Tesi: "Lord of the Rings"

1

Steele, Brett. "Romancing the Ring : romance tropes in The Lord of the Rings". Diss., University of Pretoria, 2015. http://hdl.handle.net/2263/53471.

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This dissertation is an exploration of the Romance tropes that exist in J.R.R. Tolkien s The Lord of the Rings. It concentrates on the numerous Romance tropes and details evident in Tolkien s characters and setting while focusing on how these tropes function within the greater Romance genre. Examples from various other Romances are used to augment the argument, but particular mention is made of the Romances or pieces of literature that Tolkien translated and worked on in his lifetime, including: Sir Gawain and the Green Knight, Sir Orfeo, The Pearl, The Legend of Sigurd and Gudrún, The Fall of Arthur, and Beowulf. The dissertation focuses on Tolkien s The Lord of the Rings, which has been responsible for the renaissance of modern fantasy in the twentieth-century. It begins by raising the contentious issue of whether Tolkien s book may be regarded as a Romance. The work of Helen Cooper (2009), Gillian Beer (1970) and Northrop Frye (1973 and 1976) forms the basis of this theoretical discussion. The Romance tropes evident in the analysis of the characters and setting of The Lord of the Rings provide an interesting starting point for further discussion of the Romance tropes that exist elsewhere in Tolkien s work, and one hopes that more research into this will follow.
Dissertation (MA)--University of Pretoria, 2015.
English
MA
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2

Norlin, Susanne. "Neologisms in Lord of the Rings Online". Thesis, Mittuniversitetet, Avdelningen för humaniora, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-23128.

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3

Lobo, Jansson Stefan. "Lord of the Rings, Lord of Nature : A postcolonial-ecocritical study of J.R.R Tolkien's The Lord of the Rings and its implications in the EFL classroom". Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76582.

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This essay examines J.R.R Tolkien’s The Lord of the Rings through the application of a theoretical framework of postcolonial ecocriticism, endeavoring to discern the author’s concerns and the environmental and colonial underpinnings interwoven in the novel through a thematic analysis focusing on the concepts of pastoral, nature, wilderness and development. The results show that Tolkien undoubtedly projected his profound sentiments for environmental disruption as a product of a rapidly changing world during his lifetime. Although Tolkien’s trilogy is a work of high fantasy written in a different context, this essay argues that it is valid for scrutiny in relation to contemporary society. Furthermore, this study investigates the implementation of the text in the Swedish EFLclassroom with the purpose of raising students’ awareness for, and investment in the environment, whilst improving their all-round communicative skills, ultimately educating for a sustainable future.

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4

Dollard, Emma Louise. "J.R.R. Tolkien's the lord of the rings and appropriation". Thesis, University of Liverpool, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501582.

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This thesis rejects conventional critical work on appropriation, using The Lord of the Rings to illustrate a theory of appropriation as being an integral part of the creative process. Current researchers, exemplified by Sanders, argue that appropriation is characterised by a political agenda, and intention. The thesis argues that appropriation can be both deliberate and unconscious and demonstrates the difficulty of distinguishing between these states. Chapter one connects modem fantasy to imperial ideology by identifying the links between Tolkien and empire adventure writers. Tolkien's appropriations of northern European myths and medieval literatures have been extensively investigated; the few studies of his appropriation of more contemporary texts focus on The Hobbit.

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5

McClure, Lara S. "Rings of the Lord : the finger-ring as a devotional object in later Medieval England". Thesis, University of York, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428539.

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6

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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Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-06-27Bitstream added on 2014-06-13T20:20:10Z : No. of bitstreams: 1 pereira_alrm_me_arafcl.pdf: 611867 bytes, checksum: 441ea8ec6438d6b91c6e4dde1fbde7d1 (MD5)
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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7

Means, Jonathan Pullen. "The role of wonder in the Lord of the Rings". [Pensacola, Fla.] : University of West Florida, 2007. http://purl.fcla.edu/fcla/etd/WFE0000069.

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8

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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9

Pereira, André Luiz Rodriguez Modesto. "The Lord of the rings e a estética da finitude /". Araraquara : [s.n.], 2011. http://hdl.handle.net/11449/99086.

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Orientador: Karin Volobuef
Banca: Álvaro Luiz Hattnher
Banca: João Batista Toledo Prado
Resumo: 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.
Abstract: 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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10

Norlin, Susanne. "Functional shift and semantic change in Lord of the Rings Online". Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-21654.

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The purpose of this essay is to identify functional shifts and semantic changes in the Massively Multiplayer Online Role-Playing Game Lord of the Rings Online. The focus is on new uses of established terms in Standard English and the intent is to see how the word formation processes work in an online gaming environment, and identify the possible reasons behind them. Due to the lack of previous studies of language in Massively Multiplayer Online Role-Playing Games, the aim is to provide some insight into some of the language developments that occur in such an environment. A quantitative method has been utilised in order to distinguish patterns, and the material, in the form of chat logs, has been gathered from Lord of the Rings Online. The chat logs have then been used to create a corpus, and, from this point, a qualitative method has been employed. The corpus has been thoroughly analysed for the words which have undergone functional shifts and/or semantic changes, and a selection of these words are presented and discussed based on word formation process. The findings in this study seem to confirm that language changes in a Massively Multiplayer Online Role-Playing Game follow the same patterns as in other environments.

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11

Kerley, Allison. "The Culture of Nature in Tolkien's The Lord of the Rings". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/719.

