Social Studies teachers have a gem in HBOs award winning show, Game of Thrones. As a senior in college, I used the show to explore the gender binary in a sociology class. The show was only on the end of season 4 when I wrote this original work and research. Since then, we've had the #metoo movement, Cersai Lannister has declared her self queen of the Seven Kingdoms, and Danyarias Targaryeon has declared herself the rightful heir to the iron throne. Women are a powerful force in the world of Westeros. Perhaps further study on gendered roles in Game of Thrones is warranted and perhaps HBO could release a clean version for schools to use. There are many more lesson to teach from this series. Here is my contribution original to Sociology that earned me an A+ in my class. Research Question By definition, revising the binary means that the stories that are told stretch or modify it in some way. This is often times done by critiquing or expanding it. This study will explore how the characters, Aria Stark and Brienne of Tar on HBO’s Game of Thrones, revise the binary by expanding the definition. The expansion happens through the course of the series with Aria being introduced initially and the character of Brie’s introduction during the second season. Game of Thrones uses gender display and gendered practices to revise the binary by displaying these female characters on the more masculine end of the binary but they are extremely potent, driven, vindictive, loyal and lethal, all characteristics that are normally embodied by male characters. Justification This research will show us that there are multiple ways of being a man or a woman that include embodying a larger spectrum of characteristics and qualities that are not normally allowed in the binary. Data was gathered quantitatively by watching portions of the episodes where the two characters are the subject matter from all four seasons of the show. The focal point of the study was divided into three sections: 1) Gender Expression 2) Gender Practices and 3) Gender Accountability. I found that the characters Aria and Brienne do expand the binary within the show by showing character traits that are more in line with the male descriptors in the binary. Their gender practices are overwhelmingly masculine, except when femininity works in their advantage with a male opponent. The character Aria was more than likely to be held accountable by females through punishment. Brienne’s character was held accountable through discouragement by male characters in the show. Literature Review Andrea Wright’s article “A Sheep in Wolf’s Clothing? The Problematic representation of women and the female body in 1980’s sword and sorcery cinema” is a perfect backdrop for the study of the expansion of the binary in Game of Thrones because it gives us a historical basis of that expansion. Although Wright’s position is one that presents the expansion as a problem rooted in the objectification of women in characters such as Red Sonja, Ripley in Aliens, and Sarah Conner in Terminator 2, she provides characteristics that run through the narrative of later films and television that expand the binary. The female bodies discussed in the article “confound the bianaristic logic in a number of ways, for they access a range of emotions, skills, and abilities which have been traditionally defined as either “masculine” or “feminine,” but because characters like Red Sonja are objectified, they aren’t really “transformative.”(Wright:405) The characters of Ripley and Sarah Conner are seen as “desexualized heroines” that have to “sacrifice their femininity and risk accusations that they operate outside the norms of heterosexual identity and, by acquiring proficiency with weapons, they are essentially pretending to be men.” (Wright:403) Red Sonja is an accomplished swordsman with an androgynous look and can be compared to Conner and Ripley, but her dress is totally opposite. She is scantly clad the entire movie whereas Conner and Ripley’s attire is “shapeless”(Wright:403). According to Wright, Red Sonja’s character is in a constant battle to be normalized back into heterosexuality and the fight at the end of the movie with the Queen who’s sexuality is considered suspect is the ultimate act to return to the heterosexual. Wright discussed an additional character from the film Conan the Destroyer, Zula. Zula is androgynous, flat chested, muscular and catlike.(406). She is capable of fighting her own battles and pledges her service after being freed by Conan. The character is not brought back into the heterosexual fold in the film and she is asked to be the Captain of Queen Jena’s guard because she “sees no reason why a woman could not do the job as well as a man.”(Wright: 407). The warrior women in the article are those fighting for the good of their respective kingdoms. The women who lust after power in the films are warnings of the consequences of operating “outside accepted gender roles and as such can be transgressive sexually and socially.”