Dissertations / Theses: 'Tolkien, John Ronald Reuel (1892-1973)'

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O'Brien, Roderick. "J. R. R. Tolkien (1892-1973) : bases des oeuvres de Tolkien : son art et ses sources." Nancy 2, 1996. http://www.theses.fr/1996NAN21025.

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Dans toute son œuvre, et en particulier dans le seigneur des anneaux, le monde fantastique crée par Tolkien reflète sa philosophie de l'art. La première partie de la thèse cherche à analyser cette philosophie de l'art, dont le noyau est la "subcreation" : parallèlement à la création divine existe, selon Tolkien, une "subcreation" qui est l'œuvre de l'artiste. A travers cette "sub-creation", Tolkien parvient à forger un réalisme fantastique, une nouvelle sorte de vérité. Il y arrive grâce à l'alliance entre des formes littéraires traditionnelles (quête, aventures héroïques, contes de fées, légendes) et des inventions personnelles (monde du "middle-earth"). Devant cette création littéraire basée sur un mélange d'érudition et d'invention on se demande à quel type de lecteur Tolkien a voulu s'adresser : enfant ou adulte ? La deuxième partie étudie les sources qui ont nourri l'œuvre de Tolkien, en tentant de différencier entre les mythes, les légendes et les contes de fées. Cette partie renforce l'idée que Tolkien, homme d'une profonde érudition, travaille, certes, dans la lignée d'une grande tradition, mais en y apportant une autre dimension, une empreinte originale et personnelle. La troisième partie évalue l'utilisation de l'expérience personnelle dans l'œuvre de Tolkien : Tolkien est un homme du vingtième siècle et le monde transparait forcement à travers ses récits. Cette partie de l'étude porte non seulement sur les racines de l'auteur et la place de l'histoire contemporaine dans son œuvre, mais aussi sur ses motivations fondamentales - la religion, l'amitié et l'amour. En conclusion on peut dire que dans sa littérature "fantastique" Tolkien n'a pas esquivé le monde réel tel qu'il est, mais a souhaité le déguiser pour pouvoir mieux parler de la réalité tel qu'il la conçoit
In all his works, and in particular in the lord of the rings, the fantasy world created by Tolkien reflects his philosophy of art. The first part of the thesis seeks to analyze this philosophy of art, of which the kernel is "sub-creation»: parallel to divine creation there is, according to Tolkien, a sub-creation which is the artist's work. By means of this sub-creation Tolkien is able to create a fantastic realism, a new sort of truth. He manages this by using a blend of traditional literary forms (quest, heroic adventures, fairy-stories, legends) and personal inventions (world of "middle-earth"). If one considers this literary creation based on a mixture of erudition and invention, it may be wondered which type of reader Tolkien wished to address: child or adult? The second part studies the sources that nourished Tolkien’s works, by attempting to differentiate between myths, legends and fairy-stories. This part reinforces the idea that Tolkien, who was highly erudite, indeed follows a great tradition, but he also adds to it another dimension, thereby leaving his own personal and original mark on the traditional material. The aim of part three is to evaluate the use of personal experience in Tolkien’s works: Tolkien is a twentieth-century man and so inevitably this world is reflected in his tales. This part of the study is not only about the author's roots and the place of contemporary history in his work, but also his fundamental motivations - religion, friendship and love. In conclusion it may be said that in his "fantasy" books, Tolkien did not evade the real world as it is, but wished to disguise it so as to speak more effectively about reality as he perceives it

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Syme, Margaret Ruth. "Tolkien as gospel writer." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=43459.

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To the extent that Tolkien's fantasy meets his own criteria for faL. ie as the "eucatastrophic " tale which points toward "Evangelium," the eschaton when God's plan in creation will be fulfilled and the effects of the fall overcome, Tolkien may be described as a gospel writer. That he intended his work to be read as "gospel," "the good news of the Kingdom of God," is suggested by its allusions to biblical and classical mythology, its linear view of history, its presentation as a compilation of received tradition. collected and translated by many hands from a wide variety of sources, by the location of Middle Earth in the distant past of our own world and by the author's attempt to create a world which comforms to familiar patterns of evolution. Less successful is his effort to provide his tale with a consistent Christian point of view.
Dans la mesure, cette oeuvre d'imagination repond aux crit6res de f6erie de Tolkien en tant que conte "eucatastrophic" qui montre le chemin vers "I'Evangelium", cette eschatalogie qui se situe au moment o0 la volontê de Dieu est accomplie et les effets de la chute sont surmontes, Tolkien peut etre. considers comme un auteur biblique. Le fait qu'il est voulu que son oeuvre soit lue en tant qu'"&angile", "la bonne nouvelle du Royaunie de Dieu" est suggêre par diffèrentes choses: les allusions faites a la mythologie biblique et classique, la vision linêaire de l'histoire, la presentation du texte en tant que compilation d'une tradition provenant de sources diverses, transmise, recueillie et traduite par diffèrentes personnes, la situation geographique dans "Middle earth"(l'empire du Milieu) dans un passé lointain, le fait que l'auteur ait essay6 de crêer un monde conforme au processus connu de l'êvolution. 10anmoins l'auteur n'a pas rêussi dans ce conte a maintenir un point de vue chrêtien. fr

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Dudley, Cynthia. "Christian heroism in J.R.R. Tolkien's The Lord of the Rings." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61875.

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Hopkins-Utter, Shane. ""An echo of an echo" : J.R.R. Tolkien's Middle-earth as elegiac romance." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79947.

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Tolkien's aesthetic enjoyment of distance and antiquity in literature, his interest in the power of imagination, and his use of medieval romances and ancient fairy-tales as a means of rediscovering an enchanted vision of the world are analogous to the literary endeavours of the Romantics. Like them, he perceives that the real world is inherently different from how he imagines an ideal world. This thesis discovers that Tolkien's writings correspond in numerous ways to the modern form of elegiac romance, most notably because of their positive portrayals of mortality, and their depictions of intense yearning. The moral imperative to accept death, exemplified by the heroic ethos of Old English literature, clarifies why the effect of historicity is often noted in Tolkien's fictions: time is mimetic rather than mythological. Tolkien demonstrates that Fantasy is capable of reflecting the most sombre issues of the real world, particularly the inevitability of death.

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Ducreux, François. "L'espace imaginaire dans les œuvres de J. R. R. Tolkien : The Lord of the Rings, The Hobbit, The Silmarillion, Unfinished tales." Paris 4, 1995. http://www.theses.fr/1995PA040102.

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Ce travail est une classification topologique de l'univers imaginaire d'Arda selon les critères de l'analyse archétypale. La première partie analyse le mythe cosmogonique puis la géographie d'Arda et son évolution vers celle du monde actuel. Middle-Earth est présentée à la lumière des "régimes" symboliques de l'image définis par Durand. L'imagerie aquatique est marquée du schème diairetique et des images de mort. De même, la montagne (pic ou chaine) est obstacle, rarement franchissable par l'ascension, d'où la traversée de passages souterrains aux connotations infernales. On note une plus grande recherche dans les paysages dominés par le mal dont la représentation était capitale pour Tolkien. Les images d'intimité sont plus rares. L'espace sylvestre est privilégié. L'arbre s'y révèle un symbole capital. L'étude des demeures et autres lieux d'habitation montre que les villes représentent l'aménagement de sites naturels et sont dominées par un souci de protection : enceintes multiples ou situation souterraine. Les cycles de vie-mort-résurrection sont très nombreux. Les annexes présentent quelques jalons pour une étude de l'évolution cartographique d'Arda
This work is a topological classification of the imaginary universe of Arda according to the criteria of archetypal analysis. The first part analyses the cosmogonic myth, the geography of Arda and its evolution towards present day earth. Middle-earth is put under the light of the symbolic "regimes" of imagination defined by Durand. Water imagery deeply emphasizes the diairetic scheme and images of death. Mountains (peaks or chains) are obstacles which can rarely be climbed up successfully. Thence the crossing through dark subterranean passages endowed with infernal connotations. One can remark a more deeply "felt" description of landscapes dominated by evil whose delineation was highly important for Tolkien. Images of intimacy are rarer. Wooded spaces are rather privileged. The tree turns out to be a very potent symbol in Tolkien’s works. The study of all forms of housing shows towns and cities represent the development of natural sites and are marked by a profound desire for protection expressed through multiple walls or enclosures or their underground situation. The cycles of life-death-resurrection are numerous. Annexes give a few guidelines for a study of the cartographic evolution of Arda

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Brémont, Aurélie. "Les Celtes en Terre-du-Milieu : inspirations celtiques dans les œuvres de J.R.R Tolkien." Paris 4, 2009. http://www.theses.fr/2009PA040151.

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Plus de cinquante ans après la publication de son chef d’œuvre Le Seigneur des Anneaux, Tolkien est un auteur qui fascine toujours, bien au-delà de l’engouement passager qu’on pourrait attribuer à un auteur de littérature fantastique. L’intérêt des chercheurs n’est pas moindre que celui des lecteurs et l’univers fictif que Tolkien a créé, et que l’on découvre notamment dans les volumes de The History of Middle-earth, recèle encore bien des secrets. Parmi ceux-ci se trouve l’importance de la culture celtique. Longtemps délaissée au profit des Anglo-Saxons dont Tolkien avait fait sa spécialité, cette dernière commence à faire valoir ses droits avec des auteurs comme Marjorie Burns ou Verlyn Flieger et cette recherche s’y consacre entièrement. Le premier axe d’exploration fait coïncider la mythologie irlandaise et la mythologie tolkienienne pour préciser la parenté entre les Tûatha Dé Dânann et les Elfes. En s’appuyant sur les théories de Dumézil appliquées aux Celtes par Leroux et Guyonvarc’h, tous les aspects de la civilisation celtique (organisation sociale et militaire, principes religions et activités magiques) sont étudiés d’après les textes mythologiques et mis en parallèle avec les récits de la Terre du Milieu. La partie centrale s’intéresse quant à elle à la littérature médiévale, qu’elle soit poésie irlandaise et bretonne ou légende arthurienne. On a ainsi l’occasion de découvrir certains textes moins connus de Tolkien et de résoudre l’épineuse question de la place du roi Arthur dans les sources du Seigneur des Anneaux. Enfin, la dernière partie de cet ouvrage étudie les influences de style et de narration de la littérature dite celtique dans l’écriture de Tolkien, puis les conséquences de la parenté galloise d’un des langages elfiques dans la composition des contes de la Terre du Milieu. Un prologue et un épilogue encadrent cette recherche en replaçant les influences celtiques dans la problématique plus générale du projet de Tolkien de créer une mythologie pour son pays
Though fifty years have passed since the publication of The Lord of the Rings, Tolkien is still an object of fascination, way beyond what could be expected from a fantasy writer. The interest is as high in the scholarly world as it is in the reading world and the universe Tolkien created, which is now fully laid out in The History of Middle-earth, is still full of secrets. Among those is the question of the importance of Celtic influences. Long cast aside because of the predominance of the Saxon ancestry of which Tolkien was a specialist, this culture starts to be acknowledged as important with such scholars as Marjorie Burns or Verlyn Flieger, and it is the object of this thesis. The first track of exploration puts together the Irish mythology and that of Tolkien to underline the connection between the Tuatha De Danann and the Elves. On the basis of Dumezil’s theories as they have been applied to Celtic culture by Leroux and Guyonvarc’h, every aspect of the Celtic civilisation (social, military, religious, magical) is laid out from the texts and compared to the tales of Middle earth. The central part of the research deals with medieval literature, be it Irish and Breton poetry or Arthurian legends. It gives the opportunity to discover some of Tolkien’s less famous texts and to answer the delicate problem of the place of Arthur and his world in the inspirations of The Lord of the Rings. Finally, the last two chapters presented here focus on the style and narration that are typical of Celtic literature to see if they can be found under Tolkien’s pen, and on the consequences of the Welsh lineage for Sindarin in the portraying and legends of the Sindarin people. A prologue and an epilogue frame this thesis by placing Celtic influences in the larger question of the invention of a mythology for England, which was Tolkien’s attempt

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Birks, Annie. "La rétribution dans l’œuvre de J. R. R. Tolkien." Paris 4, 2007. http://www.theses.fr/2007PA040125.

