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Artykuły w czasopismach na temat "Tolkien"
1
Maratova, Zhamal Zh, i Tatiana V. Nazarova. "W. Morris’s tradition in J.R.R. Tolkien’s epic fantasy". RUDN Journal of Studies in Literature and Journalism 25, nr 3 (15.12.2020): 497–510. http://dx.doi.org/10.22363/2312-9220-2020-25-3-497-510.
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This article offers a comprehensive review of W. Morris influence on the epic fantasy of J.R.R. Tolkien. The purpose of the research is to reflect how Morris tradition influenced the development of Tolkiens fantastic prose - which later formed a separate subgenre of epic fantasy - and the whole fantasy genre. The objectives of the study include tracing the history of the development of fantastic element in literature - which served as a basis for the works of both authors - and finding poetological similarities and differences between W. Morris and J.R.R. Tolkien. The comparative study is based on the works of V. Gopman and K. Massey as well as on the original writings of Morris and Tolkien. The result of the study is the justification for W. Morris as the natural literary precursor of Tolkien. Based on the influence and partial borrowing of Morris imagery and motifs, Tolkin develops the theoretical foundation for the genre of magical fairy tale, which will later be called fantasy.
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Busbee, M. B. "Grundtvig and Tolkien on Beowulf: A comparative analysis". Grundtvig-Studier 61, nr 1 (1.01.2010): 12–30. http://dx.doi.org/10.7146/grs.v61i1.16567.
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Grundtvig and Tolkien on Beowulf: A comparative analysis[En komparativ analyse a f Grundtvigs og Tolkiens syn på heltekvadet Beowulf]Af M.B. BusbeeI 1941 betegnede Kemp Malone J. R. R. Tolkiens nu berømte forelæsning Beowulf: The Monsters and the Critics (1936) som Grundtvig i nutidig klædedragt. I 1975 kommenterede Andreas Haarder Malones bemærkninger og hævdede, at Tolkiens konklusioner var hans egne. I stedet for at fortsætte skellet mellem studier af Grundtvig og Tolkien, hvoraf mange henkastet underforstår Grundtvigs indflydelse på Tolkien, er det på tide at revurdere de spørgsmål, der er involveret i Malones påstand og Haarders tilbagevisning.Derfor gennemfører denne artikel en analyse af Tolkiens udkast til hans forelæsning og en sammenligning af den trykte udgave af hans forelæsning og Grundtvigs kritiske kommentarer til digtet skrevet mellem 1815 og 1820.Analyserne foretages med henblik på at genoverveje følgende grundlæggende spørgsmål: Hvad vidste Tolkien om Grundtvig og hans kritik af digtet? Hvilke ligheder er der i de to mænds kritik af Beowulf digtet! Og vigtigst af alt: Trak Tolkien på Grundtvigs kommentarer, da han formulerede sit eget syn på Beowulf eller forsøgte han måske at svare igen?
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Zaripova, Sokhiba. "INTERPRETATION OF ST TION OF STYLISTIC DEVICES AND ME YLISTIC DEVICES AND METHODS IN THODS IN ''THE HOBBIT''". Scientific Reports of Bukhara State University 5, nr 2 (24.05.2021): 178–86. http://dx.doi.org/10.52297/2181-1466/2021/5/2/16.
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Background. The origin, popularity and importance of high fiction in English literature are directly linked to Tolkien's work. Tolkien’s novels were the reasons for the critical rise of English fiction to some extent. His “Hobbit” achieved great success at that time and it was the most popular work among readers. When L. Baum created examples of the fantasy genre, detailed historical events, settings and landscapes were considered as the part of the such genre. On the contrary, Tolkien, refined and elevated these concepts. Tolkien set out to associate the roots of his ideas, which embodied location and time, in the field of fiction. Methods. In this article there have been drawn some views related to the analysis of stylistic devices in the novel of “Hobbit”.
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Munro, Rebecca. "The Art of The Lord of the Rings: A Defense of the Aesthetic". Religion and the Arts 18, nr 5 (2014): 636–52. http://dx.doi.org/10.1163/15685292-01805002.
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This article provides something of a corrective to the ongoing trend in Tolkien studies to read his fiction theologically and attach aspects of it to specific Christian doctrine and practice. Tolkien made his resistance to such “symbolic or allegorical” interpretation very clear in his letters. I argue that recognizing and reading Tolkien as a literary artist provides a more appropriate method by which we may appreciate The Lord of the Rings as the author intended, as literary art. Through such an approach, we may also come to a more accurate understanding of how Tolkien’s faith, as a Catholic Christian writer, enriches his masterpiece. Evidence for my argument comes from Tolkien’s writings and The Lord of the Rings, in which Tolkien’s aesthetic criteria for the art of story-telling is most fully embodied and demonstrated.
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Ilina, Alexandra S. "Christianity in Middle-Earth: St. Augustine and J.R.R. Tolkien". Voprosy Filosofii, nr 9 (2021): 184–93. http://dx.doi.org/10.21146/0042-8744-2021-9-184-193.