(Wright: 407). By making the lustful women the villains of these films, “the narratives reinforce the patriarchal structure.” (Wright:410) Most of the characters that accept the expansion of the roles have been “subjected to rape” and have witnessed their families murders, which calls how a woman becomes “tough.” The article argues “the childhood memory of an extreme act of violence drives these women to become tough.”(Wright: 402). Overall, Wright’s “Sheep in Wolf’s Clothing” provides a basis to compare and contrast media’s representation of a warrior woman, but it focuses primarily on how the expansion of the roles of women are discouraged because of the fear of deviance. Some of these assumptions and theories are retold in the narrative of different characters in Game of Thrones, namely Brienne and Aria as warrior women whose narratives expand the binary. Methodology Sample and Sample Procedure Game of Thrones, a cable television show in the fantasy genre, works in several characters to revise the binary for women on both ends of the spectrum. This study focuses on how the binary is expanded for two characters, Aria Stark and Brienne of Tarth. I reviewed twelve episodes across four seasons of the show that were selected based on whether or not the characters were in the episode. The character do not appear in scenes together until the last episode of the fourth season. Time limitations prevented the examination of every episode that the actresses are in. Dependent Variables We examined gender expression based on key terms that are traditionally used to describe male and female characteristics. For example, the male characteristics included aggressive, non-emotional, independent, and rebellious, while the female characteristics included passive, cooperative, emotional and submissive. Whenever the character showed any of the characteristics names, it was counted as one form of expression. We did not divide the expression up based on who the character was interacting with, but rather examined male and female interactions across the board. To examine gender practices, or acts that are classified as male or female that fall within the binary to reinforce it, terms were selected that describe acts that fall within things considered female and male within the binary For example, female indicators included giggling, romantic notions, nurturing or care-taking, and worrying about appearance. For the male side of the spectrum, practices such as fighting, killing and strategizing served as descriptors. To analyze gender accountability, we pre-identified descriptors that mirrored each other for male and female interactions that included whether or not the expansionist behavior was encouraged or discouraged, and whether or not it was rewarded or punished. This category was divided based on gender to examine attitudes towards the expansion and to see if the binary was being upheld by the other characters in the show. Concepts of Interest The study examines the expansion of the binary from a female perspective and hopefully shows the audience that the show is built around acceptance of the expansion. The character Brienne of Tarth is a foreshadowed version of what Aria Stark could become provided she continues down the same path and Brienne, through the expansion and even though she masks them well, still retains some of her feminine characteristics and is acknowledged as a female. We’ll examine the percentage of times these characters were encouraged to expand the binary, punished because of the expansion, or rewarded. Research Procedure The coding sheets were organized under the following sections: 1) Gender Expression 2) Gender Practices and 3) Gender Accountability with sections for notes to document details in the interactions. The data was compiled onto spreadsheets to analyze percentages dealing with the behaviors in question. Findings Gender Expression Methodology Sample and Sample Procedure Game of Thrones, a cable television show in the fantasy genre, works in several characters to revise the binary for women on both ends of the spectrum. This study focuses on how the binary is expanded for two characters, Aria Stark and Brienne of Tarth. I reviewed twelve episodes across four seasons of the show that were selected based on whether or not the characters were in the episode. The character do not appear in scenes together until the last episode of the fourth season. Time limitations prevented the examination of every episode that the actresses are in. Dependent Variables We examined gender expression based on key terms that are traditionally used to describe male and female characteristics. For example, the male characteristics included aggressive, non-emotional, independent, and rebellious, while the female characteristics included passive, cooperative, emotional and submissive. Whenever the character showed any of the characteristics