Da Mob Roolz
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Papa Ogre Roger Schnitzler Mama Ogre Jamie Hope Little Shrek/Dwarf
Papa Ogre Roger Schnitzler Mama Ogre Jamie Hope Little Shrek/Dwarf Avery Taylor Shrek Jackson Baldwin Fiona Kyrstin Eastman Teen Fiona Cali Olshefski Young Fiona Adrianna Kelly Donkey Andrew Lewis Farquaad Ryan Hacek Dragon Isabella Schnitzler Gingy/Sugar Plum Fairy Ashton Grant Pinocchio Kali Gerretse Big Bad Wolf Jacob Bottoms Pig #1 Joey Fitzgerald Pig #2 Kyle Hacek Pig #3 Colin Smith Fairy Godmother Jessica Hurley Peter Pan Colton Holland Wicked Witch Olivia Farley Mama Bear Alexis Blink Papa Bear Frank Salmons Baby Bear Jathan Coster Elf Hailey Easter Captain Daniel Hill Thelonius Michael St. Aubin Guards/Knights/Duloc Dancers/Rats Hannah Kyllonen, Emily Gain, Lizzy Kooy, Harley Rudish, Olivia Brackney Pied Piper Michael St. Aubin Blind Mouse #1 Lizzy Kooy Blind Mouse #2 Harley Rudish Blind Mouse #3 Olivia Brackney Actors in each Scene ACT 1 Scene 1 Shrek, Little Shrek, Mama Ogre, Papa Ogre, Happy People/Mob Scene 2 Guard, Pinocchio, Wolf, 3 Pigs, Fairy Godmother, Peter Pan, Sugar Plum Fairy, Witch, 3 Bears, Shrek, Elf Scene 3 Shrek, Donkey, Captain of the Guard, Guards Scene 4 Guards, Farquaad, Gingy Scene 5 Shrek, Donkey, Farquaad, Greeter, Duloc Dancers Scene 6 Young Fiona, Teen Fiona, Fiona Scene 8 Shrek, Donkey, 4 Knights, Dragon Scene 9 Fiona, Shrek, Donkey, Dragon Scene 10 Shrek, Donkey, Fiona ACT 2 Scene 1 Fiona, Bluebird, Pied Piper, Rats, Donkey, Shrek Scene 2 Farquaad, Captain, Thelonious Scene 3 Fiona, Shrek, Donkey Scene 4 Donkey, 3 Blind Mice, Fiona, Shrek Scene 5 Donkey, Fiona/Ogress, Shrek Scene 6 Fiona, Shrek, Farquaad, Guards Scene 7 Pinocchio, Elf, Peter Pan, Wolf, Sugar Plum Fairy, Gingy, 3 bears, Witch, 3 Pigs, Fairy Godmother Scene 8 Shrek, Donkey Scene 9 Choir, Bishop, Fiona, Farquaad, Shrek, Fairy Tale Characters, Donkey Finale Everyone . -
The Ogre Blinded and the Lord of the Rings
Volume 25 Number 3 Article 12 4-15-2007 The Ogre Blinded and The Lord of the Rings Daniel Peretti Indiana University, Bloomington Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Peretti, Daniel (2007) "The Ogre Blinded and The Lord of the Rings," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 25 : No. 3 , Article 12. Available at: https://dc.swosu.edu/mythlore/vol25/iss3/12 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 Applies folk-tale analysis tools to the climactic Mount Doom scene of The Lord of the Rings, finding intriguing roots in the “ogre blinded” motif most familiar to readers from the Polyphemos episode of The Odyssey. Additional Keywords Homer. The Odyssey—Influence on J.R.R. -
From Folktale to Fantasy
From Folktale to Fantasy A Recipe-Based Approach to Creative Writing Michael Fox ABSTRACT In an environment of increasing strategies for creative writing “lessons” with varying degrees of constraints – ideas like the writing prompt, fash fction, and “uncreative” writing – one overlooked idea is to work with folktale types and motifs in order to create a story outline. Tis article sketches how such a lesson might be constructed, beginning with the selection of a tale type for the broad arc of the story, then moving to the range of individual motifs which might be available to populate that arc. Advanced students might further consider using the parallel and chiastic structures of folktale to sophisticate their outline. Te example used here – and suggested for use – is a folktale which informs both Beowulf and Te Hobbit and which, therefore, is likely at least to a certain extent to be familiar to many writers. Even if the outline which this exercise gen- erates were never used to write a full story, the process remains useful in thinking about the building blocks of story and traditional structures such as the archetypal “Hero’s Journey.” Writing in Practice 131 Introduction If the terms “motif” and “folktale” are unfamiliar, I am working with the following defnitions: a motif, I teach on the Writing side of a Department in terms of folklore, is “the smallest element in a tale of English and Writing Studies. I trained as a having a power to persist in tradition. In order to medievalist, but circumstances led me to a unit have this power, it must have something unusual and which teaches a range of courses from introductory striking about it” (Tompson 1977: 415). -
The Geology of Middle-Earth
Volume 21 Number 2 Article 50 Winter 10-15-1996 The Geology of Middle-earth William Antony Swithin Sarjeant Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Sarjeant, William Antony Swithin (1996) "The Geology of Middle-earth," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 21 : No. 2 , Article 50. Available at: https://dc.swosu.edu/mythlore/vol21/iss2/50 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 A preliminary reconstruction of the geology of Middle-earth is attempted, utilizing data presented in text, maps and illustrations by its arch-explorer J.R.R. Tolkien. The tectonic reconstruction is developed from earlier findings yb R.C. Reynolds (1974). Six plates are now recognized, whose motions and collisions have created the mountains of Middle-earth and the rift structure down which the River Anduin flows. -