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The article is devoted to the analysis of motives and ideas in the epics of J.R.R. Tolkien, which he borrows from the texts of Augustine and from the texts of the Augustinian tradition. Main thesis of the paper is that the theological aspects of Tolkien’s “Middle-earthic” works are close to the ideas that Augustine asserts in his writings. Tolkien’s and Augustine’s opinions are similar on many central Christian issues, such as the problem of the relationship between free will and grace, the problem of the relationship between good and evil, the problem of the Fall and the problem of sin. For example, for Augustine, as for Tolkien, the fall is a consequence of the free will of an intelligent being who wants to take a higher place in the Hierarchy of Creation. This desire is called “pride” by both Augustine and Tolkien; for them pride is the mother of all subsequent vices. Both Augustine and Tolkien call the creatures that have taken possession of vice “evil”, but evil itself in the writings of Augustine, as in the writings of Tolkien, is not an essence. Evil “parasitizes” on the created, which is originally good, and destroys it. Evil for Tolkien and Augustine is non-being, the denial of being. These individual aspects form the basis of the worldview systems of Augustine and Tolkien; therefore, they are given a special place in our article.
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Cossio, Andoni. "Further notes on J. R. R. Tolkien’s photostats of The Equatorie of the Planetis (MS Peterhouse 75.I)". SELIM. Journal of the Spanish Society for Medieval English Language and Literature. 27, nr 1 (28.07.2022): 166–76. http://dx.doi.org/10.17811/selim.27.2022.166-176.
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Andoni Cossio proposes in a recent article the addition of The Equatorie of the Planetis (c. 1393) in MS Peterhouse 75.I to
“Section A” of Oronzo Cilli’s Tolkien’s Library: An Annotated Checklist (2019). However, Cossio fails to specify the folios of MS Peterhouse 75.I to which the photostats in Tolkien VC 277 correspond. A detailed descriptive list of the photostats that J. R. R. Tolkien received from Derek J. Price could be useful in the understanding of the type of assistance Tolkien offered to Price and R. M. Wilson at the time they were preparing an edition of The Equatorie of the Planetis(1955). This note will supply that missing information as well as speculate about the nature of Tolkien’s contribution to the project and its implications. Tolkien devoted considerable attention to the study of Geoffrey Chaucer’s language, and he may have been aware, after careful examination of The Equatorie of the Planetis, that its attribution to Chaucer rested on inconclusive evidence. This view of course would have challenged Price and Wilson’s assumptions and it may explain why we know so little about Tolkien’s involvement.
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Cossio, Andoni. "The Missing Letters J. R. R. Tolkien Received from Derek J. Price and R. M. Wilson: Addendum to “Further Notes on J. R. R. Tolkien’s Photostats of The Equatorie of the Planetis (MS Peterhouse 75.I)”". SELIM. Journal of the Spanish Society for Medieval English Language and Literature. 28, nr 1 (31.07.2023): 97–106. http://dx.doi.org/10.17811/selim.28.2023.97-106.
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In 2021, Andoni Cossio suggested cataloguing The Equatorie of the Planetis (MS Peterhouse 75.I, c. 1393) under “Section A” in Tolkien’s Library: An Annotated Checklist, by Oronzo Cilli. One year later, Cossio unearthed the exact list of MS Peterhouse 75.I folios J. R. R. Tolkien had once owned in the form of photostats (2022). In this second article, Cossio alludes the to the hypothetical existence of correspondence that Tolkien exchanged with Derek J. Price and R. M. Wilson during the preparation phase of Price and Wilson’s edition of The Equatorie of the Planetis (1955). New evidence gathered from Maggs Bros. Ltd. private archive (1991b), as well as auction (Phillips 1988; Sotheby’s 1995) and sales (Maggs Bros. Ltd. 1991a) catalogues demonstrate the existence of epistles and other material Tolkien received, though the brief, and often inaccurate, descriptions of the lots and items do not determine Tolkien’s exact contributions. However, the catalogues provide additional information about the timeline of Tolkien’s participation, and disclose that Price was the one to approach Tolkien in the first place. This note will elucidate those aspects and further complement Cossio’s (2022) article in other ways.
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Davidsen, Markus Altena. "In de Ban van Tolkien". Religie & Samenleving 10, nr 3 (1.12.2015): 213–34. http://dx.doi.org/10.54195/rs.12238.
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This article discusses how ‘believing’ works in Tolkien spirituality, a fiction-based religious milieu that uses J. R. R. Tolkien’s narratives, in particular The Lord of the Rings and The Silmarillion, as authoritative texts. Members of this milieu engage in ritual communication with the supernatural beings from Tolkien’s universe, including the elves and the Valar (gods). After presenting the history of Tolkien spirituality and describing the main groups, I develop a model for analysing religious rationalisation. By this term I refer to the process through which theology is developed within religious traditions as a second-order reflection on ritual practices and authoritative narratives. I demonstrate that contrary to what one might expect the strategies of religious rationalisation in Tolkien spirituality are not that different from what we see in other new religions. While one might think that members of fiction-based religions (can) believe only in a cautious and playful manner, practitioners of Tolkien spirituality in fact tend to believe literally and to legitimise their beliefs with supposed proof. It is striking, however, that they tend to believe in a ‘cosmological’ rather than in a ‘historical’ mode, i.e. they believe in the existence of the Valar as spiritual beings, but not in the historical factuality of Tolkien’s narratives. In this sense, Tolkien spirituality may be a good illustration of a broader ‘dehistoricising turn’ in contemporary religion. The development of reflective beliefs in Tolkien spirituality is further shown to be governed by three principles that together seek to reduce tension between conflicting ideas within the tradition and to strike a balance between fabulousness and plausibility. It is suggested that these three principles of belief elaboration govern religious rationalisation also in other religious traditions, at least in traditions with a low level of institutionalisation.
