Naming the Evil One: Onomastic Strategies in Tolkien and Rowling
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The Roots of Middle-Earth: William Morris's Influence Upon J. R. R. Tolkien
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2007 The Roots of Middle-Earth: William Morris's Influence upon J. R. R. Tolkien Kelvin Lee Massey University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Massey, Kelvin Lee, "The Roots of Middle-Earth: William Morris's Influence upon J. R. R. olkien.T " PhD diss., University of Tennessee, 2007. https://trace.tennessee.edu/utk_graddiss/238 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Kelvin Lee Massey entitled "The Roots of Middle-Earth: William Morris's Influence upon J. R. R. olkien.T " I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. David F. Goslee, Major Professor We have read this dissertation and recommend its acceptance: Thomas Heffernan, Michael Lofaro, Robert Bast Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by Kelvin Lee Massey entitled “The Roots of Middle-earth: William Morris’s Influence upon J. -
Middle-Earth: the Wizards Characters(Hero) Resources(Hero
Middle-earth: The Wizards Card-list (484 cards) Sold in starters and boosters (no cards from other sets needed to play). A booster (15 cards, 36 boosters per display) holds 1 rare, 3 uncommons, and 11 commons. A starter holds a fixed set (at random), 3 rares, 9 uncommons, and 40 commons. R: rare; U: uncommon; CA1: once on general common sheet; CA2: twice on general common sheet; CB1: once on booster-only common sheet; CB2: twice on booster-only common sheet; F#: in # different fixed sets (out of 5). Look at the Fixed pack specs to see what cards are in in which fixed set. Characters (hero) Thorin II R Gwaihir R Risky Blow CA Thranduil F1 Halfling Stealth CB2 Roäc the Raven R Adrazar F1 Vôteli CB Halfling Strength CB2 Sacrifice of Form R Alatar F2 Vygavril R Hauberk of Bright Mail CA Sapling of the White Tree U Anborn U Wacho U Healing Herbs CA2 Scroll of Isildur U Annalena F2 Hiding R Secret Entrance R Aragorn II F1 Resources (hero) Hillmen U Secret Passage CA Arinmîr U A Chance Meeting CB Hobbits R Shadowfax R Arwen R A Friend or Three CB2 Horn of Anor CB Shield of Iron-bound Ash CA2 Balin U Align Palantir U Horses CA Skinbark R Bard Bowman F2 Anduin River CB2 Iron Hill Dwarves F1 Southrons R Barliman Butterbur U Anduril R Kindling of the Spirit CA Star-glass U Beorn F1 Army of the Dead R Knights of Dol Amroth U Stars U Beregond F1 Ash Mountains CB Lapse of Will U Stealth CA Beretar U Athelas U Leaflock U Sting U Bergil U Beautiful Gold Ring CA2 Lesser Ring U Stone of Erech R Bifur CB Beornings F1 Lordly Presence CB2 Sun U Bilbo R Bill -
On Ways of Studying Tolkien: Notes Toward a Better (Epic) Fantasy Criticism
Journal of Tolkien Research Volume 9 Issue 1 Article 2 2020 On Ways of Studying Tolkien: Notes Toward a Better (Epic) Fantasy Criticism Dennis Wilson Wise University of Arizona, [email protected] Follow this and additional works at: https://scholar.valpo.edu/journaloftolkienresearch Part of the Continental Philosophy Commons, Ethics and Political Philosophy Commons, Literature in English, British Isles Commons, and the Literature in English, North America Commons Recommended Citation Wise, Dennis Wilson (2020) "On Ways of Studying Tolkien: Notes Toward a Better (Epic) Fantasy Criticism," Journal of Tolkien Research: Vol. 9 : Iss. 1 , Article 2. Available at: https://scholar.valpo.edu/journaloftolkienresearch/vol9/iss1/2 This Peer-Reviewed Article is brought to you for free and open access by the Christopher Center Library at ValpoScholar. It has been accepted for inclusion in Journal of Tolkien Research by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. Wise: On Ways of Studying Tolkien INTRODUCTION We are currently living a golden age for Tolkien Studies. The field is booming: two peer-reviewed journals dedicated to J.R.R. Tolkien alone, at least four journals dedicated to the Inklings more generally, innumerable society newsletters and bulletins, and new books and edited collections every year. And this only encompasses the Tolkien work in English. In the last two decades, specifically since 2000, the search term “Tolkien” pulls up nearly 1,200 hits on the MLA International Bibliography. For comparison, C. S. Lewis places a distant second at fewer than 900 hits, but even this number outranks the combined hits on Ursula K. -
Tolkien's Creative Technique: <I>Beowulf</I> and <I>The Hobbit</I>
