro. O arranjo metodológico proposto que mescla, ainda, a Análise de Conteúdo é um percurso investigativo que busca atender às especificidades do objeto da presente pesquisa empírica e sua natureza sonora a partir de uma análise feita no contexto das redes de fãs e suas práticas dialógicas. Por meio dos resultados obtidos, foi possível definir o espaço do podcast como um ambiente que aproxima os fãs interlocutores dos fãs ouvintes.

Syftet med denna studie är att utforska den manliga och kvinnliga blicken i George R.R. Martins fantasinovell, A Game of Thrones (1996). Jag föreslår att skillnader i hur den manliga och kvinnliga blicken betraktar sitt objekt, kan avslöjas genom kritisk analys av kvinnliga huvudkaraktären Sansa Stark. Vidare menar jag att patriarkala strukturer kan synliggöras genom analys av manliga blickar som riktas mot den kvinnliga karaktären. Min analys av Martins fantasinovell har genomförts med hjälp av ett teoretiskt ramverk baserat på framförallt Laura Mulveys artikel Visual Pleasure and Narrative Cinema (1975) och Rachel S. Grates tes ”Love at First Sight? Jane Austen and the Transformative Male Gaze” (2015). Min analys visar att det finns skillnader i hur den kvinnliga och manliga blicken betraktar i sitt objekt. Den kvinnliga blicken tenderar exempelvis att vara mer mångfacetterad i sin värdering av ett objekt. Vidare visar analysen att de manliga blickarna avslöjar patriarkala strukturer.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-09T17:47:22Z No. of bitstreams: 1 palomarodriguesdestrocouto.pdf: 1219692 bytes, checksum: b12a1698195c7db378d4a80680aa9281 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-10T14:02:24Z (GMT) No. of bitstreams: 1 palomarodriguesdestrocouto.pdf: 1219692 bytes, checksum: b12a1698195c7db378d4a80680aa9281 (MD5) / Made available in DSpace on 2015-12-10T14:02:24Z (GMT). No. of bitstreams: 1 palomarodriguesdestrocouto.pdf: 1219692 bytes, checksum: b12a1698195c7db378d4a80680aa9281 (MD5) Previous issue date: 2015-02-12 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / A dissertação analisa as identidades da mulher representadas na série Game of Thrones através de três personagens de destaque da primeira temporada: Cersei Lannister, Catelyn Stark e Daenerys Targaryen. As relações entre gênero e identidades estão frequentemente no centro das discussões comunicacionais, devido ao crescimento do papel da mulher na sociedade. Os meios de comunicação e seus produtos são fundamentais para a propagação de valores e fornecimento de subsídios para que o indivíduo construa sua identidade, estabeleça diferenças com o outro, se identifique e se projete. Observa-se como se deram as transformações passadas pelas maneiras de se contar uma história – percorrendo um caminho que vai da narrativa oral à transmídia; disso, percebe-se que a narrativa seriada sempre possuiu, em seu cerne, questões atreladas à sociedade em que está inserida. Em consequência, a série Game of Thrones se constitui, em nossa análise, uma grande metáfora da sociedade atual, palco de um amplo Jogo de Rainhas. / This dissertation analyzes women’s identities that represented on the TV series Game of Thrones through tree characters that are highlighted on the first season: Cersei Lannister, Catelyn Stark and Daenerys Targaryen. The relations between gender and identities are frequent in the communication discussions’ focus, because of the growth of the role of woman in society. The mass media and its products are fundamental to the diffusion of values and to give support to the individual so that he/she can build his/her identity, establish difference with the order, identify himself/herself and make projection. We look at the way of storytelling transformations – through a way that goes from oral narrative to transmedia; so, we can see that serial narrative always has, in its core, questions linked to the society it is inserted into. Therefore, Game of Thrones TV series is, in our analyze, a big actual society‘s metaphor, stage of a broad Game of Queens.

