Nachdenken über ›Game of Thrones‹

Söffner, Jan; Mellen, Martin; Huber, Evi Ziegler c/o EDV Fotowerk

doi:10.30965/9783846762097

Cited by 3 publications

(1 citation statement)

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“… Etwa Bezemek (2019);Larsson und Lundström (2020);May et al (2016);Pavlac (2017);Söffner (2017);Storck und Taubner (2017).7 Milkoreit (2019).…”

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Beyond the Wall oder: Was hat die Wissenschaft mit Game of Thrones zu tun?

Müller

2022

„Beyond the Wall”: Game of Thrones Aus Interdisziplinärer Perspektive

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ZusammenfassungDie wissenschaftliche Beschäftigung mit dem pop-kulturellen Phänomen Game of Thrones ist keine Ausnahmeerscheinung. Unterschiedliche Wissenschaftsdisziplinen haben Buch und Serie schon lange für sich entdeckt. Das liegt nicht zuletzt daran, dass Game of Thrones wegen der vielen Anleihen an unsere Realität für Forschung und Lehre interessant ist. Der vorliegende Beitrag geht drei Ausprägungen des Verhältnisses zwischen dem Medienphänomen Game of Thrones und der Wissenschaft nach (Wissenschaft über, anhand und in Game of Thrones).

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“… Etwa Bezemek (2019);Larsson und Lundström (2020);May et al (2016);Pavlac (2017);Söffner (2017);Storck und Taubner (2017).7 Milkoreit (2019).…”

unclassified

Beyond the Wall oder: Was hat die Wissenschaft mit Game of Thrones zu tun?

Müller

2022

„Beyond the Wall”: Game of Thrones Aus Interdisziplinärer Perspektive

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‘She Don’t Speak, But She Remembers’: Shakespeare’s Silent Specters in A Song of Ice and Fire

Kellermann

2023

Adaptation

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This article reads the resurrected Catelyn Stark, also known as Lady Stoneheart, in George R. R. Martin’s series of fantasy novels A Song of Ice and Fire, as a spectral adaptation of female silence in the works of William Shakespeare, especially of Hermione in The Winter’s Tale. Like Hermione, Catelyn experiences the loss of her son, dies herself shortly thereafter, and miraculously returns from the dead as a stone-like, voiceless figure. Yet, unlike Hermione, resurrection transforms Catelyn into a merciless embodiment of vengeance, whose grotesque appearance and persona shed a provocative new light on the representation of maternal grief and misogynist violence in Shakespearean drama. Hermione’s ambivalent silence at the end of The Winter’s Tale thus takes on an unequivocal tone of rage in her contemporary specter. Lady Stoneheart also exemplifies the adaptational tension between Martin’s series and the TV show Game of Thrones, in the latter of which Lady Stoneheart—while being absent—still maintains a haunting discursive presence.

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Introduction of Synesthetic Metaphors in English-Ukrainian Translations of Fiction

2020

The Journal of v. N. Karazin Kharkiv National University Series: Foreign Philology. Methods of Foreign Language Teaching

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Along with the cognitive operations of reconstruction, elimination and substitution of synesthetic metaphors, translational decisions are also based on the cognitive operation of introduction of synesthetic metaphor, which does not exist in the original. The aim of the article is to reveal and describe the cases of introduction of synesthetic metaphors, absent in the original, in the Ukrainian translations of the English text. Synesthetic metaphors are named so, because of the similarity with the phenomenon of synesthesia, which is studied in psychology as the deep interaction of sense organs, in which these organs are "working" together creating a new type of sensibility, named synesthesia. Special feature of such metaphors implies the fact that in contrast to the conceptual metaphors, in which basic domains are the background for the interpretation of the abstract domains, in synesthetic metaphors both source domain/concept and target domain/concept are basic ones, embedded directly into the bodily sensations. Understanding domain we follow R. Langacker, as a concept or conceptual complex of any degree complexity, containing background information, and helping to understand the meaning of the language unit, actualized in the discourse; in other words domains are the background knowledge (basis) for the distinguishing (profiling) of concepts. Domains are distinguished into basic and abstract. Conceptual metaphor we interpred following G. Lakoff, M. Johnsons and Z. Kovecses as the result of the cognitive operation of mapping or projecting, in which abstract conceptual structure (target domain/concept) is identified in terms of concrete (embedded in our bodily experience) mental structure (source domain/concept). Application of methodological tools of conceptual metaphor theory made it possible to reveal synesthetic metaphors, introduced in the translation, based on the following cognitive models: VISION is TOUCH (SENSATION of SHARP SURFACE), HEARING is TOUCH ( SENSATION of DRY/HOT/SOFT SURFACE). Application of operation of introduction of synesthetic metaphor model helps to reveal in translation communicative sense implied by the author of the original.

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Nachdenken über ›Game of Thrones‹

Cited by 3 publications

References 0 publications

Beyond the Wall oder: Was hat die Wissenschaft mit Game of Thrones zu tun?

Beyond the Wall oder: Was hat die Wissenschaft mit Game of Thrones zu tun?

‘She Don’t Speak, But She Remembers’: Shakespeare’s Silent Specters in A Song of Ice and Fire

Introduction of Synesthetic Metaphors in English-Ukrainian Translations of Fiction

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