Tolkien's Monsters: Concept and Function in the Lord of the Rings (Part 1) the Balrog of Khazad-Dum
Volume 16 Number 1 Article 5 Fall 10-15-1989 Tolkien's Monsters: Concept and Function in The Lord of the Rings (Part 1) The Balrog of Khazad-dum Joe Abbott Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Abbott, Joe (1989) "Tolkien's Monsters: Concept and Function in The Lord of the Rings (Part 1) The Balrog of Khazad-dum," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 16 : No. 1 , Article 5. Available at: https://dc.swosu.edu/mythlore/vol16/iss1/5 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 Three-part examination of “how Tolkien’s theory of the centrality of the monsters in Beowulf influenced his own concept of ‘monster’ and what function that concept should fulfill within” The Lord of the Rings. -
Shrek Audition Monologues
Shrek Audition Monologues Shrek: Once upon a time there was a little ogre named Shrek, who lived with his parents in a bog by a tree. It was a pretty nasty place, but he was happy because ogres like nasty. On his 7th birthday the little ogre’s parents sat him down to talk, just as all ogre parents had for hundreds of years before. Ahh, I know it’s sad, very sad, but ogres are used to that – the hardships, the indignities. And so the little ogre went on his way and found a perfectly rancid swamp far away from civilization. And whenever a mob came along to attack him he knew exactly what to do. Rooooooaaaaar! Hahahaha! Fiona: Oh hello! Sorry I’m late! Welcome to Fiona: the Musical! Yay, let’s talk about me. Once upon a time, there was a little princess named Fiona, who lived in a Kingdom far, far away. One fateful day, her parents told her that it was time for her to be locked away in a desolate tower, guarded by a fire-breathing dragon- as so many princesses had for hundreds of years before. Isn’t that the saddest thing you’ve ever heard? A poor little princess hidden away from the world, high in a tower, awaiting her one true love Pinocchio: (Kid or teen) This place is a dump! Yeah, yeah I read Lord Farquaad’s decree. “ All fairytale characters have been banished from the kingdom of Duloc. All fruitcakes and freaks will be sent to a resettlement facility.” Did that guard just say “Pinocchio the puppet”? I’m not a puppet, I’m a real boy! Man, I tell ya, sometimes being a fairytale creature sucks pine-sap! Settle in, everyone. -
Imperial Ogres
IIMPERIAL OOGRES Design, Illustration, Layout and Writing: Andrew Law Proof reading: Colin Chapman, Lindsay Law Games Workshop, the Games Workshop logo, Warhammer, Warhammer Fantasy Roleplay, the First published 01/05/05 on Andrew Law's World Wide Web site: Warhammer Fantasy Roleplay logo, Black Industries, the Black Industries logo, BL Publishing, the www.hapimeses.com BL Publishing logo and all associated races and race insignia, marks, names, characters, illustrations, and images from the Warhammer universe are either ®, TM, and/or © Games This version was updated on: 09/05/05. Workshop Ltd 2000-2004, variably registered in the UK and other countries around the world. All rights reserved. All enquires about this text, its illustrations, or the author, should be sent to: All material found in this supplement is unofficial and in no way endorsed by Games Workshop Ltd. [email protected] TABLE OF CONTENTS CREATING OGRE CHARACTERS......................................2 Physical Features............................................................................7 Character Creation Overview.............................................................2 Background........................................................................................ 8 The Ogre Race.................................................................................2 Ogre Names.......................................................................................9 Background.............................................................................................2 -
Tractatus Is Intended to Give the Playing Described in the Adventures in Mythic Europe Group a Few More Ideas on How to Use the Guidebook
In the Adventures in Mythic Europe conceits into their own Mythic Europe guidebook, there is a small paragraph about campaign. using the non-human races for characters in the setting. There are a number of different The best example of a Magic Kin type that ways that these sorts of characters can be would be similar to a D&D PC race would be represented in the game world. the Atlanteans (RoP-M, page 90). The Atlanteans, as portrayed, are an actual race aligned to the Magic Realm. They are born as Atlanteans, live as Atlanteans, and die as Atlanteans. This sort of example illustrates As mentioned there, a human character could how non-human races can be introduced into be faerie-blooded and this would have the Mythic Europe. effect of allowing the player to use the statistics and traits of a non-human race for their own, First, almost all D&D PC races are aligned to human, character. This option could be used the Magic Realm. Dwarves, elves, halflings, for magus and companion characters. dragon-born, and gnomes are aligned to the Another option is to consider the PC to be an Magic Realm. Half-elves and half-orcs may not actual faerie (in the Ars Magica style) with this be automatically aligned to a Realm if they are option being limited to companion characters a true hybrid, but if the half-elf or half-orc only. traits are being used to detail a new type of Magic Kin, then the PC should be aligned to But these two choices rule out using races of the Magic Realm. -
