Sindarin Dictionary, Gobeth E-Lam Edhellen1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Secret Vice: the Desire to Understand J.R.R
Mythmoot III: Ever On Proceedings of the 3rd Mythgard Institute Mythmoot BWI Marriott, Linthicum, Maryland January 10-11, 2015 A Secret Vice: The Desire to Understand J.R.R. Tolkien’s Quenya Or, Out of the Frying-Pan Into the Fire: Creating a Realistic Language as a Basis for Fiction Cheryl Cardoza In a letter to his son Christopher in February of 1958, Tolkien said “No one believes me when I say that my long book is an attempt to create a world in which a form of language agreeable to my personal aesthetic might seem real” (Letters 264). He added that The Lord of the Rings “was an effort to create a situation in which a common greeting would be elen síla lúmenn’ omentielmo,1 and that the phrase long antedated the book” (Letters 264-5). Tolkien often felt guilty about this, his most secret vice. Even as early as 1916, he confessed as much in a letter to Edith Bratt: “I have done some touches to my nonsense fairy language—to its improvement. I often long to work at it and don’t let myself ‘cause though I love it so, it does seem a mad hobby” (Letters 8). It wasn’t until his fans encouraged him, that Tolkien started to 1 Later, Tolkien decided that Frodo’s utterance of this phrase was in error as he had used the exclusive form of we in the word “omentielmo,” but should have used the inclusive form to include Gildor and his companions, “omentielvo.” The second edition of Fellowship reflected this correction despite some musings on leaving it to signify Frodo being treated kindly after making a grammatical error in Quenya (PE 17: 130-131). -
Linguistic Soundtrack Textbook 2 — LINGUISTIC SOUNDTRACK TEXTBOOK
THE LORD OF THE RINGS Linguistic Soundtrack Textbook 2 — LINGUISTIC SOUNDTRACK TEXTBOOK Introduction I have compiled this textbook as a reference while listening to the score of Howard Shore of Peter Jackson’s movie-version of The Lord of the Rings. It is based on information from the Gwaith-i- Phethdain-website, http:\\www.elvish.org\gwaith (All my thanks to those who helped to provide these information!), and comprises most non-english lyrics of all three film installments. In the first three parts, the lines that are sung are listed (as many as could be discovered...) with the corresponding times, sorted by film and track. Then follow the original poems, their translations etc. The times given refer to the special limited editions of the soundtrack. Still, they are incomplete and thus I have to ask your help to complete them. Any new hints can be mailed to [email protected]. All texts here reproduced are ©ed by New Line Cinema. They are from the official booklets, music sheets and websites. I wish you lots of fun in discovering the lyrics! Julian ‘Flammifer’ Jarosch, 29.03.04 Explanations: The marked parts of the poems are those that are sung in the score. Parts in grey are uncertain resp. left out. Parts in {braces} are comments / additions by me. You will find annotations with roman numeralsXXI where help is needed. — 0:05 ----Means that only the endig time of a lyric is known. The structure of the linguistic notes is roughly as follows: attested word part of speech, flection 'english translation'; (SOURCE). -
March 2001 to February 2011
Beyond Bree Back Issues: The Third Decade March 2001 - February 2011 Nancy Martsch, PO Box 55372, Sherman Oaks, CA 91413; [email protected] March 2001: 20th Anniversary. Cover, 1st "Tolkien SIG News". "History of "'Beyond Bree'''. "Tolkien Conference and Bree Moot 5 at the University of St Thomas", "2001: A Tolkien Odyssey, Unquendor's 4th Lustrum". "Tolkien on CS Lewis' Space Trilogy" by Robert Acker, "Tolkien Scrapbook", "Tolkien Music on the Web" by Chris Seeman & Morgueldar Dragonseye, musical "Sagan om Ringen". Review of Mallorn 38. Poem "Shadows on the Shire" by Matthew Anish. "Mithril Miniatures". "Postal Rate Increase". Publications, Letters, News. 12 pp. April 2001: "T olkien . and Swithin . Beneath the North Atlantic Ocean" by Antony Swithin [Dr William Sarjeantl (maps). Reviews: Visualizing Middle·earth (Chris Seeman), "Two January 2001 Lord of the Rings Stage Premieres in Finland" (Mikael