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L’objet de cette thèse est de repérer une logique rétributive dans l’œuvre de J. R. R. Tolkien. La définition du terme rétribution qui a été retenue est celle du Vocabulaire de théologie biblique, à savoir le fait de « recevoir récompense ou châtiment selon ce qu’on a fait ». L’observation de la trajectoire des personnages–clés et des peuples permet de constater une grande cohérence dans le traitement de la rétribution, cohérence qui fait ressortir le soubassement profondément chrétien de l’auteur. Sont placées au cœur de cette étude ses œuvres majeures, Le Silmarillion, Bilbo le Hobbit et Le Seigneur des Anneaux, ainsi que les deux contes Feuille, de Niggle et Smith de Grand Wootton
The object of this thesis is to identify a retributive logic in the works of J. R. R. Tolkien. The definition adopted for the concept of retribution is that found in the Vocabulaire de Théologie Biblique, i. E. « receiving a reward or a punishment according to what has been done ». The observation of the key-characters and peoples shows great coherence in the treatment of retribution and highlights Tolkien’s Christian faith. The investigation mainly focuses on The Silmarillion, The Hobbit, The Lord of the Rings, and also on the two short stories Leaf by Niggle and Smith of Wootton Major

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Caland, Fabienne Claire. "Seuils, passages, parole : Les lieux initiatiques dans "The lord of the rings" (Tolkien), "Paradise lost" (Milton) et "Inferno" (Dante)." Limoges, 1999. http://www.theses.fr/1999LIMOA015.

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Le voyage que ce soit dans l'espace, le temps ou la hierarchie sociale, est l'un des themes fondamentaux de la litterature. Pour mettre en evidence la relation intime entre l'etre et sa traversee, trois types de voyage ont retenu notre attention : proposes par tolkien, milton et dante, les voyages litteraires issus de la culture judeo-chretienne nous entrainent du xiveme siecle pour le poeme de dante au xxeme siecle pour le roman de tolkien. Ils ne peuvent toutefois se resumer en une lutte entre le bien et le mal ; ils sont davantage une peregrination, le parcours personnel et universel de neophytes sur la voie de l'initiation. Or, le fait d'etudier le caractere initiatique de the lord of the rings, paradise lost et inferno permet de delimiter des sequences precises en etapes evolutives pour l'individu en partance. Mais etudier ce qui se deroule entre les voyages, aller au coeur de l'espace liminal, de l'espace intermediaire, mene a une reflexion sur l'essence meme du voyage. En effet, c'est dans le lieu liminal, dans ces seuils, dans ces passages que l'essentiel se trouve : l'etre est confronte a la parole dangereuse, a celle qui dit tout, qui peut tout, qui pervertit et annihileles differences. Apprendre a dominer le verbe en maitrisant l'espace etrange et etranger, comprendre les etres qui l'habitent ou le traversent, savoir faire la distinction de la parole pernicieuse et la parole salvatrice, c'est l'enjeu du voyageur. C'est peut-etre la sa veritable quete.

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Silva, Mariana Souza e. [UNESP]. "A caracterização do feminino em The Silmarillion, de J. R. R. Tolkien." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/94066.

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Esta dissertação pretende analisar a construção das personagens femininas na obra The Silmarillion, de J. R. R. Tolkien. Esse romance possui um tom fantástico, e é parte de uma mitologia criada por seu autor; as personagens possuem características que vão do humano ao divino, e a maioria delas é formada por homens predominantemente heróicos. O presente trabalho é focado nas personagens femininas da obra, e através da análise de suas descrições físicas e psicológicas, ações, características, enfim, de suas construções, objetiva determinar o modo de representação do autor, chegando-se, assim, a uma reflexão acerca da importância destas personagens na mitologia tolkieniana, à qual The Silmarillion serve como ponto inicial. Faz-se necessário, também, desvendar a influência de fatores políticos, sociais e históricos na criação e desenvolvimento destas personagens. A obra estudada relata os fatos que servem como fundo mítico à criação do mundo no qual se passa, a Terra-média. São contados os acontecimentos que deram origem a tudo, seres e ambientes, sentimentos, o Mal e sua eterna luta contra o Bem pelo poder. Pretendemos realizar este intento com o auxílio de teorias diversas, em especial a linha feminista da crítica literária que se ocupa do papel da mulher como leitora de textos de autoria masculina, como é o caso. Esperamos, também, contribuir com o crescente interesse pela obra do autor inglês, deixado à margem do cânone pela crítica especializada, para que assim se possa reconhecer a importância de sua obra em seu tempo, e também a de suas personagens femininas.
This dissertation intends to analyse the female characterization in the novel The Silmarillion, written by J. R. R. Tolkien. This novel has a fantastic tone, and it is part of a mythology created by its author; the characters have features that go from human to divine, and most of them are formed by men that act as heroes. The present study focuses on the female characters of the novel, and through the analysis of their physical and psychological descriptions, actions, features, in short, their constructions, it intends to determine the author’s way of representation; so, it will be possible to reach a reflection about the importance of these characters in the Tolkienian mythology, to which The Silmarillion figures as the initial point. It is also necessary to unmask the influence of political, social and historical factors on the creation and development of these characters. The novel gives an account on the facts that figure as a mythical background to the world where it is placed, Middle-earth. The events that were the origin to everything, beings and places, feelings, Evil and its eternal fight against Good for power, are told. We intend to achieve this goal with the support of many theories, especially the feminist trend of literary criticism that deals with the role of woman as a reader of texts written by men, as it is the case. We also wish to contribute to the growing interest on the works of the English author, who was left at the edge of the canon by the specialized critics, so that it is possible to recognize the importance of his work at his time, and also the importance of his female characters.

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Thivent, Valérie. "Le thème de la quête dans "L'enchanteur" de Rene Barjavel "The lord of the rings" de J. R. R Tolkien." Paris 10, 1997. http://www.theses.fr/1997PA100192.

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La premiere partie est consacree aux definitions de la quete ses enjeux ne se revelent que progressivement. Les heros la comprennent differemment et utilisent un vocabulaire different a son egard. L'origine la forme et le contenu de l'objet de la quete permettent de mieux comprendre la mission des heros. Le graal et l'anneau sont l'exact oppose l'un de l'autre, et possedent des fonctions semblables ce ne sont pas les seuls intermediaires de la revelation, de nombreux objets, voire des personnages leur sont comparables. Pour les auteurs, la quete represente aussi bien un pretexte litteraire que l'illustration de leur propre recherche interieure. Dans la deuxieme partie sont etudies les personnages de la quete : les heros, les compagnons, les magiciens, les ennemis la troisieme partie suit le deroulement de la quete. Le mouvement de la quete est inverse dans les deux oeuvres : trouver le graal dans l'une, detruire l'anneau dans l'autre. Mais elles se ressemblent dans leurs epreuves et dans leurs consequences. L'une des etapes majeures est celle de la tentation. L'amour fait obstacle a la quete dans l'enchanteur. Certaines formes d'amour sont condamnees, mais lorsque l'amour atteint l'ideal, dl peut rivaliser avec le graal. La quete est etroitement liee au voyage initiatique, meme ceux qui echouent dans la quete accomplissent un parcours interieur la quatrieme partie est consacree aux significations de la quete. Il existe plusieurs formes de divin dont l'influence est importante sur la quete. La quete est source d'experiences mystiques. Elle permet egalement aux heros de s'interroger sur le sens de la vie, d'autant plus qu'elle est fortement liee a l'epreuve de la mort. La derniere partie s'interesse a l'achevement de la quete, qui est a la fois reussite et echec. Le mal ne disparait jamais entierement, chaque homme doit reconquerir son propre graal
The first part is dedicated to the definition of the quest. Its stakes appear little by little. The heroes understand it differently and use a different vocabulary to talk about it. The origin, the shape and the content of the object of the quest allow a better understanding of the quest. The grail and the, ring are exactly unlike and have similar functions. They are not the only intermediaries in the revelation, numerous objects, even characters can be compared to them. According to the authors, the quest can be either a literary pretext or the illustration of their interior quest. The object of the second part is a study of the characters of the quest : the heroes, companions, wizards, enemies. The third part deals with the progress of the quest. The aim of the quest is opposite in both books : to find the grail, in the first one, and to destroy the ring in the second one. But they are similar in their trials and consequences. One of the most important trial is the temptation. Love is an obstacle to the quest. In l'enchanteur. Some kind of love are condemned but when love achieves the ideal, it can rival with the grail. The quest is closely linked to an initiatory trip. Even those who fail in the quest live an interior journey. The fourth part is dedicated to the meanings of the quest. There are many forms of divine which have an important influence on the quest. The quest is at the origin of mystic experiences. Thanks to the quest, the heroes can ponder over the meaning of life, all the more since it is strongly linked with death. The last part is about the achievement of the quest, which is at the same time success and failure. Evil will never disappear completely. Every man must reconquer its own grail

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Pueppke, Michael. "Awakening a World With Words: How J.R.R. Tolkien Uses Linguistic Narrative Techniques to Take His Readers to Faery in His Short Story Smith of Wootton Major." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3927/.

