Rozprawy doktorskie na temat „Tolkien”
Kliknij ten link, aby zobaczyć inne rodzaje publikacji na ten temat: Tolkien.
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych rozpraw doktorskich naukowych na temat „Tolkien”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj rozprawy doktorskie z różnych dziedzin i twórz odpowiednie bibliografie.
1
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.
Pełny tekst źródłaStreszczenie:
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
2
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.
Pełny tekst źródłaStreszczenie:
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
3
Klautau, Diego Genu. "Paideia Mitopoética: a educação em Tolkien". Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/1873.
Pełny tekst źródłaStreszczenie:
Made available in DSpace on 2016-04-25T19:20:24Z (GMT). No. of bitstreams: 1
Diego Genu Klautau.pdf: 2090633 bytes, checksum: 3a7221f8ba6f9313a117c14e58237be2 (MD5)
Previous issue date: 2012-10-31Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
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
4
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.
Pełny tekst źródłaStreszczenie:
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.
5
Johnston, Amanda J. "J. R. R. Tolkien, War, and Nationalism". Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_diss/54.
Pełny tekst źródłaStreszczenie:
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.
6
Fawcett, Christina. "J.R.R. Tolkien and the morality of monstrosity". Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/4993/.
Pełny tekst źródłaStreszczenie:
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.
7
Stainle, Stéfano [UNESP]. "Gandalf: a linha na agulha de Tolkien". Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141473.
Pełny tekst źródłaStreszczenie:
Submitted by STÉFANO STAINLE null (stefano@stainle.com.br) on 2016-07-08T22:06:35Z
No. of bitstreams: 1
DISSERTACAO_-_VERSAO_-_CAPA_-_DURA_-_STEFANO.pdf: 1429025 bytes, checksum: edd0f4b4e3b4ea54c0cd16da71d665d1 (MD5)Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-07-11T19:07:02Z (GMT) No. of bitstreams: 1 stainle_e_me_arafcl.pdf: 1429025 bytes, checksum: edd0f4b4e3b4ea54c0cd16da71d665d1 (MD5)
Made available in DSpace on 2016-07-11T19:07:02Z (GMT). No. of bitstreams: 1 stainle_e_me_arafcl.pdf: 1429025 bytes, checksum: edd0f4b4e3b4ea54c0cd16da71d665d1 (MD5) Previous issue date: 2016-05-25
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.
8
Stainle, Stéfano. "Gandalf : a linha na agulha de Tolkien /". Araraquara, 2016. http://hdl.handle.net/11449/141473.
Pełny tekst źródłaStreszczenie:
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
9
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.
Pełny tekst źródła
10
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.
Pełny tekst źródłaStreszczenie:
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.
11
Campbell, Liam. "The Ecological Augury in the Works of J.R.R. Tolkien". Thesis, University of Ulster, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520814.
Pełny tekst źródła
12
Armstrong, Darren Philip. "The religious aspects of the works of J.R.R. Tolkien". Thesis, Durham University, 1994. http://etheses.dur.ac.uk/1044/.
Pełny tekst źródłaStreszczenie:
This thesis maintains that no comprehensive assessment of the work of J. R. R. Tolkien can be made without giving due weight to him as a religious writer, in the senses that : (a) he maintained an esthetic that is intrinsically Christian, believing that certain kinds of fantasy can bring new insights of the fallen world; (b) that writing, or sub-creating, was for him an essentially religious activity, participating in the myth of Creation; (c) his major fantasy texts contain subtle, often subliminal allusions to the Judaeo-Christian scriptures, although stripped of any dogmatic content; and (d) his major texts assume a cultural authority, through an allusive use of imagery and imitation of scriptural syntax to operate as a quasiscripture. I also consider Tolkien's treatment of major theological issues and assess how well suited the format of fantasy fiction is for the exploration of such themes.
13
Birks, Annie. "La rétribution dans l’œuvre de J. R. R. Tolkien". Paris 4, 2007. http://www.theses.fr/2007PA040125.
