The eight-season-long HBO television adaptation of George R. R. Martin’s Game of Thrones was an international sensation, generating intense debates and controversies in many spheres. In 2016–17, an international research project gathered more than 10,000 responses to a complex online survey, in which people told of their feelings and judgements towards the series. The project was an ambitious attempt to explore the role that ‘fantasy’ plays in contemporary society. This book presents the project’s major outcomes. It explores people’s choices of favourite characters and survivors. It looks at the way modern works of fantasy relate to people’s sense of their own world, and what is happening to it. It explores the way that particular televisual decisions have generated controversies, most notably in relation to presentations of nudity, sex and sexual violence. The book uses the project’s distinctive methodology to draw out seven ways in which audiences watched the series, and shows how these lead to different responses and judgements. Notably, it leads to a reconsideration of the idea of ‘lurking’ as a problematic way of participating. A pair of complex emotions – relish and anguish – is used to make sense of the different ways that audiences engaged with the ongoing TV show. The book closes with an examination of the debates over the final season, and the ways in which audiences demanded ‘deserved’ endings for all the characters, and for themselves as fans.
Sandback , Amy.
2006 . ImaginedWorlds: Willful Invention and the Printed Image
1470–2005 . New
Axa Gallery and International Print
Tallman , Susan.
2012 . ‘The Elephant in the
irrealis genres such as films, TV shows, cartoons, paintings and novels. This means that we are not done studying the universe of diplomatic variation when we have exhausted contemporary and historical variation, for there is yet another place to look, namely at imaginedworlds. Where there are different imagined polities that attempt communication, there is diplomacy. These representations of diplomacy matter to social life, for imagination and reality mesh inasmuch as imaginedworlds and phenomena such as diplomacy legitimize, delegitimize and naturalize certain
In its contributions to the study of material social differences, queer theoretical writing has mostly assumed that any ideas which embody 'difference' are valuable. More than this, where it is invoked in contemporary theory, queerness is often imagined as synonymous with difference itself. This book uncovers an alternative history in queer cultural representation. Through engagement with works from a range of queer literary genres from across the long twentieth century – fin-de-siècle aestheticism, feminist speculative fiction, lesbian middle-brow writing, and the tradition of the stud file – the book elucidates a number of formal and thematic attachments to ideas that have been denigrated in queer theory for their embodiment of sameness: uselessness, normativity, reproduction and reductionism. Exploring attachments to these ideas in queer culture is also the occasion for a broader theoretical intervention: Same Old suggests, counterintuitively, that the aversion they inspire may be of a piece with how homosexuality has been denigrated in the modern West as a misguided orientation towards sameness. Combining queer cultural and literary history, sensitive close readings and detailed genealogies of theoretical concepts, Same Old encourages a fundamental rethinking of some of the defining positions in queer thought.
Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin,
1886–1949 examines the depiction of Dublin by artists from the late-nineteenth
to the mid-twentieth century. Artists’ representations of the city have long
been markers of civic pride and identity, yet in Ireland, such artworks have
been overlooked in favour of the rural and pastoral, falling outside of the
dominant disciplinary narratives of nationalism or modernism. Framed by the
shift from city of empire to capital of an independent republic, this book
chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary
Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff
(1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell
(1890–1973), encompassing a variety of urban views and artistic themes. While
Dublin is renowned for its representation in literature, this book will
demonstrate how the city was also the subject of a range of visual depictions,
including those in painting and print. Focusing on the images created by these
artists as they navigated the city’s streets, this book offers a vivid
visualisation of Dublin and its inhabitants, challenging a reengagement with
Ireland’s art history through the prism of the city and urban life.
‘geography’ and ‘literature’; island
studies, she suggests, lacks a ‘meta-discourse’ about its
scope and objects. She detects among island scholars a world view that
suggests studying the real world is more meaningful than studying the
imaginedworld. She states boldly: ‘I am convinced that much of
the anxiety I detect in debates about the best way to think and write
about islands stems from an underlying
’ locality is always in process (Appadurai 1996). The
production of locality resides within the collective imagination, with imagining here understood as a social practice (ibid). As a result, there are a seemingly
endless number of ways in which locality may be constituted. Building on
Benedict Anderson’s (1983) ‘imagined communities’, Appadurai (1996) stresses
that imagination works to produce local feeling. He proposes imaginedworlds –
removing Anderson’s (1983) focus on national context – to explain how people
mobilize their imaginings of locality. This allows for
meaningfulness in his film. This arcane knowledge and reading practice, suggestive of Kabbalistic interpretative traditions themselves, echoes Aronofsky’s first film, Pi (1998), which was likewise steeped in Kabbalistic thought.
In Philosophy, Myth, and Epic Cinema ( 2015 ), Sylvie Magerstädt discusses how contemporary special effects technology, specifically computer-generated imagery (CGI), gives greater realism in creating imaginedworlds: ‘digital technologies played an important role in the impact of these epics, especially with regards to
, Theatres and Encyclopedias in
Early Modern Europe (Cambridge: Cambridge University Press,
See Mary Baine Campbell, Wonder and Science:
ImaginingWorlds in Early Modern Europe (Ithaca: Cornell
University Press, 1999 ), pp. 225–30.
Consult also Fredi Chiappelli, Michael J. B
sometimes of both. This colonial hybridity variously mirrored and/or
belied their sense of their origins in ethnically marked, culturally
subaltern and constitutionally subordinate parts of the United Kingdom.
In either case, it speaks of the diversity of the British and Irish
migrant stream and of the complexity of the imaginedworlds created in
the colonies by subaltern elements within it.