Volume 15 Number 3 Article 1 Spring 3-15-1989 Tolkien's Creative Technique: Beowulf and The Hobbit Bonniejean Christensen Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Christensen, Bonniejean (1989) "Tolkien's Creative Technique: Beowulf and The Hobbit," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 15 : No. 3 , Article 1. Available at: https://dc.swosu.edu/mythlore/vol15/iss3/1 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Asserts that “The Hobbit, differing greatly in tone, is nonetheless a retelling of the incidents that comprise the plot and the digressions in both parts of Beowulf.” However, his retelling is from a Christian point of view. Additional Keywords Beowulf—Influence on The Hobbit; olkien,T J.R.R. -
Gandalf: One Wizard to Lead Them, One to Find Them, One to Bring Them And, Despite the Darkness, Unite Them
Mythmoot III: Ever On Proceedings of the 3rd Mythgard Institute Mythmoot BWI Marriott, Linthicum, Maryland January 10-11, 2015 Gandalf: One Wizard to lead them, one to find them, one to bring them and, despite the darkness, unite them. Alex Gunn Middle Earth is a wonderful but strangely familiar place. The Hobbits, Elves, Men and other peoples who live in caves, forests, mountain ranges and stone cities, are all combined by Tolkien to create a fantasy world which is full of wonder, beauty and magic. However, looking past these fantastical elements, we can see that Middle Earth has many similarities to the society in which we live. The different races of Middle Earth have distinct and deep differences and often keep themselves separate from one another because of mutual distrust or dislike. Due to these divisions, only one person, one who does not belong to any particular race or people, can unite them for the coming war: Gandalf the Wizard who embodies the qualities needed to be an effective leader in our world. As Sue Kim points out in her book Beyond black and White: Race and Postmodernism in Lord of the Rings, Tolkien himself declared that, “the desire to converse with other living things is one of the great allurements of fantasy” (Kim 555). Given this belief, it is no surprise that Tolkien,‘fills his imagined worlds with a plethora of intelligent non human races and exotic ethnicities, all changing over time: Elves, Dwarves, Men, Hobbits, Ents, Trolls, Orcs, Wild Men, talking beasts and embodied spirits’ (Kim 555). This plethora, as Kim puts it, makes Gandalf an important literary tool for Tolkien because to believe that such a varied mix of people, creatures, races and ethnicities live in complete harmony would feel false and perhaps too convenient. -
Tolkien's Women: the Medieval Modern in the Lord of the Rings
Tolkien’s Women: The Medieval Modern in The Lord of the Rings Jon Michael Darga Tolkien’s Women: The Medieval Modern in The Lord of the Rings by Jon Michael Darga A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2014 © 2014 Jon Michael Darga For my cohort, for the support and for the laughter Acknowledgements My thanks go, first and foremost, to my advisor Andrea Zemgulys. She took a risk agreeing to work with a student she had never met on a book she had no academic experience in, and in doing so she gave me the opportunity of my undergraduate career. Andrea knew exactly when to provide her input and when it was best to prod and encourage me and then step out of the way; yet she was always there if I needed her, and every book that she recommended opened up a significant new argument that changed my thesis for the better. The independence and guidance she gave me has resulted in a project I am so, so proud of, and so grateful to her for. I feel so lucky to have had an advisor who could make me laugh while telling me how badly my thesis needed work, who didn’t judge me when I came to her sleep-deprived or couldn’t express myself, and who shared my passion through her willingness to join and guide me on this ride. Her constant encouragement kept me going. I also owe a distinct debt of gratitude to Gillian White, who led my cohort during the fall semester. -
TOLKIEN‟S the SILMARILLION: a REEXAMINATION of PROVIDENCE by David C. Powell a Thesis Submitted to the Faculty of the Dorothy
