2019 Choices for Required Summer Reading - Grade 6
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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. -
Leadership Role Models in Fairy Tales-Using the Example of Folk Art
Review of European Studies; Vol. 5, No. 5; 2013 ISSN 1918-7173 E-ISSN 1918-7181 Published by Canadian Center of Science and Education Leadership Role Models in Fairy Tales - Using the Example of Folk Art and Fairy Tales, and Novels Especially in Cross-Cultural Comparison: German, Russian and Romanian Fairy Tales Maria Bostenaru Dan1, 2& Michael Kauffmann3 1 Urban and Landscape Design Department, “Ion Mincu” University of Architecture and Urbanism, Bucharest, Romania 2 Marie Curie Fellows Association, Brussels, Belgium 3 Formerly Graduate Research Network “Natural Disasters”, University of Karlsruhe, Karlsruhe, Germany Correspondence: Maria Bostenaru Dan, Urban and Landscape Design Department, “Ion Mincu” University of Architecture and Urbanism, Bucharest 010014, Romania. Tel: 40-21-3077-180. E-mail: [email protected] Received: August 11, 2013 Accepted: September 20, 2013 Online Published: October 11, 2013 doi:10.5539/res.v5n5p59 URL: http://dx.doi.org/10.5539/res.v5n5p59 Abstract In search of role models for leadership, this article deals with leadership figures in fairy tales. The focus is on leadership and female domination pictures. Just as the role of kings and princes, the role of their female hero is defined. There are strong and weak women, but by a special interest in the contribution is the development of the last of the first to power versus strength. Leadership means to deal with one's own person, 'self-rule, then, of rulers'. In fairy tales, we find different styles of leadership and management tools. As properties of the good boss is praised in particular the decision-making and less the organizational skills. -
Defining Fantasy
1 DEFINING FANTASY by Steven S. Long This article is my take on what makes a story Fantasy, the major elements that tend to appear in Fantasy, and perhaps most importantly what the different subgenres of Fantasy are (and what distinguishes them). I’ve adapted it from Chapter One of my book Fantasy Hero, available from Hero Games at www.herogames.com, by eliminating or changing most (but not all) references to gaming and gamers. My insights on Fantasy may not be new or revelatory, but hopefully they at least establish a common ground for discussion. I often find that when people talk about Fantasy they run into trouble right away because they don’t define their terms. A person will use the term “Swords and Sorcery” or “Epic Fantasy” without explaining what he means by that. Since other people may interpret those terms differently, this leads to confusion on the part of the reader, misunderstandings, and all sorts of other frustrating nonsense. So I’m going to define my terms right off the bat. When I say a story is a Swords and Sorcery story, you can be sure that it falls within the general definitions and tropes discussed below. The same goes for Epic Fantasy or any other type of Fantasy tale. Please note that my goal here isn’t necessarily to persuade anyone to agree with me — I hope you will, but that’s not the point. What I call “Epic Fantasy” you may refer to as “Heroic Fantasy” or “Quest Fantasy” or “High Fantasy.” I don’t really care. -
Questing Feminism: Narrative Tensions and Magical Women in Modern Fantasy
University of Rhode Island DigitalCommons@URI Open Access Dissertations 2018 Questing Feminism: Narrative Tensions and Magical Women in Modern Fantasy Kimberly Wickham University of Rhode Island, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Wickham, Kimberly, "Questing Feminism: Narrative Tensions and Magical Women in Modern Fantasy" (2018). Open Access Dissertations. Paper 716. https://digitalcommons.uri.edu/oa_diss/716 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. QUESTING FEMINISM: NARRATIVE TENSIONS AND MAGICAL WOMEN IN MODERN FANTASY BY KIMBERLY WICKHAM A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 2018 DOCTOR OF PHILOSOPHY DISSERTATION OF KIMBERLY WICKHAM APPROVED: Dissertation Committee: Major Professor Naomi Mandel Carolyn Betensky Robert Widell Nasser H. Zawia DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2018 Abstract Works of Epic Fantasy often have the reputation of being formulaic, conservative works that simply replicate the same tired story lines and characters over and over. This assumption prevents Epic Fantasy works from achieving wide critical acceptance resulting in an under-analyzed and under-appreciated genre of literature. While some early works do follow the same narrative path as J.R.R. Tolkien’s The Lord of the Rings, Epic Fantasy has long challenged and reworked these narratives and character tropes. That many works of Epic Fantasy choose replicate the patriarchal structures found in our world is disappointing, but it is not an inherent feature of the genre. -
Fantasy As a Popular Genre in the Works of J. R. R. Tolkien and J. K
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Bc. Tereza Havířová FantasyasaPopularGenreintheWorksofJ.R.R.Tolkien andJ.K.Rowling Masters’s Diploma Thesis Supervisor: Stephen Paul Hardy, Ph.D. Brno 2007 Ideclare thatIhaveworkedonthis dissertationindependently,usingonlythesources listedinthe bibliography. ……………………………. 2 Acknowledgement I would like to thank my supervisor, Stephen Paul Hardy, Ph.D. for his time, patienceandadvice. I wouldalso like tosay‘thanks’ tomyeternal source of inspiration,my darktwin, theonlyreaderofFW,andthereal Draco. 3 Table of Contents ACKNOWLEDGEMENT ....................................................................................................................................3 TABLE OF CONTENTS .....................................................................................................................................4 1 INTRODUCTION ........................................................................................................................................5 2 GENRE .......................................................................................................................................................... 7 3 FORMULAIC LITERATURE .................................................................................................................. 11 3.1 DEFINITION ............................................................................................................................................ 11 4 ROMANCE -
