Hello, I'm a Swedish girl, at the moment obsessed with various of things, for example, corsets, gaming, historic fashion, fairies, kittens and all things beautiful and cute. I also care a lot about intersectional feminism.
there is literally no difference between academic scholars discussing their interpretations of a text and a bunch of people yelling YOUR HEADCANON IS WRONG at each other
As a Masters student I can vouch for this.
One might have more footnotes though.
Every time a news site runs one of those “Which female star wore the dress better?” articles, I think they should be required to run another story entitled “148 Men Wear the Same Tuxedo, But Who Wore It Best?”
when people dont like lord of the rings because the movies are ‘long’
when people dont like lord of the rings because it has ‘too much fighting’
when people dont like lord of the rings
Lord of the Rings
WHEN U TRYNA TAKE A PILL AND IT TOUCHES YA TOUNGE AND U TASTE IT
- Jillian Medoff (via wordsthat-speak)
The dichotomy of feminine Sansa and her tomboy little sister, Arya, coupled with the modern tendency to champion a misunderstanding of feminism in the form of “strong women” only, erroneously causes many readers and viewers to assume that Sansa is somehow in the wrong from the very beginning. They view her through the misconception-colored glasses of “femininity=weakness”, and assume she is weak, soft, and shallow.
From A Game of Thrones to A Dance With Dragons, Sansa is ever more maligned and abused, but also grows smarter. She takes in information from every source — from Joffrey, Cersei, Petyr, Sandor Clegane, Tyrion Lannister, Ser Dontos, the Tyrells, and Lysa Tully — and turns it into a lesson. The last we saw of Sansa Stark, she was in the palm of Petyr Baelish, but ever aware and ever wiser. (“He is serving me lies as well.”) Sansa still clings to anger, plays her part as a piece for the moment, but does not forget who she truly is or what was done to her:
"…Littlefinger was no friend of hers. When Joff had her beaten, the Imp defended her, not Littlefinger. When the mob sought to rape her, the Hound carried her to safety, not Littlefinger. When the Lannisters wed her to Tyrion against her will, Ser Garlan the Gallant gave her comfort, not Littlefinger. Littlefinger never lifted so much as his little finger for her."
Sansa’s arc is dependent upon her finding her agency and becoming a player in the game of thrones. Her passive action is not weakness or stupidity. It is her only option and she is working it to the best of her abilities, toeing the line between survival and destruction, identity and dissociation, self-care and necessary self-denial. From the beginning of this story, she has had every tool she needed to rule. Sansa Stark was a sheltered child thrown into emotional and political turmoil. And despite her grief, her guilt, and her longing, she has carried on, “…to porcelain, to ivory, to steel”. She is a wolf, a Stark, and at home in winter and turmoil, high functioning in peril. Her courtesy is not only armor, it is easily weaponized, she only needs the realization and the opportunity. Sansa Stark is very well the political Chekhov’s gun of this series. Not only will she live through the barbaric and oppressive nature of this society, she will be better than it.
"She had always heard that love was a surer route to the people’s loyalty than fear. If I am ever a queen, I’ll make them love me."