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J.R.R. Tolkien uses specific linguistic narrative techniques in Smith of Wootton Major to make the world of Wootton Major and the nearby land of Faery come to life for his readers. In this thesis, I examine how Tolkien accomplishes this feat by presenting a linguistic analysis of some parts of the story. My analysis is also informed by Tolkien's own ideas of fairy-stories, and as such, it uniquely shows the symbiotic relationship between Tolkien's theories and his narrative art.

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Skublics, Heather A. L. E. "Naming and vocation in the novels of J.R.R. Tolkien, Patricia Kennealy and Anne McCaffrey." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68137.

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"Naming and Vocation in the Novels of J. R. R. Tolkien, Patricia Kennealy and Anne McCaffrey" discovers in recent works of fantasy and science fiction a pattern of authority which is rooted in the existence of namers and characters who are called to specific tasks. Each of these authors portrays individuals who are called to their own particular and unique roles by other figures whose knowledge of them is deeper than their own. The Biblical account of Samuel's life provides a paradigm for both namer and named that is informative in recognising this pattern in each of the works studied. The virtues essential to living out the call of a namer are faith and obedience; and personal fulfilment as well as heroic feats can only be achieved if those virtues are cultivated.

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Hita, Michèle. ""The Lord of the rings" : enfance de l'art et grammaire de l'imagination." Montpellier 3, 1996. http://www.theses.fr/1996MON30039.

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Cette etude repose entierement sur les jeux auxquels le professeur tolkien se livre a tous les niveaux de la creation de the lord of the rings - jeux de conteur et de linguiste qui donnent a l'oeuvre sa richesse autant que son ambi- guite generique. La premiere partie analyse la place de l'enfant l'enfance dans l'imaginaire des personnages et de leur auteur et met en evidence la symbolique de l'anneau dans un contexte de "roman familial". La seconde partie s'applique a repertorier tous les jeux mis au service de la narration, faisant apparaitre la fonction narrative des jeux de roles entre les personnages, des jeux d'ombre et de lumiere, ou encore des jeux de mots, proverbes et devinettes. La troisieme partie veut enfin demontrer que le jeu auquel tolkien soumet toute voix et tout signe peut se lire comme un veritable manuel du fonctionnement de l'imaginaire, tandis qu'il commande une reflection sur le genre de the lord of the rings et sur la tension entre ethique et esthetique dans cette oeuvre. Peut se lire comme un veritable manuel du fonctionnement de l'imaginaire, tandis qu'il commande une reflection sur le enre de the lord of the rings et sur la tension entre ethique et esthetique dans cette oeuvre
This dissertation analyses the games professor tolkien plays at every level of the creation of the lord ot the rings. Those are both a writer's gates and a philologist's play on words, which lend the tale its wealth and its ambiguity. The first part studies the place of children/childhood in the characters" imag- ination and in their author's as well. It focuses on the symbolical meaning of the ring in such a context as freud's family novel. The second part tries to list all the games involved in the narrative process, highlighting the narrative function of the characters' role playing, of the play of light and darkness, and such play on words as proverbs and riddles. The third part intends to show that tolkien's interplay with voices and signs can be read as a real grammar book for fantasy, while it entails a questioning of the genre of the lord of the rings and a reflection on the tension existing between ethics and aethetics in this work of fiction

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Gomes, Emanuelle Garcia. "Fantasia e História: uma abordagem teórica em J. R. R. Tolkien." Universidade Federal de Uberlândia, 2017. https://repositorio.ufu.br/handle/123456789/19803.

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Esta dissertação pretende investigar a literatura de fantasia como em contos de fadas a partir do aparente impasse entre a racionalidade e a ordem mágica e poética. Teriam as narrativas maravilhosas algo a dizer? A visão mágica dos textos pode deixar de ser restrita apenas às crianças? Por que razão esse tipo de narrativa é caracterizado pela teoria literária (bem como os críticos literários) como uma literatura menor? Se as mesmas não têm muito a dizer, por que permanecem conhecidas e constantemente recriadas, ou estudadas e analisadas por outras áreas do conhecimento, como a psicanálise? A imaginação norteia a produção nas artes e, como um ato humano, propõe um olhar mais denso e consistente. Com isso, a fonte dessa investigação é o autor e acadêmico J. R. R. Tolkien. Assim, sob o viés da criação artística, a tentativa é formular a contraposição entre duas grandes correntes de análise do efeito proporcionado pela trama que possui sua importância histórica: a tradição platônico/aristotélica versus a tradição estética de Kant e dos românticos.
This dissertation intends to investigate fantasy literature as in fairy tales from the apparent impasse between rationality and the magic and poetic order. Would the fantasy narratives have something to say? Could the magical vision of texts not be restricted just to children readers? Why is this kind of narrative characterized by literary theory (as well as literary critics) as a minor literature? If they do not have much to say, why do they still remain known and constantly recreated, or studied and analyzed by other areas of knowledge, such as psychoanalysis? Imagination guides the production in the arts and, as a human act, proposes a denser and more consistent view. Therefore, the author and academic J. R. R. Tolkien is the source of this research. Thus, under the artistic creation view, the attempt is to formulate the contraposition between two great currents analysis of the effect provided by the plot that has its historical importance: the Platonic/Aristotelian tradition versus Kant and the romantics’ esthetic tradition.
Dissertação (Mestrado)

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Dufau, Jean Christophe. "L'etre et le temps dans l'oeuvre de j. R. R. Tolkien." Artois, 2000. http://www.theses.fr/2000ARTO0002.

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L'etre et le temps a pour enjeu l'etude du temps ontologique dans the lord of the rings, the hobbit et the silmarillion, de john ronald reuel tolkien (1892-1973) : 1: le temps ontologique chez tolkien se nourrit des surgissements du domaine autre de l'inconscient. 2: les personnages de tolkien sont constamment en quete de l'autre et une analyse textuelle de l'absence qui hante leurs peregrinations nous eclairera sur leur etre-au-monde. 3: l'absence est douloureuse et les personnages de tolkien cedent parfois a la tentation de la presence pure, laquelle correspondrait au desir de reinstaller une relation privilegiee avec le cosmos comme metaphore de l'unite mere-enfant originelle. 4: cette tentation etant vouee a l'echec, les personnages de tolkien vivent un temps de la perte qui entraine de leur part une recomposition mythique par laquelle l'etre lutte pour donner un sens transcendant a la perte. 5: toute tentative de fuite de la mortalite etant vouee a l'echec, l'etre tolkienien change d'attitude en privilegiant le present comme temps de l'action et de la refiguration. 6: les personnages de tolkien, qui vivent une quete ininterrompue, obtiennent-ils une veritable metamorphose de leur etre ? 7: finalement, qu'en est-il du devenir de l'etre tolkienien ? a la fin de the lord of the rings, l'issue est incertaine, mais comporte neanmoins des traces d'optimisme quant a une possible reconstruction du soi.

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Chémali, Marc. "Le sacré dans The Lord of the Rings de J. R. R. Tolkien." Paris 10, 1994. http://www.theses.fr/1994PA100168.

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The Lord of the rings est un récit hybride ou des éléments empruntés aux mythologies germano-scandinaves expriment une vision judéo-chrétienne. La représentation de la transcendance fait appel à la fois au sacer et au sanctus ainsi, le sacré s'oppose au saint et au profane. Cette opposition est redoublée par l'opposition entre les deux pôles du sacré. Ces oppositions multiples débouchent sur la guerre de l'anneau c'est-à-dire sur une crise sacrificielle a l'issue de laquelle le cosmos se trouve régénéré. Le cadre temporel du récit étant de ce fait la fin d'une ère et le début d'une autre, la représentation du temps renvoie au mythe. D’autant plus que le conflit et les protagonistes apparaissent comme les avatars du conflit primordial entre des créatures de nature angélique. Cette dimension cyclique du temps est contredite par une intégration dudit conflit a une trame historique, soit une représentation linéaire du temps. De même, l'espace est représenté de manière hétérogène : il est à la fois ptolémaïque et copernicien, et s'organise en réseaux de ruptures ou les espaces sacrés vont s'opposer entre eux, mais aussi aux espaces saints et à l'espace profane, chaotique et indifférencié. Ces ruptures spatio-temporelles qui fondent le cosmos se retrouvent également sur le plan linguistique. En plus des ruptures de ton - notamment l'utilisation ponctuelle d'archaïsmes -, le passage de la prose au vers marquent l'irruption du sacre dans le monde. Enfin, l'invention de langues elfiques à la fois liturgiques et hiérophantiques inscrit le principe de perméabilité esprit matière au cœur du récit. L’anneau qui apparait comme la manifestation ultime de cette perméabilité est un renvoi évident a la mythologie païenne germano-scandinave. L’originalité de la quête tolkienienne est qu'elle vise à détruire cet anneau. C’est ainsi que dans le renoncement final au pouvoir le mythe s'anéantit pour céder la place à l'histoire sainte
The Lord of the Rings is a hybrid in which elements borrowed from northern mythologies are used to express a Judeo-Christian weltanschauung the representation of transcendence calls both on the notions of sacer and sanctus. Thus can we oppose the sacred to the holy and to the profane. This opposition is redoubled by that between the two antithetic poles of the sacred. Those manifold oppositions lead to the war or the ring, he to a sacrificial crisis at the end of which the whole cosmos is regenerated. The time setting of the action being at once the end of an age and the beginning of another, the representation of time appears derived from myth. All the more so as the conflict and the protagonists are presented as avatars of the primordial conflict that involved creatures of angelic natures. This cyclical dimension of time is contradicted by an integration of the conflict to a historical frame, i. E. A linear representation of time. Likewise, space is represented heterogeneously: it is both Ptolemaic and Copernican and is organized in a network of oppositions between sacred places themselves, but also between them and holy or profane places. This space-time heterogeneity that founds the cosmos finds an echo on the linguistic level. In addition to the sudden shifts in the narrative tone - mainly the recourse to archaisms - , the shift from prose to verse also marks the intrusion of the sacred in the world. Lastly, the invention of elfish liturgical and hier ophanical tongues places the principle of spirit matter permeability at the heart of the story. The ring, the ultimate manifestation of this permeability, is an obvious reference to northern heathen mythology. The originality of Tolkien’s quest is that it aims at destroying the ring. This is how, in the final renunciation to power, myth annihilates itself to make room for holy history

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Féasson, Vivien. "La retraduction comme outil de légitimation du genre : le cas de la fantasy en langue française." Thesis, Université de Paris (2019-....), 2019. https://wo.app.u-paris.fr/cgi-bin/WebObjects/TheseWeb.woa/wa/show?t=4374&f=28859.