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Collinge, William J. "What Story Are We In? The Use of Tolkien in John Dunne's Recent Works". Horizons 30, nr 2 (2003): 208–26. http://dx.doi.org/10.1017/s0360966900000505.
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ABSTRACTThis paper examines the use of themes from J.R.R. Tolkien in the work of John Dunne, C.S.C. of the past two decades, but especially The Mystic Road of Love (1999) and Reading the Gospel (2000). Dunne has “culled” four sentences from Tolkien that express Dunne's own sense of being on a journey with God: “Things are meant. There are signs. The heart speaks. There is a way.” These sentences not only express Dunne's personal journey but also indicate where, according to Dunne, humanity is going in its collective journey with God. The paper concludes by shifting the focus from Dunne to Tolkien and asking how, if Dunne is close to right about Tolkien's significance, the conventional view of twentieth-century English literature and Tolkien's place in it would have to change.
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Wicher, Andrzej. "Some Boethian Themes in J.R.R. Tolkien’s Lord of the Rings". Romanica Silesiana 20, nr 2 (20.12.2021): 1–24. http://dx.doi.org/10.31261/rs.2021.20.03.
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There appear to be quite a few parallels between Tolkien’s The Lord of the Rings and Boethius’s The Consolation of Philosophy (Consolatio Philosophiae), and they seem to concern particularly, though not only, the character drawing in Tolkien’s book. Those parallels are preeminently connected with the fact that both Boethius and Tolkien like to think of the most extreme situations that can befall a human. And both are attached to the idea of not giving in to despair, and of finding a source of hope in seemingly desperate straits. The idea that there is some link between Boethius and Tolkien is naturally not new. T.A. Shippey talks about it in his The Road to Middle Earth, but he concentrates on the Boethian conception of good and evil, which is also of course an important matter, but surely not the only one that links Tolkien and Boethius. On the other hand, it is not my intention to claim that there is something in Tolkien’s book of which it can be said that it would have been absolutely impossible without Boethius. Still, I think it may be supposed that just like Boethian motifs are natural in the medieval literature of the West, so they can be thought of as natural in the work of such dedicated a medievalist as J.R.R. Tolkien.
Rozprawy doktorskie na temat "Tolkien"
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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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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 conçoitIn 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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Klautau, Diego Genu. "Paideia Mitopoética: a educação em Tolkien". Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/1873.
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This thesis is a systematic exposition of the theory of the education existent in the production of J.R.R Tolkien, that we call of Mythopoetic Paideia. From a phenomenological hermeneutics of its works of philological medieval poem analysis, of its theoretical assay on literature, its mythopoetics novels and its personal letters, we systemize a theory of the composed education of clear concepts of subject, object and method. In this theory, there is an anthropology that dialogues with the philosophical tradition Greek, the patristic and the scholastic, and that it is harmonic with the phenomenology of century XX; in the same way, the basic object is the sacred, understood as category of sciences of the religion, in historical and noetic key, that if express through the sacred narratives, either in the forms of the alive myth, either in the forms of the mythical reminiscences of the epic poetry or the modern romances of fancy. The method is the myth manufacture as form of meditation of the reading of texts of religious traditions, as well as the dialogic sharing with a group, that culminates in the publication of the manufactured workmanship. Thus, the subject that is open to the experience of the totality of the Being through the hierofania through poetical or literary narrative, through a method that integrates tradition, communion, creativity and work, makes acquaintance with the founding object of the conscience and the culture: the sacred
Esta tese é uma exposição sistemática da teoria da educação presente na produção de J.R.R. Tolkien, que denominamos de Paideia Mitopoética. A partir de uma hermenêutica fenomenológica de seus trabalhos de análise filológica de poemas medievais, de seu ensaio teórico sobre literatura, de seus romances mitopoéticos e de suas cartas pessoais, sistematizamos uma teoria da educação composta de conceitos claros de sujeito, objeto e método. Nessa teoria, existe uma antropologia que dialoga com a tradição filosófica grega, com a patrística e com a escolástica, e que é harmônica com a fenomenologia do século XX; da mesma forma, o objeto fundamental é o sagrado, entendido como categoria das ciências da religião, em chave histórica e noética, que se expressa através das narrativas sagradas, seja nas formas do mito vivo, seja nas formas das reminiscências míticas da poesia épica ou dos romances de fantasia modernos. O método é a fabricação de mitos como forma de meditação da leitura de textos de tradições religiosas, assim como o compartilhamento dialógico com um grupo, que culmina na publicação da obra fabricada. Assim, o sujeito aberto à experiência da totalidade do Ser através da hierofania via narrativa poética ou literária, através de um método que integra tradição, comunhão, criatividade e trabalho, se relaciona com o objeto fundador da consciência e da cultura: o sagrado
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Herlin, Ulf. "Att översätta Tolkien. En jämförande studie". Thesis, Malmö högskola, Institutionen för globala politiska studier (GPS), 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23513.
