2007 Tom Shippey 'Kemble, Beowulf, and The
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Beowulf and Grendel (2005)
Masarykova univerzita Filozofická fakulta Katedra anglistiky a amerikanistiky Bakalářská diplomová práce 2020 Nikola Krčová Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Nikola Krčová The Depiction of Beowulf in Film and Television Series Adaptations Bachelor’s Diploma Thesis Supervisor: prof. Mgr., Milada Franková, CSc., M.A. 2020 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature I would like to thank my family for supporting me and sharing their opinions with me. I would also like to thank my supervisor prof. Mgr. Milada Franková, CSc., M.A., for her guidance. Table of Contents Introduction........................................................................................................................... 1 The Original Story of Beowulf............................................................................................. 4 Beowulf and Grendel (2005)............................................................................................... 13 Beowulf (2007).................................................................................................................... 19 Beowulf: Return to the Shieldlands (2016)......................................................................... 25 Conclusion........................................................................................................................... 31 Bibliography....................................................................................................................... -
Article Fairy Marriages in Tolkien’S Works GIOVANNI C
article Fairy marriages in Tolkien’s works GIOVANNI C. COSTABILE Both in its Celtic and non-Celtic declinations, the motif the daughter of the King of Faerie, who bestows on him a of the fairy mistress has an ancient tradition stretching magical source of wealth, and will visit him whenever he throughout different areas, ages, genres, media and cul- wants, so long as he never tells anybody about her.5 Going tures. Tolkien was always fascinated by the motif, and used further back, the nymph Calypso, who keeps Odysseus on it throughout his works, conceiving the romances of Beren her island Ogygia on an attempt to make him her immortal and Lúthien, and Aragorn and Arwen. In this article I wish husband,6 can be taken as a further (and older) version of to point out some minor expressions of the same motif in the same motif. Tolkien’s major works, as well as to reflect on some over- But more pertinent is the idea of someone’s ancestor being looked aspects in the stories of those couples, in the light of considered as having married a fairy. Here we can turn to the often neglected influence of Celtic and romance cultures the legend of Sir Gawain, as Jessie Weston and John R. Hul- on Tolkien. The reader should also be aware that I am going bert interpret Gawain’s story in Sir Gawain and the Green to reference much outdated scholarship, that being my pre- Knight as a late, Christianised version of what once was a cise intent, though, at least since this sort of background fairy-mistress tale in which the hero had to prove his worth may conveniently help us in better understanding Tolkien’s through the undertaking of the Beheading Test in order to reading of both his theoretical and actual sources. -
Uncovering the Origins of Grendel's Mother by Jennifer Smith 1
Smith 1 Ides, Aglæcwif: That’s No Monster, That’s My Wife! Uncovering the Origins of Grendel’s Mother by Jennifer Smith 14 May 1999 Grendel’s mother has often been relegated to a secondary role in Beowulf, overshadowed by the monstrosity of her murderous son. She is not even given a name of her own. As Keith Taylor points out, “none has received less critical attention than Grendel’s mother, whom scholars of Beowulf tend to regard as an inherently evil creature who like her son is condemned to a life of exile because she bears the mark of Cain” (13). Even J. R. R. Tolkien limits his ground-breaking critical treatment of the poem and its monsters to a discussion of Grendel and the dragon. While Tolkien does touch upon Grendel’s mother, he does so only in connection with her infamous son. Why is this? It seems likely from textual evidence and recent critical findings that this reading stems neither from authorial intention nor from scribal error, but rather from modern interpretations of the text mistakenly filtered through twentieth-century eyes. While outstanding debates over the religious leanings of the Beowulf poet and the dating of the poem are outside the scope of this essay, I do agree with John D. Niles that “if this poem can be attributed to a Christian author composing not earlier than the first half of the tenth century […] then there is little reason to read it as a survival from the heathen age that came to be marred by monkish interpolations” (137). -
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. -
BEOWULF’S Departure from the Land of the Geats Lucie DURAND, Capucine GRANCHER and Nejma LOUVARD