names, it was counted as one form of expression. We did not divide the expression up based on who the character was interacting with, but rather examined male and female interactions across the board. To examine gender practices, or acts that are classified as male or female that fall within the binary to reinforce it, terms were selected that describe acts that fall within things considered female and male within the binary For example, female indicators included giggling, romantic notions, nurturing or care-taking, and worrying about appearance. For the male side of the spectrum, practices such as fighting, killing and strategizing served as descriptors. To analyze gender accountability, we pre-identified descriptors that mirrored each other for male and female interactions that included whether or not the expansionist behavior was encouraged or discouraged, and whether or not it was rewarded or punished. This category was divided based on gender to examine attitudes towards the expansion and to see if the binary was being upheld by the other characters in the show. Concepts of Interest The study examines the expansion of the binary from a female perspective and hopefully shows the audience that the show is built around acceptance of the expansion. The character Brienne of Tarth is a foreshadowed version of what Aria Stark could become provided she continues down the same path and Brienne, through the expansion and even though she masks them well, still retains some of her feminine characteristics and is acknowledged as a female. We’ll examine the percentage of times these characters were encouraged to expand the binary, punished because of the expansion, or rewarded. Research Procedure The coding sheets were organized under the following sections: 1) Gender Expression 2) Gender Practices and 3) Gender Accountability with sections for notes to document details in the interactions. The data was compiled onto spreadsheets to analyze percentages dealing with the behaviors in question. Findings Gender Expression The character Aria Stark , expresses herself on the masculine side of the binary 87% of the time she interacts with other characters. The main expressions include aggression and lack of emotion (see table 1.1). Aria’s highest rated female expression was emotion, occurring 6% of the time and mainly due to unexpected deaths or when it served her purpose to kill. For example, in Season 3 Episode 10, Aria uses her emotions and femininity to seize an opportunity to kill an enemy. Aria’s character has to learn to survive after the incarceration of her father in Season one, so she becomes more aggressive while living on he streets of Kings Landing. We see this when she catches a pigeon and wrings it neck effortlessly. She also argues aggressively with a baker over food. Aria is ready to fight to free him at his beheading and she whimpers when it happens, but is immediately immersed into a non-emotive mindset or is encouraged to act like a boy by the guard from the Night’s Watch to protect herself. The character Brienne of Tarth’s expressed traits associated with the masculine side of the binary 70% of the time with the highest areas being aggressive and strong. Brienne’s character is often more accommodating and offers her support to the masculine characters so of the episodes reviewed. She scored high on the feminine side of the binary for being emotional, tactful and supportive. (See table 1.2) Brienne often used pleasantries such as “if it please you” and “If you’re quite finished” before she began rebuttals. She also used pleasantries in an innocent manner like when she met Aria and The Hound on the road in Episode 10 of Season 4. Brienne opened the interaction with a hearty good morning and immediately began to ask for directions to the Vale. In contrast, Aria Stark is cold and guarded in her interactions with others. She rarely uses pleasantries and was described by Queen Cercie as “wild as that animal of hers” when she was brought before King Robert during the incident on the King’s road in Episode 2 of Season 1. Brienne and Aria have commonalities that support their move to towards the masculine side of the binary that can be compared to the characters from the Wright article’s discussion of Red Sonja and the desire to enact revenge as well as the idea that women become tough because they witness some tragic event. Brienne declares that she never knew her mother and although we don’t know why, it is assumed that something tragic happened to her. Aria was present at the beheading of her father and seeks revenge of those who had them murdered, so she embodies the idea that warrior women draws from the memory of “an extreme act of violence” from their childhood that causes them to become tough. (Wright: 402) Gendered Practices Gendered practices for Aria and Brienne are closely related because they are both warrior women. Aria’s gendered practices fell in the masculine side