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Uppsatsen jämför de båda svenska översättningarna av JRR Tolkiens Lord of the Rings: Åke Ohlmarks Sagan om ringen från 1959 och Erik Anderssons Ringens brödraskap från 2004.Syftet är att se vilken översättning som är närmast originalet och författarens intentioner. Genom att jämföra olika uttryck ges en konkret bild av vilken översättning som mest överensstämmer med Tolkiens originaltext.Dessutom tas olika aspekter på översättande i allmänhet upp, likväl som vilka specifika svårigheter som finns i översättandet av bokens olika konstruerade språk.Min slutsats är att Ringens brödraskap är mest trogen originalet och att läsaren i den får mer eget tolkningsuttrymme.
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Johnston, Amanda J. "J. R. R. Tolkien, War, and Nationalism". Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_diss/54.
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Tolkien may not have intentionally created his fictive nations to mirror real nations, but his world certainly bears the scars of his experiences of war. The World Wars heightened his fear of losing everything that he loved about his local culture through literal obliteration or assimilation into another culture in the event of England’s losing. Tolkien saw the nation as a social construct that potentially could minimize losses, if not wholly protect local culture from the forces that threatened to destroy it. Yet he also perceived the nation’s limitations in its ability to protect culture. A nation could grow too large for itself, becoming obsessed with consuming other nations. For Tolkien, national property-amassing leads to a loss of the cultural identity that nationhood aims to preserve. When the forces threatening individual nations become overwhelming, those nations often need to join forces to prevent being taken over by other, more powerful countries. An examination of Tolkien’s fiction and numerous other sources, including essays and personal letters, suggests that he felt that separate nations should co-exist without imposing on one another, and that the nation taking over others would lose its own identity, whether gradually or suddenly. Despite Tolkien’s efforts to distance himself from what he felt modernity represented, his fiction (whether consciously or not) grapples with the mid-twentieth century ideological conflicts surrounding the nation. The resulting sense of loss and powerlessness underlies much of Tolkien’s fiction and leads him to a concept of the nation as an imperfect protector of culture, tempered by its need to rely on other nations.
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Fawcett, Christina. "J.R.R. Tolkien and the morality of monstrosity". Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/4993/.
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This thesis asserts that J.R.R. Tolkien recreates Beowulf for the twentieth century. His 1936 lecture, ‘Beowulf: The Monsters and the Critics’ sets the tone not only for twentieth century criticism of the text, but also Tolkien’s own fictional project: creating an imagined world in which ‘new Scripture and old tradition touched and ignited’ (‘B: M&C’ 26). At the core of his analysis of Beowulf, and at the core of his own Middle-earth, are the monsters. He creates creatures that are an ignition of past and present, forming characters that defy allegory and simple moral categorization. To demonstrate the necessity of reading Tolkien’s Middle-earth through the lens of his 1936 lecture, I begin by examining the broad literary source material that Tolkien draws into his creative process. I assert that an understanding of the formation of monstrosity, from classical, Augustinian, late medieval, Renaissance, Restoration and Gothic sources, is fundamental to seeing the complexity, and thus the didactic element, of Tolkien’s monsters. As a medieval scholar and professor, Tolkien’s focus on the educational potential of a text appears in his critical work and is enacted in his fiction. Tolkien takes on a mode of writing categorized as Wisdom Literature: he writes a series of texts that demonstrate the imperative lesson that ‘swa sceal man don’ (so shall man do) found in Beowulf. Tolkien’s fiction takes up this challenge, demonstrating for the reader what a hero must do when faced with the moral and physical challenge of the monster. Monsters are a primarily didactic tool, demonstrating vice and providing challenges for the hero to overcome. Monsters are at the core of Tolkien’s critical reading; it must be at the core of ours.
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Stainle, Stéfano [UNESP]. "Gandalf: a linha na agulha de Tolkien". Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141473.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Com essa pesquisa pretende-se, a partir de uma abordagem teórico-crítica de O Senhor dos Anéis, obra máxima de J. R. R. Tolkien, analisar o modo de atuação da personagem Gandalf, de forma a esclarecer e melhor compreender como essa personagem atua na narrativa e, com essa atuação, possibilita a existência da narrativa em si mesma, equilibrando ou desequilibrando o compasso do enredo. A forma como ela se movimenta e se manifesta no enredo é que permite concluir que cabe a Gandalf a responsabilidade de ser o urdidor dos elementos narrativos. Ele possilita que os elementos distintos da obra se conectem e dessa forma impulsionem a narrativa. Para tal análise há a mobilização de teorias que se referem à atuação da personagem e ao contexto literário em questão. Tais teorias são relacionadas aos gêneros romance, épica, contos de fadas, novelas de cavalaria e mito, bem como a psicanálise, religião, personagem e herói. Partindo do estudo da referida personagem, intenciona-se contribuir, em última instância, para uma melhor compreensão do universo ficcional criado pelo autor e um melhor entendimento dos recursos utilizados na composição da atuação da referida personagem na narrativa, aspecto que até o momento não foi adequadamente abordado e analisado pela crítica especializada na obra do autor.
