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JRR Tolkien's Sub-Creations of Evil
Volume 36 Number 1 Article 7 10-15-2017 ‘A Warp of Horror’: J.R.R. Tolkien’s Sub-creations of Evil Richard Angelo Bergen University of British Columbia Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Bergen, Richard Angelo (2017) "‘A Warp of Horror’: J.R.R. Tolkien’s Sub-creations of Evil," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 36 : No. 1 , Article 7. Available at: https://dc.swosu.edu/mythlore/vol36/iss1/7 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 Considers Tolkien’s skilled evocation of evil and the way he manages to hold Augustinian and Manichean conceptions of evil in balance, particularly in his depiction of orcs. Additional Keywords Augustine, St.—Concept of evil; Evil, Nature of, in J.R.R. -
Fan Cultures Pdf, Epub, Ebook
FAN CULTURES PDF, EPUB, EBOOK Matthew Hills | 256 pages | 01 Mar 2002 | Taylor & Francis Ltd | 9780415240253 | English | London, United Kingdom Fan Cultures PDF Book In America, the fandom also began as an offshoot of science fiction fandom, with fans bringing imported copies of Japanese manga to conventions. Rather than submitting a work of fan fiction to a zine where, if accepted, it would be photocopied along with other works and sent out to a mailing list, modern fans can post their works online. Those who fall victim to the irrational appeals are manipulated by mass media to essentially display irrational loyalties to an aspect of pop culture. Harris, Cheryl, and Alison Alexander. She addresses her interests in American cultural and social thought through her works. In doing so, they create spaces where they can critique prescriptive ideas of gender, sexuality, and other norms promoted in part by the media industry. Stanfill, Mel. Cresskill, N. In his first book Fan Cultures , Hills outlines a number of contradictions inherent in fan communities such as the necessity for and resistance towards consumerism, the complicated factors associated with hierarchy, and the search for authenticity among several different types of fandom. Therefore, fans must perpetually occupy a space in which they carve out their own unique identity, separate from conventional consumerism but also bolster their credibility with particular collectors items. They rose to stardom separately on their own merits -- Pickford with her beauty, tumbling curls, and winning combination of feisty determination and girlish sweetness, and Fairbanks with his glowing optimism and athletic stunts. Gifs or gif sets can be used to create non-canon scenarios mixing actual content or adding in related content. -
Collecting Tolkieniana at the Marquette University Archives
[Slide 1] Title—One Fandom to Rule Them All: Collecting Tolkieniana at the Marquette University Archives. [Slide 2] Marquette University here in Milwaukee has a student population of roughly 8,000 undergraduates and 3,000 graduate students. Our Department of Special Collections and University Archives stands on three pillars: University Records, rare books, and manuscript collections. All three come together to form our department. [Slide 3] Among our manuscript collections, arguably the most notable is the J. R. R. Tolkien Collection. At the heart of this collection are the manuscripts that Marquette purchased from Professor Tolkien in 1957, some of which came into Marquette’s possession around that time; others arrived much later, sent by Tolkien’s son and literary executor, Christopher. This remarkably comprehensive collection of manuscripts documents the creation of four of Tolkien’s imaginary works: in order of their publication, The Hobbit, Farmer Giles of Ham, The Lord of the Rings, and Mr. Bliss. A question cries out here for an answer: Why is this collection at Marquette University? [Slide 4] The 30-seconds sound bite answer is because of the vision of this man – William B. Ready, pictured here in front of the then brand new Memorial Library on Marquette’s campus. In 1956 Marquette hired Ready from Stanford to be its library director and to stock this new library with books and manuscripts. Ready identified Tolkien as somebody whose manuscripts he wanted. He asked Tolkien if he would consider selling them to Marquette. Tolkien agreed. The sale was made. That’s it in a nutshell. -
Why Is the Only Good Orc a Dead Orc Anderson Rearick Mount Vernon Nazarene University