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Au tournant des années 2000, l’arrivée sur les écrans d’adaptations d’œuvres de fantasy et leur réception plus que favorable semblent avoir initié un tournant dans la réception du genre en France. Sur le marché du livre notamment, la production d’œuvres nouvelles, majoritairement anglo-saxonnes d’origine, atteint chaque année de nouveaux sommets ; parallèlement à cette course en avant, nombre d’éditeurs investissent de plus en plus dans le passé tandis que se multiplient rééditions, révisions mais aussi traductions inédites et retraductions de titres anciens, apparemment considérés comme des classiques indiscutables.Notre thèse s’est fixée pour but d’interroger les réalités derrière cette apparente abondance, en plaçant au cœur de son approche l’examen de ces retraductions qui semblent aujourd’hui vouloir instituer un véritable patrimoine de la fantasy. D’abord au niveau éditorial, en considérant le passage du genre entre le monde culturel anglo-saxon et celui de la France, les changements dans la réception hexagonale ainsi que l’évolution des conditions de travail des traducteurs. Ensuite et surtout au niveau textuel, en opposant les déclarations aux actes, à travers la comparaison de ce que les premières et secondes traductions choisissent de faire du Seigneur des anneaux, de Conan, de la Roue du Temps et des Chroniques de Dragonlance
At the turn of the 21st century, the arrival on screens of several fantasy adaptations and their tremendous success seem to have been a turning point in the reception of the genre in France, especially in the book market where the production of new novels – mostly of Anglo-Saxon origin – is reaching new heights every year. As they kept looking toward the future, many publishers have also been investing more and more in the past of the genre, publishing reissues and revisions but also first translations and retranslations of old titles, now considered as indisputable classics.This thesis aims to question the realities behind such a vision of abundance, by placing at the heart of its approach a careful examination of those retranslations that are slowly creating what could be considered the heritage of the fantasy genre. First, it will examine the editorial side of the phenomenon – the transition of the genre from the Anglo-Saxon cultural world to the French, the changes in its reception and the evolution of the working conditions of translators. Then it will turn to the textual level, opposing statements to acts by comparing what first and second translations have chosen to do with books such as The Lord of the Rings, Conan, The Wheel of Time and the Dragonlance Chronicles

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Silva, Dáfnie Paulino da 1984. "Práticas de letramentos em jogo de construção colaborativa : MUD Valinor." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269457.

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Orientador: Marcelo El Khouri Buzato
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-21T22:46:25Z (GMT). No. of bitstreams: 1 Silva_DafniePaulinoda_M.pdf: 7502794 bytes, checksum: 99314c54b01f741d21f77e44490321da (MD5) Previous issue date: 2012
Resumo: A dissertação examina práticas de letramento no jogo de construção colaborativa MUD Valinor, um projeto de fãs da obra de J. R. R. Tolkien. O presente trabalho aplica a metodologia do estudo de caso e utiliza como fonte de dados um corpus coletado no servidor do jogo, além de textos e depoimentos acumulados na comunidade. O objetivo foi desmembrado em três perguntas de pesquisa que se completam: (1) Como funciona a dinâmica social no espaço de afinidade que se apóia no MUD Valinor? (2) Quais as principais características de letramentos de fãs em tal espaço? E (3) Quais são os gêneros discursivos mais centrais para a prática desses letramentos e quais suas características específicas? Na primeira questão, verifica-se que o percurso dos sujeitos para integrar a comunidade passa por dois planos articulados, evoluir na narrativa e como jogador, e depois em paralelo como produsuário. O sujeito transita socialmente e entre funções conforme transita entre letramentos, portanto, há ocorrência de papéis fluídos em decorrência do domínio de letramento. Na segunda questão, estudam-se os letramentos de fãs; temos a perspectiva de letramentos como maneiras socialmente reconhecidas de gerar, comunicar e negociar conteúdo significativo por meio de textos codificados em contextos de participação no discurso; e que os objetos (como o MUD) são parte constitutiva dos letramentos, assim como os sujeitos, estratégias e práticas envolvidas. A partir desse aporte teórico, foram estabelecidas categorias descritivas para as atividades típicas de usuários; nota-se que letramentos de fãs e jogo agregam letramentos externos a pratica do produsuário mudiano. Na terceira questão de pesquisa, identificam-se quais os gêneros discursivos / textuais centrais às práticas já mencionadas. A partir da teoria bakhtiniana, são estabelecidos gêneros de MUD, é avaliado como esses gêneros se constituem e processam suas funções vinculadas às práticas do jogo. Utiliza-se a teoria para examinar a situação de produção dos enunciados, e compreender como este fator é intrínseco ao seu conteúdo, construção composicional e estilo. Busca-se análise dos gêneros textuais centrais a pratica dos letramentos de MUD, examinando-os para, ao final refletir, acerca das subversões e renovações que acontecem quando os sujeitos (jogadores) têm liberdade para se apropriar deles. Por fim, a presente dissertação gostaria de propor uma discussão sobre as implicações dessas práticas letradas para o estudo de novos letramentos, além de possíveis implicações e aplicabilidade de sistemas colaborativos com fins educacionais
Abstract: This dissertation looks at literacies practices in the collaborative construction game known as MUD Valinor, a project created by fans of the works of J. R. R. Tolkien. The present work applies case study methodology and uses a corpus collected on the game's server as the main source of data, together with texts and statements from the community that have been gathered. The core aim has been subdivided into three research questions which complete each other: (1) how do social dynamics work within the affinity space that is supported by MUD Valinor? (2) What are the main characteristics of the literacy of fans within this space? (3) What are the most central genres of discourse for the practice of these literacies, and what are their main characteristics? In relation to the first question, we see that the path trailed by the subjects towards the integration of the community passes through two articulated planes, the development in narrative skills and also as a player, and then in parallel as a produser. The subject shall also have social transit and also pass through different functions as it moves between different forms of literacy, which means that there is the occurrence of fluid roles resulting from knowledge of literacy. In the second issue, there is the study of literacy patterns shown by fans; we have the perspective of literacies being regarded as socially accepted ways of generating, communicating and negotiating significant content through encoded texts within contexts of participation in discourse; and that objects (such as MUD) are a constituent element of literacies, as also the subjects, strategies and the practices involved. Based on this theoretical background, we have established different descriptive categories for the typical activities of users. We see that the literacies of the fans and also of the game add external literacies to the practice of the produser of MUDs. In the third question of the research, there is the identification of which discourse or textual genres are central to the practices as already mentioned. Based on the Bakhtinian theory, genres of MUDs are established, and then assessments are carried out to see how these genres are established and how they process their functions attached to the playing of the game. The theory is used to investigate the situation in which the statements are produced, and then to understand how this factor is indeed inherent to its content, compositional construction and style. There is also a search for an analysis of the textual genres which are central to the practice of MUD literacies, by duly examining them, and finally to think about the subversions and renovations which take place when the subjects (players) are free to take them in. Last but not least, the present dissertation would like to propose a discussion about the consequences that these literate practices would have for the study of new literacies, and also the possible implications and the applicability of collaborative systems for educational purposes
Mestrado
Linguagem e Tecnologia
Mestra em Linguística Aplicada

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Pereira, André Luiz Rodriguez Modesto [UNESP]. "The Lord of the rings e a estética da finitude." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/99086.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
J. R. R. Tolkien afirmou que o tema central de sua principal obra, O Senhor dos Anéis, é a tensão provocada entre a morte inevitável e a busca pela imortalidade. Diante disso, procurase nesse trabalho verificar de que maneira essa temática influencia a forma do romance e desenvolve uma crítica acerca do papel da arte e da técnica enquanto artigo de valor e fonte memória para seres cuja existência é finita ou seres ligados a um universo em constante transformação. Por um lado, há seres como os elfos que estão ligados diretamente à natureza de Arda e são fadados a não deixá-la até que chegue o seu fim. Esses seres, aparentemente imortais, sofrem com as constantes mudanças no planeta e tentam, através da técnica, agir diretamente sobre o mundo, tentando conservá-lo tal como ele é. Por outro lado, há os homens mortais, que, diante de sua própria mortalidade, buscam ter seus feitos eternizados em obras de arte, como esculturas, tapeçarias ou textos literários.
J. R. R. Tolkien declared that the central issue of his major work, The Lord of the Rings, is the tension emerging between the unavoidable death and the search for immortality. Therefore, this study is a research about how that aspect affects the structure of the novel and how it discusses the role of art and technique as a piece of value and a resource of memory available for finite or immortals beings, whose existence is linked to a continuously changing world. On the one hand, there are in novel beings such as elves that are directly connected to the nature of Arda and are doomed to remain there until its end. These apparently immortal beings can’t bear such constant changes on the planet and employ technical means in order to have an affect on the world and keep it as it is. On the other hand, mortal men, faced with their own mortality, seek out art as a way to have their deeds registered and so kept alive forever in works such as sculptures, tapestry or literary texts.

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Spadaro, Enrico. "La littérature-monde de J.R.R. Tolkien : pertinence, discours et modernité d'une oeuvre originale." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0282.

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Ce travail de thèse se focalise sur l'écrivain anglais John Ronald Reuel Tolkien et sur son oeuvre littéraire. Celle-ci est composée de plusieurs écrits et surtout des romans The Hobbit (1936) et The Lord of the Rings (1954-1955). L'intention que Tolkien avait au début de sa carrière littéraire était la création d'une mythologie pour son pays, l'Angleterre. Cette profonde ambition primaire s'unit à sa passion de jeunesse pour les langages imaginaires et à sa profession de philologue et d’enseignant d ’anglo-saxon à l’université d’Oxford. La Terre du Milieu, le monde que Tolkien dessine pour sa mythologie, devient alors le lieu où ses contes, qu'il définira de contes de fées, se déroulent et où ses langages peuvent se développer. Nous allons démontrer dans ce travail, qui est formé de trois parties, la pertinence de l’oeuvre de Tolkien dans le contexte de la littérature contemporaine et le fait que sa production littéraire implique plusieurs éléments qui relient mythologie, philologie, fantaisie et modernité. Nous nous concentrons sur certains aspects thématiques de la littérature européenne qui ont inspiré la création mythologique par Tolkien. La deuxième partie du travail encadre le point de vue linguistique au sein de l’oeuvre de Tolkien. Finalement, la troisième partie a la fonction de résumer les aspects précédents et d'analyser la théorisation des contes de fées par Tolkien, tout comme il la développe dans son célèbre essai "On Fairy-Stories", pour conclure avec la réception critique que notre auteur a reçue dans le monde moderne et contemporain, et qui lui a aussi permis d’être l’un des auteurs les plus lus et influents du XXe siècle
This thesis focuses on the English writer John Ronald Reuel Tolkien (1892-1973), the famous author of The Lord of the Rings. Tolkien’s literary work gathers many writings, stories and two famous novels, such as The Hobbit (1936) and The Lord of the Rings (1954-1955), that achieved a great succes all over the world. At the beginning of his literary career Tolkien aimed at the creation of a mythology to his country, England. This ambition was matched with his juvenile passion of inventing languages and his profession as a philologist and Anglo-Saxon teacher at Oxford University. Middle-earth, Tolkien’s secondary world, becomes the place where his fairy tales occurs and his languages may develop. This work shows how Tolkien’s work fits in the context of contemporary literature and that his production involves many elements collecting mythology, philology, fantasy and modernity.It consists of three parts: in the first part, some of the themes and the mythological sources of Tolkien’s tales are analyzed, in particular the Finnish sources, the Medieval and poetic ones. Thesecond part, the linguistic matters concerning Tolkien's work are taken into consideration and, in particular, the way how languages may create a world and the relation between reality and the perception of such reality, which will inevitably influence the language referred to it.Finally, in the third part, the Fairy element, which is one of the bases of Tolkien’s work is discussed, as well as the reception of our author, both from the critique point of view and the audience one, so as to demonstrate why he may be considered as one of the greatest writers of the twentieth century

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Dufayet, Nathalie. "Le temps recommencé : fictions du mythe et écritures fantastiques dans les oeuvres de Gautier, Kafka, Ray, Lovecraft, Tolkien et Borges." Poitiers, 2007. http://www.theses.fr/2007POIT5028.