With this research it is intended to analyse the way of acting of the character Gandalf departing from a theoretical-critical approach of The Lord of the Rings, J. R. R. Tolkien’s masterpiece, and by this, searching the enlightment and better understanding of how this character acts on the paths of the narrative and how this acting makes possible the existence of narrative itself, by balancing or even unbalancing the plot’s compass. The way he moves and acts in the plot allows us to conclude that Gandalf is the responsible for manipulating the narrative elements. He makes possible the connection among different elements of the plot, boosting the narrative. There is a mobilization of theories concerning the character's performance and the literary context to do such analysis. The theories are related to the genres novel, epic, fairy tale, romance and myth, as well as to the psychoanalysis, the religion, the character and the hero. Departing from the study of the referred character, it is intended to contribute, in the last resort, to a better understanding of the fictional universe created by the author and a better comprehension of the resources used in the composition of the reported character’s performance in the narrative, an aspect that was not properly approached and analysed by the critics on the work of the author.
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Stainle, Stéfano. "Gandalf : a linha na agulha de Tolkien /". Araraquara, 2016. http://hdl.handle.net/11449/141473.
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Orientador: Aparecido Donizete RossiBanca: Karin Volobuef
Banca: Marcio Scheel
Resumo: Com essa pesquisa pretende-se, a partir de uma abordagem teórico-crítica de O Senhor dos Anéis, obra máxima de J. R. R. Tolkien, analisar o modo de atuação da personagem Gandalf, de forma a esclarecer e melhor compreender como essa personagem atua na narrativa e, com essa atuação, possibilita a existência da narrativa em si mesma, equilibrando ou desequilibrando o compasso do enredo. A forma como ela se movimenta e se manifesta no enredo é que permite concluir que cabe a Gandalf a responsabilidade de ser o urdidor dos elementos narrativos. Ele possilita que os elementos distintos da obra se conectem e dessa forma impulsionem a narrativa. Para tal análise há a mobilização de teorias que se referem à atuação da personagem e ao contexto literário em questão. Tais teorias são relacionadas aos gêneros romance, épica, contos de fadas, novelas de cavalaria e mito, bem como a psicanálise, religião, personagem e herói. Partindo do estudo da referida personagem, intenciona-se contribuir, em última instância, para uma melhor compreensão do universo ficcional criado pelo autor e um melhor entendimento dos recursos utilizados na composição da atuação da referida personagem na narrativa, aspecto que até o momento não foi adequadamente abordado e analisado pela crítica especializada na obra do autor.
Abstract: With this research it is intended to analyse the way of acting of the character Gandalf departing from a theoretical-critical approach of The Lord of the Rings, J. R. R. Tolkien's masterpiece, and by this, searching the enlightment and better understanding of how this character acts on the paths of the narrative and how this acting makes possible the existence of narrative itself, by balancing or even unbalancing the plot's compass. The way he moves and acts in the plot allows us to conclude that Gandalf is the responsible for manipulating the narrative elements. He makes possible the connection among different elements of the plot, boosting the narrative. There is a mobilization of theories concerning the character's performance and the literary context to do such analysis. The theories are related to the genres novel, epic, fairy tale, romance and myth, as well as to the psychoanalysis, the religion, the character and the hero. Departing from the study of the referred character, it is intended to contribute, in the last resort, to a better understanding of the fictional universe created by the author and a better comprehension of the resources used in the composition of the reported character's performance in the narrative, an aspect that was not properly approached and analysed by the critics on the work of the author.
Mestre
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Modin, Anna. "Power and corruption : Evil in Tolkien´s Eä". Thesis, University of Kalmar, School of Human Sciences, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-844.
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Whyte, Alastair James Murray. "Utopian Intersections in the works of J.R.R. Tolkien". Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15299.
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This thesis argues for a new approach to the works of J.R.R. Tolkien, and specifically his "legendarium" of narratives centred around "The Silmarillion" and The Lord of the Rings. It proposes that Tolkien's literary position may be understood productively by exploring distinct and enlightening intersections of his fiction with the modern tradition of utopian literature and with recent utopian theory. The thesis contends that these intersections primarily occur in three ways. The first intersection occurs as a consistent anti-utopian argument in Tolkien's narratives according to the programmatic sense of utopianism which was standard during Tolkien's lifetime. The second intersection reads positive "eutopianism" in Tolkien's fiction through the lens of recent critical work in utopian studies that interprets utopianism as a radical and ontological literary methodology. The third utopian intersection engages with common themes in Tolkien's work and those of his contemporaries and precursors writing in the utopian mode. This approach critically analyses Tolkien in relation to leading recent utopian theorists, including Lyman Tower Sargent's definitions of the different kinds of utopianism, Ruth Levitas's work on utopian ontology and Lucy Sargisson's transgressive utopianism, which collectively offer a broader understanding of utopianism in literature. Tolkien's literary relationship with utopian writing is established through discussing his connections with one of his major influences, William Morris. Morris's authorship of distinctly utopian prose romances, including the canonical utopian text News from Nowhere, links Tolkien to other significant literary utopians from the late nineteenth and early twentieth centuries, including Edward Bellamy and H.G. Wells, as well as to his contemporaries in the mid twentieth century, such as Aldous Huxley and George Orwell. Addressing these intersections enables a valuable means of understanding how Tolkien's narratives of a "Secondary World" reflect, interpret and represent the major themes and issues of the twentieth century. By responding to questions of modernity, industry and tyranny, Tolkien's narratives engage with ideas central to the utopian canon. Thus his works may be recognised as a related and associated form of literary discourse. By foregrounding the intersectional nature of utopianism as a means of reading literature in general, this thesis aims to produce an improved and enhanced understanding of Tolkien and his literary position.