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This thesis examines the intersection of culture and the environment in J.R.R. Tolkien's The Lord of the Rings, through a study and analysis of the Elves of Lothlórien, the Ents of Fangorn, and their respective landscapes.

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12

Crossley, Laura Rose. "One ring to bind them? : forging British national identity in Peter Jackson's The Lord of the Rings". Thesis, University of Manchester, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508513.

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13

Jakobsson, Hilda. "Queera hobbitar : Samkönat begär i J.R.R. Tolkiens The Lord of the Rings". Thesis, Stockholms universitet, Centrum för genusstudier, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-78519.

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Syftet med denna uppsats är att fokusera de queera ögonblicken i J.R.R. Tolkiens trilogi The Lord of the Rings för att visa att det queera finns i kulturen på samma sätt som det icke-queera. När är de två hobbitarna Frodos och Sams relation queer? Vad gör den queer? Hur kan vi förstå denna queerhet i termer av homosocialitet och homoerotik? Uppsatsen är inspirerad av Tiina Rosenbergs queera läsningar, jag använder mig dessutom av Adrienne Richs teori om "lesbisk kontinuitet" och Sedgwicks resonemang om manligt homosocialt begär. Jag har kommit fram till att Frodos och Sams relation rör sig mellan mer och mindre queerhet. Då den inte är statisk kan den inte förstås som renodlat homosocial eller homoerotisk. Däremot kan den ses som en del av en manlig samkönad kontinuitet, vilken inkluderar allt ifrån homosocialitet till homoerotik.

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14

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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15

Catalim, Esmeralda da Conceição Cunha. "trilogy of the Lord of the rings : from book to film, The". Master's thesis, Universidade de Aveiro, 2009. http://hdl.handle.net/10773/2803.

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Mestrado em Línguas , Literaturas e Culturas
Este trabalho é estudo comparativo e analítico da trilogia literária do J.R.Tolkien O Senhor dos Anéis, assim como da produção cinematográfica do director Peter Jackson quarenta anos depois da publicação dos livros. O objectivo é demonstrar que apesar de uma adaptação cinematográfica não conseguir substituir a obra literária, pode contudo, com a tecnologia de hoje, ser o seu complemento visual. Igualmente importante neste trabalho é o estudo sobre os grupos de fãs organizados, o franchisado publicitário cinematográfico e marketing criado à volta de uma publicidade virtual e de estreia global na nova era de filmes para uma audiência em massa. ABSTRACT: This is a comparative and analytical work of J.R.R. Tolkien literary trilogy The Lord of the Rings as well as the cinematographic production of Peter Jackson forty years after the publication of the books. The goal is to demonstrate that though a film adaptation will never replace the original literary work, it can be, however, its visual compliment or extension. Equally important, is the study of the organised fans and fandom, the publicity, marketing and film franchise that involves an online publicity andglobal release in a new cinematographic era for mass audiences.

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Upshaw, Quincey Vierling. "Structural Polarities In J.R.R. Tolkien's The Lord of the Rings". [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003017.

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Cheung, Ka-yee, e 張家怡. "A stylistic approach to J.R.R. Tolkien's: Thehobbit and The lord of the rings". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628612.

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18

Turner, Allan. "Problems in translating the philological elements in Tolkien's 'The Lord of the Rings'". Thesis, University of Newcastle Upon Tyne, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275514.

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19

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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Strandberg, Felix. "Fellowship and the Ring : Character Traits, Motivations and Class in The Lord of the Rings, the Novel Versus the Film Trilogy". Thesis, Stockholms universitet, Engelska institutionen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-61658.

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In this essay, I analyse the characters of Frodo and Aragorn in Tolkien’s The Lord of the Rings and Peter Jackson’s film trilogy in order to see if traits and relationships are consistent between the novel and the films. Any changes in characters and the ways they interact in relationships entail changes not only to the overarching narrative, but potentially to the most important themes of the story: friendship and heroism. This is important for the general discourse on the films as adaptations, since they have been accused of not being true to the thematic core of the source material. Peter Jackson’s claim that the intention was to always remain true to the spirit of Tolkien’s novel, then necessitates a closer comparison of the two works. Therefore, in investigating the characters I look not only for differences and similarities, but also for the repercussions these have on the story and the potential reasons behind them. By examining the characters from the perspective of the novel, the films and the filmmakers’ commentaries, I discuss how the removal of social class in the films changes the actions of the characters and consequently affects the themes of friendship and heroism. I also bring up the effects of changing from a novel to film as well as the symbiotic relationship between the character traits and the narrative as a whole. This essay shows that though the social class, character traits and the narrative flow are changed in a circular pattern. A closer look at the films reveals that the story’s core themes of friendship and heroism not only remain consistent, but are given more emphasis than in the novel.

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Ip, San Tou. "The problem of gender in J. R. R. Tolkien's The Lord of the Rings". Thesis, University of Macau, 2005. http://umaclib3.umac.mo/record=b1636185.

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22

Berg, Daniel. "The Sins of Boromir : Representations of Sin in J.R.R. Tolkien's Lord of the Rings". Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-38817.

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In this essay, Ralph C. Wood's religious-philosophical interpretation of LotR has been analyzed, with emphasis upon his conclusions about evil and sin in LotR. Some of Wood's claims about evil and sin in LotR have been applied upon the character Boromir, in order to show how sin is manifested as truth-transgression, pride, avarice, and misdirected love. A theoretical section is presented in order to define the concepts of sin, mimetic desire, and evil. The literary analysis focuses upon the character Boromir; the relevant works of literary scholas Ralph C. Wood and René Girard have been chosen as points of reference in this analysis. Attention is also given to an article by the historian Stephen Morillo, in the analysis of Norse pagan and Christian interpretations. It has been argued that a Christian reading of LotR, contrary to Morillo's standpoint, is possible.