Inklings Forever Volume 4 A Collection of Essays Presented at the Fourth Frances White Ewbank Colloquium on C.S. Article 10 Lewis & Friends 3-2004 Why Is the Only Good Orc a Dead Orc Anderson Rearick Mount Vernon Nazarene University Follow this and additional works at: https://pillars.taylor.edu/inklings_forever Part of the English Language and Literature Commons, History Commons, Philosophy Commons, and the Religion Commons Recommended Citation Rearick, Anderson (2004) "Why Is the Only Good Orc a Dead Orc," Inklings Forever: Vol. 4 , Article 10. Available at: https://pillars.taylor.edu/inklings_forever/vol4/iss1/10 This Essay is brought to you for free and open access by the Center for the Study of C.S. Lewis & Friends at Pillars at Taylor University. It has been accepted for inclusion in Inklings Forever by an authorized editor of Pillars at Taylor University. For more information, please contact [email protected]. INKLINGS FOREVER, Volume IV A Collection of Essays Presented at The Fourth FRANCES WHITE EWBANK COLLOQUIUM ON C.S. LEWIS & FRIENDS Taylor University 2004 Upland, Indiana Why Is the Only Good Orc a Dead Orc? Anderson Rearick, III Mount Vernon Nazarene University Rearick, Anderson. “Why Is the Only Good Orc a Dead Orc?” Inklings Forever 4 (2004) www.taylor.edu/cslewis 1 Why is the Only Good Orc a Dead Orc? Anderson M. Rearick, III The Dark Face of Racism Examined in Tolkien’s themselves out of sync with most of their peers, thus World1 underscoring the fact that Tolkien’s work has up until recently been the private domain of a select audience, In Jonathan Coe’s novel, The Rotters’ Club, a an audience who by their very nature may have confrontation takes place between two characters over inhibited serious critical examinations of Tolkien’s what one sees as racist elements in Tolkien’s Lord of work. -
Myth, Fantasy and Fairy-Story in Tolkien's Middle-Earth Buveneswary
MYTH, FANTASY AND FAIRY-STORY IN TOLKIEN’S MIDDLE-EARTH Malaya BUVENESWARY VATHEMURTHYof DEPARTMENT OF ENGLISH FACULTY OF ARTS & SOCIAL SCIENCES UNIVERSITY MALAYA University2016 MYTH, FANTASY AND FAIRY-STORY IN TOLKIEN’S MIDDLE-EARTH BUVENESWARY VATHEMURTHYMalaya of DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTERS OF ARTS FACULTY OF ARTS AND SOCIAL SCIENCES UNIVERSITY MALAYA KUALA LUMPUR University2016 Abstract This dissertation explores J.R.R. Tolkien’s ideas and beliefs on myth, fantasy and fairy story and their roles in portraying good and evil in his famous works. Indeed, many authors and critics such as Bradley J. Birzer, Patrick Curry, Joseph Pearce, Ursula Le Guin, and Jay Richards have researched Tolkien based on this connection. They have worked on the nature of good and evil in his stories, the relevance of Tolkien in contemporary society, and the importance of myth and fantasy. However, my original contribution would be to examine the pivotal roles of myth, fantasy and fairy story as a combined whole and to demonstrate that they depend on one another to convey truths about good and evil. This research is aimed at showing that Middle-earth evolves from a combination of these three genres. This is made evident by the way Tolkien crafted his lecture On Fairy Stories for a presentation at the AndrewMalaya Lang lecture at the University of St Andrews in 1939. This dissertation then examines Tolkien’s own definitions of myth, fantasy and fairy stories and his extensiveof research on these “old-fashioned” or forgotten genres. He believed they could provide a cure for the moral and human degradation triggered by modernism. -
Applying Anthropology to Fantasy: a Structural Analysis Of
APPLYING ANTHROPOLOGY TO FANTASY: A STRUCTURAL ANALYSIS OF THE LORD OF THE RINGS By Christina C. Estep B.A., University of Mary Washington, 2010 A thesis submitted to the Department of Anthropology College of Arts, Social Sciences, and Humanities The University of West Florida In partial fulfillment of the requirements for the degree of Master of Arts 2014 © 2014 Christina C. Estep The thesis of Christina C. Estep is approved: ____________________________________________ _________________ Margaret W. Huber, Ph.D., Committee Member Date ____________________________________________ _________________ Kristina Killgrove, Ph.D., Committee Member Date ____________________________________________ _________________ John E. Worth, Ph.D., Committee Member Date ____________________________________________ _________________ Robert C. Philen, Ph.D., Committee Chair Date Accepted for the Department/Division: ____________________________________________ _________________ John R. Bratten, Ph.D., Chair Date Accepted for the University: ____________________________________________ _________________ Richard S. Podemski, Ph.D., Dean, Graduate School Date ACKNOWLEDGMENTS First and foremost, I would like to recognize my thesis committee, Dr. Robert Philen, Dr. Kristina Killgrove, Dr. John Worth, and Dr. Margaret Huber, for taking the time and effort to help me with not only my thesis, but my academic endeavors. Without these individuals, I would not be where I am now or possess the knowledge that I now have. Secondly, I want thank my parents, Bonnie and Carl Estep. Despite their hardships in life, my parents have supported me through every decision I have made, encouraged me to pursue a higher degree, and were always there to cheer me on when times were tough. Finally, I want to acknowledge my husband Brian, who has been my rock during the most stressful of times. -
Orc Hosts, Armies and Legions: a Demographic Study
Volume 16 Number 4 Article 2 Summer 7-15-1990 Orc Hosts, Armies and Legions: A Demographic Study Tom Loback Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Loback, Tom (1990) "Orc Hosts, Armies and Legions: A Demographic Study," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 16 : No. 4 , Article 2. Available at: https://dc.swosu.edu/mythlore/vol16/iss4/2 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 Calculates the likely population of Orcs in Middle-earth at various times based on Tolkien’s use of the military terms host, army, and legion. Uses The Silmarillion and several volumes of The History of Middle- earth to “show a developing concept of Orc military organization and, by inference, an idea of Orc demographics.” Additional Keywords Tolkien, J.R.R.—Characters—Orcs—Demographics; Tolkien, J.R.R.—Characters—Orcs—History; Tolkien, J.R.R.—Characters—Orcs—Military organization This article is available in Mythlore: A Journal of J.R.R. -
CHAPTER 3 ANALYSIS in This Chapter, the Writer Wants to Analyze Sauron
M a ; r i f a h | 22 CHAPTER 3 ANALYSIS In this chapter, the writer wants to analyze Sauron as antagonist character and the representations of Satan in Sauron’s character. By examining Sauron’s characters, the writer hopes to gain profound knowledge about him as the representation of Satan. 3.1 Sauron as Antagonist Character Antagonist is character that has tension or conflict with the main character. It can be in the shape of human or thing (Perrine 42). In this novel Sauron is one of antagonist character, he is one of the Maiar, Maiar is a demigod who was sent to help the Valar (god) to take care of the middle- world. Sauron was Morgoth subordinate. Morgoth is Valar who turned evil and became the dark lord in the first age. Sauron is ambitious to manage the middle-world that he becomes evil to realize it, especially after Morgoth dead. This statement can be seen from the quotation below: Other evils there are that may come. For Sauron, for himself but servant or emissary. Yet it is not our part master all tides of the word, but to do what is in us for the succor of those years wherein we are set, uprooting the evil in the field that we know, so that those who live after may have clean earth to ill(861). digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id M a ; r i f a h | 23 According to the statement above, Sauron is the servant of the Margot, but Sauron also the lieutenant that led slaves of Morgoth. -
The Divine Alchemy of J. R. R. Tolkien's the Silmarillion David C
The Divine Alchemy of J. R. R. Tolkien’s The Silmarillion David C. Priester, Jr. Gray, GA B.A., English and Philosophy, Vanderbilt University, 2017 A Thesis presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Master of Arts Department of English University of Virginia May, 2020 Abstract J. R. R. Tolkien’s Silmarillion demonstrates a philosophy of creative imagination that is expressed in argumentative form in Tolkien’s essay “On Fairy Stories.” Fully appreciating the imaginative architecture of Tolkien’s fantastic cosmos requires considering his creative work in literary and theological dimensions simultaneously. Creative writing becomes a kind of spiritual activity through which the mind participates in a spiritual or theological order of reality. Through archetypal patterns