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L'appréhension moderne du temps se vide de ses attributs traditionnels : le sacré et la transcendance. Les anciennes réponses des oeuvres mythiques à l'angoisse de la fin et au fantasme de victoire sur l'entropie et sur la mort sont rejetées : le temps circulaire, l'immortalité et l'éternité. Mais ces phénomènologies révolues "ci-gîssent" dans le fantastique moderne, notamment chez Gautier, Kafka, Ray, Lovecraft, Tolkien et Borges. Sauf pour Tolkien, ces cadavres sacrés sont des moyens et non des fins grâce auxquels ils initient une priorité et une tradition esthétiques communes : faire valoir notre plaisir à imaginer l'existence réécrite autrement. Tous organisent ainsi un renouvellement du temps et, par là, une résistance de l'imaginaire face aux dérives de la pensée née de la nouvelle fascination pour la rationalité, la matérialité et la linéarité ; le tout en réécrivant les mythes puis leurs évolutions ultérieures, les métaphysiques
Modern perceptions of time are divested of their traditional attributes : sacredness and transcendance. Previous responses of mythical works of art to the anxiety of the end and to the fantasm of victory over entropy and death are rejected : circular time, immortality, eternity. But these outgrown phenomenologies are "subjacent" to modern fantastic genre, especially to Gautier, Kafka, Ray, Lovecraft, Tolkien and Borges. Except for Tolkien, these sacred corpses are means and not ends through which to initiate a common aesthetic priority and tradition : the value of our pleasure in imagining existence rewritten differently. Thus, they all organise a process of time renewal and, through this, a resistance of the imagination to the thought of their time, originating from the fascination for rationality, materiality and linearity ; all this by rewriting myths and their mataphysical outcomes

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Goldie, David. "Les adaptations cinématographiques des romans de J. R. R. Tolkien, C. S. Lewis et J. K. Rowling." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3113.

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L’adaptation existe depuis les débuts du cinéma. Dès lors, le nombre de versions filmiques d’œuvres littéraires ne cesse de croître et l’adaptation reste au cœur de la production cinématographique partout dans. Toutefois nous constatons que l’adaptation se trouve dans une situation quelque peu paradoxale. Ce qui motive sa conception est également à l’origine de la majeure partie des critiques. D’une part, le bénéfice économique est évident. La notoriété d’un roman à succès garantit un public nombreux. D’autre part, le contexte créatif se révèle difficile car, du point de vue ontologique, l’adaptation préserve la comparaison traditionnelle en s’appuyant sur un paradigme oppositionnel des arts où le film se doit de se justifier face au texte source. Se situant à la croisée des arts, l’adaptation focalise un débat sur une hiérarchie notionnelle des arts où la narration à travers des images serait toujours perçue comme inférieure aux autres formes. Dans cette thèse, nous étudions ce phénomène dans le contexte de la résurgence de la fantasy lors des années 2000. Ce fait culturel du monde anglophone atteindra un niveau inattendu au cinéma avec le succès des adaptations des romans de J. R. R. Tolkien et de J. K. Rowling tandis que la réception des versions filmiques des œuvres de C. S. Lewis peut paraître mitigée. À partir de ces constats, nous nous interrogeons parallèlement sur le processus et le produit de l’adaptation en plaçant notre corpus au centre du débat à travers une approche descendante de comparaison. Nous espérons ainsi pouvoir apporter quelques éléments de réflexion sur l’engouement du public pour ces histoires et sur l’adaptation comme domaine d’étude
Adaptation has been a part of cinema since its very beginning. Since then, the number of film versions of literary works which appear on screen has never ceases to increase and adaptation is still at the heart of cinematic production around the world. Adaptation actually exists in a rather paradoxical situation. What motivates its conception is also the source of the majority of criticism against it. On one hand, the economic advantage is clear. The fame of a popular novel guarantees a large audience. On the other hand, its creative context can prove to be difficult since ontologically adaptation serves to preserve the traditional comparison based on an oppositional paradigm of the arts where the film has to justify itself in front of the source text. Standing at a crossroads between the arts, adaptation is the focus of a debate on a notional hierarchy within the arts where narration through images could still be perceived as inferior compared to other forms.We wanted to study this phenomenon within the context of the resurgence of fantasy witnessed in the 2000’s in this thesis. In the English-speaking world this cultural event reached an unexpected level with the success of the adaptations of J. R. R. Tolkien and J. K. Rowling’s novels while the film versions of C. S. Lewis’ works were less well received. With these points in mind, we consider the process and the product of adaptation in order to situate our corpus in the debate through a top down approach of comparison. We thus hope to bring some elements of reflections on the craze for these stories and the domain of adaptation studies

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Requier-Ulrich, Sabine. "L' évolution de l'image de l'enfant personnage et de l'enfant lecteur entre les "Alice" de Lewis Carroll, "Le Hobbit" de J. R. R. Tolkien et "His Dark Materials" de Philip Pullman." Montpellier 3, 2009. http://www.biu-montpellier.fr/florabium/jsp/nnt.jsp?nnt=2009MON30052.

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La littérature pour la jeunesse connaît un essor extraordinaire depuis une vingtaine d'années, notamment grâce à des œuvres transcendant les catégories littéraires. Des récits-fleuves battent des records de vente, tels "His Dark Materials" de Philip Pullman (1995-2000). Cet engouement pour la lecture chez les enfants est un phénomène qui date de la naissance de la littérature pour la jeunesse, en 1865 avec la publication d'"Alice au pays des merveilles" de Lewis Carroll. En 1937, "Le hobbit" de J. R. R. Tolkien créa un nouveau genre, la "Fantasy", et rencontra un succès international. Dans une période où l'on s'interroge de plus en plus sur les compétences et l'appétit de lecture des enfants, la destinée de ces récits paraît singulière. Comment ont-ils, chacun à leur époque, réussi à attirer un jeune public aussi nombreux ? Quels sont les procédés narratologiques et esthétiques mis en place par les auteurs ? Quelles compétences leur lecteur peu expérimenté doit-il mettre en œuvre pour parvenir à faire du sens en cours de lecture ? Comment ces textes sucitent-ils et mettent-ils en œuvre ces compétences ? Enfin, après avoir été didactique pendant des siècles, la littérature pour la jeunesse est devenue pédagogique, mais elle est restée, hier comme aujourd'hui, un vecteur privilégié de valeurs pas nécessairement doxiques. Les positions axiologiques présentes dans chaque récit révèlent l'image qu'une société se fait des enfants et la place qu'elle leur accorde. A travers la philosophie éducative en filigrane derrière la présence de l'enfant personnage et dans la description en négatif que nous offre chaque récit de l'enfant lecteur se définit le portrait d'une société à une époque donnée
For about twenty years, children's literature has enjoyed an extraordinary boom, particularly thanks to crossover books which bridge the gap between adults and teenagers. Some sagas have become best-sellers, like "His Dark Materials" by Philip Pullman (1995-2000). Since the birth of children's literature in 1865 with the publication of "Alice in Wonderland" by Lewis Carroll, young readers have been infatuated with some narratives. In 1937, Tolkien created a new genre, Fantasy, with "The Hobbit", which became successful worlwide. At a time when we are questioning children's reading skills - as well as their desire to read - the destiny of these novels seems quite remarkable. How have they managed to appeal to so many young readers for years ? What are the narratological and aesthetic devices used by their authors ? What skills are inexperienced readers supposed to use in order to understand the meaning of a text while reading it ? How do such texts bring out and implement these reading skills ? Moreover, after being didactic for centuries, children's literature has become pedagogical, but has always remained an ideal way to transmit values which are not necessarily doxic. The axiological positions in each narrative reveal the idea a society gets of its children and the importance it gives them. Through the educational philosophy embodied in the presence of child characters and the indirect description of the child reader given by each text, we can delineate the portrait of a society at a given time

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Klautau, Diego Genú. "O Bem e o Mal na Terra Média A filosofia de Santo Agostinho em O Senhor dos Anéis de J.R.R. Tolkien como crítica à modernidade." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/2048.