Pełny tekst źródłaStreszczenie:
L’objet de cette thèse est de repérer une logique rétributive dans l’œuvre de J. R. R. Tolkien. La définition du terme rétribution qui a été retenue est celle du Vocabulaire de théologie biblique, à savoir le fait de « recevoir récompense ou châtiment selon ce qu’on a fait ». L’observation de la trajectoire des personnages–clés et des peuples permet de constater une grande cohérence dans le traitement de la rétribution, cohérence qui fait ressortir le soubassement profondément chrétien de l’auteur. Sont placées au cœur de cette étude ses œuvres majeures, Le Silmarillion, Bilbo le Hobbit et Le Seigneur des Anneaux, ainsi que les deux contes Feuille, de Niggle et Smith de Grand WoottonThe object of this thesis is to identify a retributive logic in the works of J. R. R. Tolkien. The definition adopted for the concept of retribution is that found in the Vocabulaire de Théologie Biblique, i. E. « receiving a reward or a punishment according to what has been done ». The observation of the key-characters and peoples shows great coherence in the treatment of retribution and highlights Tolkien’s Christian faith. The investigation mainly focuses on The Silmarillion, The Hobbit, The Lord of the Rings, and also on the two short stories Leaf by Niggle and Smith of Wootton Major
14
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.
Pełny tekst źródła
15
Ronda, Erica. "Traduzione dell'epilogo de "Il Signore degli anelli" di J.R.R. Tolkien". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7140/.
Pełny tekst źródłaStreszczenie:
Il presente elaborato consiste nell’analisi e traduzione dall’inglese all’italiano dell’epilogo de “Il Signore degli Anelli”, romanzo scritto da John Ronald Reuel Tolkien, pubblicato prima dalla Rusconi, nel 1970, e successivamente dalla Bompiani nel 2000.
L’epilogo qui tradotto appartiene al volume n.9 della serie The History of Middle-earth,contenenti appunti e contenuti inediti, pubblicati quasi esclusivamente in lingua inglese.
Si tratta di un testo particolarmente stimolante dal punto di vista traduttivo sia per gli aspetti linguistici che presenta, sia per la resa della traduzione in italiano, generalmente molto complessa, ricercata ed enfatizzata.
16
Rocco, Lorenzo. "La Compagnia dell'Anello di J.R.R. Tolkien: analisi contrastiva di due traduzioni". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21322/.
Pełny tekst źródłaStreszczenie:
In this thesis I am going to analyse two different translations of The Fellowship of the Ring by J.R.R. Tolkien: the one by Vittoria Alliata and the newer one by Ottavio Fatica. My analysis is divided into different categories: names of characters, names of places, additional interesting names, and the Poem of the Ring. I will examine each translation according to how faithful it is in relation to the instructions Tolkien gave in his Guide to the Names in The Lord of the Rings, as well as explaining the origins of the words and providing the reasons that could be behind the choice of some translations over others, also discussing the translation techniques utilized by the translators. In some cases, if both choices appear weird or not faithful enough to the original, I will try to suggest other possible translations, trying to translate as literally as possible, while maintaining the original meaning of the terms. At the time of writing, only the first book of the trilogy, The Fellowship of the Ring has been published, so I am going to discuss only the names found in the book and the ones already confirmed to be in the next two, which will be published in the following months.
17
Fimi, Dimitra. "Creative uses of scholarly knowledge in the writings of J.R.R. Tolkien". Thesis, Cardiff University, 2005. http://orca.cf.ac.uk/55586/.
