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This book reflects on time, space and culture in the Game of Thrones universe. It analyses both the novels and the TV series from a multidisciplinary perspective ultimately aimed at highlighting the complexity, eclecticism and diversity that characterises Martin’s world. The book is divided into three thematic sections. The first section focuses on space—both the urban and natural environment—and the interaction between human beings and their surroundings. The second section follows different yet complementary approaches to Game of Thrones from an aesthetic and cultural perspective. The final section addresses the linguistic and translation implications of the Game of Thrones universe, as well as its didactic uses. This book is paired with a second volume that focuses on the characters that populate Martin’s universe, as well as on one of the ways in which they often interact—violence and warfare—from the same multidisciplinary perspective.
This book focuses on the characters that populate the Game of Thrones universe and on one of the most salient features of their interaction: violence and warfare. It analyses these questions from a multidisciplinary perspective that is chiefly based on Classical Studies. The book is divided into two sections. The first section explores Martin’s characters as the mainstay of both the novels and the TV series, since the author has peopled his universe with three-dimensional intriguing characters that resonate with the reader/audience. The second section is devoted to violence and warfare, both pervasive in the Game of Thrones universe. In particular, the TV series’ depiction of violence is explicit, going beyond the limits that have seldom been traversed in primetime television i.e. the execution of Ned Stark, the “Red Wedding” and “Battle of the Bastards”. In the Game of Thrones universe, violence is not only restricted to warfare but is an everyday occurrence, a result of the social and gender inequalities characterising the world created by Martin.
Fantasy novels are products of popular culture. They owe their popularity also to the visualization of medievalist artifacts on book covers and designs, illustrations, maps, and marketing: Castles on towering cliffs, cathedral-like architecture, armored heroes and enchanting fairies, fierce dragons and mages follow mythical archetypes and develop pictorial aesthetics of fantasy, completed by gothic fonts, maps and page layout that refer to medieval manuscripts and chronicles. The contributors to this volume explore the patterns and paradigms of a specific medievalist iconography and book design of fantasy which can be traced from the 19th century to the present.
Leads scholars and anyone who cares about the humanities into more effectively analyzing the fate of the humanities and digging into the very idea of the humanities as a way to find meaning and coherence in the world. The humanities, considered by many as irrelevant for modern careers and hopelessly devoid of funding, seem to be in a perpetual state of crisis, at the mercy of modernizing and technological forces that are driving universities towards academic pursuits that pull in grant money and direct students to lucrative careers. But as Paul Reitter and Chad Wellmon show, this crisis isn’t new—in fact, it’s as old as the humanities themselves. Today’s humanities scholars experience and react to basic pressures in ways that are strikingly similar to their nineteenth-century German counterparts. The humanities came into their own as scholars framed their work as a unique resource for resolving crises of meaning and value that threatened other cultural or social goods. The self-understanding of the modern humanities didn’t merely take shape in response to a perceived crisis; it also made crisis a core part of its project. Through this critical, historical perspective, Permanent Crisis can take scholars and anyone who cares about the humanities beyond the usual scolding, exhorting, and hand-wringing into clearer, more effective thinking about the fate of the humanities. Building on ideas from Max Weber and Friedrich Nietzsche to Helen Small and Danielle Allen, Reitter and Wellmon dig into the very idea of the humanities as a way to find meaning and coherence in the world. ,
With humor, lucidity, and unflinching rigor, the acclaimed authors of Who Killed Homer? and Plagues of the Mind unsparingly document the degeneration of a central, if beleaguered, discipline—classics—and reveal the root causes of its decline. Hanson, Heath, and Thornton point to academics themselves—their careerist ambitions, incessant self-promotion, and overspecialized scholarship, among other things—as the progenitors of the crisis, and call for a return to “academic populism,” an approach characterized by accessible, unspecialized writing, selfless commitment to students and teaching, and respect for the legacy of freedom and democracy that the ancients bequeathed to the West.
It is said that movies have encroached upon social realities creating tourism enclaves based on distortions of history and heritage, or simulations that disregard both. What localities and nation-states value are discarded, suppressed, or modified beyond recognition in neoliberal markets; thus flattening out human experience, destroying natural habitats in the name of development, and putting the future of whole ecosystems at risk. Without disregarding such developmental risks Cinematic Tourist Mobilities and the Plight of Development explores how, en route to any beneficial or eco-destructive development, film tourist industries co-produce atmospheres of place and culture with tourists/film fans, local activists, and nation-states. Drawing on international examples of cinematically-induced tourism and tourismophobic activism, Tzanelli demonstrates how the allegedly unilateral industry-driven ‘design’ of location stands at a crossroads between political structures, systems of capitalist development, and resurgent localised agency. With an interdisciplinary methodological and epistemological portfolio connected to the new mobilities paradigm, this volume will appeal to scholars, students, and practitioners interested in tourism, migration, and urban studies in sociology, anthropology, geography, and international relations.
One of the biggest attractions of George R.R. Martin's high fantasy series A Song of Ice and Fire, and by extension its HBO television adaptation, Game of Thrones, is its claim to historical realism. The author, thedirectors and producers of the adaptation, and indeed the fans of the books and show, all lay claim to Westeros, its setting, as representative of an authentic medieval world. But how true are these claims? Is it possible to faithfully represent a time so far removed from our own in time and culture? And what does an authentic medieval fantasy world look like? This book explores Martin's and HBO's approaches to and beliefs about the Middle Ages and how those beliefs fall into traditional medievalist and fantastic literary patterns. Examining both books and programme from a range of critical approaches - medievalism theory, gender theory, queer theory, postcolonial theory, andrace theory - Dr Carroll analyzes how the drive for historical realism affects the books' and show's treatment of men, women, people of colour, sexuality, and imperialism, as well as how the author and showrunners discuss these effects outside the texts themselves. SHILOH CARROLL teaches in the writing center at Tennessee State University.
"Humanities through the Arts" is intended for introductory-level, interdisciplinary courses offered across the curriculum in the Humanities, Philosophy, Art, English, Music, and Education departments. Arranged topically by art form from painting, sculpture, photography, and architecture to literature, music, theater, film, and dance. This beautifully illustrated text helps students learn how to actively engage a work of art. The new sixth edition retains the popular focus on the arts as an expression of cultural and personal values..
A multidisciplinary index covering the journal literature of the arts and humanities. It fully covers 1,144 of the world's leading arts and humanities journals, and it indexes individually selected, relevant items from over 6,800 major science and social science journals.