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Cheung, Ka-yee. "A stylistic approach to J.R.R. Tolkien's The hobbit and The lord of the rings /". Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628612.

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Melanson, Michael. "Allegory, It Happens: A Multi-Perspective Case Study of The Lord of the Rings". Thesis, Stockholms universitet, Engelska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131399.

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Abstract (sommario):

Allegory is not obsolete as Samuel Coleridge and Johann Wolfgang von Goethe have claimed. It is alive and well and has transformed from a restrictive concept to a concept that is flexible and can form to meet the needs of the author or reader. The most efficient way to evidence this is by making a case study of it with a suitable work that will allow us to perceive its plasticity. This essay uses J.R.R. Tolkien’s The Lord of the Rings as a multi-perspective case study of the concept of allegory; the size and complexity of the narrative make it a suitable choice. My aim is to illustrate the plasticity of allegory as a concept and illuminate some of the possibilities and pitfalls of allegory and allegoresis. As to whether The Lord of the Rings can be treated as an allegory, it will be examined from three different perspectives: as a purely writerly process, a middle ground of writer and reader and as a purely readerly process. The Lord of the Rings will then be compared to a series of concepts of allegorical theory such as Plato’s classical “The Ring of Gyges”, William Langland’s classic The Vision of William Concerning Piers the Plowman and contemporary allegories of racism and homoeroticism to demonstrate just how adaptable this concept is. The position of this essay is that the concept of allegory has changed over time since its conception and become more malleable. This poses certain dangers as allegory has become an all-round tool for anyone to do anything that has few limitations and has lost its early rigid form and now favours an almost anything goes approach.

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Bird, Tanya. "Freedom and shared storytelling in J R R Tolkien's "The Lord of the Rings"". Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/26443.

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This thesis explores the freedom of shared storytelling in Tolkien's seminal essay, "On Fairy-Stories," and applies these principles to his fiction. In The Lord of The Rings, authentic storytelling is developed not through domination of others, but within the context of free relationships. Ultimately, the literary freedom that the author enjoys, and extends to the audience or to characters, is grounded in the Primary Creator's gift of freedom and invitation to engage in "subcreation." While Sauron ruptures the subcreative relationship by forging the ring of power to dominate others ("magic"), the elves, hobbits and other creatures share narrative ("enchantment"), affirming being through "recovery." Recovery counteracts Sauron's determinism and enables hope for "eucatastrophe," the redemptive grace at the heart of stories. Tolkien offers a unique alternative to secular models of literary freedom: human agency may be represented in literature not only through independence from divine intervention, but also in collaboration with it.

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26

Painter, Jeremy Lee. "Inventing history : the rhetoric of history in J.R.R. Tolkien's The Lord of the Rings". Thesis, University of Pretoria, 2015. http://hdl.handle.net/2263/48955.

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As a scholar, Tolkien spent a great deal of time working from manuscripts. Likewise, as a storyteller, in The Lord of the Rings, Tolkien creates a narrative persona who bases his story on his compilation and translation of ancient manuscripts. This persona operates within his story’s narrative frame as an analogue for Tolkien’s own work with manuscripts. Readers have long sought for Tolkien’s sources. The mythologies of medieval Northern Europe have been especially beneficial in helping us understand the influences on Tolkien. No study, however, currently exists that pursues the “manuscript sources” used by Tolkien’s narrative persona. But a reading that attempts to pursue these sources may also prove beneficial. Just as Tolkien inserts himself, in the form of his narrative persona, into the framework of Middle-earth, so also is the reader invited to read The Lord of the Rings from within this same framework. Tolkien wanted to his story to be read from inside Middle-earth as an artifact of history. This study will propose that—by simulating the kinds of phenomena around which a modern compiler of medieval manuscripts and stories has to work: fragmented manuscripts, lacunae, dittography, palimpsests, and variable texts—Tolkien has successfully distressed his story in such a way that it has gained the atmosphere of an ageing legend. The argument of this thesis is that Tolkien’s imitation of classical and medieval manuscript realities is even ambitious enough to suggest that Tolkien’s narrative persona has culled his story from the manuscripts of at least three major literary traditions, each of which is distinct in its interests, concerns, iconographies, historiographies, and themes. In addition to revealing where and how Tolkien has distressed his narrative, this study will also seek to identify what portions of the narrative belong to which of the three major traditions and tease out the implications of the interactions between them.
Thesis (DLitt)--University of Pretoria, 2015.
English
DLitt
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Hazekamp, Robyn. "Recovery, escape and consolation in the secondary worlds of The Lord of the Rings". Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/10589.

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Includes bibliographical references (leaves 96-100).
J.R.R. Tolkien's essay "On Fairy-Stories" lays out three essential functions that all good fairy stories should fulfil: recovery, escape, and consolation. To carry out these functions, the fairy story needs to create a believable Secondary World that is separate from the Primary World in which we live. In fact, Tolkien does this on two levels: the Secondary World of Middle-earth, and the inner Secondary World of the Elves.

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Ross, Larry J. "The use of Tolkien's 'The lord of the rings' trilogy in contemporary pre-evangelism". Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p001-1235.

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Thesis (D. Min.)--Dallas Theological Seminary, 2008.
Includes abstract. Appendix A: Pastor's guide to The lord of the rings : a resource for fellow pastors who love "The lord of the rings" / by Larry J. Ross. Includes bibliographical references (leaves 110-112).