Książki na temat "Tolkien"
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Rosebury, Brian. Tolkien. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22133-2.
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Rosebury, Brian. Tolkien. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230599987.
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Harold, Bloom, red. J.R.R. Tolkien. New York: Bloom's Literary Criticism, 2008.
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Parker, Victoria. J.R.R. Tolkien. Chicago, Ill: Heinemann Library, 2006.
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Andrew, Blake. J.R.R. Tolkien. London: Hodder & Stoughton, 2003.
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Heims, Neil. J.R.R. Tolkien. Philadelphia: Chelsea House Publishers, 2004.
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Harold, Bloom, red. J.R.R. Tolkien. Philadelphia: Chelsea House Publishers, 2000.
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Levine, Stuart P. J.R.R. Tolkien. San Diego: Lucent Books, 2004.
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1920-2005, Schuchart Max, i Tolkien Genootschap "Unquendor", red. Tolkien lexicon. Wyd. 3. Houten: Winkler Prins, 2012.
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C, Wallner John, red. J.R.R. Tolkien. New York: Holiday House, 2009.
Znajdź pełny tekst źródłaCzęści książek na temat "Tolkien"
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Rosebury, Brian. "Introduction". W Tolkien, 1–6. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22133-2_1.
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Rosebury, Brian. "The Lord of the Rings: (1) Conception". W Tolkien, 7–53. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22133-2_2.
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Rosebury, Brian. "The Lord of the Rings: (2) Execution". W Tolkien, 54–80. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22133-2_3.
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Rosebury, Brian. "Minor Works, 1914–1973". W Tolkien, 81–120. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22133-2_4.
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Rosebury, Brian. "Tolkien and the Twentieth Century". W Tolkien, 121–52. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22133-2_5.
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Rosebury, Brian. "Introduction". W Tolkien, 1–9. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230599987_1.
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Rosebury, Brian. "The Lord of the Rings: Imagining Middle-earth". W Tolkien, 11–59. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230599987_2.
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Rosebury, Brian. "The Lord of the Rings: Achieving the Narrative". W Tolkien, 60–88. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230599987_3.
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Rosebury, Brian. "Fiction and Poetry, 1914–73". W Tolkien, 89–133. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230599987_4.
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Rosebury, Brian. "Tolkien and the Twentieth Century". W Tolkien, 134–57. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230599987_5.
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Gao, Qingxue. "Interpretation of Tolkien Creation Idea from qThe Hobbitq". W 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.12.
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Konograi, A. S. "THE ONOMASTIC SPACE CREATION IN THE MASTERPIECES OF J.R.R. TOLKIEN". W V International symposium «Humanities and Social Sciences in Europe: Achievements and Perspectives». Prague: Premier Publishing s.r.o., 2020. http://dx.doi.org/10.29013/v-symposium-pp-5-44-47.
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Konograi, A. S. "THE ONOMASTIC SPACE CREATION IN THE MASTERPIECES OF J.R.R. TOLKIEN". W V International symposium «Humanities and Social Sciences in Europe: Achievements and Perspectives». Prague: Premier Publishing s.r.o., 2020. http://dx.doi.org/10.29013/v-symposium-pp-6-44-47.
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Amaral de Oliveira, Anderson, i ULISSES KARNIKOWSKI. "Uma Sombra do Passado: Figurações do Monstro Gótico em Tolkien". W XVI Colóquio Internacional "Educação e Contemporaneidade". Grupo de Estudos e Pesquisas "Educação e Contemporaneidade", 2022. http://dx.doi.org/10.29380/2022.16.12.08.
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Pantin, Isabelle. "L’Autre Monde introuvable dans l’œuvre de J. R. R. Tolkien". W Voyages imaginaires et récits des autres mondes (XIXe-XXIe siècles). Fabula, 2017. http://dx.doi.org/10.58282/colloques.4809.
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Magomedov, G. YU, i S. V. SHahemirova. "Translation of onomastic realities on the example of translations of the novel by J. R. R. Tolkien “Lord of the rings”". W Scientific dialogue: Young scientist. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-22-05-2020-13.
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Larsen, Kristine, i Dimitra Fimi. "“IT MAKES ME WEEP TO LEAVE THEM”: THE IMPACT OF THE CHEDDAR GORGE, SOMERSET, CAVE SYSTEM ON THE IMAGINATION OF J.R.R. TOLKIEN". W Joint 69th Annual Southeastern / 55th Annual Northeastern GSA Section Meeting - 2020. Geological Society of America, 2020. http://dx.doi.org/10.1130/abs/2020se-343114.
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Xu, Liang. "The Psychological Journey of Bilbo Baggins--Tolkien's The Hobbit from a psychoanalytic perspective". W 2016 International Conference on Economy, Management and Education Technology. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemet-16.2016.66.
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Манцаева, Айна Новрдиевна, i Фарида Абдулхаевна Ибрагимова. "MEANINGS OF NAMES IN THE WORKS OF BRITISH WRITERS: NAMES IN J. R. R. TOLKIEN’S FICTION". W Наука. Исследования. Практика: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Апрель 2020). Crossref, 2020. http://dx.doi.org/10.37539/srp290.2020.42.50.014.