The Dark Lord Ascending
— CHAPTER ONE — The Dark Lord Ascending The two men appeared out of nowhere, a few yards apart in the narrow, moonlit lane. For a second they stood quite still, wands directed at each other’s chests; then, recognising each other, they stowed their wands beneath their cloaks and started walking briskly in the same direction. ‘News?’ asked the taller of the two. ‘The best,’ replied Severus Snape. The lane was bordered on the left by wild, low-growing brambles, on the right by a high, neatly manicured hedge. The men’s long cloaks flapped around their ankles as they marched. ‘Thought I might be late,’ said Yaxley, his blunt features sliding in and out of sight as the branches of overhanging trees broke the moonlight. ‘It was a little trickier than I expected. But I hope he will be satisfied. You sound confident that your reception will be good?’ Snape nodded, but did not elaborate. They turned right, into a wide driveway that led off the lane. The high hedge curved with them, running off into the distance beyond the pair of impressive wrought-iron gates barring the men’s way. Neither of them broke step: in silence both raised their left arms in a kind of salute and passed straight through as though the dark metal were smoke. The yew hedges muffled the sound of the men’s footsteps. There was a rustle somewhere to their right: Yaxley drew his wand again, pointing it over his companion’s head, but the source of the noise proved to be nothing more than a pure white peacock, strutting majestically along the top of the hedge. -
The Religious Elements in the Lord of the Rings .Docx
投稿類別: 英文寫作 篇名: The Religious Elements in The Lord of the Rings 作者: 洪詠惠。國立師範大學附屬高級中學。高二 1318 班 指導老師: 余佳玟 老師 The Religious Elements in The Lord of The Ring I. Introduction Motivation and Purpose of the Study In 2001, when The Lord of The Rings was shot into a movie trilogy, I was fascinated. For more than forty times I’ve watched the trilogy, memorizing every quote and detail. After the story was rooted in my mind, I started to get interested in the ingredients that influenced the author while he built this epic fantasy. John Ronald Reuel Tolkien was an English writer, poet, philologist, and university professor, best known as the author of the classic high fantasy works The Hobbit, The Lord of the Rings, and The Silmarillion. (Biography,1977) The background of The Lord of the Rings was located in Middle-Earth, a world Tolkien created with fictive linguistics, geography, races, history and culture. In other words, Tolkien has originated an integrity world. (Biography,1977) The Lord of the Rings developed as a personal exploration by Tolkien of his interests in philology, religion, fairy tales, Norse and general Germanic mythology, and also Celtic, Slavic, Persian, Greek, and Finnish mythology, and the Anglo-Saxon poem Beowulf. (Letters, 1981)And also he put in his point of view towards industrialization and his personal experiences during his military service during World War One. (National Geographic.,2006) Above all those factors that influenced Tolkien, the religious and mythology elements interested me the most. Therefore, the thesis below explains how those elements were shown affecting The Lord of the Rings. -
Crafting a Masterpiece: the Genre Mosaic of Harry Potter by Emily Keller
e-Vision volume ten 1 Crafting a Masterpiece: The Genre Mosaic of Harry Potter by Emily Keller “Harry—yer a wizard.” Rubeus Hagrid‟s revelation early in J. K. Rowling‟s Harry Potter and the Sorcerer’s Stone (50) sparks a whirlwind of adventures for the then eleven-year-old protagonist, Harry Potter, resulting in brushes with supernatural creatures, evil wizards, and the Dark Lord, Voldemort. I vividly remember curling up next to my mother as we read about the escapades of Harry, Hermione Granger, and Ron Weasley at Hogwarts School of Witchcraft and Wizardry. Back then, long before the extreme popularity of J. K. Rowling‟s megahit series propelled Harry Potter to its present worldwide acclaim, I was entranced by the fantastical characters, the innovative sports, and the heroic quest of an ordinary boy I could relate to. Harry‟s story is a global phenomenon, with the seven books in the series selling 400 million copies in sixty-seven languages and leading to the production of eight blockbuster movies (“Rowling 'Makes £5'”). In a time when newspapers and other forms of print media are losing their readership, Harry Potter‟s enduring popularity would seem surprising if not for the array of genres that appeal to the series‟ diverse audience. In “Generic Fusion and the Mosaic of Harry Potter,” Anne Alton notes that Harry Potter is at once a prime example of pulp fiction, horror books, mystery novels, sports books, and fantasy novels, among others. For Alton, the combination of genres results in a superior mosaic instead of potentially unrecognizable chaos, connecting readers‟ basic genre expectations with the incredible success and appeal of the series (49). -
Dragon Magazine #238
