The series Game of Thrones is loved by countless people across the nation, and one of the most beloved characters is Daenerys Targaryen. She and her brother Viserys are related to the “Mad King,” who once ruled over the land, but after he was killed, they were exiled. Now they seek to reclaim the throne by building an army. Although she started as a meek, little girl who always did what she was told, she quickly evolved into a rather complex character. She not only greatly affected the Dothraki people, a tribe of Horseback riding warriors, but she may even decide the fate of Westeros itself. This paper intends to use Psychoanalysis to analyze Daenerys Targaryen and analyze how Daenerys and Khal Drago, The leader of the Dothraki, as well as the Dothraki people, affected each other from a cultural standpoint. This Essay will show how she has changed the lives of all who surround her, for better or worse, and how she became the “Mother of Dragons”, both physically and mentally.
Psychoanalysis is used to examine a character’s character: what makes them tick, why they do the things they do, and what their goals are. I will use it to examine Daenerys’s inner workings and how her feelings change throughout the season, as well as how her goals change along with them. I will also compare her to other female characters in how the same and how they’re different, while also contrasting her with the typical female stereotypes. The paper will discuss as well her relationship with her brother. Overall, I will contrast how she at the beginning of the show and the end of season 1.
Cultural theory is used to observe culture in different lands and observe how they differ; it also looks at how they compare to our own culture. It explores how these...
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D.B. Weiss. Dir. Tim Van Patten. Home Box Office, Inc., 2012. DVD.
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Many great rulers have been tempted by the authority of absolute power. In Antigone, by Sophocles, Creon, the Theban king, will do anything in order to earn this absolute power. Creon’s prideful attitude, disregard of the authority of the gods, and failure to listen cause him to fail as a statesman, demonstrating the nature of kingship in Sophocles’s Antigone.
“Remember we are women, we’re not born to contend with men” (Sophocles, 18). The popular literary works, Antigone and A Doll’s House, written by Sophocles and Ibsen, are two famous tragedies that have been performed and read throughout the decades. Although countless audiences have been entertained by these well written plays, few would care to guess that many lessons and several unfortunate truths can be found with a less than tedious inspection of the characters and the reactions they give to their circumstances. The two main characters in these stories, Antigone and Nora, face adversities and problems that are amplified by their society’s views on the rights and abilities of women. The two main male characters in these plays, Creon and Helmer, cause the greater part of the struggle that the female protagonists face. The difficulties that Helmer and Creon create during the plot of these stories are the cause of three major characteristics of what one would consider typical to a headstrong man in a leadership position. The three features of Creon and Helmer that lead to the eventual downfall of Antigone and Nora, are pride, arrogance, and ignorance.
Oakes, Elizabeth. "Polonius, the Man behind the Arras: A Jungian Study." New Essays on Hamlet. Ed. Mark Thornton Burnett and John Manning. NY: AMS Press, 1994. 103-112.
In my readings of Hamlet, sexism was a immense element in the story. It is not fairly unambiguous where the incest comes in and who is involved, but the unorthodox relationships that have taken place shows how things were during the Elizabethan Age, or were they? My goal in this paper is to research the gender roles between the males and females in the story and to prove how women were treated during these times, and to determine who was involved in incest and sexism. The characters in focus will be Hamlet, Prince of Denmark, and son of the deceased King Hamlet; Polonius, counselor to Claudius; Laertes, Polonius’ son who has returned home due to King Hamlet’s death; Gertrude, Hamlet’s mother and Queen of Denmark; and Ophelia, daughter of Polonius and the sister of Laertes, also Hamlet’s girlfriend.
In both Antigone and Medea, three leading characters—Creon of Thebes, Medea, and Jason—hold dominant authority in their own way. Jason, married to Megareus—daughter of another King Creon, receives a small recognition of power because of this marriage. He “is lying on a royal wedding bed.” (Medea 24). However, Creon of Thebes holds greater power as king. Born in Colchis, a “country of barbarians,” Medea’s power in no way compares to the power in a reigning, royal sense of King Creon (Medea 637). Her power lies in her wicked actions of selfishly doing whatever she wants, deceivingly poisoning Megareus and Creon, and angrily murdering her own children. Creon, newly reigning king of Thebes, immediately demonstrates his position of authority in his address to the people of his country. His opening speech to the people sets the tone for Creon’s character—powerful, pleasing to his people, and full of confidence. These qualities are...
Leverenz, David. 1980. 'The Woman in Hamlet: An Interpersonal View.' In Representing Shakespeare: New Psychoanalytic Essays, edited by Coppelia Kahn and Murray M. Schwarz. Baltimore and London: The Johns Hopkins Press, 110-128.