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В данной статье рассматриваются основные тенденции в изучении лингвистических ономастических процессов толкования имен, семантическое положение имен собственных и вероятные последствия, которые имена оказывают на читателей. Цель данной статьи - подчеркнуть актуальность и потенциал литературной ономастики, использование и роль имен в литературных произведениях, а также аспекты именования, которые играют важную роль в сложности и привлекательности художественной литературы. В качестве примера рассматривается новое исследование в области имен из журнала ономастики о том, что делают имена собственные в Средиземье Толкина такими подходящими. This article discusses the major trends in scholarship about linguistic onomastic processes of construing names, the semantic standing of proper names, and the probable consequences names have on readers. The aim of this paper is to emphasize the relevance and potential of literary onomastics, the employment and role of names in literary works, and naming aspects that are instrumental in the complexity and appeal of the fiction. As examples, we examine a new research in Names from the Journal of Onomastics about what makes the proper names of Tolkien’s Middle-Earth so fitting.
Raporty organizacyjne na temat "Tolkien"
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Bueno Purificaçao, Yeray, i Jaime Oliveros Garcia. “UN VIAJE DE IDA Y VUELTA”. ESTUDIO DE LA IDENTIDAD DE BILBO BOLSÓN EN EL HOBBIT. Fundación Avanza, maj 2024. http://dx.doi.org/10.60096/fundacionavanza/7032024.
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Njå, Ove, i Kirsti Russell Vastveit. Norske kommuners planlegging, gjennomføring og bruk av risiko- og sårbarhetsanalyse i forbindelse med samfunnssikkerhetsarbeidet. University of Stavanger, październik 2016. http://dx.doi.org/10.31265/usps.164.
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I prosjektet; «Helhetlig ROS-analyse i norske kommuner» analyserer vi hvordan kommuner utvikler, bruker og oppdaterer ROS-analyser og risikoforestillinger i sitt samfunnssikkerhetsarbeid. Det legges vekt på hvordan kommuner integrerer ROS-arbeidet og risikoforestillinger i eksisterende plan- og arbeidsprosesser. Hvilke utfordringer opplever kommunene i dette arbeidet? Etter å ha jobbet med risiko og sikkerhet i mer enn 20 år, og en vesentlig del av disse opp mot kommuner, er det etter vårt syn et gjennomgående trekk at kommunalt ansatte som jobber med sikkerhet og beredskap har stor skepsis til akademikere på dette feltet. Den teoretiske «verden» er ikke i stand til å kommunisere med den praktiske og vice versa. Denne utfordringen mener vi står sterkt også i dag, og dermed ble det i prosjektet viktig å finne ut hvordan begrepene ble brukt i kommunene. Hvor kritiske er begrepene for omfanget av bruken av analysene? Står vi ved et markant skille nå med innføring av ny veileder for helhetlig ROS-analyse i kommuner? Eller, er arbeidet omkring samfunnssikkerhet og beredskap fastnet i en praksis uten påvirkning fra ROS-analyse? Datamateriale fra 26 kommuner er inkludert i studien. Kommunene dekker alle landsdelene og de har varierte demografiske og geografiske profiler. Blant deltagerne er kommuner med storulykkesindustri, større bykommuner, mindre øykommuner og grensekommuner. Opptil fem personer med ulikt ansvar for samfunnssikkerhets- og beredskapsarbeidet er intervjuet i hver kommune. En viktig del av prosjektet er forholdet mellom ROS-analyser på ulike forvaltningsnivåer, hvordan ROS-analysene kommuniserer risikoforestillinger og hvordan kommunene kan bygge på og hente innspill fra hverandre i ROS-analysearbeidet. Siden 2010 har Lov om kommunal beredskapsplikt, sivile beskyttelsestiltak og Sivilforsvaret (sivilbeskyttelsesloven) og underliggende Forskrift om kommunal beredskapsplikt stilt krav til kommunenes ROS-analyse og samfunnssikkerhetsarbeid i stort. Likevel er det ikke opplagt hva det innebærer. Forskriften snakker om begreper og konsepter som; - Jobbe systematisk og helhetlig med samfunnssikkerhet; - Forankring i kommunestyret; - Eksisterende og fremtidige risiko- og sårbarhetsfaktorer; - Særlige utfordringer; - Langsiktige mål, strategier, prioriteringer og plan for oppfølging av samfunnssikkerhets- og beredskapsarbeidet; - Vurdere forhold som bør integreres i planer og prosesser; og - Overordnet beredskapsplan. Det stiller store krav til kommunens ansattes kunnskap og kompetanse til å fortolke hva alle disse konseptene skal bety for kommunen og hvordan ansatte skal jobbe med kravene. Her ligger kjernen av vår studie. Studien vår viser at det legges betydelig med ressurser og arbeid ned i kommuners helhetlige ROS-analyser, samfunnssikkerhets og beredskapsarbeid. Risikoinformert styring og risikotenkning er en krevende filosofi, hvor det forutsettes at de ansatte med ansvar for kommunens systemer og samfunnssikkerhets- og beredskapsarbeidet har høy kompetanse på området. I kommunene som deltok i studien synes det å være enklere for