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- Queenship and the Women of Westeros
- The World of Ice & Fire PDF George R.R. Martin
- The World of Ice & Fire de George R. R. Martin
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The first installment of the series, A Game of Thrones , which was originally planned as a trilogy, was published in The series now consists of five published volumes, and two more volumes are planned. The series is told in the third-person through the eyes of a number of point of view characters. A Song of Ice and Fire takes place in a fictional world , primarily on a continent called Westeros , and additionally on a large landmass to the east, known as Essos. Three main story lines become increasingly interwoven: a dynastic civil war for control of Westeros among several competing families; the rising threat of the Others , who dwell beyond the immense wall of ice that forms Westeros's northern border; and the ambitions of Daenerys Targaryen , exiled daughter of the deposed king, to return to Westeros and claim her throne.
Queenship and the Women of Westeros
The first installment of the series, A Game of Thrones , which was originally planned as a trilogy, was published in The series now consists of five published volumes, and two more volumes are planned. The series is told in the third-person through the eyes of a number of point of view characters.
A Song of Ice and Fire takes place in a fictional world , primarily on a continent called Westeros , and additionally on a large landmass to the east, known as Essos. Three main story lines become increasingly interwoven: a dynastic civil war for control of Westeros among several competing families; the rising threat of the Others , who dwell beyond the immense wall of ice that forms Westeros's northern border; and the ambitions of Daenerys Targaryen , exiled daughter of the deposed king, to return to Westeros and claim her throne.
Martin has said he believes in "judicious use of magic " in epic fantasy. Since all fiction is essentially untrue, Martin believes it needs to reflect reality at least in its core. He agrees with William Faulkner 's statement in his Nobel Prize speech that "the human heart in conflict with itself" is the only thing worth writing about, regardless of the genre.
It's a fantasy story that defies expectations by ultimately being less about a world we'd like to escape, at times becoming uncomfortably familiar to the one we live in.
The unresolved larger narrative arc of Ice and Fire encourages speculation about future story events. Martin intentionally avoids most overt fantasy elements in Ice and Fire , preferring to instead have "carefully rationed magic".
The style varies to fit each character and their setting; Daenerys's exotic realm may appear more colorful and fanciful than Westeros, which is more closely based on the familiar medieval history of Europe. The fictional history of Westeros stretches back some twelve thousand years. These elements may give the story a poignant sadness. Looking out over the hills, Martin wondered what a Roman centurion from the Mediterranean would feel, not knowing what threats might come from the north.
The size, length and magical powers of the wall were adjusted for genre demands. One of the most conspicuous aspects of the world of Westeros is the long and random nature of the seasons.
Fans have developed lengthy scientific theories for the seasons, but Martin insists there is a supernatural fantasy explanation instead of a scientific one. The world of A Song of Ice and Fire is primarily populated by humans, although giants , the so-called "Others" and the Children of the Forest appear as other sentient species in the extreme North of Westeros, beyond the Wall. In addition to ordinary animals such as dogs, cats, and horses, some species of animals inhabiting Martin's world are similar to real-world Pleistocene megafauna such as aurochs , direwolves , and mammoths.
Of these megafauna, only aurochs are commonly encountered throughout Westeros, as a domesticated herd animal. Direwolves and mammoths are only found in the Lands Beyond the Wall in the extreme north. The direwolves adopted by the Stark children exhibit signs of being far more intelligent than common dogs or wolves.
Each wolf pup grows to reflect the temperament of the child they bond with. Mythical creatures such as mermaids , unicorns , manticores , kraken , leviathans , basilisks , and most prominently dragons although their description is more akin to wyverns also appear or are mentioned. Children of the Forest are presented as the original inhabitants of Westeros, but unseen for thousands of years.
They are thought to be diminutive humanoid creatures, dark and beautiful, with mysterious powers over dreams and nature. They were graceful, quick and agile, able to move with quiet swiftness on land as well as through mountains and trees. George R. Martin has said: "The children are Elves have been done to death".
In the background of the series, the Children of the Forest fought a series of wars against the First Men a civilization of primitive warriors wielding bronze weapons and riding horses , until the Pact of the Isle of Faces, wherein the First Men obtained control of the open lands and the Children that of the forests.