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Røsberg, Ingalill. "Hva gjør film til god fortelling? : En analyse av virkemidler og karakterbeskrivelser i filmene The Lord of the Rings (1978) og The Lord of the Rings (2001-2003) av Ralph Bakshi og Peter Jackson". Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for nordistikk og litteraturvitenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-21538.

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Fahlén, Alexander. "Racial Issues in Middle-Earth : A Postcolonial Perspective on J.R.R Tolkien’s Lord of the Rings". Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-39844.

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This essay focuses on J.R.R Tolkien’s The Lord of the Rings, how the different races in the text are portrayed and how they interact with each other. The essay uses postcolonial theories, mainly “Orientalism” and “Otherness”, to prove traces of racism in the text. It focuses on the text and what can be found in the characters opinions of each other. The aim of this essay is to prove that in The Lord of the Rings there is an underlying story of racial issues between the different races of Middle-Earth and that these issues can be described as racism. The colonial themes of the text can mostly be found in the geographical descriptions, the colour of skin and the stereotypical descriptions of different races within the text. The stereotypical descriptions are probably sprung from the fact that J.R.R Tolkien grew up towards the end of the big Imperialist era of 19th century Europe and the similarities and descriptions of foreign cultures existing in the real world can be traced throughout the text. The Lord of the Rings contains themes with racial issues and this can be described as racism, even though it is not possible to say that The Lord of the Rings is a racist text as whole.
Uppsatsen analyserar Sagan om Ringen av J.R.R Tolkien. Den visar på hur olika raser är beskrivna i texten och hur dessa grupper interagerar med varandra. Uppsatsen använder sig av Postcoloniala teorier, i huvudsak Orientalism och de andra för att visa på rasistiska spår i texten. Uppsatsen behandlar texten och undersöker karaktärernas åsikter om varandra. Målet med uppsatsen är att visa att Sagan om ringen har underligande rasistiska strömningar mellan de olika raserna i Midgård. Det koloniala temat i texten ses tydligast i de geografiska beskrivningarna, hudfärg på karaktärer och de steriotypa beskrivnnignarna av olika grupper i verket. De steriotypa beskrivnnigarna kommer troligtvis ifrån Tolkiens egen uppväxt i det imperialistiska Storbritanien under slutet av 1800-talet då tidstypiska beskrivingar från denna era kan skönjas i texten som helhet. Sagan om ringen innehåller flera rasistiska partier men det är inte möjligt att beskriva hela verket som rasistiskt.

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Hurtubise, Paul G. "A stylistic analysis of selected passages in The Hobbit and The Lord of the Rings". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0005/MQ33485.pdf.

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Peaslee, Robert Moses. "'There and back again,' but where?: Tourism, "The Lord of the Rings", and media power". Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3284471.

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Harrison, William Henry. "Éowyn the unintended : the caged feminine and gendered space in The Lord of the Rings". Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/45106.

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As Alexandra Ganser points out, in the West, freedom of the road has tended to be a prerogative of males; this is as true in the novelistic imagination as it is in the streets. The Lord of the Rings (LotR) is a novel of the road. In it, J. R. R. Tolkien maintains a firm gendering of spaces, as Ganser theorizes. Women may not take to the road or enter the battlefield, except under male direction and supervision. Éowyn is the exception to this rule, but one that highlights the existence of the rule. Initially, Tolkien planned Éowyn as a warrior who would ride openly as a woman, beside Aragorn, the King whom Éowyn would marry. Éowyn was planned as a heroine, who overcomes a Nazgûl by her own strength. However, this is not the Éowyn whom Tolkien wrote. Instead, she feels caged in Rohan, but is refused permission to take the road or the battlefield. To escape, she disguises herself in the visible cage of male armour and goes to war. Once there, Éowyn fights the Nazgûl, but wins only because a male defeats the spell sustaining the enemy. Éowyn is sent to the Houses of Healing (a neutral space) and is delivered from her erroneous attitude to the gendering of spaces by falling in love with Faramir (the Steward) and submitting to domesticity. Tolkien’s treatment of Éowyn is of public significance because Tolkien rejects any notion of human progress, so that Éowyn cannot be an instance of a past norm to be overcome by social improvement. Instead, her fall into a determination to trespass on male space is of the nature of sin and her deliverance into domesticity is her redemption, her eucatastrophe. Moreover, Éowyn is a political symbol because LotR is intended as part of a mythology for England, which suggests that Tolkien is making a statement about the direction that society should take. Éowyn, therefore, is Tolkien’s demonstration of God’s will for English society: women ought to remain in domestic spaces and not go to war.

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Mussack, Elisa-Marie. "Das Böse im Mythos - Vergleich der Darstellung und Wirkung in Roman und Film dargestellt anhand eines Beispiels /". St. Gallen, 2005. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/01665959001/$FILE/01665959001.pdf.

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Michels, Hjort Natalie. "Gandalf : Thinker, Teacher, Mentor, Grouch". Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Ämnesforskning, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-23494.

