Syftet med denna studie är att undersöka hur våld och övergrepp iTV-serierna Game of Thrones och Outlander skildras samt ta reda på hur enåskådare upplever detta våld. Med fokus på fyra våldsexplicita scener ur TVserierna har en kvalitativ undersökningsmetod genomförts, där mediestudenterpå högskolan Dalarna har intervjuats om deras upplevelser, känslor ochreflektioner i samband med våldsgestaltningen. I resultatet framgår det attsamtliga respondenter känslomässigt reagerade på våldet som gestaltades. Detvisar också på hur TV-serierna har valt att gestalta våld och övergrepp på tvåskilda sätt, där Outlander i jämförelse med Game of Thrones visar en merexplicit representation av våldet. Slutsatsen är att samtliga respondenter ficknågon typ av negativa känslor och reaktioner utav scenerna, där majoritetenkände obehag, avsky eller blev upprörda av materialet. Det framkommer även islutsatsen att de utvalda scenerna fick respondenterna att kognitivt engagera sig,där etiska ställningstaganden, värderingar och självreflektioner uppstod isamband med våldsgestaltningen. Det verifieras även att respondenternaindirekt har blivit påverkade av genusstrukturer och karaktärernas gestaltning avgenus.

This essay examines the grammar variation of English as a common tongue of two characters from the TV series, Game of Thrones. Scenes from season 1-7 of the series where the characters Irri and Grey Worm spoke the common tongue, English, were transcribed and examined using the concepts of interlanguage (IL) and English as a lingua franca (ELF) as analytic frameworks. The two research questions for this essay are ‘What is grammatical variation of English as a common tongue spoken by two characters, Irri and Grey Worm in the TV series, Game of Thrones?’ and ‘What dramatic effects are perceived with the characters' grammatical variation in the series?’. The results showed that while both characters have features explained by both the IL and ELF frameworks, IL was a more appropriate concept for understanding the data overall. Nevertheless, Irri proved to use more ELF features than Grey Worm in the collected data in which there were more variations by Grey Worm than by Irri. In addition, three dramatic effects of the characters’ grammar variation emerged, namely emotional effect, cultural effect, and development effect. Based on the results, this essay concluded that the characters of Irri and Grey Worm had grammar variations that featured in both IL and ELF, with the majority of them being IL.

This study examines four women in George RR Martin’s A song of Ice and Fire and the TV-series Game of Thrones that is based on Martin’s novels. The women who are discussed are: Sansa Stark, Cersei Lannister, Daenerys Targaryen and Brienne of Tarth. The portraying of the women is examined through close-reading and studying of key scenes in the novels and in the adaptation.                The main goal of the study is to examine how women are portrayed in the novels and in the TV-series, and to see what differences that can be found. It is also interesting to further analyze why these differences have occurred and how they impact the way the women are perceived. The analysis is based on adaptation theory. Since women are the focus of the study gender theory is also central for the essay. There are several differences between the medias. A lot of the differences occur due to the nature of the media, for example the fact that it is not possible to convey thoughts in the visual media. These types of changes mostly effect the way the woman in question is perceived in that particular scene or situation. However, there are also some significant differences that are more radical, both in the way they are made, and in the effects they have on how the audience views the woman. Those kinds of changes mostly affect Daenerys and Brienne, the two women who more radically challenge gender roles in the novels, and who are, through the changes that have been made, forced into more stereotypical roles in the TV-production, which is aiming at a bigger and broader audience than the novels.

This project examines the concepts of the female bildungsroman in literature. In particular it looks at two female characters created by George R.R. Martin, the sisters, Sansa and Arya Stark. The project focuses on the characteristics of the female bildungsroman and whether or not the female bildungsroman is a valid literary concept. This has been done by examining what is a bildungsroman and is there a difference between male and female bildungsroman. The goal is to show that the female bildungsroman is valid and that Sansa and Arya are perfect examples.

The prophecies in George R. R. Martin’s A Song of Ice and Fire series are unclear and often appear to have multiple possible fulfillments, or none at all. In addition, some of these prophesied events occur before they are introduced, which further contributes to the lack of clarity in interpreting them. My thesis will discuss the methods by which Martin offers readers clues to a prophecy’s fulfillment and argue that Martin’s use of these imprecise prophecies challenges high fantasy tropes about prophecies.