The Pact was weakened after four thousand years by the emergence of the Others, who were vanquished by the combined use of obsidian , fire, the magic of the old gods, and the building of the Wall. In the following centuries the Children gradually disappeared, and it was presumed that they left Westeros or became extinct. Little of their legacy is present in the series beyond their worship of nameless gods, still practiced by some in the North, and the remaining Weirwoods through which the Children communicated telepathically.
The Others referred to as White Walkers in the television series are mysterious creatures that dwell in the northern regions of Westeros, beyond the Wall. They wear armor that shifts in color with every step, and wield thin crystal swords capable of shattering steel. His descendants bred them in captivity; but most were killed in a civil war between rival Targaryen heirs years before the story begins. At the beginning of the story, they are considered extinct until late in A Game of Thrones when Daenerys hatches her three dragon eggs in the funeral pyre of Khal Drogo.
The dragons in the story are scaled, fire-spewing, reptilian creatures with animal-level intelligence. Though some accompanying artwork for A Song of Ice and Fire portrays them with four legs and a detached set of wings, George R. Martin insists that this is incorrect. His dragons are serpentine and slender, and they have four not six limbs similar to a wyvern , the front two being wings. Martin first considered having the Targaryens use a pyrotechnic effect to feign dragon powers, but decided on living dragons instead,  though he refused to give them human speech.
Martin, interview with The New York Times . In the series the threat of a global climate change is ever present.
Winter and the accompanying cold temperatures it brings may last for a number of years or even a decade or longer. The White Walkers or others represent the personification of this threat.
They acknowledge its inevitability and do everything in their power to prepare for and prevent the disasters that may come from a prolonged winter and open warfare with the White Walkers. However, their attempts to warn others about the threat and rally the great houses to their cause are generally not successful.
Walter of London's The Guardian saw a startling resemblance between Westeros and England in the period of the Wars of the Roses , where "One throne unifies the land but great houses fight over who will sit upon it.
With no true king the land is beset with corrupt, money-grubbing lords whose only interest is their own prestige. Two loose alliances of power pit a poor but honorable North against a rich and cunning South. And the small folk must suffer through it all, regardless of which side wins. The king was seen as an avatar of God so that the legitimacy of kingship was very important.
Walter saw Martin's strength in "his compendious understanding of the human stories driving the grand political narrative. There does not seem to be a single living soul in the land of Westeros that Martin does not have insight into, from the highest king to the lowest petty thief. It is a world of high stakes, where the winners prosper and the losers are mercilessly ground under heel.
Against this tapestry every one of Martin's characters is forced to choose between their love for those close to them and the greater interests of honor, duty and the realm. More often than not, those who make the noble choice pay with their lives. Writing in Foreign Affairs , Charli Carpenter noted that "leaders disregard ethical norms, the needs of their small-folk, and the natural world at their own peril.
Jockeying for power by self-interested actors produces not a stable balance but sub-optimal chaos; gamesmanship and the pursuit of short-term objectives distracts players from the truly pressing issues of human survival and stability.
The novels are to reflect the frictions of the medieval class structures, where people were brought up to know the duties and privileges of their class. Among the characters losing their names and very identities are Arya Stark and Theon Greyjoy ; Arya goes through several different identities before joining the Faceless Men with the ultimate goal to become no-one so as to be able to freely assume other identities. On the other hand, Quentyn Martell and his companions deliberately mask their identity by assuming false names, although it never really affects who they are in private.
A common theme in the fantasy genre is the battle between good and evil ,  although Martin deliberately defied the conventions and assumptions of neo-Tolkienian fantasy. Attracted to gray characters instead of orcs and angels, Martin regards the hero as the villain on the other side.
Considering universally adored or hated characters as too one-dimensional, Martin writes his characters with well-mixed natures so that readers will invest in and identify with them. However, according to Martin, Tyrion Lannister is the most morally neutral main character in the book, which, along with his cynicism, is what makes him his favorite character.
David Orr of The New York Times praised Martin as "unapologetically coldblooded", saying the book series was no children's literature with "a boy being thrown off a balcony, a woman having her face bitten off, a man having his nose cut off, a girl having her ear sliced off, multiple rapes, multiple massacres, multiple snarfings devouring of people by animals [and] multiple beheadings".