Tolkien’s fantasy expresses particular ways of encountering divine presence in the world. The imagination serves as a faculty of spiritual perception. Tolkien’s creative ethic resonates with the theological aesthetics of Hans Urs von Balthasar, a consideration of which helps to illuminate the relationship of theology and imaginative literature in The Silmarillion. Creative endeavors may be seen as analogous to the works of alchemists pursuing the philosopher’s stone through the transfiguration of matter. The Silmarils symbolize the ideal fruits of creative activity and are analogous to the philosopher’s stone. Priester 1 The Divine Alchemy of J. R. R. Tolkien’s The Silmarillion Where shall we begin our study of J. R. R. Tolkien’s Silmarillion? The beginning seems like a very good place to start: “There was Eru, the One, who in Arda is called Ilúvatar; and he made first the Ainur, the Holy Ones, that were the offspring of his thought” (3). -
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 -
The Journal of the Tolkien Society
Issue 50 • Autumn 2010 MallornThe Journal of the Tolkien Society Mallorn The Journal of the Tolkien Society Issue 50 • Autumn 2010 Editor: Henry Gee editorial Production & 4 Marcel Bülles looks to the future of Tolkien fandom design: Colin Sullivan letters Cover art: Lorenzo Daniele 7 Alex Lewis & Elizabeth Curie go back to the source Inside pages: Ruth Lacon (p. 2), Jef Murray (pp. 6, 7, reviews 25, 39, 48, 50, 52), Phyllis 8 Lynn Forest-Hill on Elves in Anglo-Saxon England Berka (p. 10), John Gilbey 9 Mike Foster on The Inheritance (pp. 14, 40, 44, 46), Colin 11 Chad Chisholm on Up Williams (p. 20), Teresa 13 Roberto Arduini & Claudio Testi on Tolkien and Philosophy Kirkpatrick (p. 47), Lorenzo Daniele (p. 51) commentary 15 Charles E Noad The Tolkien Society — the early days 26 Maggie Burns ‘… A local habitation and a name …’ Mallorn © The Tolkien 31 Simon Barrow The magic of fantasy: the traditional, the original and the Society. Printed and wonderful distributed by The Printed 34 Chad Chisholm The wizard and the rhetor: rhetoric and the ethos of Word, 7–9 Newhouse Middle-earth in The Hobbit Business Centre, Old 37 Vanessa Phillips-Zur-Linden Arwen and Edward: redemption and the fairy Crawley Road, Horsham bride/groom in the literary fairytale RH12 4RU, UK. interview 42 Mike Foster talks to Simon Tolkien poetry 46 Lynn Forest-Hill The Long Watch 46 Anne Forbes The Path To The Sea 46 Anne Forbes The End Of The Summer 47 Teresa Kirkpatrick Tuor And Ulmo fiction 48 Julia Fenton Blasphemy well, I’m back 50 Paul H Vigor takes a closer look at Thror’s map Mallorn is the Journal of the Tolkien Society, and appears twice a year, in the Spring (copy deadline 25 December) and Autumn (21 June). -
THE SALTWATER TWIN and OTHER MYTHICAL CREATURES by Maia
THE SALTWATER TWIN AND OTHER MYTHICAL CREATURES by Maia Morgan A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing Rutgers University – Newark MFA Program Written under the direction of Jayne Anne Phillips And approved by Jayne Anne Phillips _________________________________________ _________________________________________ Newark, New Jersey May 2018 2018 Maia Morgan ALL RIGHTS RESERVED TABLE OF CONTENTS Saltwater…….…………………………………………………………………….............2 And Now, the Octopus…………………………………………………….……………..12 The Snake House..……………………………………………………………………….26 The Twin…………………………………………………………………………………36 Tutankhamun………………………………………………………………………...…..45 Wild Kingdom…………………………………………...………………………………50 The Dark……………………………………………………………………………...….57 Girls Reform School……………………………………………………………………..61 Ordinary People……………………………………………………………...…………..79 ii The cure for anything is salt water—sweat, tears, or the sea. Isak Dinesen iii 1 Saltwater One of the things I loved about the ocean was being able to hold my mother in my arms. Like I was grown and my mother was a baby or a bride. I would badger her to put her book down on her towel and take a dip. Together we would walk past the little waves toward the horizon, our bodies growing buoyant and more buoyant still. My sisters Molly and Sam dove and surfaced, seal-like, now beside us, now in front, shouting watch me mom watch me. When my mother could lift her feet and float but I could still touch, she would circle her arms around my neck and hook her knees over my outstretched arm. I’d wrap my other arm around her back and grip her side. Menemsha Pond was still.