Denna studien har analyserat hur fansen till den slutna Facebookgruppen “Game of Thronesdiscussions” skapar sig en identitet efter serien Game of Thrones. För att kunna ta reda pådetta har 48 kommentarer, inlägg och memes valts ut och sedan analyserats utifrån metodenkvalitativ innehållsanalys. De kommentarer, inlägg och memes som valdes ut stårsjälvständiga och läses inte som varken tråd eller konversation. De delades sedan in i tremakro- och åtta mikroteman. Studien har fyra frågeställningar, Hur skapar fansen sig enidentitet utifrån diskussionen i gruppen “Game of thrones Discussions”, Hur serkommunikationen ut mellan gruppmedlemmarna, Vilken kunskap och vilka känslor användsför sitt identitetsskapande i gruppen och På vilket sätt visar medlemmarna att serien Game ofThrones överförs till deras fysiska liv. Studien har använt teorier om konvergens ochdeltagarkultur, samt teorier om identitet och identitetsskapande online.Resultatet visar att fansen i gruppen “Game of Thrones discussions” skapar en identitet utifrånserien genom att göra inlägg, kommentarer och publicera memes. Det är fokus påkommunikation genom att medlemmarna använder sig av ett specifikt språk, humor,konflikter och har ett behov av att visa känslor för karaktärerna som finns i serien. För att blien del av identiteten krävs även kunskap i form av kunnighet samt böcker. Fansen visar ocksåhur de lever sina Game of Thrones-liv utanför gruppen, det visas genom att göra inlägg omhur de påverkas emotionellt i verkligheten samt hur deras praktiska verklighet ser ut.Gruppmedlemmarna har ett behov av att känna att de är äkta fans till serien Game of Thrones,och genom att bli en del av den kollektiva identiteten som skapas i Facebookgruppen får debekräftelsen som eftersträvas. / This study has analysed how the fans in the closed Facebook group “Game of Thronesdiscussions” has created an identity after watching the show Game of Thrones. To examinethis, 48 comments, posts and memes have been selected and analyzed with a qualitativecontent analysis method. The comments, posts and memes that was selected are allindependent and are not supposed to be read as a thread or a conversation. Then they weredivided into three macro themes and eight micro themes. This study have four issues, Howare the fans creating an identity from the discussions in the group “Game of Thronesdiscussions”, How is the communication between the members from the group viewed, Whatknowledge and which feelings are used for their identity creation in the group and In whatway do the members show that the Game of Thrones series is transferred to their physicallives. The study has been using theories about convergence, participant culture, identity andidentity creation online.The results shows that the fans from the group “Game of Thrones discussions” are creating anidentity from the series by making posts, comments and publishing memes. There is focus onthe communication thru a specific type of language, humor and conflicts that the members areusing, and they also have a require to show their emotions for the characters from the series.To be a part of the identity, knowledge in terms of literacy and the books are claimed. Thefans also show how they are living their “Game of Thrones” life outside the group, it appearsthru their posts about how they are affected emotionally in reality and how their practicalreality are viewed. The members from the group have a need to feel that they are genuine fansof the series Game of Thrones, and by being a part of the collective identity that is created inthe Facebook group they get the conformation that is sought.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-29T14:10:51Z No. of bitstreams: 1 TES_MATEUS_DIAS_VILELA_COMPLETO.pdf: 4755256 bytes, checksum: 7fdf5a9c2b4786683a07dec78efe1788 (MD5) / Made available in DSpace on 2017-06-29T14:10:51Z (GMT). No. of bitstreams: 1 TES_MATEUS_DIAS_VILELA_COMPLETO.pdf: 4755256 bytes, checksum: 7fdf5a9c2b4786683a07dec78efe1788 (MD5) Previous issue date: 2017-03-31 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The postmodernism and the cyberculture transformed the way individuals relate too, not only among themselves, but also with the media. In this context, TV appears in a prominent position, either by digitalization or by the recent profound changes, especially regarding the program schedule. While some authors believe that the model of broadcasting is moving towards extinction, Social TV has shown that watching a program while the other still relevant, since the conversation about them on social networks. In this way, this research proposes to conduct a content analysis about the publications made on Twitter and Facebook, in Brazil and Portugal, around three episodes of Game of Thrones. With the objective to further the investigation on the concept of Social TV, we starts from the thesis that such a phenomenon amplifies the social bond, extending between the users that connect to unknown through the tastes, and the creation of a bond between vehicles, television and social networks. / A p?s-modernidade e a cibercultura transformaram a maneira como os indiv?duos se relacionam, n?o somente entre si, mas tamb?m com as m?dias. Nesse contexto, a televis?o aparece em posi??o de destaque, seja pela sua recente digitaliza??o ou pelas profundas mudan?as, principalmente no que tange a grade de programa??o. Enquanto alguns autores acreditam que o modelo de broadcasting esteja caminhando para a extin??o, a Social TV mostra que, assistir a um programa ao mesmo tempo que os demais, ainda ? relevante, visto a conversa??o sobre os mesmos nas redes sociais. Dessa forma, a presente pesquisa realiza uma an?lise de sobre as publica??es feitas, no Twitter e no Facebook, no Brasil e em Portugal, em torno de tr?s epis?dios da s?rie Game of Thrones. Tendo como objetivo aprofundar as investiga??es sobre o conceito de Social TV, parte-se da tese de que tal fen?meno amplifica o la?o social, estendendo-o entre os f?s que se ligam a desconhecidos atrav?s dos gostos, al?m da cria??o de um la?o entre os ve?culos, televis?o e redes sociais.

El presente trabajo analiza el tema sobre la narrativa transmedia y el prosumidor en una serie mundialmente conocida como lo es: Game of Thrones. Es esta investigación trataremos los conceptos principales de los términos: “narrativa transmedia” y “prosumidor”. Se explicarán en dichos conceptos para informar al lector de estos nuevos significados que se ve en el nuevo medio audiovisual. En adición a ello, se hablará sobre los “nuevos medios”, mostrándoles las nuevas plataformas que se han ido creando a lo largo del tiempo y el motivo por el que estas mismas son tan atractivas para la audiencia. Finalmente, se describirá a los “nuevos consumidores”, donde se muestran a las diferentes audiencias y la creación de estas mismas. Todas estas definiciones se relacionan de manera directa con el tema de investigación, que involucra identificar el rol del prosumidor por medio de la experiencia transmedia ha logrado que la serie sea un éxito mundial. / The present study analyzes transmedia storytelling and prosumers in Game of Thrones, a world-famous series. This research will cover these two main concepts to inform readers about the new notions existing in modern audiovisual media. In addition to this, the concept of “new media” will be explained, showing new platforms that have been created over time and the reason why they are so attractive to audiences. Finally, the study will describe “new consumers” by presenting different types of audiences and their emergence. All these concepts are directly related to the research topic, which implies identifying the prosumer’s role through the transmedia experience that led the series to worldwide success. / Trabajo de investigación

This research investigates the use of sexual violence in the HBO series <i>Game of Thrones</i> to determine: how victims react to the violence they experience, how relationships are expressed after the violence occurs, and how the show changed after the #MeToo and #TimesUp movements became viral.