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The Good and the Evil had always been questions that had worried the humanity. Either through the religion, of the philosophy, and the art, such subjects had been always boarded for the men. The justification of this research if places in the reflection of an existence of meaning and wisdom in previous times to modernity. For this, its existence would be to uncurl for the progress and release of the man, declassifying everything what it existed before as loss and useless time. The Christianity of Saint Augustin answers of different form to such questions. In the literature of Tolkien, these expressions many times if touch and if they move away. The bankruptcy of the modern proposals promotes in the literature of Tolkien a possibility to find this quarrel. Through diverse mithological sources and of medieval Christian traditions, Tolkien creates, or ` sub-creates ', a world where the Good and the Evil are explicit, at the same time subtle and almost tenuous. The time is not everything. Nor everything is justified for history. Something, that passes for history, but is not imprisoned it, it is presents in the literary composition of Tolkien. To try to understand this tension, between the presence of history and the movement of release of it, is necessary to understand what it is the Good and what is the Evil, therefore compelling categories of the critical in the literary composition of The Lord of the Rings. The basic method is the bibliographical revision, through the interpretation of the literature as constituted of philosophy of Augustin, and thus presenting a critical one to the historical context where it was produced. As general procedure of reasoning we elaborate the script of research, based on the evidence of the hypothesis evaluating the personages pf The Lord of the Rings as keys for the understanding of the concepts of Good and Evil in a augustinian reading. To recognize in a fantastic literature, a meeting of the man with its deep reflections, of ethical and moral nature, the said virtues cardinals of Saint Augustin, based on a work of literary and historical research, is a felt way for the proper one of the life
O Bem e o Mal sempre foram questões que preocuparam a humanidade. Seja através da religião, da filosofia, e da arte, tais temas foram sempre abordados pelos homens. A justificativa desta pesquisa se coloca na reflexão de uma existência de significado e sabedoria em tempos anteriores à modernidade. Para esta, sua existência seria o desenrolar para o progresso e libertação do homem, desclassificando tudo o que existia antes como perda de tempo e inútil. O Cristianismo de Santo Agostinho responde de forma diferente a tais questões. Na literatura de Tolkien, estas expressões muitas vezes se tocam e se afastam. A falência das propostas modernas promove na literatura de Tolkien uma possibilidade de encontrar esta discussão. Através de diversas fontes mitológicas e de tradições cristãs medievais, Tolkien cria, ou sub-cria , um mundo em que o Bem e o Mal são explícitos, ao mesmo tempo sutis e quase tênues. O tempo não é tudo. Nem tudo se explica pela história. Algo, que passa pela história, mas não está presa a ela, se apresenta na obra literária de Tolkien. Para tentar entender esta tensão, entre a presença da história e o movimento de libertação dela, é necessário entender o que é o Bem e o que é o Mal, pois categorias impulsionadoras da crítica presente na obra literária O Senhor dos Anéis. O método básico é a revisão bibliográfica, através da interpretação da literatura como constituída de filosofia de Agostinho, e assim apresentando uma crítica ao contexto histórico em que foi produzida. Como procedimento geral de raciocínio elaboramos o roteiro de pesquisa, baseado na comprovação da hipótese avaliando os personagens de O Senhor dos Anéis como chaves para a compreensão dos conceitos de Bem e de Mal numa leitura agostiniana. Reconhecer numa literatura fantástica, um encontro do homem com suas reflexões profundas, de natureza ética e moral, as ditas virtudes cardeais de Santo Agostinho, baseada num trabalho de pesquisa literária e histórica, é um caminho para o próprio sentido da vida

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Ciencia, Ana Claudia Bertini [UNESP]. "Da Camelot arturiana à Terra-média: representações da mulher em Le morte Darthur e the Lord of the rings." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/99136.

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O problema da representação da mulher é um tema instigante, passando por esferas sociais, econômicas e políticas. Nosso foco, aqui, se volta para a literatura, mais especificamente para dois autores que acreditamos trabalhar com perfis do ideário medieval. O primeiro, Thomas Malory, viveu durante o século XV, e compôs a obra mais alta do ciclo arturiano na Idade Média inglesa. Já o segundo, John Ronald Reuel Tolkien, é um autor do século XX; é trazido à luz devido à harmonia que, acreditamos, existe entre a caracterização de suas personagens femininas e alguns elementos medievais — alguns, inclusive, do próprio ciclo arturiano. Valendo-nos da teoria literária e de algumas teorias críticas feministas, investigamos a representação da mulher nas obras A morte de Artur, de Malory, e O senhor dos anéis, de Tolkien. Após contextualizarmos historicamente o papel da mulher na sociedade, identificamos as características das personagens femininas que condizem (ou não) com determinados perfis, propondo, também, uma análise comparativa entre as duas obras supracitadas.
The issue of woman representation is an instigating theme, related to social, economic and political spheres. Our focus, here, is directed to literature, more specifically to two authors we believe that deal with medieval ideary profiles. The first of them, Thomas Malory, lived during the 15th century, and wrote the masterpiece of the Arthurian Cycle in English Middle Ages. The second, John Ronald Reuel Tolkien, is a 20th century author; he is brought in due to the harmony we believe there is between the characterization of his female characters and some medieval elements — some of them from the Arthurian Cycle itself. Based on literary theory and some feminist critical theories, we investigated women representation in the works Le Morte Darthur, by Thomas Malory, and The Lord of the Rings, by Tolkien. After contextualizing woman’s role historically in society, we identified female characters aspects that match (or not) with some profiles, proposing, also, a comparative analysis between the two works.

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Bourgeois, Chrystel. "Le tissage de la mythologie dans la Fantasy anglo-saxonne." Paris 13, 2010. http://www.theses.fr/2010PA131004.

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Dans cette thèse, nous abordons le problème de l’écriture d’un monde comme tissage métaphorique en nous intéressant aux œuvres de trois auteurs de Fantasy anglo-saxonne : J. R. R. Tolkien (The llord of the Rings, The Hobbit, The Silmarillon), C. S. Lewis (The Chronicles of Narnia) et J. K. Rowling (Harry Potter). Notre analyse porte sur la manière dont les auteurs tissent le monde de la subcréation, empruntant à la mythologie des éléments qu’ils réinsèrent à leur propre mythologie, fils mythologiques dont l’entrelacement donne du poids à l’univers de la Fantasy. Le processus de création, de construction d’un monde apparaît comme une activité complexe qui ne se limite pas à l’aspect narratif d’une histoire, mais repose sur divers paramètres, la superposition de multiples « couches de tissu » qui a une incidence sur la solidité de l’ouvrage finalisé. Dans notre travail, nous évoquons trois aspects de ce tissage « à plusieurs échelles » : la toile sur fond mythologique que les auteurs tissent pour apporter un cadre à la fiction, les motifs du mal ourdis sur toile de fond, puis les figures tisserandes, qu’elles soient représentées au sein du texte ou qu’elles se matérialisent sous la forme de l’auteur lui-même
In this thesis, we tackle the problem of the writing of a world as a metaphorical weaving, taking an interest in the works of three authors of anglo-saxon’s Fantasy. J. R. R. Tolkien (The Lord of the Rings, The Hobbit, The Silmarillion), C. S. Lewis (The Chronicles of Narnia) and J. K. Rowling (Harry Potter). Our analysis deals with the way the authors weave the world of subcreation, borrowing from mythology elements that they reinsert into their own mythology, mythological threads whom intertwining gives weight to the universe of Fantasy. The process of creation construction of a world, appears to be a complex activity which is not limited to the narrative aspect of a story, but rests upon various parameters, the superposition of multiple “lays of material” that has an incidence on the solidity of the finalized work. In our thesis, we evoke three aspects of this “several-scales” weaving : the mythological backdrop woven by the authors to give a setting to the fiction, the patterns of evil woven on this canvass, then the weaver figures, being represented within the text or being materialized under the form of the author himself

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Lauro, Reno E. "Beyond the colonization of human imagining and everyday life : crafting mythopoeic lifeworlds as a theological response to hyperreality." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3207.

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This work takes up urban historian Lewis Mumford's concern for the phenomena of planned and imposed ordering of human life and societies. Mumford (and others) suggests the problem consists in the use of external plans, technologies (and media) to manipulate, dominate, and even coerce forms of life. It is seen at its worst in war, and even forced systems like Nazism and Stalinism. But these phenomena also take more attractive and seemingly enriching forms. We will focus (along with Daniel Boorstin and Umberto Eco in their own way) on forms which have massively developed in 20th and 21st century society: market and consumer saturation, shaped by dominating mass electronic media. This situation is developed imaginatively, and inventively, yet problematically, in Jean Baudrillard's theory of Hyperreality –a critique of the Western hyper-consumer and media saturated world. But his methods and pictures are not followed here. We take up a very different approach and diagnosis; This approach has become increasingly multidisciplinary: phenomenological, praxeological, anthropological, and philological. We build it up in a reading of human lifeworlds in philosophers Martin Heidegger and Ludwig Wittgenstein, and anthropologist Tim Ingold. This work does not go in for a picture of language (and cinema) as a system of signification, but as Ludwig Wittgenstein describes it, as tools always already involved in forms of life. We also offer a unique characterization of corporeal imagining and the imaginative creation of lifeworlds, paving the way for what is described as philological resistance: this resistance is seen in the development of a certain praxeological philology and fully realized in the 20th century author J. R. R. Tolkien's mythopoeic concerns. We focus particularly on what we call the double- transfer: the cyclic structure between human artistry and life-world building, each shaped by the other. We endeavor, along with Mumford and others, to counter colonization and find various less manipulated and un-coerced forms of life, and their informal organizing structures. We examine in detail Tolkien's literary and philological project; and the 20th and 21st century's first art form –cinema. Through the philosophical exploration of cinematic craft in Gilles Deleuze, and in the craft of Terrence Malick we see, and are taken up in, the inextricable relationship between how we make, what we make and how we live everyday life.

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Marques, Mirane Campos [UNESP]. "Da floresta ao guarda-roupa: the Lion, the Witch and the Wardrobe eo caminho para Faërie." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/99098.

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Este trabalho propõe-se a rediscutir o conceito corrente de conto de fadas, tal como proposto por autores como Jolles (1976) e Propp (1983), a partir de um contraponto dessas teorias com as formulações de J. R. R. Tolkien em seu ensaio “Sobre histórias de fadas” (2006). Partindo dessa revisão, pretende-se demonstrar como As crônicas de Nárnia, de C. S. Lewis, pode ser lida como o que Tolkien denomina “história de fadas”, pois a presença da oposição entre o “mundo real”, com tempo e espaço histórico bem definidos, e o mundo maravilhoso ou “outro mundo” parece ser um fator decisivo para diferenciar um conto de fadas de uma história de fadas
This research proposes to revisit the current concept of fairy tale as proposed by authors such as Jolles (1976) and Propp (1983), counterpointing those theories with the formulations of J.R.R. Tolkien in his essay “On Fairy-Stories” (2006). The aim is to demonstrate how The Chronicles of Narnia, by C. S. Lewis, can be read as a fairy story according to Tolkien, since the presence of an opposition between the real world, with well defined time and historical space, and the wonderful world or other world seems to be a decisive factor to differentiate a fairy tale from a fairy story

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Langwith, Mark J. "'A far green country' : an analysis of the presentation of nature in works of early mythopoeic fantasy fiction." Thesis, University of St Andrews, 2007. http://hdl.handle.net/10023/313.

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This study undertakes an examination of the representation of nature in works of literature that it regards as early British ‘mythopoeic fantasy’. By this term the thesis understands that fantasy fiction which is fundamentally concerned with myth or myth-making. It is the contention of the study that the connection of these works with myth or the idea of myth is integral to their presentation of nature. Specifically, this study identifies a connection between the idea of nature presented in these novels and the thought of the late-Victorian era regarding nature, primitivism, myth and the impulse behind mythopoesis. It is argued that this conceptual background is responsible for the notion of nature as a virtuous force of spiritual redemption in opposition to modernity and in particular to the dominant modern ideological model of scientific materialism. The thesis begins by examining late-Victorian sensibilities regarding myth and nature, before exposing correlative ideas in selected case studies of authors whose work it posits to be primarily mythopoeic in intent. The first of these studies considers the work of Henry Rider Haggard, the second examines Scottish writer David Lindsay, and the third looks at the mythopoeic endeavours of J. R. R. Tolkien, the latter standing alone among the authors considered in these central case studies in producing fiction under a fully developed theory of mythopoesis. The perspective is then widened in the final chapter, allowing consideration of authors such as William Morris and H. G. Wells. The study attempts to demonstrate the prevalence of an identifiable conceptual model of nature in the period it considers to constitute the age of early mythopoeic fantasy fiction, which it conceives to date from the late-Victorian era to the apotheosis of Tolkien’s work.