kommunene å konkretisere hvordan de arbeidet med beredskap enn med samfunnssikkerhet. Kommunene hadde i varierende grad oversikt over hvordan beredskapsarbeidet var satt i system på tvers av etater. Materialet ble analysert ut fra fire forhold: - Begrepsforståelser og bruk av begreper for å uttrykke samfunnssikkerhet - Planlegging og gjennomføring av ROS-analyseprosesser - Presentasjon av resultater fra ROS-analysearbeidet - Implementering av analyseresultatene i kommunens aktiviteter Datamaterialet viser at kommunene og de fleste respondentene våre er i liten grad bekymret over begrepene de bruker. I hovedsak er det risiko, ROS-analyse (eller andre koplinger av ROS), hendelser, akseptkriterier, beredskap, kriseplaner og tiltak som er konseptene i bruk. Usikkerhet var et begrep som fulgte med, men det var i liten grad reflektert over utover at det var en egenskap med hele ROS-analyseprosessene. Samfunnssikkerhet, ytelse av beredskapstiltak, sårbarhet, resiliens, barrierer, system er begreper som får lite eller ingen omtale i kommunenes befatning med samfunnssikkerhet og beredskap. Kommunene er veldige instrumentelle i arbeidet med å utvikle produktene (helhetlig) ROS-analyse og beredskap- og kriseplaner. Beslutningsprosessene som den helhetlige ROS-analysen er en del av, trekkes ikke frem som førende for hvordan ROS-analyser og samfunnssikkerhetsarbeidet gjøres. Fylkesmannen sin rolle som pådriver, rådgiver og tilsynsmyndighet var for de aller fleste kommunene beskrevet med positive fortegn. Alle analysene vi har hatt tilgang til er utført som grovanalyser (hazid-gjennomganger, scenariobeskrivelser, gruppediskusjoner), men med relativt små variasjoner innenfor hvordan risiko måles og uttrykkes. Enkelte kommuner inspireres av innholdet i FylkesROS-analyse eller Nasjonalt Risikobilde, mens andre har et større fokus på lokale forhold og hendelser. I forbindelse med bruk av tiltak fra helhetlig ROS-analyse var det en klar trend at kommunene synes det var vanskelig å sikre implementering av tiltak. Dette skyldes blant annet at det var utfordrende å sikre at den ansvarlige etat tok ansvar for tiltak, at beredskapskoordinatorer ikke anså tiltak som skulle implementeres i enkeltetater som sitt ansvar og at kommunene i mange tilfeller ikke hadde midler til gjennomføring av tiltak. Problemet kan trolig også spores til at helhetlig ROS-analyse ikke var et dokument som var i aktiv bruk i hverdagen til kommunenes ansatte, og som det i de fleste tilfeller ikke ble laget aksjonsplaner for å følge opp. På tiltakssiden var det også tydelig at flere kommuner gjorde det vanskelig for seg selv, ettersom de beskrev svært generelle tiltak i rapportene sine, tiltak som egentlig var på plass i den ansvarlige etat og som var dekket av andre internkontrollrutiner, eller som andre offentlige etater var ansvarlige for. Kommunene i prosjektet hadde i varierende grad koblet beredskapsplanene sine opp mot de helhetlige ROS-analysene. En annen utfordring i forbindelse med «bruk» til beredskapsplanlegging var at kommunene ikke var sikre på hvordan dette skulle tolkes. Skulle man lage øvelser basert på hendelsene som var brukt i helhetlig ROS-analyse, skulle det lages tiltakskort som passet til scenarioene i helhetlig ROS-analyse? Enkelte kommuner hadde inkludert hendelser fra helhetlig ROS-analyse i beredskapsplanverket sitt, mens andre hadde fokusert mer på felles kapasiteter i helhetlig ROS-analyse. Å se sammenhengen mellom helhetlig ROS-analyse og beredskapsplanlegging var et vanskelig tema for kommunene. Beredskapsanalyse og vurdering av «godheten» av beredskapstiltak er også en stor utfordring. Den største utfordringen og det viktigste funnet som har kommet fram gjennom studiet er at prinsippene i risikobasert styring er nærmest fraværende i kommunene. Funksjonelle krav til sikkerhet mangler, en levende diskusjon om samfunnssikkerhet og beredskap mangler, og analysene brukes i svært liten grad. ROS-analyse og intensjoner om risikobasert styring har vært i norske kommuner i mer enn 20 år, og basert på dette mener vi at det er kompetanse og reguleringsregimet det må gjøres noe med, heller enn å innføre nye veiledere og tilsynsaktiviteter. Ansvaret for kommunens samfunnssikkerhets- og beredskapsarbeid må knyttes opp mot spesifikk kompetanse. Det krever at kommunene endrer praksis på i den administrative ledelsen og virksomhetene som eier systemene, tjenestene og aktivitetene, så vel som i kommunikasjonen mellom administrativ og politisk ledelse når det gjelder samfunnssikkerhet og beredskap. Vi mener at politikeren fra bykommune 1 langs kysten i Nord-Norge illustrerer behovet på en betegnende måte: «Veldig få i beredskapsrådet har lest dokumentene. I vårt fylke tror jeg vi er noen av de som har kommet lengst, og det sier etter mitt skjønn sitt». «Vi må involvere oss på et mye tidligere stadium. Skaffe oss oversikt over hva som er beredskapsplanene, og hvor flaskehalsene er. Det tror jeg at jeg deler med veldig mange. Vi strykes med hårene i alt for stor grad. Vi får for mye ros.»