of the binary 87% of the time while Brienne’s fell in the masculine binary 71% of the time for the episodes that were reviewed. This can be attributed to Brienne’s age and experience as well as her late introduction in the series. As mentioned previously, Brienne is also well mannered. Aria’s practices were overwhelmingly masculine with about 35% of her practices falling in fighting or plotting. Aria is feisty and unafraid. She willingly takes up arms to fight with the party of men she is traveling to the wall with, defends Robert Baratheon’s bastard son by lying about his identity, and even frees prisoners during the battle. In Season 2 when she is captured along with her friends and taken to Harenhall, she watches the tortures with eyes wide open just as her brother Bran did at the beginning of the series when Ned Stark beheaded a Nights Watch deserter. She sleeps in the rain and refuses to kneel even when threatened by the sword. By Season 3 Episode 10, we see Aria make her first kill. She does it because the soldier was talking about her deceased brother, who she didn’t physically see murdered even though she was in the vicinity when it happened. This reinforces the notion that acts of violence drive warrior women towards vengeance and toughness. The practice of killing comes in at 12% with training for combat with her sword needle, coming in at 15% overall. Brienne, more mature and mannered, spends an overwhelming time fighting with 59% of her practices falling in that category. She was the King Renly’s captain of the guard and it is possible to explore the appointment from a standpoint of Remly being a homosexual king with limited combat experience. She becomes his captain after she defeats his lover, who happens to be one of the most talented swordsmen in the seven kingdoms, Lance Tyrell. This is reminiscent of Zula’s appointment to captain of the guard in Conan the Destroyer mentioned in Wright’s “Sheep in Wolf’s clothing” article from the literature review. Brienne constantly pledges her services to someone in the series whether King Remly Bartheon, Catelyn Stark, or Jaime Lannister. Her actions place her gendered practices in the female realm with 18% of her overall practices falling under being a care taker. We also see a glimpse of romantic notions when she is pressed by Jaime Lannister during their travels. Perhaps Brienne was in love with Renly and Jaime’s presence helps us uncover a softer side of Brienne but we see her pledge herself to Jaime when he saves her from rape after they are caught on the Kings Road by men of the house of Fray. Jaime looses his hand as a result of his negotiations to protect Brienne and she feels the need to protect him from that episode until she helps him return safely to Kings Landing. Jaime gives her a sword and she named it “Oath Keeper” and we see that in her character. This sentimentality falls on the feminine side of the binary and sharply contrasts the theme of the show because no masculine characters keep their oaths in Game of Thrones. Gender Accountability Aria’s journey takes her from being a young girl in the Red Keep to living on the street and later living as a little boy. She has a pivotal moment in Episode 3 of Season 2 when she asks the Nights Watchman “how do you sleep when you’ve seen things, horrible things.” He explained that he too saw his family member murdered and every night he called the name of the murderer out until her ran into him one day. He killed him and took the black to be sent to the wall. Later in that episode, the Nights Watchman was murdered by the King’s guard and Aria adopting his method of revenge begins to repeat the names of those who she wants revenge nightly. He indirectly encouraged her to expand the binary and seek revenge. Aria is held accountable for the expansion of the binary during female interactions and is punished 57% of the time overall. She is encouraged 46% of the time when interacting with male characters. The Hound becomes a mentor to her during Season 3 even though he is holding her captive for ransom. She is rewarded with her own pony in Season 4 for assisting him during a fight in a rural tavern. She also kills two soldiers during the conflict and reclaims her precious sword given to her by her John Snow, Needle. Brienne’s story is unusual. All of her interactions with female characters are encouraging her in her expansion of the binary. Catelyn Stark encourages her to be brave and follow her own path by leaving Remly’s tent before the soldiers come to kill her because she failed to protect the king. When she meets Majorie and her grandmother in the garden at Kings Landing, Lady Terrell comments that she is simply fabulous to see in person. Brienne’s interactions with men are overwhelmingly discouraging and she faces the possibility of rape as a punishment. The gender balance is restored, much like in the “Sheep in Wolf’s clothing” article because Jaime is there to help her