Euro Class Creative Writing and Drama Performance Project School year 2017-2018 Dramatis Personae Scenes : Land of the Geats, Kingdom of the Danes, Grendel's swamps Drama teams 1. BEOWULF’s departure from the land of the Geats Lucie DURAND, Capucine GRANCHER and Nejma LOUVARD 2. BeEOWULF’s arrival at the kingdom of the Danes GOMARIN Ninon and Anaelle MADELINE-DELAMARE 3. BEOWULF’s arrival at the kingdom of the Danes, variation 1 Chama SAINTEMARIE, Juliette HODENCQ, Valéri MENDEZ and BELLANGER Marie 4. BEOWULF’s arrival at the kingdom of the Danes, variation 2 Kendra MBENGUE, Angèle GORGELIN and Gabriel COHEN 5. BEOWULF’s arrival at the kingdom of the Danes, variation 3 Lise ENGERANT, Ethan TOCQUEVILLE, Lélia BODDAERT, Espérance HOUDAN and Luca CIUCCI 6. HROTHGAR meets Beowulf in modern-day society Louise PIGNE and Erin COCHET 7.BEOWULF’s arrival at the kingdom of the Danes, variation 4 Karla MBENDE, Karim KARIMLI, Océane ABID and Romane HUCHELOUP 8.BEOWULF’s arrival at the kingdom of the Danes in modern-day society and GRENDEL's death Ariane ANQUETIL, Léane SAMPIL and Madison CARTIER 9. Banquet to celebrate BEOWULF's victory over GRENDEL Lucien PAUVERT, Louise ROBINET and Stéfania ASUTAY 10. BEOWULF fights GRENDEL's MOTHER Léo CHEVALIER, Albertine LAUDE and Juliette PALOMBA BEOWULF, Lucie HYGELAC,Capucine HYGD, Nejma Enter BEOWULF, self-confident. BEO. Good morning, my King and Queen. HYGELAC. Nice to see you, Beowulf. HYGD. What brings you here? BEO. I have something important to tell you. HYGELAC. I know what you’re going to say… I know your desire to become a king! BEO. -
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. -
Harem Literature and the Question of Representational Authenticity
Contemporary Literary Review India CLRI Brings articulate writings for articulate readers. eISSN 2394-6075 | Vol 5, No 4, CLRI November 2018 | p. 33-46 Confronting Robert Zemeckis’ Beowulf in the Digital Age Arnab Chatterjee Faculty Member, Department of English, Sister Nivedita University, Kolkata. Abstract It is a fundamental fact that an epic documents the exploits of certain characters on a scale that sometimes crosses the limits of both space and time; in fact, these features account for the “grand style” of any epic composed. Coupled with its bravura sweep, any epic is also a faithful documentation of the age in which it is written, something that Prof. E.M.W. Tillyard calls its “choric” quality. However, in the digital age, with the advent of animation and other such modes of representation, much of the erstwhile grandeur of the traditional epics seems to have been lost, and this brings us closer to Walter Benjamin’s remark that in the mechanical age, a work of art loses is pseudo-divine aura as we tend to have “copies” of the work that is readily Contemporary Literary Review India | eISSN 2394-6075 | Vol 5, No 4, CLRI November 2018 | Page 33 Confronting Robert Zemeckis’ Beowulf in the Digital Age Arnab Chatterjee consumed. Taking clues from such theorists, this proposed paper is an attempt to locate Beowulf in the digital age and within the ‘mechanics’ of representation called “animation pictures” and alternative narratological strategies that tend to compromise not only with its original tone, but also with the story line. Keywords Animation, Grand style, Digital, Walter Benjamin, Narratological. -
Palgrave Macmillan X PREFACE
The Evolution of Modern Fantasy From Antiquarianism to the Ballantine Adult Fantasy Series Jamie Williamson palgrave macmillan x PREFACE some cohesion. On the other hand, this approach tends toward oversim plification and breeds a kind of tunnel vision. One area which that tunnel vision has largely eliminated from consid eration in histories of fantasy has been the narrative poetry, some quite long, of the eighteenth and nineteenth centuries: work that engaged similar subject matter, identifieditself with similar areas of premodem and tradi tional narrative, and was widely read by many of the writers of the BAFS Introduction canon. Another area, not neglected but needing some refinement of per spective, has to do with those "epics and romances and sagas": they are gen erally alluded to rather indiscriminately as stufffrom (vaguely) "way back Charting the Terrain then." But modern access to these works is via scholarly editions, transla tions, epitomes, and retellings, themselves reflectingmodern perspectives; to readers of two centuries ago, the medieval Arthurian romances seeing print forthe first time were as new as Pride and Prejudice. My contention is that what we call modern fantasywas in facta creative extension of the he coalesc�ce of fantasy-thatcontem or ry l ter cat go y wh s _ _ r, � � �,:, � � � : antiquarian work that made these older works available. The history here, Tname most readily evokes notions of epic trilogies witb mythic then, begins in the eighteenth century. settings and characters-into a discrete genre occurred quite recently and This is, obviously, a wide arc to cover, and the following, of necessity, abruptly, a direct result of the crossing of a resurgence of interest in Ameri treats individual authors and works with brevity; detailed close readinghas can popular "Sword and Sorcery" in the early 1960s with the massive com been avoided. -
Tolkien's Lost Knights
