The Voice of Beorn: How Language Moralizes the Monstrous GARRETT SENNEY
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The Comforts: the Image of Home in <I>The Hobbit</I>
Volume 14 Number 1 Article 6 Fall 10-15-1987 All the Comforts: The Image of Home in The Hobbit & The Lord of the Rings Wayne G. Hammond Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Hammond, Wayne G. (1987) "All the Comforts: The Image of Home in The Hobbit & The Lord of the Rings," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 14 : No. 1 , Article 6. Available at: https://dc.swosu.edu/mythlore/vol14/iss1/6 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 Examines the importance of home, especially the Shire, as metaphor in The Hobbit and The Lord of the Rings. Relates it to the importance of change vs. permanence as a recurring theme in both works. -
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 Unnamed Deity Orchestrating the Lord of the Rings Lisa Hillis This Research Is a Product of the Graduate Program in English at Eastern Illinois University
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1992 Tolkien's Unnamed Deity Orchestrating the Lord of the Rings Lisa Hillis This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Hillis, Lisa, "Tolkien's Unnamed Deity Orchestrating the Lord of the Rings" (1992). Masters Theses. 2182. https://thekeep.eiu.edu/theses/2182 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for i,\1.clusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for iqclusion in that institution's library or research holdings. Date I respectfully request Booth Library of Ef\i.stern Illinois University not allow my thes~s be reproduced because --------------- Date Author m Tolkien's Unnamed Deity Orchestrating the Lord of the Rings (TITLE) BY Lisa Hillis THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DECREE OF Master .of Arts 11': THE GRADUATE SCHOOL. -
A Study of Musical Affect in Howard Shore's Soundtrack to Lord of the Rings
PROJECTING TOLKIEN'S MUSICAL WORLDS: A STUDY OF MUSICAL AFFECT IN HOWARD SHORE'S SOUNDTRACK TO LORD OF THE RINGS Matthew David Young A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC IN MUSIC THEORY May 2007 Committee: Per F. Broman, Advisor Nora A. Engebretsen © 2007 Matthew David Young All Rights Reserved iii ABSTRACT Per F. Broman, Advisor In their book Ten Little Title Tunes: Towards a Musicology of the Mass Media, Philip Tagg and Bob Clarida build on Tagg’s previous efforts to define the musical affect of popular music. By breaking down a musical example into minimal units of musical meaning (called musemes), and comparing those units to other musical examples possessing sociomusical connotations, Tagg demonstrated a transfer of musical affect from the music possessing sociomusical connotations to the object of analysis. While Tagg’s studies have focused mostly on television music, this document expands his techniques in an attempt to analyze the musical affect of Howard Shore’s score to Peter Jackson’s film adaptation of The Lord of the Rings Trilogy. This thesis studies the ability of Shore’s film score not only to accompany the events occurring on-screen, but also to provide the audience with cultural and emotional information pertinent to character and story development. After a brief discussion of J.R.R. Tolkien’s description of the cultures, poetry, and music traits of the inhabitants found in Middle-earth, this document dissects the thematic material of Shore’s film score. -
The Implied Reader and the Recovery of Childhood: a Study of J.R.R
American University in Cairo AUC Knowledge Fountain Theses and Dissertations 2-1-2019 The Implied Reader and the Recovery of Childhood: A Study of J.R.R. Tolkien’s The Hobbit Georgette Talaat Rizk Follow this and additional works at: https://fount.aucegypt.edu/etds Recommended Citation APA Citation Rizk, G. (2019).The Implied Reader and the Recovery of Childhood: A Study of J.R.R. Tolkien’s The Hobbit [Master’s thesis, the American University in Cairo]. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/734 MLA Citation Rizk, Georgette Talaat. The Implied Reader and the Recovery of Childhood: A Study of J.R.R. Tolkien’s The Hobbit. 2019. American University in Cairo, Master's thesis. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/734 This Thesis is brought to you for free and open access by AUC Knowledge Fountain. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of AUC Knowledge Fountain. For more information, please contact [email protected]. The American University in Cairo School of Humanities and Social Sciences The Implied Reader and the Recovery of Childhood: A Study of J.R.R. Tolkien’s The Hobbit A Thesis Submitted to the Department of English and Comparative Literature In Partial Fulfillment of the Requirements For the Degree of Master of Arts Georgette Rizk Under the supervision of Dr. William Melaney October 2018 The American University in Cairo The Implied Reader and the Recovery of Childhood: A Study of J.R.R. Tolkien’s The Hobbit A Thesis Submitted by Georgette Rizk To the Department of English and Comparative Literature October 2018 In partial fulfillment of the requirements for The degree of Master of Arts Has been approved by Dr. -
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. -
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 -
Saruman of Many Colors