Ahlstrom), The Starlit Jewel: Songs from JRR Tolkien's The Lord of the Rings and The Hobbit (David Bratman). "Tolkien Conference and Bree Moot 5", "The 'Beyond Bree' Award", "Decipher Takes Another Key license for Lord of the Rings Property", "Postal Rate Increase", "The Lord of the Rings and Harry Potter". Publications, News. 12 pp. May 2001: "Tolkien Conf. and Bree Moot 5" (photos), ''The 'Beyond Bree' Award". "Postal Rate Increase", "Rockall", ''lOTR Film News", "Tolkienalia Old & New". Publications, Letters, News. "CS Lewis Home to Host 1st Summer Seminar: Branches to Heaven". "Tolkien Scrapbook","Tolkien Events Past".12pp. June 2001: II10s "Tuna", "Turin Turambar" by Ryszard Derdzinski. "A Talk by Tom Shippey" by Todd Jensen. Poems ''The White Tower" by j culver mead, "At the Borders of Faerie" by Matthew Anish, "'Davo Sin' {'let It Be')", Sindarin trans by David Salo. -
Written By: the Dwarrow Scholar
Written by: The Dwarrow Scholar - www.dwarrowscholar.com Sources: J.R.R Tolkien, Turbine and ICE MERP – all rights to their proper owners Title: Annals of the Dwarves (PV1/E26) – Art work by Linda Nordberg Written by: The Dwarrow Scholar - www.dwarrowscholar.com Sources: J.R.R Tolkien, Turbine and ICE MERP – all rights to their proper owners Title: Annals of the Dwarves (PV1/E26) – Art work by Linda Nordberg Acknowledgements: A great many works have been used for the composition of this fan-fiction based on the works of J.R.R Tolkien. It is formed as a selection and interpretation of the professor's writings on the dwarves and other dwarvish stories that have either used or have been inspired by Tolkien’s works. All rights to their proper owners. The Annals of the Dwarves tells the history of the Dwarves of Middle-Earth from a dwarven perspective, as interpreted by myself, The Dwarrow Scholar. This project has been a work of many years in which many helped by giving advice, support and encouragement. I would like to thank the following for their contributions. • to Linda Nordberg for her amazing and wonderful art work • to Barry and Karen for their friendship, corrections, suggestions and support. • to my Patrons for their belief in me and their support • to my wife for her encouragement, help, patience and good advice throughout the project. • to my friend, the late Kristof Maes, for inspiring me • to Duinn, Maldurin, Sigurmar, Hanfur and Nibun for their stories, suggestions, ideas, advice and corrections. Written by: The Dwarrow Scholar - www.dwarrowscholar.com Sources: J.R.R Tolkien, Turbine and ICE MERP – all rights to their proper owners Title: Annals of the Dwarves (PV1/E26) – Art work by Linda Nordberg Notes on Dwarvish and ownership of material: This document contains names and place names in Dwarvish (either Khuzdul or Neo-Khuzdul). -
Juliette Trichet Philology in Tolkien's Work : the Creation of a Myth
Juliette Trichet Philology in Tolkien's Work : the Creation of a Myth through the Power of languages -------------------------------------------------------------------------------------------------------------------------- TRICHET Juliette. Philology in Tolkien's Work : the Creation of a Myth through the Power of languages, sous la direction de Manuel Jobert. - Lyon: Université Jean Moulin (Lyon 3), 2016. Mémoire soutenu le 30/05/2016. -------------------------------------------------------------------------------------------------------------------------- Document diffusé sous le contrat Creative Commons « Paternité – pas d’utilisation commerciale - pas de modification » : vous êtes libre de le reproduire, de le distribuer et de le communiquer au public à condition d’en mentionner le nom de l’auteur et de ne pas le modifier, le transformer, l’adapter ni l’utiliser à des fins commerciales. Faculty of Languages Department of English Studies 7jsJj%V11F6$G5F11FaD51Dj16Gc$15F.k$CjEg21#N6$C`^CsDt$89N65$68BjF5E4aEt%hFa6G8t#j1Dj7 Philology in Tolkien’s Work The Creation of a Myth through the Power of Languages j71Djt#86GahFt%aE45EjF865$69N8t$sD`^CF6$C1#N2gjEk$C.5F1c$6G1j1D5aD1F15F6$G1F1j%VsJ7j Juliette TRICHET Director of Research: Pr. Manuel JOBERT Master’s Thesis Master 2 LCE Anglais 2015-2016 “Not all those who wander are lost.” —J. R. R. Tolkien 1 Acknowledgments Thank you to M. Jobert, for your understanding of my initial fears regarding the scale of this master’s thesis. Thank you for your attentive ear, your guidance and your suggestion of this subject which proved to be so interesting to work on. Finally, thank you for these years of learning and discovering at Jean Moulin University, and for sparking my passion for phonetics and linguistics. Thank you to Maria Prozesky, lecturer at the University of Auckland, for instigating my fascination for Old and Middle-English and for all things medieval. -
