Titlebook: Queenship and the Women of Westeros; Female Agency and Ad Zita Eva Rohr,Lisa Benz Book 2020 The Editor(s) (if applicable) and The Author(s)

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欢笑

Queenship and Powerhttp://image.papertrans.cn/q/image/781667.jpg

抑制

https://doi.org/10.1007/978-3-030-25041-6Queenship; female agency; advice and counsel; medievalism; premodernism; George R; R; Martin; Daenarys Targ

牵索

978-3-030-25043-0The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl

开始发作

Queenship and the Women of Westeros978-3-030-25041-6Series ISSN 2730-938X Series E-ISSN 2730-9398

乳汁

Afterword: Playing, Winning, and Losing the Game of Thrones—Reflections on Female Succession in Georodern era and Westeros. It notes the ways in which Cersei Lannister, Daenerys Targaryen, Yara (Asha) Greyjoy, and Sansa Stark both reflect and transgress historical examples of female succession as unique blends of inspiration from the past rather than a duplication of the experience of any specific premodern queen.

烤架

intrude

Queen of Sad Mischance: Medievalism, “Realism,” and the Case of Cersei Lannisteromen. Through a close analysis of the character arc of Queen Cersei Lannister, this chapter unravels some of that perceived realism and considers the implications of Martin’s particular brand of medievalism on perceptions of premodern women. Proponents of cinematic “realism” tend to emphasize the “d

Flounder

具体

“All I Ever Wanted Was to Fight for a Lord I Believed in. But the Good Lords Are Dead and the Rest Af their correlation with the medieval world. The importance of medieval chivalry as an underpinning for the narrative of these texts is therefore clear. But rather than privileging the chivalric ideal, . instead deliberately deconstructs and ultimately undermines the construct of the medieval chival