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Abstract (sommario):

The Lord of the Rings is one of the most read novels throughout history. Its popularity is huge and it has a fan-base matched only by that of Star Trek and Star Wars. It is believed that its popularity is due to its applicability and its many interesting characters – which all have different personalities and appeal to different people. One of the most popular main characters is the powerful wizard Gandalf. In this essay, I argue that in Tolkien’s novel The Lord of the Rings, Gandalf's relationship to Frodo is constructed as a mentorship as defined by the modern pedagogical research, in order to examine what affect Gandalf's mentoring has on Frodo. In order to confirm this, it will first be established that Gandalf and Frodo has the potential to be in a mentoring relationship. Second, a close reading of the novel will be undertaken, analyzing Gandalf's and Frodo's interaction, comparing it to the interaction between a "good mentor" and his mentee, as defined by modern pedagogical research. Third, I will analyze how Gandalf's actions as a mentor influence Frodo's development and actions in the novel. This study shows that Gandalf and Frodo did indeed interact in the way of a mentor and his mentee. Furthermore, Gandalf performed his role the way a "good mentor" should; he asked questions, challenged productivity, encouraged risk-taking, helped to identify goals, listened actively, offered encouragement, promoted independence, provided feedback, shared critical knowledge, provided structure and gradually granted Frodo more responsibilities – the way a "good mentor" should. This all contributed to Frodo's success in helping him develop confidence, competence, self-knowledge, self-sufficiency and determination.

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Oliveira, Amanda Laís Jacobsen de. "O espaço ficcional em the lord of the rings: a trajetória de frodo pela terra-média". Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/12310.

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This work arose primarily from two circumstances: my appreciation for J. R. R. Tolkien and his work, and my propensity towards those literary words that evoke images to be not only seen, but also felt. The more I read Tolkien, the more this appreciation grows. My overall goal in this research is to track the spatial elements presented in The Lord of the Rings (1954), centering on the imagetic formations that make abstract ideas into concrete images. Such images enable the reader to visualize those abstractions and connect them to the protagonist of the narrative, Frodo Baggins. Frodo got involved in the Great War of the Ring without meaning to. Nevertheless, he is the only one who can take the Ring back to place where it was forged, in order to destroy it. In spite of considering himself fragile when contrasted with the great enemy, the little hobbit opens his way towards the dark land. The crossing from the Shire (where the hobbits live) to Mordor (the Dark Lord’s land) is long, full of surprises, has unknown places and unexpected meetings. In this sense, the fact that Frodo undertakes a journey is really significant, because it makes him an active character in space and time within the plot. This way, while he wanders through many symptomatic different places (allowing us to keep up with him in this travelling), Frodo provides many pertinent associations between landscape and character, and this plays essential rode in highlighting the antithetical meanings contained in the plot. By connecting the fictional and theoretical readings, I analyse Tolkien’s narrative structure, along with the constitution of space in Middle-earth, to understand the use of the lexicon space and identify how the work’s imagery is composed. In the end of this journey (which becomes our journey, as we keep up with Frodo), I aim to establish in what ways the walkway and the meeting with different places may change the protagonist.
Este trabalho surgiu, principalmente, de duas circunstâncias: minha apreciação por J. R. R. Tolkien e toda a sua obra; e o meu gosto por aquelas palavras literárias que evocam imagens possíveis de serem não só vistas, mas também sentidas. A partir de então, ele cresceu conforme foi sendo desenvolvido. O objetivo geral aqui é estabelecer a pesquisa que rastreia diversos elementos do espaço romanesco em The Lord of the Rings (1954). Através deste estudo, pode-se encontrar muitas constituições imagéticas que tornam ideias abstratas em imagens concretas, possibilitando a sua visualização por parte do leitor. Ademais, interessa o modo como esse espaço se relaciona com o protagonista da narrativa: Frodo Baggins. Frodo foi envolvido na Grande Guerra do Anel sem intenções de o fazer. Entretanto, é ele o único que pode levar o Anel até o local onde foi forjado, a fim de destruí-lo. Apesar de pensar a si mesmo como frágil diante do grande inimigo, o pequeno hobbit inicia seu caminho, em direção à terra sombria. A travessia do Shire (local onde moram os hobbits) até Mordor (a terra do Senhor do Escuro) é longa, repleta de surpresas, lugares desconhecidos e encontros inesperados. Nesse sentido, o fato de Frodo empreender uma jornada é bastante significativo, pois essa condição faz dele um personagem ativo dentro do espaço-tempo do enredo. Dessa forma, ao percorrer lugares sintomaticamente diferentes, e permitindo que o acompanhemos nessa travessia, proporciona muitas associações pertinentes entre paisagem e personagem, constituindo papel essencial nos significados antitéticos da obra. Com a convergência entre as leituras fictícias e teóricas, buscou-se analisar a estrutura narrativa de Tolkien, ao constituir o espaço da Terra-média. Para isso, observa-se a maneira como os diversos elementos romanescos são empregados – como o léxico referente ao espaço, por exemplo – com a finalidade de identificar a composição imagética na obra. Ao fim dessa que, ao acompanhar Frodo, se torna também a nossa jornada, procurou-se estabelecer as maneiras como a passagem e a vivência em diferentes espaços altera a personalidade do protagonista.

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Nogueira, Filho Carlos Alberto. "DIMENSÕES DO FANTÁSTICO E AVENTURAS DA TRADUÇÃO EM THE LORD OF THE RINGS, DE J.R.R. TOLKIEN". Pontifícia Universidade Católica de Goiás, 2013. http://localhost:8080/tede/handle/tede/3188.