Pełny tekst źródłaStreszczenie:
This thesis is an interdisciplinary study of Tolkien's writing, seeking to place his work within the framework of the historical period within which it was created. The thesis concentrates on four areas of Tolkien's expertise and experience and explores how their historical development informed the creation of Tolkien's legendarium. The Introductory Chapter presents an overview of Tolkien criticism and defines the scope and range of the thesis. Chapter 2 concentrates on the question of the centrality of the Elves in the Middle- earth mythos and explores how the evolution of their image corresponds to the development of the science of folklore. Chapter 3 examines the influence of contemporary anthropology on Tolkien's ideas and how the decline of racial anthropology left its mark in the conception of the different creatures that inhabit Middle-earth. Chapter 4 is a new, detailed analysis of Tolkien's 'invented languages' as an integral part of his fiction. The chapter looks at the principles of Tolkien's language invention, contextualises the creation of his imaginary languages within a long philosophical and literary tradition (that of the search for the perfect language) and explores the role of philology and the - then emerging - science of modern linguistics in the construction of the languages of Middle-earth. This chapter is complemented by an Addendum on the Writing Systems of Middle-earth. Chapter 5 takes the previously almost entirely neglected topic of Tolkien's awareness of contemporary archaeology and its role in his work. The chapter focuses on the depiction of material culture in Middle- earth, mainly through examining the human 'cultures' of Tolkien's invented world, but also treating such issues as the anachronistic material culture of the hobbits, and the creation of Middle-earth landscapes. The Epilogue recapitulates the main conclusions of the thesis and further examines the interplay of biography and literature in Tolkien's case, by using the concept of 'biographical legend'.
18
Arantes, Judith Tonioli. "Fantasy e mito em o silmarillion de J. R. R. Tolkien". Universidade Presbiteriana Mackenzie, 2016. http://tede.mackenzie.br/jspui/handle/tede/2921.
Pełny tekst źródłaStreszczenie:
Submitted by Marta Toyoda (1144061@mackenzie.br) on 2016-11-28T20:09:08Z
No. of bitstreams: 2
Judith Tonioli Arantes.pdf: 1348559 bytes, checksum: ea4435da15e5c53860582aab1441adfe (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Made available in DSpace on 2016-11-28T20:09:09Z (GMT). No. of bitstreams: 2 Judith Tonioli Arantes.pdf: 1348559 bytes, checksum: ea4435da15e5c53860582aab1441adfe (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-08-09
This thesis studies The Silmarillion, a work by J. R. R. Tolkien, in order to identify the mythic structure that underlies the fantasy literature. Myths reveal the sacred and the actions of the heroes and gods in illo tempore and, when taken to the literary work of J.R.R. Tolkien, they allow some thinking about the diferente aspects that are part of the fantasy literature. The Silmarillion can be understood both as a mythological compendium of myths and narratives, and as na expression of fantasy as a genre, what composes the foundation to the thought concerning the the creation of the Secondary World known, in the scope of Tolkien’s work, as Arda. The theoretical studies by Norhtrop Frye regarding the mythological structure presented in literature and the meaning and purport of myths, as well as the theoretical perspectives on fantasy literature as developed by Rosemary Jackson, Lucie Armitt and Farah Mendlesohn, provide the toolsto this study along with the essay by Tolkien known as On fairy stories, that delas with the functions of fairy stories, which can be harmonized with fantasy literature in this study. It is possible, thus, to verify that not only does Tolkien create a World which is the stage to the events in his Works, but also creates, even more specifically, a way to think and write myths in literature aiming to think about importante aspects of the Primary World, that is, the World understood as real. In order to understand the relationship established between the Primary and the Secondary Worlds, three categories which are based on the narrative are presented: the fall, the redemption, and the hope. When considered in the light of the mythological themes and the biblical narrative, they allow the understanding about the dianoia that underlies Tolkien’s narrative, mainly in The Silmarillion.