escape rape. He also advised her not to fight and that conversation brought up an interesting perspective on gender: Jaime: When we make camp tonight, you’ll be raped…more than once. None of these fellows have ever been with a noble woman. You’ll be wise not to resist. If you do, they’ll knock your teeth out. Brienne: You think I care about my teeth? Jaime: No I don’t think you care about your teeth. If you fight them, they’ll kill you. Do you understand? I’m the prisoner of value not you. Let them have what they want. What does it matter? Brienne: What does it matter? Jaime: Close your eyes and pretend they’re Remly. Brienne: If you were a woman you wouldn’t resist? You’d let them do what they wanted? Jaime: If I was a woman, I’d make them kill me. I’m not afraid of the Gods. The interaction is full of contradictions that expand the binary. Brienne doesn’t care about her appearance, which is not very feminine, yet she doesn’t want to be violated which is considered a very feminine trait. Her character obviously doesn’t subscribe to the sexual deviant nature that most, who retell the binary, attribute to a person who identifies more with the masculine expression as a warning on what becomes of those who chose to deviate from the binary. Jaime, in his advice not only discourages Brienne from fighting back, but in a twist of words when the same fate is proposed to his male body, encourages her, quite hypocritically, to fight to the death. Conclusion The ending of season four, can be studied quantitatively, but Brienne and Aria intersect in the final episode of Season 4 when they meet each other on the road to the Vale, so a qualitative approach best describes the findings. The positive affirmation of Aria’s gender expression takes place when Brienne sees Aria practicing her Braviarian water dance with her sword Needle. Aria begins to ask questions about Brienne’s training after they exchange pleasantries. In their exchange, we discover that Brienne’s father reluctantly trained her after she kept fighting with the boys. Aria’s training was also condoned by her father after discovering Aria’s sword among her personal items when they moved to Kings Landing. The intersection of their stories provides Aria with a glimpse of what she could become if she continues on the same path, and exposes the nurturing and catering side of Brienne, feminine characteristic that Aria has rejected during the entire show. Swearing to keep her oath to Catelyn Stark, Brienne proposes that she was to take Aria to safety, but as mentioned previously, oaths mean nothing in the masculine world of Game of Thrones. Aria totally rejects the notion of protection and prefers to remain independent. The Hound, Aria’s influencer, encourages her to remain independent indirectly when he states that safety doesn’t exist anywhere in the seven kingdoms and points out that Brienne had to have been paid by Lannister gold. The Hound, who had been holding Aria loosely captive up until this point and served as Aria’s role model, quickly intervenes and a fight ensues. Brienne defeats The Hound in a sword fight, but not before they fist fight and she prevails. Brienne, determined to keep her oath, continues to call for Aria, but Aria hides from one who could possibly mentor her. I suspect that Aria didn’t identify with what could be considered a weak feminine trait in Brienne, her attempt to nurture her. The most compelling moment at the close of the episode was how Aria, ice-cold and determined, leaves the Hound to die on the side of the mountain after stealing the silver he stole from a farmer. Before she leaves, the Hound states: Killed by a woman. I bet you like that. Go on after her. She’ll help you. Going on alone… You won’t last a day out there. Aria responds “I’ll last longer than you.” She also refused to kill him simply because he asked her to. Aria had her revenge and remained determined to travel alone. This female character is aggressive, controlled, emotionless, strong, dominant and self confident. Experience taught her to reject her feminine sensibilities. This scene clearly displays the expansion of the binary for the character Aria in Game of Thrones. This analysis is limited because the show has not come to a conclusion, but further study is warranted to determine if public attitude toward an expanded binary will have lasting effects or if will the stories keep reinforcing the binary. Works Cited Wright, Andrea. “A sheep in wolf’s clothing? The problematic representation of women and the female body in 1980s sword and sorcery cinema” Journal of Gender Studies. Vol. 21, No. 4, December 2012, pg. 401–411 Woodard, Bianca. Content Analysis on Game of Thrones Seasons 1-4. Game of Throne Seasons 1-4, HBO Entertainment
0 Comments
|
AuthorBianca Woodard is a social studies teacher at Midland Valley High School. She's an Apple Distinguished Educator (2017) and a Microsoft Certified Trainer. Archives
April 2019
Categories |