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Made available in DSpace on 2016-08-10T11:06:54Z (GMT). No. of bitstreams: 1 CARLOS ALBERTO NOGUEIRA FILHO.pdf: 1820352 bytes, checksum: 1cd8dddd4c5f4ea69fcd761947d7b5b6 (MD5) Previous issue date: 2013-11-07
The British writer John Ronald Reuel Tolkien was, for 34 years, professor at Oxford University. Likewise as he conducted his classes with his favorite subjects, his writings are marked by features that satisfy his personal taste, providing excitement and pleasure. His most successful work The Lord of the Rings has sparked discussions for more than half a century, and in large part, about his linguistic grounds. The present work aims to study the dimensions of the fantastic and fantasy quoted in this book, as well as the activity of translation into Brazilian Portuguese by Artenova publishing in 1974 and by Martins Fontes publishing, in 1994. The work of Tzvetan Todorov, Brian Attebery and Richard Mathews are used as the theoretical framework for the study of fantasy. And for studies of translation are used the deconstruction, proposed by Jacques Derrida, the residual linked to the translation, by Lawrence Venuti and the notion of singularity proposed by Maria Paula Frota. This dissertation is divided into three chapters, with the first two discussed issues related to the narrative and the limits of the fantastic and fantasy, and the third will focus on the translation of the book The Lord of the Rings and some nuances of the translation process.
O escritor britânico John Ronald Reuel Tolkien foi, durante 34 anos, professor na Universidade de Oxford. Da mesma forma com que orientava suas aulas para assuntos de sua predileção, sua produção literária é marcada por aspectos que satisfaziam seu gosto pessoal, proporcionando emoção e prazer. Sua obra de maior sucesso The Lord of the Rings tem suscitado discussões há mais de meio século, em grande parte, acerca de sua fundamentação linguística. O presente trabalho pretende estudar as dimensões do fantástico e da fantasia presentes na obra citada, assim como a atividade tradutória para o português do Brasil nas publicações das décadas de 60 e 70 pela editora Artenova e na década de 90 pela editora Martins Fontes. Utilizamos como fundamentação teórica para o estudo da fantasia, o trabalho de Tzvetan Todorov, Brian Attebery e Richard Mathews e para os estudos da tradução a desconstrução proposta por Jacques Derrida, o resíduo relacionado à tradução por Lawrence Venuti e a singularidade proposta por Maria Paula Frota. Este trabalho está divido em três capítulos, sendo que nos dois primeiros serão discutidos assuntos relacionados à narrativa e os limites do fantástico e da fantasia, e o terceiro, versará sobre a tradução da obra The Lord of the Rings e algumas nuances do processo tradutório.

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Cruise, Billy D. "Blurring the lines between fantasy and reality : the cultural pervasiveness of The Lord of The Rings /". Electronic version (PDF), 2003. http://dl.uncw.edu/etd/2003/cruiseb/billycruise.pdf.

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39

Bytheway, Emily. "Fealty and Free Will: Catholicism and the Master/Servant Relationship in The Lord of the Rings". BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1969.

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This thesis asserts that one aspect of The Lord of the Rings which has been previously overlooked is the hierarchical nature of the master/servant relationship, which mirrors in many ways the hierarchical nature of the Catholic church. Through the various master/servant relationships that Tolkien portrays, he reflects not only the ideal of master and servant working together for good, but also the ways in which this intimate relationship can go horribly wrong. Aragorn represents an ideal master, one who is wise and good, and his servants are either rewarded or punished according to their loyalty to him. In the stories of Wormtongue and Saruman, we see how betrayal and seeking to usurp the power of the master leads to the downfall of the servant. Denethor's fall illustrates how a bad servant becomes, in turn, a bad master. The choices of Faramir, Pippin, Beregond, and the servants of Denethor reflect the difficulties a servant has when trying to decide whether or not to continue following a poor master. Merry and Éowyn show us that sometimes grace may intervene in what seems to be a fairly straightforward situation of disobedience. And the story of Frodo, Sam, and Gollum, from betrayal to ultimate loyalty, at times reflects the complicated hierarchical relationship between mortals and deity.

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Almgren, Emma. "Flashback eller Backlash? : En strukturanalys av genusordningen i J.R.R Tolkiens och Peter Jacksons Lord of the Rings". Thesis, Stockholm University, Department of Ethnology, Comparative Religion and Gender Studies, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-383.

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Le, Heron Erena. "Making film-landscapes and exploring the geographical resonances of The Lord of the Rings and Whale Rider". Thesis, University of Sheffield, 2008. http://etheses.whiterose.ac.uk/14936/.

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This thesis explores film resonances and film-landscape interactions. Film resonances refer to the multiple and varied ways people respond to films. Film-landscape describes the interaction between film and people's experience of landscape, containing a notion that landscape is always-in-the-making. Film resonances and film-landscape . interactions are explored in the contemporary New Zealand context, focusing on The Lord of the Rings and Whale Rider. The thesis explores film resonances at several levels: analysing film-tours in terms of film-landscape interactions; exploring how the same films have different resonances and reactions in different places; interrogating the relationship between popular, government and business responses to films; and examining the relationship between film and national identity narratives. Together, The Lord of the Rings and Whale Rider can be used as a prism through which to highlight particular elements ofthe New Zealand contemporary moment. A multiple method approach is used, including in-depth interviews, focus groups, conversational interviews, participant observation and analysis of newspaper articles and internet movie databases. This thesis adds to and extends current literature by considering The Lord of the Rings and Whale Rider with a more-than-film approach. It draws on a mixture of theories, arguing that considered separately, current literature does not fully address the potential of film-landscape and film resonances. Through a more-than-film approach, the thesis engages with film resonances and film-landscape interactions in ways that acknowledge the work film does outside of production or viewing. The thesis will also be of interest to all those concerned with the power of film and how it has the potential to influence our landscapes, our imaginations and our identities.