Esta tese estuda a obra O Silmarillion, de J.R.R. Tolkien a fim de identificar a estruturação mítica que subjaz à literatura de fantasia. Os mitos revelam o sagrado e as ações dos heróis e dos deuses in illo tempore e, quando deslocados para a composição literária de J.R.R. Tolkien, permitem uma reflexão sobre os diferentes aspectos que caracterizam o gênero fantasy. A obra O Silmarillion pode ser compreendida tanto como um compêndio de mitos e narrativas, quanto como uma expressão do gênero fantasia, o que compõem a base para uma reflexão a respeito do pensamento subjacente à criação do Mundo Secundário, conhecido no âmbito da obra de J.R.R. Tolkien, como Arda. Neste estudo, são instrumentalizados os estudos teóricos de Northrop Frye acerca da estrutura mitológica presente na literatura e dos sentidos e significados dos mitos, além das perspectivas teóricas sobre a literatura de fantasia, desenvolvidas nas obras de Rosemary Jackson, Lucie Armitt e Farah Mendlesohn, incluindo, também, o estudo teórico de Tolkien, On fairy stories, que discute as funções das histórias de fadas, que podem ser conciliadas, neste estudo, com a literatura de fantasia. Verifica-se, então, que Tolkien não apenas cria um Mundo, que é palco das narrativas descritas em suas obras, mas cria também e, principalmente, um modo de pensar e escrever o mito na literatura a fim de refletir aspectos importantes do Mundo Primário, ou seja, o mundo postulado como real. Para a compreensão das relações estabelecidas entre o Mundo Primário e o Mundo Secundário, apresentam-se três categorias estruturadoras da narrativa: a queda, a redenção e a esperança, as quais, quando relacionadas aos temas mitológicos e à narrativa bíblica, permitem compreender a dianoia subjacente à narrativa tolkieniana, sobretudo em O Silmarillion.
19
Gomes, Emanuelle Garcia. "Fantasia e História: uma abordagem teórica em J. R. R. Tolkien". Universidade Federal de Uberlândia, 2017. https://repositorio.ufu.br/handle/123456789/19803.
Pełny tekst źródłaStreszczenie:
Esta dissertação pretende investigar a literatura de fantasia como em contos de fadas a partir do aparente impasse entre a racionalidade e a ordem mágica e poética. Teriam as narrativas maravilhosas algo a dizer? A visão mágica dos textos pode deixar de ser restrita apenas às crianças? Por que razão esse tipo de narrativa é caracterizado pela teoria literária (bem como os críticos literários) como uma literatura menor? Se as mesmas não têm muito a dizer, por que permanecem conhecidas e constantemente recriadas, ou estudadas e analisadas por outras áreas do conhecimento, como a psicanálise? A imaginação norteia a produção nas artes e, como um ato humano, propõe um olhar mais denso e consistente. Com isso, a fonte dessa investigação é o autor e acadêmico J. R. R. Tolkien. Assim, sob o viés da criação artística, a tentativa é formular a contraposição entre duas grandes correntes de análise do efeito proporcionado pela trama que possui sua importância histórica: a tradição platônico/aristotélica versus a tradição estética de Kant e dos românticos.This dissertation intends to investigate fantasy literature as in fairy tales from the apparent impasse between rationality and the magic and poetic order. Would the fantasy narratives have something to say? Could the magical vision of texts not be restricted just to children readers? Why is this kind of narrative characterized by literary theory (as well as literary critics) as a minor literature? If they do not have much to say, why do they still remain known and constantly recreated, or studied and analyzed by other areas of knowledge, such as psychoanalysis? Imagination guides the production in the arts and, as a human act, proposes a denser and more consistent view. Therefore, the author and academic J. R. R. Tolkien is the source of this research. Thus, under the artistic creation view, the attempt is to formulate the contraposition between two great currents analysis of the effect provided by the plot that has its historical importance: the Platonic/Aristotelian tradition versus Kant and the romantics’ esthetic tradition.
Dissertação (Mestrado)
20
Dufau, Jean Christophe. "L'etre et le temps dans l'oeuvre de j. R. R. Tolkien". Artois, 2000. http://www.theses.fr/2000ARTO0002.