Constructed Languages and Their Role in Drama Emelie Vandenberg University of New Hampshire
University of New Hampshire University of New Hampshire Scholars' Repository Honors Theses and Capstones Student Scholarship Spring 2019 Constructed Languages and Their Role in Drama Emelie Vandenberg University of New Hampshire Follow this and additional works at: https://scholars.unh.edu/honors Part of the Acting Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Television Commons Recommended Citation Vandenberg, Emelie, "Constructed Languages and Their Role in Drama" (2019). Honors Theses and Capstones. 449. https://scholars.unh.edu/honors/449 This Senior Honors Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Honors Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. Constructed Languages and Their Role in Drama By Emelie Vandenberg Advised by: Prof. David Richman Prof. Deborah Kinghorn 12/14/2018 Dialect is the “distinctive vocabulary and grammar of someone’s use of language” that creates a sound so unique to that person that their character and language become one (Crystal and Crystal, 2014, pg. 16). In the recent production of Brian Friel’s masterpiece, Dancing at Lughnasa, at the University of New Hampshire, we see dialect play a significant role in the differentiation between characters, how it shapes them, bonds them, and how it separates them from each other (Friel, 2013). From the ideolects of the sisters to the changed dialect of their brother, Father Jack, and the Welshman hiding from himself, Gerry Evans, we see that character is influenced by dialect and dialect reflects character. -
Artificial Languages in J. R. R. Tolkien's Novel the Fellowship Of
Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue Moderne per la Comunicazione e la Cooperazione Internazionale Classe LM-38 Tesi di Laurea Artificial languages in J. R. R. Tolkien’s novel The Fellowship of the Ring and its film version Relatore Laureanda Prof. Maria Teresa Musacchio Sara Bracchi n° matr.1182867 / LMLCC Anno Accademico 2018 / 2019 TABLE OF CONTENTS INTRODUCTION.................................................................................................................. 1 CHAPTER 1 – Defining artificial languages 1.1. Artificial languages and natural languages .................................................................... 5 1.2. Classifications of artificial languages ............................................................................ 9 1.2.1. Umberto Eco’s classification .............................................................................. 10 1.2.2. Alan Reed Libert’s classification ........................................................................ 12 1.2.3. David Joshua Peterson’s classification ............................................................... 15 1.3. Two examples: Esperanto and Newspeak ..................................................................... 18 CHAPTER 2 – A brief history of artificial languages 2.1. Ancient times ............................................................................................................... 27 2.2. From the Middle Ages to the 18th century .................................................................... -
Elvish Linguistics: the Science of Sindarin Matthew D Coombes
