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Thomas A. Prendergast and Stephanie Trigg

in a way that has the effect of breaking down some of the more formal academic hierarchies and disciplinary distinctions that have often set medieval and medievalism studies at odds with each other. And in a most conspicuous example, the HBO television series Game of Thrones , based on George R. R. Martin’s A Song of Ice and Fire , regularly brings scholars and fans into the immediacy of online

in Affective medievalism
Kerstin Bergman

actually present in Larsson’s novels. 15 See Larsson 2010a : 710 (the dug-up grave) and 724 (Blomkvist finds and saves Salander). 16 I have discussed Larsson’s use of crime fiction genres extensively in Bergman ( 2013 ). BIBLIOGRAPHY Arnold, Martin (2018), Dragon-power: From ancient mythology to ‘Game of thrones’ (London: Reaktion). Beeler, Karin (2006), Tattoos, desire and violence: Marks of

in Tattoos in crime and detective narratives
Abstract only
David Annwn Jones

.) The questions remain: what is it about Frank Darabond’s apocalyptic zombie TV series or David Benioff and D. B. Weiss’s The Game of Thrones that their promotional teams should ostensibly choose to turn back the clock by presenting their franchises in the form of a medium that was already venerable by the start of the nineteenth century? Why did Heinz Keller, in his chilling meditation on the wars in

in Gothic effigy
Faustian bargains and gothic filigree
Sorcha Ní Fhlainn

throne in the HBO series Game of Thrones (2011–) matches elements of Lucifer's piercing throne with its dazzling array of blades; however, the iron throne itself does not pierce the flesh of its occupant (and according to author George R.R Martin, the throne in his novels is much grander than that depicted in the popular television series). The art of the

in Clive Barker
Thomas A. Prendergast and Stephanie Trigg

, dramatic and most influential examples of a phenomenon we call ‘portal medievalism’: fictions that foreground the mode of entry into (or out of) medieval space and time. Where medievalist fantasies such as The Lord of the Rings or Game of Thrones present worlds whose medievalist mise-en-scène is utterly self-contained, portal medievalism is structured more literally around the transition from one

in Affective medievalism
Abstract only
David Annwn Jones

been popular in Gothic marketing but since the popularity of the Game of Thrones TV series (2011–) and Daenerys Targaryen’s three dragons, the theme has taken on a new lease of life. Dragon motifs also draw on Celtic aspects of Goth and Gothic literature (with the Mabinogion being a key text). Fairy waifs clad in purple and black, sword-wielding bat-winged women-warriors and lissome vampirellas

in Gothic effigy