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AnArcheypalAnalysisofCharacersinASongofIceandFire_开题报告

Ktbg1185 AnArcheypalAnalysisofCharacersinASongofIceandFire_开题报告The story of A Song of Ice and Fire takes place on the fictional continents Westeros and Essos, with a history of thousands of years. The series is told in the third person by point of view characters. Three stories become interwo..
AnArcheypalAnalysisofCharacersinASongofIceandFire_开题报告 Ktbg1185  AnArcheypalAnalysisofCharacersinASongofIceandFire_开题报告

 The story of A Song of Ice and Fire takes place on the fictional continents Westeros and Essos, with a history of thousands of years. The series is told in the third person by point of view characters. Three stories become interwoven: the chronicling of a dynastic war for control of Westeros by several families; the rising threat of the dormant cold supernatural Others dwelling beyond an immense wall of ice on Westeros’ northern border; and the ambition of Daenerys Targaryen, the exiled daughter of a king murdered in a civil war shortly before her birth, to return to Westeros with her fire-breathing dragons and claim her rightful throne. 
Martin’s characters are multi-faced-each with surprisingly intricate paste, aspirations, and ambitions, Publishers Weekly wrote of his ongoing epic fantasy A Song of Ice and Fire, “The complexity of characters such as Daenerys, Arya and the kingslayer will keep readers turning even the vast number of pages contained in this volume, for the author, like Tolkien or Jordan, makes us care about their fates.” No one is given an unrealistic string of luck, however; so misfortune, injury, and death can befall any character, major or minor, no matter how attached the reader has become. 
As a matter of fact, all the writing experience from the first twenty years of Martin’s career as a writer, was the preparing of writing A Song of Ice and Fire, for example, the set of disordered seasons was inspired by a similar set in Ice Dragon which is published in 1980; also, as a theme in this book, the number seven was first came into being in his novelette And Seven Times Never Kill Man. In fact, if we say that A Song of Ice and Fire is the peak of Martin’s career, then all these previous works is a way to get him there.  
Given the source of the Latin hospes – ‘host’, ‘guest’ or ‘stranger’ – in hostis –
‘stranger’ in the sense of ‘enemy’ – hospitality might best be regarded as
codified hostility, formalised enough to allow for acknowledgement of
grievance and dislike while maintaining a conversation. The world of George
R.R. Martin’s book series A Song of Ice and Fire bears this out: moments of
encounter in these novels tend to be fraught, sliding – more often than not, it
can seem – into violence. Readers of the books, and viewers of the HBO TV
adaptation Game of Thrones, might be forgiven for wondering whether the
evident social conventions in place governing conduct and transaction exist
only to tempt the characters into further transgression.
The sort of betrayal this represents – of not only the reality, but also the
ideal of hospitality – is well captured in Derrida’s meditation Of Hospitality:
it is as though the laws (plural) of hospitality, in marking limits, powers,
rights, and duties, consisted in challenging and transgressing the law of
hospitality, the one that would command that the ‘new arrival’ be
offered an unconditional welcome.
Let us say yes to who or what turns up, before any determination,
before any anticipation, before any identification, whether or not it has
to do with a foreigner, an immigrant, an invited guest, or an unexpected
visitor, whether or not the new arrival is the citizen of another country,
a human, animal, or divine creature, a living or dead thing, male or
female.
Given the source of the Latin hospes – ‘host’, ‘guest’ or ‘stranger’ – in hostis –
‘stranger’ in the sense of ‘enemy’ – hospitality might best be regarded as
codified hostility, formalised enough to allow for acknowledgement of
grievance and dislike while maintaining a conversation. The world of George
R.R. Martin’s book series A Song of Ice and Fire bears this out: moments of
encounter in these novels tend to be fraught, sliding – more often than not, it
can seem – into violence. Readers of the books, and viewers of the HBO TV
adaptation Game of Thrones, might be forgiven for wondering whether the
evident social conventions in place governing conduct and transaction exist
only to tempt the characters into further transgression.
The sort of betrayal this represents – of not only the reality, but also the
ideal of hospitality – is well captured in Derrida’s meditation Of Hospitality:
it is as though the laws (plural) of hospitality, in marking limits, powers,
rights, and duties, consisted in challenging and transgressing the law of
hospitality, the one that would command that the ‘new arrival’ be
offered an unconditional welcome.
Let us say yes to who or what turns up, before any determination,
before any anticipation, before any identification, whether or not it has
to do with a foreigner, an immigrant, an invited guest, or an unexpected
visitor, whether or not the new arrival is the citizen of another country,
a human, animal, or divine creature, a living or dead thing, male or
female.
The story of A Song of Ice and Fire takes place on the fictional continents Westeros and Essos, with a history of thousands of years. The series is told in the third person by point of view characters. Three stories become interwoven: the chronicling of a dynastic war for control of Westeros by several families; the rising threat of the dormant cold supernatural Others dwelling beyond an immense wall of ice on Westeros’ northern border; and the ambition of Daenerys Targaryen, the exiled daughter of a king murdered in a civil war shortly before her birth, to return to Westeros with her fire-breathing dragons and claim her rightful throne. 
Martin’s characters are multi-faced-each with surprisingly intricate paste, aspirations, and ambitions, Publishers Weekly wrote of his ongoing epic fantasy A Song of Ice and Fire, “The complexity of characters such as Daenerys, Arya and the kingslayer will keep readers turning even the vast number of pages contained in this volume, for the author, like Tolkien or Jordan, makes us care about their fates.” No one is given an unrealistic string of luck, however; so misfortune, injury, and death can befall any character, major or minor, no matter how attached the reader has become. 
As a matter of fact, all the writing experience from the first twenty years of Martin’s career as a writer, was the preparing of writing A Song of Ice and Fire, for example, the set of disordered seasons was inspired by a similar set in Ice Dragon which is published in 1980; also, as a theme in this book, the number seven was first came into being in his novelette And Seven Times Never Kill Man. In fact, if we say that A Song of Ice and Fire is the peak of Martin’s career, then all these previous works is a way to get him there.  
二、^范文提纲
Title: An Archetypal Analysis of Characters in A Song of Ice and Fire 
1. Introduction 
1.1 A Brief Introduction of George R R Martin  
1.2 A Brief Introduction of A Song of Ice and Fire  
1.3 The Significance and Main Arguments of the Thesis 
2 An Archetypal Analysis of Characters in A Song of Ice and Fire  
2.1 The Sacrificial Scapegoat  
2.2 The Prophet  
2.3 The Motherhood   
3. Conclusions 
三、参考文献