Pełny tekst źródłaStreszczenie:
L'etre et le temps a pour enjeu l'etude du temps ontologique dans the lord of the rings, the hobbit et the silmarillion, de john ronald reuel tolkien (1892-1973) : 1: le temps ontologique chez tolkien se nourrit des surgissements du domaine autre de l'inconscient. 2: les personnages de tolkien sont constamment en quete de l'autre et une analyse textuelle de l'absence qui hante leurs peregrinations nous eclairera sur leur etre-au-monde. 3: l'absence est douloureuse et les personnages de tolkien cedent parfois a la tentation de la presence pure, laquelle correspondrait au desir de reinstaller une relation privilegiee avec le cosmos comme metaphore de l'unite mere-enfant originelle. 4: cette tentation etant vouee a l'echec, les personnages de tolkien vivent un temps de la perte qui entraine de leur part une recomposition mythique par laquelle l'etre lutte pour donner un sens transcendant a la perte. 5: toute tentative de fuite de la mortalite etant vouee a l'echec, l'etre tolkienien change d'attitude en privilegiant le present comme temps de l'action et de la refiguration. 6: les personnages de tolkien, qui vivent une quete ininterrompue, obtiennent-ils une veritable metamorphose de leur etre ? 7: finalement, qu'en est-il du devenir de l'etre tolkienien ? a la fin de the lord of the rings, l'issue est incertaine, mais comporte neanmoins des traces d'optimisme quant a une possible reconstruction du soi.
21
Jackson, Aaron Isaac. "Narrating England : Tolkien, the twentieth century, and English cultural self-representation". Thesis, Manchester Metropolitan University, 2015. http://e-space.mmu.ac.uk/617006/.
Pełny tekst źródłaStreszczenie:
This thesis addresses the representation of England and Englishness in J.R.R. Tolkien’s Farmer Giles of Ham (1949), The Hobbit (1937), and The Lord of the Rings (1954-1955). Primarily questioning Tom Shippey’s interpretation of the same themes in The Road to Middle-Earth (1982, 2005) and J.R.R. Tolkien: Author of the Century (2000), and offering a sustained analysis and evaluation of Shippey’s position and critical methodology as well as their endorsement by subsequent criticism, this thesis argues that Tolkien’s work does not position its representations of England as the unchanging pastoral idylls Shippey suggests. Rather, it proposes that through their prolonged examination of the importance of the relationship of location to narratives of English history, identity, and cultural self-representation, these texts self-consciously engage with the ways in which ideas of Englishness are serially made and remade. While focused on Tolkien’s treatment of England and Englishness throughout, the thesis takes the following trajectory. It begins by examining Shippey’s contention that the representation of these themes by Tolkien’s fiction was recuperative, idealising, and enshrining, investigating how and why this perspective has been critically endorsed and recycled. Establishing the enduring influence of Shippey’s work and critical methodology within Tolkien criticism, I argue that Shippey’s conclusions can be challenged by introducing the representations of England and Englishness presented by Tolkien’s work to alternative critical perspectives on the narration of the nation, notably those proposed by the work of Benedict Anderson and Ian Baucom. Outlining the ways in which Tolkien’s works operate similar strategies of representation to those of history and historiography in their fictive engagements with the historical and cultural narratives of English identity, I then move on to individual readings of each text. Arguing that the narratives do not ultimately consolidate prelapsarian visions of England and Englishness, these readings instead examine how the texts endorse the relationships between location, cultural identity, and history as mutual, coextensive, and subject to perennial change and reinvention.
22
Lindauer, Ruth Elizabeth. "Small acts of faithfulness an analysis of selected works of Tolkien /". Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.
Pełny tekst źródła
23
Ojeda, Labourdette Bernardita. "A través del espejo de plata: textos de la Tierra Media a la luz de la sociedad Tolkien de Chile". Tesis, Universidad de Chile, 2004. http://www.repositorio.uchile.cl/handle/2250/106391.
Pełny tekst źródłaStreszczenie:
Resulta interesante observar la interrelación que se produce entre un grupo de personas que observan y se observan desde un texto a primera vista secular como es “El Señor de los Anillos” (o bien, la obra completa relacionada con la Tierra Media creada por Tolkien), lo cual tengo entendido, no se ha realizado en la disciplina hasta el momento.
24
Watkins, Shana. "Embracing the Took kinship between Middle Earth and Sixties youth /". Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1399/umi-uncg-1399.pdf.
Pełny tekst źródłaStreszczenie:
Thesis (M.A.)--University of North Carolina at Greensboro, 2007.Title from PDF t.p. (viewed Oct. 18, 2007). Directed by Hephzibah Roskelly; submitted to the Dept. of English. Includes bibliographical references (p. 73-75).