Although fantasy comes from an imaginative realm, Martin sees an honest necessity to reflect the real world where people die sometimes ugly deaths, even beloved people. Martin dislikes this lack of realism, comparing the situation to a soldier scared the night before a battle. Martin wants his readers to feel that no one is safe as they turn the page. Martin in an interview with Science Fiction Weekly in . When picking characters to die in battle scenes, Martin chooses secondary or tertiary characters from the character lists without giving much thought, as he sees these characters as hardly developed and in some cases just as names.
However, the death and time of death of many major characters have been planned from the beginning, although these scenes may not always be easy to write. He repeatedly skipped writing the chapter and eventually wrote it last for A Storm of Swords. The wars in the novels are much more morally complex than a fight between good and evil.
Among the plot twists are the death of apparently crucial characters and the reappearances of believed-to-be dead characters. The body may be moving, but some aspect of the spirit is changed or lost.
One of the characters who has come back repeatedly from death is Beric Dondarrion , The Lightning Lord, and what has happened with him echoes with some of the other revived characters; bits of his humanity and his past lives are lost every time he comes back from death, his flesh is falling away from him, but he remembers the mission he was sent to do before death.
Considering sexuality an important driving force in human life that should not be excluded from the narrative,  Martin equipped many of the Ice and Fire characters with a sex drive. The nonexistence of adolescence in the Middle Ages served as a model for Daenerys's sexual activity at the age of 13 in the books.
Many high-born women were married at or below that age because the onset of sexual maturity supposedly turned children into adults.
Martin wrote the novels' sex scenes in detail, "whether it's a great transcendent, exciting, mind blowing sex, or whether it's disturbing, twisted, dark sex, or disappointing perfunctory sex". Because of child pornography laws, the television adaptation was forced to either extenuate the sex scenes for the younger characters or age all characters up.
HBO preferred the latter,  adding some sex scenes to the TV series while leaving out others. Despite HBO's freedom to titillate viewers with sex and nudity, none of the show's sex scenes felt superfluous for her; some of Daenerys's TV scenes "make her vulnerability more real than any political exposition".
Taylor also lauded HBO's "admirable choice The idea of who people are and what makes them who they are is a prominent theme throughout the series, becoming more prominent as the series goes on. Point of view characters change their names, even to a point where they lose their identity in the chapter title. This is best exemplified in the character of Arya, who goes through a number of identity changes as she makes her way from King's Landing to Braavos: Arry, Nymeria, Nan, Salty and Cat of the Canals, among others.
Martin says "Arya has gone through a dozen different identities, even getting to Braavos—where the ultimate goal of the Faceless Men is to become no-one, and to be able to assume identities as one assumes a suit of clothes. Arya is not the only character to change her name or have her name changed for her.
Her sister Sansa Stark assumes the identity of Alayne Stone. Tyrion Lannister travels under the names Yollo and Hugor Hill. Catelyn Stark becomes Lady Stoneheart. Martin says: "Identity is one of the things that I'm playing with in this series as a whole, and in this particular book—what is it that makes us who we are? Is it our birth, our blood, our position in the world?
The World of Ice & Fire PDF George R.R. Martin
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He began the first volume of the series, A Game of Thrones , in , and it was published in Martin, who initially envisioned the series as a trilogy, has published five out of a planned seven volumes. The fifth and most recent volume of the series, A Dance with Dragons , was published in and took Martin six years to write. He is currently writing the sixth novel, The Winds of Winter. A seventh novel A Dream of Spring is planned. The point of view of each chapter in the story is a limited perspective of a range of characters growing from nine in the first novel, to 31 characters by the fifth novel.
[P.D.F] The World of Ice and Fire: The Untold History of Westeros and the Game of Thrones (Song of Ice Fire) *Full Pages* By George R.R. Martin.
The World of Ice & Fire de George R. R. Martin
Any resemblance to actual persons, living or dead, events, or locales is entirely coincidental. Martin Images on 2. All rights reserved. Martin, Elio Garcia, and Linda Antonsson.
It will take place after the concurrent fourth and fifth books in the series, A Feast for Crows and A Dance with Dragons The previous installment, A Dance with Dragons covers less story than Martin intended, omitting at least one planned large battle sequence and leaving several character threads ending in cliff-hangers. And then take it from there. Martin confirmed in March that the final two novels will take readers further north than any of the previous books: "What lies really north in my books—we haven't explored that yet, but we will in the last two books.
It seems that you're in Germany. We have a dedicated site for Germany. Is the world of George R. How accurately does it reflect the real Middle Ages?
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