Elvish Linguistics: The Science of Sindarin Matthew D Coombes MA Tolkien Linguistic Aesthetics, De Montfort University - October 2013 - Introduction In one of his many letters, Tolkien noted that Elvish was intended to be European in structure, and “specially pleasant”. Whilst the former can be achieved through the study of suitable languages, the likes of which would have been familiar to Tolkien, the latter is not predicated on a similar logic. Tolkien himself acknowledged the inherent ambiguity of his intentions having also stated that “individuals’ personal predilections, especially in the phonetic structure of languages, varies widely” (letters: 175-76). So in the same way that Marc Okrand intended for Klingon to sound intrinsically extraterrestrial, it was Tolkien’s fundamental interest to make Elvish a beautiful language to speak and to hear. Therefore, despite the intent for creating Elvish being incorrectly attributed to stories such as The Hobbit and The Lord of the Rings, it would appear that Tolkien’s ambition was one rooted purely for his own pleasure. At the point at which Tolkien had published his first book, he had been working on his languages for over forty years (Okrent, 2010:283). So whilst Marc Okrand was employed to create the aforementioned Klingon for the writers of Star Trek, and James Cameron requested Na’vi to benefit the plotlines of Avatar, Tolkien succumbed to what he referred to as his “secret vice” (Secret Vice, Tolkien 1931). So it would appear that whilst the majority of artistic languages, or artlangs, are created to satisfy the requirement of a story, Tolkien’s circumstances appeared the reverse having utilised his stories as a catalyst for publicly acknowledging his passion for linguistics. -
LCC2 Program
- 2 - Schedule th Friday, July 6 1:30 PM Meetup at Sather Gate & guided tour of area 5:00 PM Dinner at Long Life Vegi House th Saturday, July 7 8:45 AM Registration 9:00 AM David Salo Giving Historical Depth to Language Construction John Quijada Language Personalities: How the Interplay of Phonology, Phonotactics and Morpho-phonology Creates a Linguistic Aesthetic Lila Sadkin Tenata: Dissolving Lexical Categories Jim Henry Glossotechnia, a language creation card game 1:00 PM Lunch & Glossotechnia 1:45 PM David Peterson The Evolution of Sidaan Donald Boozer Drushek: The Sound of No Voice Speaking Workshop Conlanging 101: Intro & Advanced Vocabulary Generation, part 1 Panel Applications of Language Creation in Pedagogy Open Q&A 5:00 PM Close 6:00 PM Dinner off campus - 3 - Sunday, July 8th 8:45 AM Registration 9:00 AM Jeff Burke Reverse engineering of phonological change John Clifford The Problems with Success: What happens when an opinionated conlang meets its speakers Sylvia Verblessness in Kelen Sotomayor Gabriel Koulikov The Linguistic Reinforcement of Worldview: Lexical/phonological structure and grammatical paradigms in Baseline Bipentahexadecimal. James Gang My Right-Brain Verbotomy: How creating invented words changed the way I think 1:00 PM Lunch & Verbotomy 2:00 PM Clint Hutchison Universal Semantic Markers Panel Conlang Relay Workshop Conlanging 101: Intro & Advanced Vocabulary Generation, part 2 Panel Incorporating Conlangs into Your Life Open Q&A 5:00 PM Close 6:00 PM Dinner off campus - 4 - Welcome. I‟m proud to say that this is the Second Language Creation Conference. We have a great lineup of presentations, with even more content and diversity than last year. -
THE LORD of the RINGS the FELLOWSHIP of the RING the Complete Recordings
THE LORD OF THE RINGS THE FELLOWSHIP OF THE RING The Complete Recordings Music composed, orchestrated, and conducted by Howard Shore Diegetic music composed and performed by Plan 9 Featuring “Aníron” and “May It Be” by Enya Transcribed for piano / short score A note from the transcriber This transcription represents my best effort to capture as much information about the Fellowship of the Ring film score as possible, including notes, tempi, orchestration, song texts, and cues from the movie (extended edition). The transcription is in two-staff short score format, and although information content took precedence over playability, most of the transcription should be playable at the piano, with omission of certain lines if desired. The source for the transcription was the Complete Recordings, and it is indicated where material is cut from the film. The transcription is divided according to the track listings in the Complete Recordings. Cues from the film are shown in italics , with dialogue in “quotation marks” and characters underlined . Song names, authors, and translators are shown in small text. Song lyrics are in normal type, with English translations shown beneath in italics . The matching of lyrics to the recordings is done only where possible, and is indebted to the timestamps on Marilynn Miller’s website www.amagpiesnest.com. At certain points translation was not possible, due to the jumbling of syntax in matching words to the music. This transcription was done by a fan of Howard Shore’s score and Tolkien’s works, for the interest of other fans. It was inspired by Alcaeru’s website alcaeru.weebly.com and Doug Adams’s wonderful book “The Music of the Lord of the Rings Films.” M.W. -