Song of Ice and Fire is unarguably one of the most popular fantasy series of all time. Notwithstanding its success, the series has only recently begun to be analyzed critically. George R.R. Martin’s books are often celebrated for breaking many of the tropes common in fantasy literature. Despite this, the series is nonetheless a product of a genre that has been shaped by white, male authors. Using such prominent postcolonial scholars as Edward Said, Gayatri Chakravorty Spivak, Homi Bhabha, and Albert Memmi, I analyze the five published books of Martin’s series. I argue that although Martin seems to be aware of the theoretical background of postcolonial studies and attempts to present a story sensitive to issues of colonization, the book series fails to present a Western representation of the East outside of orientalist stereotypes and narratives that reinforce imperialism. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

This diploma thesis deals with intertextuality in Game of Thrones series from the academic perspective. The thesis presents a comprehensive summary of selected intertexts including their classification according to the different types of semantic connection. The theoretical frame is based on the theoretical approaches of leading intertextuality theorists in literature and culture in general. In addition, it reflects the position of Game of Thrones series in the cultural mainstream, both in regards of its popularity and dissapointment of viewers over the final series. Based on national and international critical reviews, this diploma thesis analyzes the genre changes in Game of Thrones and focuses especially on the shared features with the soap opera genre. The fantasy genre specifics and its possible influence on reality is also briefly described. The methodological part summarizes the analytical tools and formulates research questions. According to the different types of semantic connection, the analysis is divided into three parts: the referential intertextulity (the connection to history), the intertextuality between texts (the connection to other works of culture) and the inner intertextuality (the connection to other elements inside the series). The first part of the analysis describes...

Магистерская диссертация посвящена сопоставительному анализу реалий в англо- и русскоязычной версиях сериала «Игра престолов». Материал исследования составляют 218 реалий, отобранных методом сплошной выборки. Теоретической базой работы служит классификация С. Влахова и С. Флорина, в соответствии с которой выделены в английском оригинале и соотнесены с русским переводом географические, этнографические и общественно-политические реалии. В границах каждой группы сделаны сопоставительные количественные наблюдения, представленные в виде диаграмм. Результаты исследования могут быть использованы в терминографии при составлении тематических и сопоставительных словарей, в т. ч. для будущих переводчиков исследуемого сериала и книги, а равно как материал для учебных занятий по теории и практике перевода и для спецкурсов по художественному переводу. / This master’s thesis provides comparative analysis of realia in the English and Russian versions of the “Game of Thrones” series. The research material includes 218 realia, selected by the method of continuous sampling. The theoretical basis of the work is S. Vlakhov and S. Florin’s classification, which distinguishes geographic, ethnographic and socio-political realia. All the three types are found in the English original and correlated with the Russian translation. Within each group, there are made comparative quantitative observations, which are afterwards presented in the form of diagrams. The research results can be used in terminography when compiling thematic and comparative dictionaries; the latter can be used for future translators of the series and book studied. The paper can also provide materials for training sessions on the theory and practice of translation and for special courses on literary translation.

The purpose of this paper is to study the adaptation process of the TV-show Game of Thrones. This paper focuses mainly on how David Benioff and D.B. Weiss and HBO adapted the TV-show from George R.R. Martins book series A Song of Ice and Fire and what, in the adaptation and in the reception of the TV-show, made it such a global cultural phenomenon. The analysis has been done by analysing interviews and studying behind-the-scenes material that has been available through articles and bonus material provided by the web and on the DVD and Blu-Ray features of the show. Mary H. Snyders Analyzing Literature-to-Film Adaptations provides a ground tool of analysing adaptations where particularly her “A Marriage of Media” theory has significantly helped the study. The paper analyses fantasy as a genre, the book series that the TV-show is based on, and the adaptation process itself and the different components that make up for the TV-show called Game of Thrones. After the adaptation analysis there is a study on how the internet has helped distributing both the show’s popularity and the show itself through the use of illegal downloading. The result is that the adaption is a successful “Marriage between media”, to use Snyders words, where the internet can be seen as product of that metaphorical marriage. The confidence and trust that both the author of the books and the show runners of the TV-series has placed in each other is the binding fundament that made the adaption as successful as it is. HBO as a cable network company also play a significant part where the financial support to the show’s production and the non-existent censorship regarding the adult content otherwise wouldn’t have been provided for, had the show been produced and/or aired by any other network company for example. The previous successes of other fantasy adaptations such as The Lord of the Rings and the Harry Potter-series could also be seen as necessary initiators regarding the industry’s newfound openness towards large scale fantasy projects.

This master's thesis deals with the topic of emotionality of the Game of Thrones fandom in the era of convergence culture. Game of Thrones, which had been on air since 2011 to 2019, became a hit show which gained millions of supporters and each new season was highly anticipated among public. During the course of all eight seasons, the show caused numerous heated controversies. Final season left both viewers and critics torn. This master's thesis is therefore interested in detecting and describing emotions of the Game of Thrones fan community during the time that the final season had been on air. Apart from emotionality, emphasis is also put on the characteristics of the show and its fandom. Reasearch was carried out online via the method of participant observation in six comments sections on the fan website Watchers on the Wall.com. Insomuch as fandom is connected to convergence culture, media convergence and audience participation, these topics are also covered. The term fandom is defined and the difference between audience and fandom is described. Last but not least, terms such as collective intelligence and knowledge community, which are also associated with fandom, are defined as well. All findings and the answers to research questions are then presented in the summary.