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Thesis (Bachelor's)

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Please use this identifier to cite or link to this item: http://hdl.handle.net/1946/17924

  • "Who watches the watchmen?" Power Relationships in the Discworld Watch Series
  • Bachelor's
  • Abstract is in Icelandic

    This essay explores some chosen books from the popular Watch series written by Terry Pratchett in the period from 1994 to 2006 in order to analyze power relationships and the growth and character development of Samuel Vimes into a respected authority figure and a power-player of equal standing and importance as the ruler of the city and the heir to the throne. Samuel Vimes is the main protagonist of the Watch sub series of Pratchett’s Discworld book series. Vimes is the head of the police force, which is called the Watch, in Ankh-Morpork, the largest city on the Discworld. The first part of the essay examines Vimes’s character traits and personality, focusing on the three-part split in his personality and how it corresponds to the Freudian three part model of the psyche. The analysis of Vimes’s personality is an important foundation for further analysis in the essay as throughout the Watch series Vimes moves from being simply an alcoholic policeman in dented armor to being a respected and feared pillar of the community. The essay also deals with the beginning of Vimes’s growth as an established authority figure due to the recognition of his unique abilities when it comes to influencing and controlling Carrot Ironfoundersson, the secret heir to the throne of Ankh-Morpork and a fellow policeman. In addition, the essay elaborates on Vimes’s relationship with Lord Havelock Vetinari, the cunning and manipulative supreme ruler of the city as the power relationship Vimes has with Lord Vetinari is absolutely vital to Vimes’s final position as an authority figure. The essay uses both the literary theories of Marxism and Freudian psychoanalytic theory. The books used for reference from the Discworld Watch series by Terry Pratchett are; Men at Arms (1994), Feet of Clay (1997), Night Watch (2003) and Thud! (2006).

  • May 8, 2014
  • http://hdl.handle.net/1946/17924

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