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Contemporary Hypnosis 16: 9-21 London P 1963 Children's Hypnotic Susceptibility Scale. Consulting Psychologists Press, Palo Alto McConkey K M, Sheehan P W, White K D 1979 Comparison of the Creative Imagination Scale and the Harvard Group Scale of Hypnotic Susceptibility, Form A. International Journal of Clinical and Experimental Hypnosis 27: 265-277 Morgan A H 1973 The heritability of hypnotic susceptibility in twins. American Journal of Clinical FIypnosis 21: 148-155 Myers S A 1983 The Creative Imagination Scale: Group norms for children and adolescents. International Journal of Clinical and Experimental Hypnosis 31: 28-36 Orne M T, Hilgard E R, Spiegel H et al 1978 The relation between the Hypnotic Induction Profile and the Stanford Hypnotic Susceptibility Scales, Forms A and C. International Journal of Clinical and Experimental Hypnosis 27: 85-102 Pekala R J 1991 Hypnotic types: Evidence of a cluster analysis of phenomenal experience. Contemporary Hypnosis 8: 95—104 Pekala R J, Kumar V K, Marcano G 1995 Hypnotic types: A partial replication concerning phenomenal experience. Contemporary Hypnosis 12: 194-200 Pettanati H M, Horne L R, Staats J S 1990 Hypnotisability in patients with anorexia and bulimia. Archives of General Psychiatry 147:1014-1016 Piccione C, Hilgard E R, Zimbardo P G 1989 On the degree of stability of measured hypnotizability over a 25-year period. Journal of Personality and Social Psychology 56: 289-295 3: HYPNOTIC SUSCEPTIBILITY AND ITS MEASUREMENT 39 Register P A, Kihlstrom J F 1988 Hypnosis and interrogative suggestibility. Personality and Individual Differences 9: 549-558 Rhue J W, I ynn S J 1987 Fantasy proneness: The ability to hallucinate as real as real'. British Journal of Experimental and Clinical Hypnosis 4: 173-180 Rhue J W, Lynn S J 1989 Fantasy proneness, hypnotisability and absorption: A re-examination. International Journal of Clinical and Experimental Hypnosis 37: 100-106 Shor R E, Orne E C 1962 Harvard Group Scale of I hypnotic Susceptibility Scale: Forms A. Consulting Psychologists Press, Palo Alto Spanos N 1991 A sociocognitive approach to hypnosis. Guilford Press, New York, ch 11, p 324 Spanos N P, Burgess C 1994 Hypnosis and multiple personality disorder. In: Lynn S J, Rhue J W (eds) Dissociation: Clinical and theoretical perspectives.

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She usually wears the ring on her left index finger, though she often wore it on her right index finger in Season 1. Certainly not medieval, it's almost slightly Grecian, but it's her own particular style. She has two key dresses in the first episode: her “viewing” dress and her wedding dress. The “viewing” dress is essentially designed to make her look naked, as Drogo’s come to see the goods, basically. It’s accented by these dragon-head brooches, which also hold it up. As for the wedding dress, it was meant to unwrap, as if Drogo is opening a present. She starts off with a basic Dothraki outfit, but as she evolves, she ends up having a bit more ornamentation. When she goes to the market in Vaes Dothrak, she buys what looks like a dragon-skin top and starts to create her own look, within the Dothraki style. The color choice was dictated by the fact that the Dothraki precious color is blue, so that's really been the basis of her palette. The change in her clothing style is partly about her journey of becoming a woman and a leader, but also the practicality of it. She has been leading a nomadic life and with the riding she has to wear boots and she has to wear leather trousers. The fact that they lend such strength to her look is great, but I wanted the shape to create a sense of her femininity. We looked at so many elements, and we played with dragon scaling embroidery and the sleeves seem almost like the hood on a snake. I wanted to draw in the dragons, but also create a sense of armor, something protective about the choices she makes. So she's very formal when she's in the main hall, she wears really soft wraps and wafty things when she's in her private apartment. We see Missandei sort of growing closer to her and adapting a similar style.

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