[1]秦昊铭. 浅析《冰与火之歌》中“冰与火”的含义[J]. 戏剧之家,2017,(07):274.   
[2]舒艾. 西方史诗奇幻作品的地名翻译研究——以《冰与火之歌》原著翻译为例[J]. 科技创业月刊,2017,30(04):68-71.   
[3]邱顺菁. 功能对等视角下《冰与火之歌》文化负载词汉译策略[D].福建师范大学,2016.
[4]洪姣. 同质与异化:原型解析现代史诗奇幻小说——以《冰与火之歌》为例[J]. 阜阳师范学院学报(社会科学版),2015,(06):76-80.    
[5]万蕾. 乔治·马丁(George R.R.Martin)小说《冰与火之歌》中的“暴力叙事”探析[J]. 语文学刊(外语教育教学),2015,(08):81-82+101.   
[6]宋丽娜. 从《冰与火之歌》看父权社会女性的生存困境[J]. 名作欣赏,2015,(23):174-176.   
[7]陈思琪. 古典性与现代性的绚丽交锋——现代奇幻史诗《冰与火之歌》探析[J]. 文教资料,2015,(21):18-20.   
[8]于萌萌. 接受美学视角下《冰与火之歌》中译本研究[D].中国海洋大学,2015.
[9]罗蕾. 身体的言说——以乔治·马丁的《冰与火之歌》为例[J]. 才智,2015,(14):280-282.   
[10]姜维智. 《冰与火之歌》叙事技巧解析[D].辽宁大学,2015.
[11]范莉. 《冰与火之歌》中现实主义元素赏析[J]. 名作欣赏,2014,(26):132+171.   
[12]王静茹. 论《冰与火之歌》的解构主义倾向[J]. 商,2014,(21):79.   
[13]叶羽. 论《冰与火之歌》的男权意识[J]. 海外英语,2014,(10):224-226.   
[14]吴霜. 从目的论视角评析《冰与火之歌:权力的游戏》中文译本[D].北京外国语大学,2014.
[15]汪雪. 视点叙述策略[D].中央民族大学,2013.
[16]侯洪革. 《冰与火之歌》——奇幻文学的巅峰之作(英文)[J]. 语文学刊(外语教育教学),2013,(05):82+84.   
[17]袁元. 原型批评视域下的《冰与火之歌》[D].湖北工业大学,2013.
[18]廖桂湘,张金艳. 论《冰与火之歌》中人物命运的多舛性——以姗莎为例[J]. 考试周刊,2013,(23):14.   
[19]袁元,彭家海. 《冰与火之歌》中瑟曦的原型分析[J]. 现代交际,2012,(10):70-71.   
[20]廖桂湘,刘桂花. 《冰与火之歌》中艾德形象分析[J]. 考试周刊,2012,(58):21-22.   







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