25
Silva, Mariana Souza e. [UNESP]. "A caracterização do feminino em The Silmarillion, de J. R. R. Tolkien". Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/94066.
Pełny tekst źródłaStreszczenie:
Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0
Previous issue date: 2008-12-19Bitstream added on 2014-06-13T20:35:04Z : No. of bitstreams: 1
silva_ms_me_assis.pdf: 455791 bytes, checksum: 29ecb1862ccd885e60810e2ee49f3c0f (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esta dissertação pretende analisar a construção das personagens femininas na obra The Silmarillion, de J. R. R. Tolkien. Esse romance possui um tom fantástico, e é parte de uma mitologia criada por seu autor; as personagens possuem características que vão do humano ao divino, e a maioria delas é formada por homens predominantemente heróicos. O presente trabalho é focado nas personagens femininas da obra, e através da análise de suas descrições físicas e psicológicas, ações, características, enfim, de suas construções, objetiva determinar o modo de representação do autor, chegando-se, assim, a uma reflexão acerca da importância destas personagens na mitologia tolkieniana, à qual The Silmarillion serve como ponto inicial. Faz-se necessário, também, desvendar a influência de fatores políticos, sociais e históricos na criação e desenvolvimento destas personagens. A obra estudada relata os fatos que servem como fundo mítico à criação do mundo no qual se passa, a Terra-média. São contados os acontecimentos que deram origem a tudo, seres e ambientes, sentimentos, o Mal e sua eterna luta contra o Bem pelo poder. Pretendemos realizar este intento com o auxílio de teorias diversas, em especial a linha feminista da crítica literária que se ocupa do papel da mulher como leitora de textos de autoria masculina, como é o caso. Esperamos, também, contribuir com o crescente interesse pela obra do autor inglês, deixado à margem do cânone pela crítica especializada, para que assim se possa reconhecer a importância de sua obra em seu tempo, e também a de suas personagens femininas.
This dissertation intends to analyse the female characterization in the novel The Silmarillion, written by J. R. R. Tolkien. This novel has a fantastic tone, and it is part of a mythology created by its author; the characters have features that go from human to divine, and most of them are formed by men that act as heroes. The present study focuses on the female characters of the novel, and through the analysis of their physical and psychological descriptions, actions, features, in short, their constructions, it intends to determine the author’s way of representation; so, it will be possible to reach a reflection about the importance of these characters in the Tolkienian mythology, to which The Silmarillion figures as the initial point. It is also necessary to unmask the influence of political, social and historical factors on the creation and development of these characters. The novel gives an account on the facts that figure as a mythical background to the world where it is placed, Middle-earth. The events that were the origin to everything, beings and places, feelings, Evil and its eternal fight against Good for power, are told. We intend to achieve this goal with the support of many theories, especially the feminist trend of literary criticism that deals with the role of woman as a reader of texts written by men, as it is the case. We also wish to contribute to the growing interest on the works of the English author, who was left at the edge of the canon by the specialized critics, so that it is possible to recognize the importance of his work at his time, and also the importance of his female characters.
26
Timmons, Dan. "Mirror on Middle-earth, J. R. R. Tolkien and the critical perspectives". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0014/NQ35342.pdf.
Pełny tekst źródła
27
Silva, Mariana Souza e. "A caracterização do feminino em "The Silmarillion", de J. R. R. Tolkien /". Assis : [s.n.], 2008. http://hdl.handle.net/11449/94066.