There are multitude definitions of culture available in the literature and each definition relies on the context of one’s field of study. It was variedly defined that each
Antigone, a tragic drama written by Sophocles explores the different ranges of characters: static and dynamic or flat and round. Creon, King of Thebes in the dramatic play Antigone takes on the role that of a static character. Throughout the whole play Creon believed the idea that he was above the law of the Gods and his decrees cannot be disputed. Unknowingly, who would think that Creon’s sense of pride would cause him the life of his wife, son, and niece? However, at the very end of the play Creon returns to the palace, holding his son’s lifeless body, where he finds out that his wife has killed herself as well. Overwhelmed with grief about the death of his loved ones, Creon turns to the Chorus and says, “Lead me away. I have been rash and foolish. I have killed my son and wife. I look for comfort; my comfort lies here dead. Whatever my hands have touched come to nothing. Fate has brought all my pride to thought of dust” (1833). Creon takes responsibility of the death of his son and wife by calling himself a “rash” man and this is where Creon undergoes the changes of a dynamic character by admitting that he was wrong.
From the time a child is born, he or she is never alone, and “newborns are ‘prewired’ to pay attention to special kinds of information – those bits and pieces of data about the adults who take care of them” (Mayes 92). Hamlet, a young prince seeking to avenge his father, is left with only one choice to retain information from the one whom he loathes the most: his mother, Gertrude. Not only has the Queen not fulfilled her duties as a mother, but she has also relinquished any sort of love towards the fallen King Hamlet by marrying his
The conflict between Antigone and Creon in Sophocles’ Antigone brings to life a battle that we all have within us. Many times it is written that this play portrays a conflict between pride and morality. However, it can also be seen that Antigone isn’t a show of pride versus something else, but pride versus itself. With the two main characters we are shown two different sides of pride, a passionate pride and an authoritative pride. The pride of the characters ultimately leads to their deaths. Reading this play from the surface level, it, along with many other works can cause one to say that pride is an all around negative characteristic, but pride is much more two-faced than that, being both beneficial and destructive. Some may be quick to argue that pride is evil and deadly, but it could also be argued that it is the exact opposite. It all depends on how it is used and to what extent it is being used. The goal of this paper is to use the conflict between Antigone and Creon to examine the two types of destructive pride and discuss how pride, when used in a right way, is absolutely essential to who we are as humans.
Throughout time in history, women have continued to play minor roles in society, although with heavy contributions, as depicted in William Shakespeare’s tragic revenge, Hamlet. This unfortunate truth is reflected through the actions of Queen Gertrude, and Ophelia, as they are the true source of all conflict, seen as weak and characterless personnel, and incredibly dependant on the men in their lives. Thus labeled as the true driving factors of other characters actions, and as a result, receiving abusive treatment.
Throughout the Greek play, “Antigone”, we see one of the main character’s, Creon, who recently was named King of Thebes due to his Nephews battling to the death for the throne. Creon by the end of the play would eventually develop a theme known as a “Tragic Hero.” His character's emotion and motivations conflict with another main character, his Niece who the play is named after, Antigone. The characteristics of Creon have conflicting motives such as his hierarchy, greed, and vengefulness are highlighted by Antigone’s opposing ethics. Ultimately these conflicting motivations develop Creon as a tragic hero by making him regret his Decree and rash decisions once he has learned of his fate.
When the direwolf howled again, Tyrion shut the heavy leatherbound cover on the book he was reading, a hundred-year-old discourse on the changing of the seasons by a long-dead maester. He covered a yawn with the back of his hand. His reading lamp was flickering, its oil all but gone, as dawn light leaked through the high windows. He had been at it all night, but that was nothing
One of the central theme’s throughout Shakespeare’s Hamlet is the question of madness versus sanity. From the first few scenes of the play, one cannot help but question the way that various character’s throughout the play think and behave. In line with Sigmund Freud’s ideas concerning the Id, Ego, and Superego, we see that various characters’ behaviors are clearly defined by these distinct personality structures although not always in the way they are traditionally expected to. Gertrude and Hamlet both find themselves eventually losing control of their lives as they all give way to the Id portion of their personality. It is this downfall that will continually come across as the madness so central and destructive throughout the course of the play.
Throughout William Shakespeare’s play, Hamlet, Hamlet’s behavior and actions cause readers to question his sanity. Hamlet’s character can be interpreted in many different ways. It could be said that he is indeed insane, or it can be disputed that he, as he made known, is simply putting on a good act. The complexity of knowing Hamlet’s true character derives from the fact that we, as readers, are unable to read Shakespeare’s or Hamlet’s minds. Therefore, judgments could be made solely by reading and interpreting his behavior and coming up with a satisfactory conclusion. Taking into consideration incidents such as Polonius’ murder and Hamlet’s contemplating suicide, it is natural for individuals who perform such acts to be categorized as crazy. Ignoring Hamlet’s actual actions, and paying keen attention to what altered his character, one can debate that Hamlet is not at all insane. It is important to consider the situations which triggered Hamlet’s different actions. By giving discreet thought to Hamlet’s position and what he endures, one will realize that he is not demented, but he is actually an angry, betrayed and emotionally devastated fatherless son.