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Brink, Emma. "Othering and Diversity in J.R.R. Tolkien's The Lord of the Rings Trilogy : A Positive Presentation of Difference". Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-47810.

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The Lord of the Rings trilogy is greatly diverse in species, races, and ethnicities which is a fact that over the decades has engendered great scholarly discussions about hidden racism in the literary work. Therefore, an analysis of intercultural matters and encounters realized throughout the story is relevant for detecting a possible racist ideology. By applying the postcolonial concept “Othering,” which is an act of differentiation, this essay analyzes racist instances in the story, and the result of or opposition to those, in order to indicate the presence of an anti-Othering ideology in the trilogy. The analysis is conducted through discussion of Othering of other species/races/ethnicities caused by blind trust in one’s own group, Othering inside one’s own group, Othering of other species/races/ethnicities, and discussion about instances of multicultural acceptance. Considering Tolkien’s relationship to nature, this discussion also extends to Othering of nature. Consequently, this essay concludes how The Lord of the Rings trilogy arguably is against Othering since the story generally presents the act as negative to others, oneself, and/or one’s beloved as well as contains instances which simply convey a positive view of multiculturalism.
Sagan om ringen trilogin är väldigt mångfaldig i arter, raser och etniciteter vilket genom årtionden har genererat storskaliga akademiska diskussioner om förekomsten av en dold rasism i det litterära verket. Därmed är en analys av de interkulturella angelägenheter och möten som tar plats under berättelsens gång relevant för att upptäcka en möjlig rasistisk ideologi. Genom att applicera det postkoloniala konceptet ”Othering”, vilket är en differentieringsakt, analyserar denna uppsats rasistiska instanser i berättelsen och resultatet av eller oppositionen till dessa för att indikera förekomsten av en motståndsideologi till ”Othering” i trilogin. Analysen genomförs genom diskussioner om ”Othering” av andra arter/raser/etniciteter orsakade av blind tilltro till ens egen grupp, ”Othering” inom ens egen grupp, ”Othering” av andra arter/raser/etniciteter och diskussion om instanser av multikulturell acceptans. Med tanke på Tolkiens relation till naturen sträcker sig även denna diskussion till ”Othering” av naturen. Denna uppsats drar följaktligen slutsatsen att Sagan om ringen trilogin är emot ”Othering” eftersom berättelsen generellt sett presenterar aktionen som negativ för andra, en själv och ens älskade, såväl som innehåller instanser som helt enkelt förmedlar en positiv syn på multikulturalism.

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Myers, Megan Kathryn. "Becoming Faramir: Escapism as Responsibility and Hope through Adaptation and J.R.R. Tolkien’s The Lord of the Rings". BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8492.

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Abstract (sommario):

When Peter Jackson sought to adapt J.R.R. Tolkien’s The Lord of the Rings to film, many fans worried about the changes that could be made to such a beloved story. Though the response to the films was generally positive, all three movies did have their detractors. Many of the complaints centered on his badly adapting the source material, specifically the characters. When Jackson released The Two Towers, fans were outraged further by how Jackson had handled Faramir. However, these interpretations of The Lord of the Rings and Faramir are a narrow evaluation of the larger problem facing fan and scholarly communities, that being, the devaluation of Escapism and what Tolkien calls, “escapist texts,” in today’s society. Tolkien claims that the main purpose of escapist texts is that they allow audiences to recover previous experiences that gave them feelings of happiness or joy. Despite criticism of Escapism, escapists texts don’t urge people to abandon their lives and seek something else. Rather, escapist texts encourage audiences to identify with and empathize with the characters represented in these texts, in order to return to their lives and accept responsibility for and connection with other people. When audiences see The Lord of the Rings and Faramir (whether in book form or in film form), they identify and connect with these stories and characters and seek responsibility in their own lives, which brings them, and those around them, hope.

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Troon, Simon. "Live Role-play of Medieval Fantasy and its relationship to the Media". Thesis, University of Canterbury. Department of Theatre and Film Studies, 2012. http://hdl.handle.net/10092/9046.

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Abstract (sommario):

In the postmodern, contemporary Western world of late capitalism, we dream of the Middle Ages. Medieval Fantasy, as an entertainment genre, supplements historical images of the Middle Ages with elements of myth in adventure stories featuring magicians, knights and ladies, castles, dragons, swords, and sorcery that are routinely consumed and absorbed. In some activities they are also played out physically. People dress up, utilise props, and affect their speech and mannerisms like actors in a theatre, conducting pseudo-ritualistic games of mimicry to make these images speak and move in the real world: live role-play. This thesis examines several organised examples of live role-play: Southron Gaard, a branch of the Society for Creative Anachronism based in Christchurch, New Zealand; larping, as represented by two documentary films, Darkon and Monster Camp, that document the activities of larping organisations in the USA; and 'Lord of the Rings Tour', a tourism trip from Christchurch to 'Edoras', a fictional location from Middle-earth, the fantasy world of J.R.R. Tolkien's The Lord of the Rings Novels and Peter Jackson's filmic adaptations thereof. These organised leisure activities provide platforms for the pursuit of active, physical involvement with the images and ideas of medieval fantasy. In them, participants find ways to bring these fantastic images and ideas onto their bodies in reality and, perhaps as a result, closer to their everyday lives in ways that have more significant social implications than may at first be apparent.

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Jonikaitė, Agnė. "Translation of Characters' Names and Geographical Names from English into Lithuanian in J.R.R. Tolkien's The Lord of the Rings: the Fellowship of the Ring". Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140717_083644-49714.