Pełny tekst źródłaStreszczenie:
Orientador: Cleide Antonia RapucciBanca: Ivan Marcos Ribeiro
Banca: Jorge Augusto da Silva Lopes
Resumo: Esta dissertação pretende analisar a construção das personagens femininas na obra The Silmarillion, de J. R. R. Tolkien. Esse romance possui um tom fantástico, e é parte de uma mitologia criada por seu autor; as personagens possuem características que vão do humano ao divino, e a maioria delas é formada por homens predominantemente heróicos. O presente trabalho é focado nas personagens femininas da obra, e através da análise de suas descrições físicas e psicológicas, ações, características, enfim, de suas construções, objetiva determinar o modo de representação do autor, chegando-se, assim, a uma reflexão acerca da importância destas personagens na mitologia tolkieniana, à qual The Silmarillion serve como ponto inicial. Faz-se necessário, também, desvendar a influência de fatores políticos, sociais e históricos na criação e desenvolvimento destas personagens. A obra estudada relata os fatos que servem como fundo mítico à criação do mundo no qual se passa, a Terra-média. São contados os acontecimentos que deram origem a tudo, seres e ambientes, sentimentos, o Mal e sua eterna luta contra o Bem pelo poder. Pretendemos realizar este intento com o auxílio de teorias diversas, em especial a linha feminista da crítica literária que se ocupa do papel da mulher como leitora de textos de autoria masculina, como é o caso. Esperamos, também, contribuir com o crescente interesse pela obra do autor inglês, deixado à margem do cânone pela crítica especializada, para que assim se possa reconhecer a importância de sua obra em seu tempo, e também a de suas personagens femininas.
Abstract: This dissertation intends to analyse the female characterization in the novel The Silmarillion, written by J. R. R. Tolkien. This novel has a fantastic tone, and it is part of a mythology created by its author; the characters have features that go from human to divine, and most of them are formed by men that act as heroes. The present study focuses on the female characters of the novel, and through the analysis of their physical and psychological descriptions, actions, features, in short, their constructions, it intends to determine the author's way of representation; so, it will be possible to reach a reflection about the importance of these characters in the Tolkienian mythology, to which The Silmarillion figures as the initial point. It is also necessary to unmask the influence of political, social and historical factors on the creation and development of these characters. The novel gives an account on the facts that figure as a mythical background to the world where it is placed, Middle-earth. The events that were the origin to everything, beings and places, feelings, Evil and its eternal fight against Good for power, are told. We intend to achieve this goal with the support of many theories, especially the feminist trend of literary criticism that deals with the role of woman as a reader of texts written by men, as it is the case. We also wish to contribute to the growing interest on the works of the English author, who was left at the edge of the canon by the specialized critics, so that it is possible to recognize the importance of his work at his time, and also the importance of his female characters.
Mestre
28
Spooner, Kaleigh Jean. ""History Real or Feigned": Tolkien, Scott, and Poetry's Place in Fashioning History". BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6476.
Pełny tekst źródłaStreszczenie:
Most critics of The Lord of the Rings correlate Tolkien's work to ancient texts, like Beowulf, the Elder Edda, and medieval romances. While the connection between these traditional materials and Tolkien is valid, it neglects a key feature of Tolkien's work and one of the author's desires, which was to fashion a sort of history that felt as real as any other old story. Moreover, it glosses over the rather obvious point that Tolkien is writing a novel, or at any rate a long work of prose fiction that owes a good deal to the novel tradition. Therefore, through careful attention to the formal textures of Tolkien's work, melding together both genre criticism and formal analysis (and with a sound understanding of literary history), I argue that Tolkien's work follows a more modern vein and aligns with the nineteenth-century historical novel, the genre pioneered by Sir Walter Scott. The projects of Tolkien and Scott parallel one another in many respects that deserve critical attention. This essay begins the discussion by addressing just one, somewhat surprising, point of comparison: the writers' use of poetry. I observe that Tolkien and Scott utilized poetry in similar ways, and I parse the poems into three distinct categories: low culture poems, high culture poems, and poems which straddle the divide between the two. All of this demonstrates how each piece of poetry, written in an antique style, saturates the texts with historic atmosphere and depth. This lends a sense of authenticity and realism to Scott's works, and later it buttresses Tolkien's attempts to foster "the dust of history" and create an illusion of authenticity and realism for Middle Earth's (imaginary) past.
29
Ironside, Joseph. "Renewed Shall Be Blade That Was Broken: Tolkien, Modernity and Fascist Utopia". Thesis, Stockholms universitet, Engelska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-159897.