University of Iceland School of Humanities Departement of English Saruman of Many Colors A Hero of Liberal Pragmatism B.A. Essay Elfar Andri Aðalsteinsson Kt.: 1508922369 Supervisor: Matthew Whelpton May 2017 ABSTRACT This essay explores the role of the wizard Saruman the White in The Lord of the Rings by J. R. R. Tolkien, and challenges the common conception that Saruman is a villain, instead arguing that Saruman is a hero espousing the values of liberal pragmatism. The policy goals and implicit values of Saruman are contested with his peer and ultimately opponent, Gandalf the Grey, later the White. Both wizards attempt to defeat Sauron but, where Saruman considers new methods, such as recruting the orcs, Gandalf is stuck in old methods and prejudices, as he is unwilling look for new races to recruit. Both wizards construct alliances to accomplish their goals but the racial composition of these alliances can be used to see the wizards in a new light. While Gandalf offers a conventional alliance of “the free” races of Middle Earth (Elves Dwarves, Men. Hobbits and Ents), Saruman can be seen as uniting the marginalised and down-trodden people and races, under a common banner with a common goal. In particular, Saruman brings enemies together into a strong functioning whole, showing that orcs and men can work and prosper together. Gandalf’s blinkered conservatism and Saruman’s pragmatic embrace of diversity are reflected symbolically in the symbolism of white and the rainbow of many colors. After examining all these points it becomes clear that Saruman the White is not the villain that he is assumed to be by Gandalf the Grey, later the White, and his followers in Middle Earth. -
13 Reflections on Tolkien's Use of Beowulf
13 Reflections on Tolkien’s Use of Beowulf Arne Zettersten University of Copenhagen Beowulf, the famous Anglo-Saxon heroic poem, and The Lord of the Rings by J.R.R. Tolkien, “The Author of the Century”, 1 have been thor- oughly analysed and compared by a variety of scholars.2 It seems most appropriate to discuss similar aspects of The Lord of the Rings in a Festschrift presented to Nils-Lennart Johannesson with a view to his own commentaries on the language of Tolkien’s fiction. The immediate pur- pose of this article is not to present a problem-solving essay but instead to explain how close I was to Tolkien’s own research and his activities in Oxford during the last thirteen years of his life. As the article unfolds, we realise more and more that Beowulf meant a great deal to Tolkien, cul- minating in Christopher Tolkien’s unexpected edition of the translation of Beowulf, completed by J.R.R. Tolkien as early as 1926. Beowulf has always been respected in its position as the oldest Germanic heroic poem.3 I myself accept the conclusion that the poem came into existence around 720–730 A.D. in spite of the fact that there is still considerable debate over the dating. The only preserved copy (British Library MS. Cotton Vitellius A.15) was most probably com- pleted at the beginning of the eleventh century. 1 See Shippey, J.R.R. Tolkien: Author of the Century, 2000. 2 See Shippey, T.A., The Road to Middle-earth, 1982, Pearce, Joseph, Tolkien. -
The Hobbit and Tolkien's Mythology Ed. Bradford Lee Eden
Volume 37 Number 1 Article 23 10-15-2018 The Hobbit and Tolkien's Mythology Ed. Bradford Lee Eden David L. Emerson Independent Scholar Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Emerson, David L. (2018) "The Hobbit and Tolkien's Mythology Ed. Bradford Lee Eden," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 37 : No. 1 , Article 23. Available at: https://dc.swosu.edu/mythlore/vol37/iss1/23 This Book Reviews 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 Additional Keywords Hobbit; Lord of the Rings This book reviews is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol37/iss1/23 Reviews moves on to the other element of his cross-disciplinary equation and provides a short history of modern fantasy and theories about the genre; much of this will already be familiar to most readers of Mythlore, at least. -
How Bilbo Lost His Innocence: Media Audiences and the Evaluation of the Hobbit As a ‘Children’S Film’
.F-E Volume 13, Issue 2 November 2016 How Bilbo lost his innocence: Media audiences and the evaluation of The Hobbit as a ‘Children’s Film’ Lars Schmeink, Institut für Kultur- und Medienmanagement Hamburg, Germany Abstract: The Hobbit (1937) by J. R. R. Tolkien is one of Britain’s, if not one of the world’s, most beloved children’s books. It thus stands to reason that the film adaptation by Peter Jackson (2012-2014) should be similarly beloved as children’s films. Yet indeed, the largest audience study to date, the World Hobbit Project, suggests otherwise. Of all the possible ‘types of film’ that audiences could choose from they were least comfortable with ‘Children’s Story’ and in their qualitative answers described the films as not ‘suitable’ for children. The essay analyzes the historical relation between the categories of ‘Children’s Story’ and the fantasy genre, by contrasting early reviews of the novel with audience reactions from the survey. At the core of the argument are audience expectations of what makes a story appropriate or intended for children and what the genre fantasy deals with. The analysis shows how these two expectations have diverged and now seem to be at odds with each other, clearly marking a shift in the meaning-making process surrounding the genre. Keywords: The Hobbit, Fantasy, Children, Audiences, Genre When the extended version of The Hobbit: The Battle of the Five Armies was released on DVD and Blu-ray in November 2015, it was not only remarkable for its length, extending the 144-min theatrical cut by an additional 20 minutes and thus boosting the runtime of all three parts of the film to 532 minutes.