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Bergue, Viviane. "La quête : mythe central de la fantasy." Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20045.

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La Fantasy est aujourd’hui l’un des genres majeurs des littératures de l’Imaginaire et l’un des plus prolifiques. Revendiquant le statut de littérature mythique de notre époque, elle puise ostensiblement son inspiration dans les récits mythologiques et les contes tout en organisant la majorité de ses récits autour d’une quête centrale. Celle-ci, parce qu’elle ne cesse de ressurgir dans les espaces-temps de la Fantasy, parce qu’elle implique toujours des êtres surnaturels mythiques associés aux commencements du monde, à l’instar des Elfes, et parce que, racontée au passé, elle devient objet d’un récit renvoyant à un passé disparu, fonctionne comme un véritable mythe du genre.Le présent ouvrage vise à étudier plus avant ce mythe questuel de la Fantasy afin d’en dégager les constantes et de mettre à jour les thématiques privilégiées par le genre. À travers l’analyse comparative du «Seigneur des Anneaux» et du «Silmarillion» de J.R.R. Tolkien, du cycle de «Terremer» d’Ursula K. Le Guin et du roman «La Glace et la Nuit. Opus un – Nigredo» de Léa Silhol, l’étude replace le mythe questuel de la Fantasy dans l’histoire littéraire et souligne, sous sa gangue faussement archaïque, la modernité du genre et sa pertinence comme discours sur la condition humaine
Fantasy is now one of the major literary genres of imaginative fiction and one of the most prolific. Claiming to be the mythic literature of our time, it is mainly inspired by mythological narratives and fairy-tales, and it often organises its stories around a central quest. Since that quest constantly reappears in Fantasy space-times, often implies mythic supernatural beings, such as Elves, and becomes the object of a tale about a lost past, it functions as a genuine myth inside the genre.The present study intents to analyse the Fantasy quest myth in order to highlight its main aspects, and, through them, the favourite themes of Fantasy fiction. Through the comparative analysis of J.R.R. Tolkien’s «The Lord of the Rings» and «The Silmarillion», Ursula K. Le Guin’s «Earthsea Series» and Léa Silhol’s «La Glace et la Nuit. Opus un – Nigredo», the Fantasy quest myth is replaced in the literary history. Besides the analysis shows that, despite its apparent archaic aspects, Fantasy fiction is a modern genre and a relevant discourse about human condition

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Allington, Daniel. "Discourse and the reception of literature : problematising 'reader response'." Thesis, University of Stirling, 2008. http://hdl.handle.net/1893/507.

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In my earlier work, ‘First steps towards a rhetorical hermeneutics of literary interpretation’ (2006), I argued that academic reading takes the form of an argument between readers. Four serious weaknesses in that account are its elision of the distinction between reading and discourse on reading, its inattention to non-academic reading, its exclusive focus on ‘interpretation’ as if this constituted the whole of reading or of discourse on reading, and its failure to theorise the object of literary reading, ie. the work of literature. The current work aims to address all of these problems, together with those created by certain other approaches to literary reading, with the overall objective of clearing the ground for more empirical studies. It exemplifies its points with examples drawn primarily from non-academic public discourse on literature (newspapers, magazines, and the internet), though also from other sources (such as reading groups and undergraduate literature seminars). It takes a particular (though not an exclusive) interest in two specific instances of non-academic reception: the widespread reception of Salman Rushdie’s novel The Satanic Verses as an attack on Islam, and the minority reception of Peter Jackson’s film trilogy The Lord of the Rings as a narrative of homosexual desire. The first chapter of this dissertation critically surveys the fields of reception study and discourse analysis, and in particular the crossover between them. It finds more productive engagement with the textuality of response in media reception study than in literary reception study. It argues that the application of discourse analysis to reception data serves to problematise, rather than to facilitate, reception study, but it also emphasises the problematic nature of discourse analysis itself. Each of the three subsequent chapters considers a different complex of problems. The first is the literary work, and its relation to its producers and its consumers: Chapter 2 takes the form of a discourse upon the notions of ‘speech act’ and ‘authorial intention’ in relation to literature, carries out an analysis of early public responses to The Satanic Verses, and puts in a word for non-readers by way of a conclusion. The second is the private experience of reading, and its paradoxical status as an object of public representation: Chapter 3 analyses representations of private responses to The Lord of The Rings film trilogy, and concludes with the argument that, though these representations cannot be identical with private responses, they are cannot be extricated from them, either. The third is the impossibility of distinguishing rhetoric from cognition in the telling of stories about reading: Chapter 4 argues that, though anecdotal or autobiographical accounts of reading cannot be taken at face value, they can be taken both as attempts to persuade and as attempts to understand; it concludes with an analysis of a magazine article that tells a number of stories about reading The Satanic Verses – amongst other things. Each of these chapters focuses on non-academic reading as represented in written text, but broadens this focus through consideration of examples drawn from spoken discourse on reading (including in the liminal academic space of the undergraduate classroom). The last chapter mulls over the relationship between reading and discourse of reading, and hesitates over whether to wrap or tear this dissertation’s arguments up.

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"架空世界的變形與再生: 《魔戒》奇幻語言中譯研究." 2013. http://library.cuhk.edu.hk/record=b5549239.

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《魔戒》（The Lord of the Rings）是現代奇幻小說的代表作品，由英國語文學家、牛津大學教授托爾金創作，自二十世紀五十年代中期分三卷出版後，帶動了奇幻小說此一文學類型在英美的興起。現在流行的奇幻小說，不少仿照了托爾金《魔戒》的架構和寫法。
現代奇幻小說核心概念之一，是要建構一個令讀者信任的“架空世界。小說家為了創造這種獨立存在的想像世界，各出奇謀，手法不一。托爾金塑造架空世界的技巧，很大程度上來自他愛好並從事研究的領域--語言及其歷史發展。在《魔戒》的架空世界中，托爾金刻意經營了一個獨特的語言系統，本研究稱之為“奇幻語言。這個系統至少涵蓋古語、新創語和命名系統三個層面：古語隱含“中土大地種族發展的歷史；新創語映現了種族不同而語言各殊的現象；命名系統則是前兩者的集中呈現。三者互有關聯，其相互作用加強了架空世界的内部邏輯。
本研究擬從奇幻語言這三個層面入手，結合中國語言及文學的特色，分析四個《魔戒》中譯本的處理手法，藉此探討不同中譯本分別呈現出來的《魔戒》面貌，以及譯文衍生的變異狀況。本研究的分析指出，架空世界的成功變形與再生，有賴譯者對作者奇幻構想的整全掌握，並在譯文中重建一套與作者奇幻構思契合、而又自洽自足的內部邏輯。
The Lord of the Rings (LOTR) by John Ronald Reuel Tolkien (1892-1973) marked the birth of modern fantasy fiction as a genre when it was published in three volumes in the 1950s. The structure and writing techniques of LOTR have been imitated by many fantasy novels since then.
Constructing a trustworthy “Secondary World is one of the most important aims of modern fantasy novels. To reach that goal, novelists employ various methods to create such an independent existence. Tolkien’s techniques in building his Secondary World come largely from Philology, his specialized research area which studies the histories of, and relationships between, languages. An ingenious language system, named in this thesis as “fantastic language, is designed and embedded into the story of LOTR by Tolkien. It covers at least three aspects, namely archaism, invented languages and nomenclature. Archaism indicates and suggests a long history behind the Middle-earth; invented languages show how languages differ among various races; nomenclature is the intersection of the former two aspects. The interaction between the three aspects of the fantastic language enhances the inner logic of the Secondary World, making it appear to be more consistent and real.
This thesis will analyze and discuss different representations of Tolkien’s Secondary World by exploring four Chinese translations of fantastic language in LOTR with reference to specific features of Chinese language and literature. This thesis points out that the successful transformation and re-creation of a Secondary World depends on a thorough understanding of the author’s imagination, and a re-construction of a self-consistent logic compatible with the author’s design.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
張甜.
"2013年7月".
"2013 nian 7 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 194-211).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Zhang Tian.
摘要 --- p.ii
Chapter 第一章 --- 緒論 --- p.5
Chapter 一、 --- 研究對象 --- p.5
Chapter 二、 --- 各章簡介 --- p.9
Chapter 三、 --- 文獻回顧 --- p.10
Chapter 四、 --- 研究價值和方法 --- p.15
Chapter 第二章 --- 奇幻文學發展和特點 --- p.17
Chapter 一、 --- 奇幻的範圍 --- p.17
Chapter 1.1. --- 奇幻文學：廣義與狹義 --- p.19
Chapter 1.2. --- 以“文學類型界定奇幻文學 --- p.21
Chapter 二、 --- 奇幻創作理論基礎 --- p.29
Chapter 2.1. --- “架空世界誕生宣言 --- p.29
Chapter 2.2. --- 令人信服的驚奇感 --- p.30
Chapter 2.3. --- 從《哈比人》到《魔戒》 --- p.32
Chapter 2.4. --- 《魔戒》的奇幻技巧 --- p.34
Chapter 第三章 --- 《魔戒》架空世界和語言的關係 --- p.36
Chapter 一、 --- 《魔戒》與語言 --- p.36
Chapter 二、 --- 托爾金的語言世界 --- p.37
Chapter 2.1. --- 對語音的敏感認知 --- p.37
Chapter 2.2. --- 對古老語言的愛好 --- p.38
Chapter 2.3. --- 從欣賞語言到新創語言 --- p.40
Chapter 2.4. --- 從感性探索到科學研究 --- p.41
Chapter 三、 --- 托爾金的文學世界 --- p.42
Chapter 3.1. --- 民間故事研究熱潮 --- p.42
Chapter 3.2. --- 文學團體互動啓發 --- p.45
Chapter 四、 --- 三個奇幻世界與兩次語言轉變 --- p.46
Chapter 4.1. --- 世界一的奇幻圖景 --- p.47
Chapter 4.2. --- 偽譯以及世界二 --- p.50
Chapter 4.2.1. --- 溝通世界一與世界二的橋樑：偽譯 --- p.50
Chapter 4.2.2. --- 世界二的語言結構 --- p.51
Chapter 4.2.3. --- 世界一到世界二的變形 --- p.52
Chapter 4.2.4. --- 奇幻語言之三個層面：互動及比重 --- p.55
Chapter 4.3. --- 中譯以及世界三 --- p.56
Chapter 第四章 --- 《魔戒》古語之中譯 --- p.59
Chapter 一、 --- 奇幻小說中的古語 --- p.59
Chapter 1.1. --- 古語的定義 --- p.59
Chapter 1.2. --- 古語的流行與誤區 --- p.60
Chapter 二、 --- 《魔戒》古語及其中譯 --- p.60
Chapter 2.1. --- 《魔戒》古語中譯之困難 --- p.61
Chapter 2.2. --- 古老的詞彙 --- p.62
Chapter 2.3. --- 古老的語法 --- p.67
Chapter 2.3.1. --- 詞形變化 --- p.67
Chapter 2.3.2. --- 前置句式 --- p.68
Chapter 2.3.3. --- 分句關係 --- p.70
Chapter 2.4. --- 古老的寫作技巧 --- p.71
Chapter 2.4.1. --- 套語 --- p.71
Chapter 2.4.2. --- 詩文結合 --- p.73
Chapter 2.4.2.1. --- 洛汗人詩歌 --- p.73
Chapter 2.4.2.2. --- 哈比人詩歌 --- p.77
Chapter 2.4.2.3. --- 精靈詩歌 --- p.82
Chapter 2.4.2.4. --- 湯姆龐巴迪的詩歌 --- p.89
Chapter 第五章 --- 《魔戒》命名系統之中譯 --- p.97
Chapter 一、 --- 一般文學與奇幻文學的名字 --- p.97
Chapter 1.1. --- 有意義的虛構名字 --- p.97
Chapter 1.2. --- 奇幻小命名系統的重要性 --- p.98
Chapter 1.3. --- 《魔戒》命名系統的獨特之處 --- p.100
Chapter 二、 --- 《魔戒》命名系統翻譯：托爾金的觀點 --- p.100
Chapter 2.1. --- 〈命名〉提倡的翻譯方法 --- p.101
Chapter 2.2. --- 〈命名〉對中文譯者指導作用的局限性 --- p.103
Chapter 三、 --- 《魔戒》命名系統中譯研究 --- p.103
Chapter 3.1. --- 中文人地名翻譯規範 --- p.104
Chapter 3.2. --- 哈比人名和夏爾地名 --- p.105
Chapter 3.2.1. --- 哈比人名 --- p.105
Chapter 3.2.1.1. --- 熟悉又陌生的哈比人名 --- p.105
Chapter 3.2.1.2. --- 透明的哈比人姓氏 --- p.106
Chapter 3.2.1.3. --- 不透明的哈比人姓氏 --- p.107
Chapter 3.2.1.4. --- 不可譯元素 --- p.108
Chapter 3.2.2. --- 夏爾地名 --- p.110
Chapter 3.2.2.1 --- 透明的夏爾地名 --- p.110
Chapter 3.2.2.2 --- 半透明的夏爾地名 --- p.111
Chapter 3.2.3. --- 重要人名與地名 --- p.113
Chapter 3.2.4. --- 夏爾人地名總結 --- p.113
Chapter 3.3. --- 布理姓氏 --- p.114
Chapter 3.3.1. --- 作品描述影響譯名 --- p.114
Chapter 3.3.2. --- 出現偏差的意譯 --- p.116
Chapter 3.3.3. --- 布理姓氏中譯總結 --- p.117
Chapter 3.4. --- 洛汗人名、馬名和地名 --- p.117
Chapter 3.4.1. --- 洛汗人名 --- p.118
Chapter 3.4.2. --- 洛汗馬名 --- p.119
Chapter 3.4.3. --- 洛汗地名 --- p.121
Chapter 3.4.4. --- 洛汗命名系統中譯總結 --- p.122
Chapter 3.5. --- 新創語人名和地名 --- p.122
Chapter 第六章 --- 《魔戒》新創語之中譯 --- p.124
Chapter 一、 --- 多語文本之中譯 --- p.124
Chapter 二、 --- 《魔戒》裡的新創語 --- p.126
Chapter 2.1. --- 新創語的地位 --- p.126
Chapter 2.2. --- 《魔戒》新創語分類 --- p.127
Chapter 三、 --- 《魔戒》新創語之中譯 --- p.128
Chapter 3.1. --- 圖片形式的新創語翻譯 --- p.128
Chapter 3.2. --- 文字形式的新創語翻譯 --- p.133
Chapter 3.2.1. --- 篇幅較長的新創語翻譯 --- p.133
Chapter 3.2.2 --- 新創語詞彙片語之翻譯 --- p.136
Chapter 3.2.2.1. --- 《魔戒》洛汗語和矮人語翻譯 --- p.137
Chapter 3.2.2.2. --- 《魔戒》樹人語、半獸人語和黑話翻譯 --- p.139
Chapter 3.2.2.3. --- 《魔戒》精靈語翻譯 --- p.142
Chapter 第七章 --- 結論 --- p.147
Chapter 附錄一 --- 中英譯名對照 --- p.154
Chapter 附錄二 --- 《魔戒》種族人名地名中譯表 --- p.156
Chapter 附錄三 --- 《魔戒》命名系統指南 --- p.168
参考書目 --- p.194