The Halls of Amusement ack in the distant days of middle school, Greg was one of treasure was so good that we didn’t complain. Until we my first players to take a turn behind the DM’s screen. We reached the central chamber. were all eager to see what he’d do, and I couldn’t wait to play The place was huge, with a raised platform in the center. my own characters, a min-maxed high elf fighter/magic-user The walls were covered in black flock, and the floor was tiled named Windrhymer the White and an even more min-maxed with some weird glowing material that changed patterns. fighter/magic-user/thief half-drow named Ralph the Rogue. When Greg pointed out the spinning mirror-balls on the ceiling (Yes, I’m still embarrassed about it all.) All we knew for sure we became nervous. When he described the huge black was that Greg had drawn all over a ream and a half of graph dragon wearing the white leisure suit, dancing upon the high paper. He called the dungeon “The Halls of Amusement.” platform; we realized he had gone way too far. My elves had pals, naturally. Tom played a pair of fighters “The Disco Dragon!” someone cried. We fell over each other named Harry and Burt, or something equally English. Someone to kill the beast, not so much for fear of our lives, but because else was stuck with the cleric and another character. While the even at that age we realized that a reptilian John Travolta was PCs didn’t find a lasting place in my memory, certain moments an abomination that must be destroyed. -
Harry Potter As High Fantasy
Harry Potter as High fantasy The Uses of High Fantasy in J.K. Rowling’s Harry Potter Series Harry Potter som High Fantasy J.K. Rowlings användande av High Fantasy i Harry Potter-böckerna. Niklas Artan Estetiska-Filosofiska fakulteten English 15 hp Supervisor: Åke Bergvall Examiner: Johan Wjikmark 2013-04-18 Contents Introduction ..........................................................................................................................3 HIGH FANTASY NORMS..........................................................................................................3 Setting...................................................................................................................................3 Narrative structure ................................................................................................................4 Characters .............................................................................................................................5 Language...............................................................................................................................6 HARRY POTTER AND HIGH-FANTASY ......................................................................................7 Setting...................................................................................................................................7 Characters ........................................................................................................................... 10 Language ............................................................................................................................ -
Distropic Fantasy: Steven Erikson's the Malazan Book of the Fallen
Truls Savjord Distropic Fantasy: Steven Erikson's The Malazan Book of the Fallen Master’s thesis in Lektorutdanning i språkfag Supervisor: Camilla Ulleland Hoel Trondheim, November 2018 Master’s thesis Master’s NTNU Faculty of Humanities Faculty Department of Language and Literature Norwegian University of Science and Technology of Science University Norwegian Truls Savjord Distropic Fantasy: Steven Erikson's The Malazan Book of the Fallen Master’s thesis in Lektorutdanning i språkfag Supervisor: Camilla Ulleland Hoel Trondheim, November 2018 Norwegian University of Science and Technology Faculty of Humanities Department of Language and Literature Distropic Fantasy: Steven Erikson's The Malazan Book of the Fallen Table of contents Introduction 1 Chapter 1: Fantasy Genre Theory and the Malazan books 6 Chapter 2: Character and plot tropes of the Malazan series. 16 Chapter 3: World-building and Tropes 26 Conclusion 35 Works cited 37 1 Introduction “One facet of his work is his rigorous determination to defy expectations, both of received notions of fantasy and of familiar conceptions of storytelling itself, to unsettle his readers’ preconceptions as much as he can.1” -Stephen R. Donaldson The Malazan series is a long one, and discussing all the tropes that can be found in it would most likely require a book of almost the same thickness as the ones that make up the series. Erikson subverts and twists a lot of the tropes and conventions of the fantasy genre. There are also many ways in which the books conform to the fantasy genre. The effects of the magic are a lot of the time quite standard (things get destroyed). -
Overview Characters
!Dassler 1 Game Title: Dragon Quest V: Hand of the Heavenly Bride Platform: SNES / Nintendo DS Genre: Role Playing Game Release date: September, 27, 1992 (JPN) / February, 17, 2009 (US) Developer: Chunsoft Publisher: Enix Corporation Writer / Creative Director: Yuji Horii Author of this Review: Samuel Dassler ([email protected]) Overview Although the gameplay of Dragon Quest V is similar to every other Dragon Quest title, the narrative of the game is much more involved and personal. It has many mature story concepts that were unheard of at the time for a video game. It told a story which spanned generations and tackled themes such as marriage and pregnancy. The story of Dragon Quest V covers thirty years of the player-named Hero’s life. The player is at first a small child traveling with his father Pankraz. They are searching for both Hero’s mother Mada and the Legendary Hero, the only one capable of wielding the Zenithian Equipment against the dark lord. Pankraz is killed by a servant of the dark lord and Hero is forced into slavery. Ten years later Hero escapes and resumes traveling the world to find his mother and the Legendary Hero. He gets married, becomes a king, and has children of his own. He and his wife both end up trapped in stone for eight years. Hero’s children rescue him and it’s revealed that Hero’s Son is the Legendary Hero. Hero and his children set off to find his wife and the reunited family travels to the dark world to destroy the evil lord of darkness, Nimzo.