TOLKIEN‟S THE SILMARILLION: A REEXAMINATION OF PROVIDENCE by David C. Powell A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida August 2009 Copyright by David C. Powell ii ABSTRACT Author: David C. Powell Title: Tolkien‟s The Silmarillion: A Reexamination of Providence Institution: Florida Atlantic University Thesis Advisor: Dr. Thomas Martin Degree Master of Arts Year 2009 Christian providence in the primary (real) world operates as the model for the spiritual movement of Eru/Illuvatar in Tolkien‟s secondary (imaginative) world. Paralleling the Christian God, Illuvatar maintains a relationship with his creation through a three-fold activity: preservation, concurrence, and government. Preservation affirms Eru‟s sovereignty as Creator, and concurrence guarantees creaturely freedom, while paradoxically, government controls, guides, and determines those wills in Time. The union of these three activities comprises the providential relationship of Illuvatar in Tolkien‟s imaginary world. The following thesis endeavors to carry the argument for providence into The Silmarillion with a declarative and analytical detail that distinguishes Illuvatar‟s providence from other temporal manifestations. Finally, the analysis reveals not only the author‟s authentic orthodox perspective, but Illuvatar‟s role in the imaginative world emerges as a reflection of Tolkien‟s authorial role in the real world. iv TOLKIEN‟S THE SILMARILLION: A REEXAMINATION OF PROVIDENCE ABBREVIATIONS . .vi INTRODUCTION . 1 CHAPTER ONE: PRESERVATION . 7 CHAPTER TWO: CONCURRENCE . 17 CHAPTER THREE: GOVERNMENT . 50 WORKS CITED . 66 NOTES . .71 v ABBREVIATIONS Aspects “Aspects of the Fall in The Silmarillion.” Eric Schweicher. -
The Existence of Religious Figures in J.R.R. Tolkien's the Silmarillion
[ VOLUME 5 I ISSUE 4 I OCT.– DEC. 2018] E ISSN 2348 –1269, PRINT ISSN 2349-5138 The Existence of Religious Figures in J.R.R. Tolkien’s The Silmarillion, The Lord of The Rings and The Hobbit N. Ravikumar1 & Dr. R. Chandrasekar2 & M. Selvam3 1PhD Research Scholar, Department of English, Sri Ramakrishna Mission Vidyalaya College of Arts and Science, Coimbatore- 641020. 2Associate Professor and Head, Department of English, Sri Ramakrishna Mission Vidyalaya College Of Arts and Science, Coimbatore- 641020. 3Assistant Professor of English, Department of English, Ramakrishna Mission Vidyalaya Educational Research Institute For Agricultural Education and Research, Coimbatore- 641020. Received: July 16, 2018 Accepted: August 27, 2018 ABSTRACT John Ronald Reuel Tolkien stands as the best selling fantasy novelists in twentieth- century literature. His major works are The Hobbit, The Lord of the Rings and The Silmarillion. This paper primarily focuses on religious figures in J.R.R. Tolkien’s The Silmarillion, The Lord of The Rings and The Hobbit. The religious figures at first glance, to play only a background role in the text’s narrative structure. However, their significance extends far beyond merely affecting the plot. There is a clear alignment between Tolkien’s real-life views and the qualities represented by his women characters. They draw attention to by depicting as powerful and wise. Tolkien was greatly influenced by the arts and crafts movement of the late 19th-century, which sought to provide a greater cultural emphasis on all forms of artistry and nature and a reduced emphasis on mechanized industry. Although this movement ended at the beginning of the 20th-century, branches of it continued, arguing that the correct sense of artistry and spirituality could be found by looking back to medieval England and that these qualities could be used to help heal the modern ravaged and industrialized country. -
Clashing Perspectives of World Order in JRR Tolkien's Middle-Earth
ABSTRACT Fate, Providence, and Free Will: Clashing Perspectives of World Order in J. R. R. Tolkien’s Middle-earth Helen Theresa Lasseter Mentor: Ralph C. Wood, Ph.D. Through the medium of a fictional world, Tolkien returns his modern audience to the ancient yet extremely relevant conflict between fate, providence, and the person’s freedom before them. Tolkien’s expression of a providential world order to Middle-earth incorporates the Northern Germanic cultures’ literary depiction of a fated world, while also reflecting the Anglo-Saxon poets’ insight that a single concept, wyrd, could signify both fate and providence. This dissertation asserts that Tolkien, while acknowledging as correct the Northern Germanic conception of humanity’s final powerlessness before the greater strength of wyrd as fate, uses the person’s ultimate weakness before wyrd as the means for the vindication of providence. Tolkien’s unique presentation of world order pays tribute to the pagan view of fate while transforming it into a Catholic understanding of providence. The first section of the dissertation shows how the conflict between fate and providence in The Silmarillion results from the elvish narrator’s perspective on temporal events. Chapter One examines the friction between fate and free will within The Silmarillion and within Tolkien’s Northern sources, specifically the Norse Eddas, the Anglo-Saxon Beowulf, and the Finnish The Kalevala. Chapter Two shows that Tolkien, following Boethius’s Consolation of Philosophy, presents Middle-earth’s providential order as including fated elements but still allowing for human freedom. The second section shows how The Lord of the Rings reflects but resolves the conflict in The Silmarillion between fate, providence, and free will. -