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Abstract (sommario):

The main objective and primary aim of the paper was to analyze translation strategies which were employed while translating geographical and characters’ names from English into Lithuanian in John Ronald Reuel Tolkien’s novel The Lord of the Rings: The Fellowship of the Ring.The study set out with the objective of assessing the theoretical background of translation of culture specific items. The main concern was the definition and categorization of non- equivalence and related concepts. Moreover, the core object of the paper was to disclose the usage of translation strategies that were employed while translating the proper names from English into Lithuanian.
Pagrindinis darbo tikslas buvo išanalizuoti vertimo strategijas, kurios buvo naudojamos verčiant veikėjų vardus ir vietovardžius iš anglų kalbos į lietuvių J.R.R. Tolkieno romane Žiedų Valdovas:Žiedo Brolija. Darbo tikslas buvo ištirti teorinę medžiagą susijusią su kultūrinių realijų vertimu. Didelis dėmesys buvo skirtas neekvivalentiškumo ir susijusių konceptų aiškinimui.Be to, pagrindinis darbo uždavinys buvo išsiaiškinti, kaip buvo pritaikytos vertimo strategijos verčiant tikrinius vardus iš anglų kalbos į lietuvių.

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46

Selvén, Sebastian. ""I will go now to my pyre" : Isaks bindande läst genom J.R.R. Tolkiens The Lord of the Rings". Thesis, Uppsala universitet, Gamla testamentets exegetik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-201391.

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47

Eriksson, Martina. "Kvinnornas roller i jämförelse med männen i The Lord of the Rings : med inriktning på specialversionerna av filmerna". Thesis, Växjö University, School of Humanities, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2557.

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Abstract (sommario):

Sammanfattning: The Lord of The Rings-trilogin slog världen med storm då första filmen kom ut år 2001. J.R.R Tolkiens böcker var väldigt omtyckta och framförallt omtalade men det hade aldrig funnits icke-animerade filmer på dem. Peter Jackson tog på sig att skapa filmerna och klarade detta åtagande väldigt bra.

Däremot var kvinnorollerna, precis som i böckerna, väldigt små och inaktiva. Detta är därför någonting jag valt att ta upp i min uppsats. Kvinnornas roller i jämförelse med männens. Uppsatsen jämför de olika rollfigurerna mot varandra och deras roller överlag i specialversionerna av filmerna.

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48

Young, Matthew David. "Projecting Tolkien's Musical Worlds: A Study of Musical Affect in Howard Shore's Soundtrack to Lord of the Rings". Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1179760402.

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49

Firnigl, Danielle Elizabeth. "Tripping the light fantastic : exploring the imaginative geographies of Lord of the Rings ‘film tourism’ in New Zealand". Thesis, Durham University, 2009. http://etheses.dur.ac.uk/312/.

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Abstract (sommario):

From screen image to imagined spaces, the Lord of the Rings film-tourism experience – that is, tourism to New Zealand apparently motivated by the popular film trilogy which was filmed there – has received much anecdotal attention, yet little scholarly examination. In particular, how tourists are affected by the “you’ve seen the movie, now visit the set!” adage, remains under-examined. Whilst sociologies of tourism tend to emphasize the visual, spectatorial and passive nature of mediated forms of tourism, actual experiences of visiting the former film sets tend to challenge such theorizations of the phenomenon. In fact, what we find in New Zealand is a touristic landscape marked only by its absences and virtualities- little remains to show of ‘Middle-earth on earth’, leaving us with the question of what it is that, as tourists, we actually consume, and on what basis the apparently visual causality of cinematic tourism can be sustained. This research thus employs recent scholarship in cultural geography attuned to the more-than-representational and affective realms, in order to build a conceptually novel approach to thinking through ‘the film-tourist’. Rather than starting out from a position of critique, such an approach seeks to explore the ‘operational logics’ of tourist experience, how meaning is made through practices of popular culture consumption and tourism. Through a consideration of how tourists navigate these complex cinematic spaces, we find that visitors – both those who are fans or enthusiasts of The Lord of the Rings, and those who are simply ‘doing a rings thing’ as part of a broader touristic itinerary – engage in a range of animated practices, that demonstrate both an awareness of these multiply-mediated spaces, and an interest not only in ‘walking in the footsteps’ of Frodo and the fellowship, but also in the ‘backstage’ of the films’ production, and the very creation of ‘Middle earth- on earth’ in New Zealand.

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50

Johnson, Sean Aram. "Fog on the Barrow Downs: Celtic Roots of Tolkien's Mythology". Thesis, Boston College, 2010. http://hdl.handle.net/2345/1375.

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Abstract (sommario):

Thesis advisor: Philip O'Leary
This paper takes the opportunity to examine some of the lesser known roots the fictional world, Middle Earth, and its accompanying mythology, both created by J.R.R. Tolkien. It is concerned with tracing the elements of Celtic myth and legend that appear to have influenced Tolkien’s work. While he is ambiguous on the subject – flatly denying Celtic influences in one letter, while stating that his stories of Elves are rather Celtic – consulting the text yields a world rife with Celtic underpinnings. This paper makes no claims that such Celtic elements are the only myths Tolkien borrowed from, but attempts to give a compelling case that they some of the elements Tolkien used when creating Middle Earth and, consequently, are worthy of being introduced into the discussion of Tolkien’s extraordinary mythology
Thesis (BA) — Boston College, 2010
Submitted to: Boston College. College of Arts and Sciences
Discipline: English Honors Program
Discipline: English

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