Other Hands ISSUE 24 JANUARY 1999 Editorial
ISSN:Issue 1081-8359 24 January 1999 The International Journal for Middle-earth Gaming I S S U E 24 OATHBREAKERS AND DUNLENDINGS 1 Other Hands ISSUE 24 JANUARY 1999 Editorial: In this Issue Emergency Duty! Editorial ............................. 2 Happy New Year’s on this, the first day of the reducing subscription costs). But I also believe last year of the millennium! The countdown to the concept has merit in its own right. You all Oathbreakers and the release of the Lord of the Rings movies be- will be the best judge of that. I’m also hoping Dunlendings ................... 3 gins... that one of you will step forward and volunteer to write-up next issue’s column. Anyway, for the The Infantry of Angmar .... 12 You may have been a bit surprised at this is- sue’s cover art, since the feature piece for Janu- inaugural column I’ve taken the Mannish sol- ary was advertised as being about the Dwarves diers of the Witch-king (all of them out of circu- Campaigning in the lation, “vintage” figures). The artwork may have Northern Waste ............. 18 of the Blue Mountains. Due to extenuating cir- cumstances, the author of that piece (and those very practical value for a GM running a cam- paign in Eriador. (“Your party runs across an Rastarin’s Log .................... 20 of other projected contributions) could not meet the submission deadline for this issue. Accord- Angmarean patrol, and they look like this...”) ingly, the burden to create content fell on my Bridget Buxton came to the rescue when I shoulders. -
Syncretic Immersion: Tolkien's Languages As History, Artifacts
Eastern Kentucky University Encompass Online Theses and Dissertations Student Scholarship January 2020 Syncretic Immersion: Tolkien’s Languages As History, Artifacts, And Meta-Narratives Stewart Raymond Zdrojowy Eastern Kentucky University Follow this and additional works at: https://encompass.eku.edu/etd Part of the Literature in English, British Isles Commons Recommended Citation Zdrojowy, Stewart Raymond, "Syncretic Immersion: Tolkien’s Languages As History, Artifacts, And Meta- Narratives" (2020). Online Theses and Dissertations. 655. https://encompass.eku.edu/etd/655 This Open Access Thesis is brought to you for free and open access by the Student Scholarship at Encompass. It has been accepted for inclusion in Online Theses and Dissertations by an authorized administrator of Encompass. For more information, please contact [email protected]. STATEMENT OF PERMISSION TO USE ln presenting this thesis in partial fulfillment of the requirements for a Master of Arts degree at Eastern Kentucky University, I agree that the Library shall make it available to borrowers under rules of the Library, Brief quotations from this document are allowable without special permission, provided that accurate acknowledgements of the source are made. Permission for extensive quotation from or reproduction of this document may be granted by my major professor. ln [his/her] absence, by the Head of lnterlibrary Services when, in the opinion of either, the proposed use of the material is for scholarly purposes. Any copying or use of the material in this document for financial gain shall not be allowed without my written permission. Signature: Date:4/LU202A SYNCRETIC IMMERSION: TOLKIEN’S LANGUAGES AS HISTORY, ARTIFACTS, AND META- NARRATIVES BY STEWART ZDROJOWY Submitted to the Faculty of the Graduate School of Eastern Kentucky University in partial fulfillment of the requirements for the degree of MASTER OF ARTS 2020 © Copyright by STEWART ZDROJOWY 2020 All Rights Reserved.