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Dagenais-Pérusse, Michel. "Mythe et sacré : le pouvoir des mots dans le Seigneur des anneaux." Mémoire, 2008. http://www.archipel.uqam.ca/1996/1/M10681.pdf.

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D'enfant intrigué par des inscriptions en gallois, Tolkien évolue vers un apprentissage précoce du latin, du grec et de nombreuses langues anciennes. Sa passion pour les langues ne se dément pas: bientôt il travaille à l'élaboration de langues inventées basées sur le finnois, puis il fonde un club de lecture de sagas en norrois. Dans son étude des langues, il s'intéresse aux anciens textes qui recèlent leur évolution: très vite, pour lui, le langage et le mythe sont indissociables. Le langage génère du mythe et ce dernier survit à travers les langages. Du propre aveu de l'auteur, c'est pour donner vie à ses langues inventés qu'il créa leur monde: « [...] il lui fallait une « histoire » pour lui servir de base. [...] Il mettait ce langage au point, maintenant il lui fallait trouver les gens dont ce serait la langue. » (Carpenter, 2002). En marge de ses recherches universitaires, il construit donc sa mythologie personnelle, un travail étalé sur toute une vie dont quelques vingt ans sur le seul Seigneur des Anneaux pour lequel il s'attarde minutieusement sur chaque mot: « It was begun in 1936, and every part has been written many times. Hardly a word in its 600 000 or more has been unconsidered. » (Carpenter, 1981). En parcourant la biographie de ce linguiste-écrivain, qui peut se surprendre de voir le langage comme personnage principal de son oeuvre Le Seigneur des Anneaux? Son récit se veut une reconstruction moderne basée sur les légendes anciennes qu'il affectionne et il y inclut à cet effet nombre des éléments langagiers, relevant souvent de la pensée mythique, qui donnent à ces récits anciens leur saveur particulière. Parmi ces éléments, nous avons relevé le traitement accordé à la nomination et celui accordé aux manifestations de la parole poétique que sont ces chants et poèmes que l'on retrouve égrenés dans la narration en prose. En premier lieu, nous exposerons l'intérêt de l'auteur pour le langage et les littératures médiévales (principalement germaniques et finnoise), notamment pour leurs techniques langagières particulières. Nous nous appuierons en cela sur ses essais consacrés aux sources et à la genèse du texte (Tolkien, 1981, 1997). Puis, nous mettrons en relief ce qui, de la pensée mythique, éclaire la perspective et l'utilisation par Tolkien du nom et de la parole poétique avec l'appui de l'essai de Mircea Eliade: Aspects du mythe. Ensuite, il nous faudra étudier la littérature médiévale germanique avec l'aide des ouvrages de Régis Boyer y ayant trait. Nous pourrons ensuite nous pencher sur la question du traitement de la nomination dans l'oeuvre de Tolkien: quel est sa nature, son sens et ses fonctions pour le récit et qu'est-ce qui la rattache à la pensée mythique? Enfin, nous nous intéresserons aux nombreux chants et poèmes propres à l'oeuvre. Nous verrons comment ils définissent des cultures, relatent un passé et des mythes; bref, comment ils ajoutent à la cohérence et à la profondeur de l'univers fictif dépeint. Ainsi, et plus que de simples artifices stylistiques, ces manifestations langagières singulières qui imprègnent Le Seigneur des Anneaux participent de la structure même du récit et sont étroitement liées à la pensée mythique: le langage, le mot, a un véritable pouvoir chez Tolkien. Voilà ce que ce travail tendra à démontrer. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Mythe, Nomination, Parole poétique, Fantasy.

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34

Van, der Merwe Claudia. "Representation of power in the lord of the rings and Malory." Diss., 2009. http://hdl.handle.net/10500/3356.

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Le, Lievre Kerrie Anne 1967. "The world is changing : ethics and genre development in three twentieth-century high fantasies / Kerrie Anne Le Lievre." 2003. http://hdl.handle.net/2440/22037.

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"December 2003"
Bibliography: leaves 249-263.
vii, 263 leaves ; 30 cm.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Thesis (Ph.D.)--University of Adelaide, School of Humanities, Discipline of English, 2004

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Potter, Mary-Anne. "Arboreal thresholds - the liminal function of trees in twentieth-century fantasy narratives." Thesis, 2018. http://hdl.handle.net/10500/25341.

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Trees, as threshold beings, effectively blur the line between the real world and fantastical alternate worlds, and destabilise traditional binary classification systems that distinguish humanity, and Culture, from Nature. Though the presence of trees is often peripheral to the main narrative action, their representation is necessary within the fantasy trope. Their consistent inclusion within fantasy texts of the twentieth century demonstrates an enduring arboreal legacy that cannot be disregarded in its contemporary relevance, whether they are represented individually or in collective forests. The purpose of my dissertation is to conduct a study of various prominent fantasy texts of the twentieth century, including the fantasy works of J.R.R. Tolkien, C.S. Lewis, Robert Holdstock, Diana Wynne Jones, Natalie Babbitt, and J.K. Rowling. In scrutinising these texts, and drawing on insights offered by liminal, ecocritical, ecofeminist, mythological and psychological theorists, I identify the primary function of trees within fantasy narratives as liminal: what Victor Turner identifies as a ‘betwixt and between’ state (1991:95) where binaries are suspended in favour of embracing potentiality. This liminality is constituted by three central dimensions: the ecological, the mythological, and the psychological. Each dimension informs the relationship between the arboreal as grounded in reality, and represented in fantasy. Trees, as literary and cinematic arboreal totems are positioned within fantasy narratives in such a way as to emphasise an underlying call to bio-conservatorship, to enable a connection to a larger scope of cultural expectation, and to act as a means through which human self-awareness is developed.
English Studies
D. Litt. et Phil. (English)

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