On Fairy Stories by J
On Fairy Stories By J. R. R. Tolkien On Fairy-stories This essay was originally intended to be one of the Andrew Lang lectures at St. Andrews, and it was, in abbreviated form, delivered there in 1938. To be invited to lecture in St. Andrews is a high compliment to any man; to be allowed to speak about fairy-stories is (for an Englishman in Scotland) a perilous honor. I felt like a conjuror who finds himself, by mistake, called upon to give a display of magic before the court of an elf-king. After producing his rabbit, such a clumsy performer may consider himself lucky, if he is allowed to go home in proper shape, or indeed to go home at all. There are dungeons in fairyland for the overbold. And overbold I fear I may be accounted, because I am a reader and lover of fairy-stories, but not a student of them, as Andrew Lang was. I have not the learning, nor the still more necessary wisdom, which the subject demands. The land of fairy-story is wide and deep and high, and is filled with many things: all manner of beasts and birds are found there; shoreless seas and stars uncounted; beauty that is an enchantment, and an ever-present peril; both sorrow and joy as sharp as swords. In that land a man may (perhaps) count himself fortunate to have wandered, but its very riches and strangeness make dumb the traveller who would report it. And while he is there it is dangerous for him to ask too many questions, lest the gates shut and the keys be lost. -
The Lord of the Rings
The Lord of the Rings by J. R. R. Tolkien TheBestNotes Study Guide by TheBestNotes Staff TheBestNotes.com Copyright © 2003, All Rights Reserved Distribution without the written consent of TheBestNotes.com is strictly prohibited. LITERARY ELEMENTS SETTING The Lord of the Rings is set in Middle-earth, a fictional world created by Tolkien. Mystical creatures such as hobbits, orcs, trolls, ents, elves, wangs, wizards, dragons, dwarves and men inhabit middle-earth. Middle-earth is a magical world in which imagination rules, but it exists very much like "real" society, with political and economic problems and power struggles. Each of the races that inhabit this world have their own territories and are distinct from one another. Part I is set in the Shire, a community of mostly hobbits. Bag End is in the Shire and is the home of Frodo, the hero. At the end of Part I, a group of travelling adventurers including Frodo leaves for Rivendell, an elf refuge. Part II takes place beyond the Shire in the rough worlds between Bag End and the citadel of Sarumon, the tower Orthanc at Isengard. It also takes place in the Tower of Sorcery, Minas Morgul, where the evil Sauron rules. Part III takes place in Mordor, a mountain range containing the volcano Orodruin. It also takes place on the road between Mordor and Bag End. The novel concludes just where it began, at Bag End. LIST OF CHARACTERS Major Characters Frodo Baggins The adopted heir of Bilbo Baggins. Frodo is chosen to destroy the Ring, and in the course of this mission, he proves to be a brave and intelligent leader. -
The Significant Other: a Literary History of Elves
1616796596 The Significant Other: a Literary History of Elves By Jenni Bergman Thesis submitted for the degree of Doctor of Philosophy Cardiff School of English, Communication and Philosophy Cardiff University 2011 UMI Number: U516593 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U516593 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DECLARATION This work has not previously been accepted in substance for any degree and is not concurrently submitted on candidature for any degree. Signed .(candidate) Date. STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. (candidate) Date. STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. Signed. (candidate) Date. 3/A W/ STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed (candidate) Date. STATEMENT 4 - BAR ON ACCESS APPROVED I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan after expiry of a bar on accessapproved bv the Graduate Development Committee.