Treasures of Middle Earth
T M TREASURES OF MIDDLE-EARTH CONTENTS FOREWORD 5.0 CREATORS..............................................................................105 5.1 Eru and the Ainur.............................................................. 105 PART ONE 5.11 The Valar.....................................................................105 1.0 INTRODUCTION........................................................................ 2 5.12 The Maiar....................................................................106 2.0 USING TREASURES OF MIDDLE EARTH............................ 2 5.13 The Istari .....................................................................106 5.2 The Free Peoples ...............................................................107 3.0 GUIDELINES................................................................................ 3 5.21 Dwarves ...................................................................... 107 3.1 Abbreviations........................................................................ 3 5.22 Elves ............................................................................ 109 3.2 Definitions.............................................................................. 3 5.23 Ents .............................................................................. 111 3.3 Converting Statistics ............................................................ 4 5.24 Hobbits........................................................................ 111 3.31 Converting Hits and Bonuses...................................... 4 5.25 -
Lotr Faq Version 1.9 -- 10/16/2017
LOTR FAQ VERSION 1.9 -- 10/16/2017 New Card Errata: Wandering Took (CORE 43), Boromir (SoM 95), Out of the Wild (D 36), Hama (D 76), We Are Not Idle (D 129), Caldara (AtS 107), Wingfoot (RM 92). Updated Rules Content: 1.56 “Cannot have attachments”, 1.57 Threat elimination, 1.58 Triggering Forced effects ® TM © 2011 Fantasy Flight Publishing, Inc., all rights reserved. No part of this product may be reproduced without specific permission. Middle-earth, The Hobbit, The Lord of the Rings, and the characters, items, events and places therein are trademarks or registered trademarks of The Saul Zaentz Company d/b/a Middle-earth Enterprises. Fantasy Flight Games, Fantasy Flight Supply, and the FFG logo are trademarks of Fantasy Flight Publishing, Inc. All Rights Reserved to their respective owners. Eleanor CORE 8 TM The replacement card is also revealed from the encounter deck. Resolve any “When revealed” effects and keywords on the new card following the standard game rules. Beravor CORE 12 The Lord of the Rings: The Card Game Should read: “Action: Exhaust Beravor to choose FAQ version 1.8 a player. That player draws 2 cards. Limit once per 1/26/2016 round.” New Content in red Will of the West CORE 49 Should read: “Action: Choose a player. Shuffle that LOTR Errata player’s discard pile back into his deck. Remove Will of the West from the game.” This section contains the official clarifications and errata that have been made on individual cards or sets Stand and Fight CORE 51 in The Lord of the Rings: The Card Game. -
Fairy Tale Bingo Game
Once Upon a Time BINGO WHO MADE THIS? Created by Kim White Steele for Drag Drop Learning. CONTACT [email protected] Drag Drop Learning on Teachers Pay Teachers Drag Drop Learning Website ILLUSTRATIONS All images used under license from Dreamstime.com. COPYRIGHT © 2018 Kim White Steele - All rights reserved. Permission to copy for single classroom use only. Not for public display. Directions Most everyone is probably familiar with how to play traditional American bingo. Each player is given a game board with numbers appearing in a 5 x 5 grid. When using bingo as a classroom game the numbers are usually replaced with words and/or images, giving students a chance to review vo- cabulary, spelling and facts while having fun. Sometimes the grids may be smaller or larger, making the game easier or harder depending on students’ needs. Whoever is calling the game randomly selects a number, word, or image and all players look for that item on their board. If that item appears on their board, the player covers the item with a chip. (You can also use pennies or just about any small item as a marker.) After everyone covers their square if they need to, another randomly selected item is announced and the game continues. The first player to cover a column, row, or diagonal, calls out “Bingo!” and wins the game. You can also decide ahead of time to use differ- ent patterns to determine the winner (such as all corners or inside squares). The great thing about bingo in the classroom is that it is a flexible game.