Volume 39 Number 1 Article 9 Fall 10-15-2020 Tolkien's Lost Knights Ben Reinhard Christendom College Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Reinhard, Ben (2020) "Tolkien's Lost Knights," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 39 : No. 1 , Article 9. Available at: https://dc.swosu.edu/mythlore/vol39/iss1/9 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 This article is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol39/iss1/9 OLKIEN ’S L OST KNIGHTS BEN REINHARD OLKIEN IS OFTEN CONSIDERED A STOLIDLY TRADITIONAL and even reactionary T author, and for good reason. Tolkien himself seemed almost to welcome the labels, and his debt to traditional models is obvious to all. -
Mytil Nndhlstory
212 / Robert E. Bjork I chayter tt and Herebeald, the earlier swedish wars, and Daeghrefn, 242g-250ga; (26) weohstan,s slaying Eanmund in the second Swedish-wars-,2611-25a; of (27-29)Hygelac's fall, and the battle at Ravenswood in the earlier Swedish war, 2910b-98. 8. For a full discussion, see chapter I l. 9. The emendation was first suggested by Max Rieger (lg7l,4l4). MytIL nndHlstory D. Niles W loh, SU*Uryt Nineteenth-century interpret ations of B eowutf , puticululy mythology that was then in vogue' in Germany, fell underthe influence of the nature or Indo- More recently, some critics have related the poem to ancient Germanic feature b*op"un rnyih -O cult or to archetypes that are thought to be a universal of nu-un clnsciousness. Alternatively, the poem has been used as a source of the poem' knowledge concerning history. The search for either myth or history in useful however,-is attended by severe and perhaps insurmountable difficulties' More may be attempts to identify the poem as a "mythistory" that confirmed a set of fabulous values amongthe Anglo-saxons by connecting their current world to a ancesfral past. /.1 Lhronology 1833: Iohn Mitchell Kemble, offering a historical preface to his edition of the poem' locates the Geats in Schleswig. 1837: Kemble corrects his preface to reflect the influence of Jakob Grimm; he identifies the first "Beowulf" who figures in the poem as "Beaw," the agricultural deity. Karl Miillenhoff (1849b), also inspired by Grimm, identifies the poem as a Germanic meteorological myth that became garbled into a hero tale on being transplanted to England. -
Extracts from Epic Poems Beowulf Hygelac King of Geats And
Myths and Legends – extracts from epic poems Beowulf Key events Key symbols Hygelac King of Geats 1 A young warrior named Beowulf, from Geatland, hears that the people of Denmark are suffering at the hands of a Monsters In Anglo Saxon and Beowulf’s terrible demon, ‘Grendel, the man-wolf, the death shadow.’ Each night, Grendel attacks the great mead hall, Herot, literature, monsters uncle. ‘hating all life’. No one in Denmark could defeat this monster. However, Beowulf, whose father was once granted a represent external great favour by the Danish king, decides it is time to repay his debt and face Grendel himself. threats which must Beowulf The hero who be defeated in order kills Grendel 2 Beowulf travels to Denmark and asks to speak to the Danish king – Hrothgar. for society to remain and his mother 3. Beowulf introduces himself to Hrothgar and explains the reason for his arrival. He states ‘I have strength of thirty safe. and later men in my grip’ and that he will ‘abide whatever the night may bring’ in order to defeat Grendel. Hrothgar accepts becomes king The mead A large hall where the his offer to fight Grendel and holds a feast in the hero’s honour. Following this, Beowulf and his men are left alone in of Geatland hall, Herot people of a tribe the hall; they ‘bar the doors’ despite knowing that ‘bars will not keep out the troll kind’ because they want a warning before being gather together. of the monster’s arrival. killed by a Herot represents the dragon. -
The Importance of Tolkien Biography Colin Duriez
commentary What made J. R. R. Tolkien tick and why was he called ‘Reuel’? The importance of Tolkien biography COLIN DURIEZ olkien, like his friend C. S. Lewis, was strongly emotional impact of losing a father and a mother, and then against the tendency of his time to see works of lit- exposure to the trenches of the Somme, in early life. Yet erature as somehow revealing, or being about, their for each level of biography, such exploration can provide Tcreators. Lewis dubbed this “the personal heresy”. appropriate and helpful context to understanding Tolkien’s Tolkien famously discouraged W. H. Auden from writing a fiction and poetry. study of his work that would have involved biography. Yet it Like his close friend C. S. Lewis, Tolkien intensely disliked is self-evident that knowledge of the author illuminates his the critical trend (the “personal heresy”) that focused on the or her work. The biographical fact that Tolkien was a profes- psychology of the author to the detriment of the subject’s sional philologist who had been “inside language” (Times work. (No doubt much of what is written about him today obituary, 3 September 1973) is a master key for unlocking Tolkien would have regarded as, to use his word, “imperti- his fiction. And why was he called ‘Reuel’? Is this significant nence”.) Accounts of Tolkien’s life are likely to have the pur- to his work? This essay explores what the value of Tolkien pose of illuminating the main fictional works, particularly biography might be. The Hobbit, The Lord of the Rings and The Silmarillion.