Pełny tekst źródłaStreszczenie:
This thesis consists of a close reading and meta-analysis of themes and patterns in the works that comprise the fictional world of “Middle-Earth” created by J. R. R. Tolkien, in specific relation to the culturally prevalent views of the decadence of modernity and the ideological dynamics of fascism. This thesis explores the ideological dynamics of the fictional world constructed by Tolkien’s texts, and argues that his work contains demonstrable similarities to the ideological dynamics of fascism in its response to the existential challenges of modernity. To clarify, this thesis does not argue that Tolkien’s fiction can be read as “fascist,” tout court, but rather to give a comprehensive outline of how the fictional world created within his texts relate to discourses critical of modernisation and to what extent the aesthetic and ideological dynamics of this world present what I will call a fascist utopia. Tolkien’s work will be approached using the arguments and theories from canonical texts and authors regarding discourses on modernity, including works from the fields of philosophy (Nietzsche), political economy (Marx and Engels), literary studies, sociology (Durkheim, Weber and Simmel) and psychology (Freud). Alongside this I will use relevant studies of fascism to analyse how Tolkien fits within and relates to the aforementioned discourses. I assert the findings that Tolkien creates a world which, in its attempts to renew the values of the past through the presentation of mythology, rootedness, community, agrarianism and hierarchy, demonstrates a semi-fascistic utopia. This is not to cast aspersions or make claims about Tolkien’s creative intentions or personal ideology, rather an observation as to the content and themes of his fictional world. I will argue this fictional world aligns with fascist concepts of identity, nationhood, heritage, mythology and renewal; however, at the same time finding it non-aligned with the central thrust of fascism, in its overt condemnation of industrialism and technology. This contradictory combination produces a fictional world which presents the renewal of what Roger Griffin terms the “shields against ontological terror” (75) now lost or delegitimised in the modern age.
30
Svensson, Filip. "Tolkien's Natural Pathos". Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-6585.
Pełny tekst źródła
31
Spadaro, Enrico. "La littérature-monde de J.R.R. Tolkien : pertinence, discours et modernité d'une oeuvre originale". Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0282.
Pełny tekst źródłaStreszczenie:
Ce travail de thèse se focalise sur l'écrivain anglais John Ronald Reuel Tolkien et sur son oeuvre littéraire. Celle-ci est composée de plusieurs écrits et surtout des romans The Hobbit (1936) et The Lord of the Rings (1954-1955). L'intention que Tolkien avait au début de sa carrière littéraire était la création d'une mythologie pour son pays, l'Angleterre. Cette profonde ambition primaire s'unit à sa passion de jeunesse pour les langages imaginaires et à sa profession de philologue et d’enseignant d ’anglo-saxon à l’université d’Oxford. La Terre du Milieu, le monde que Tolkien dessine pour sa mythologie, devient alors le lieu où ses contes, qu'il définira de contes de fées, se déroulent et où ses langages peuvent se développer. Nous allons démontrer dans ce travail, qui est formé de trois parties, la pertinence de l’oeuvre de Tolkien dans le contexte de la littérature contemporaine et le fait que sa production littéraire implique plusieurs éléments qui relient mythologie, philologie, fantaisie et modernité. Nous nous concentrons sur certains aspects thématiques de la littérature européenne qui ont inspiré la création mythologique par Tolkien. La deuxième partie du travail encadre le point de vue linguistique au sein de l’oeuvre de Tolkien. Finalement, la troisième partie a la fonction de résumer les aspects précédents et d'analyser la théorisation des contes de fées par Tolkien, tout comme il la développe dans son célèbre essai "On Fairy-Stories", pour conclure avec la réception critique que notre auteur a reçue dans le monde moderne et contemporain, et qui lui a aussi permis d’être l’un des auteurs les plus lus et influents du XXe siècleThis thesis focuses on the English writer John Ronald Reuel Tolkien (1892-1973), the famous author of The Lord of the Rings. Tolkien’s literary work gathers many writings, stories and two famous novels, such as The Hobbit (1936) and The Lord of the Rings (1954-1955), that achieved a great succes all over the world. At the beginning of his literary career Tolkien aimed at the creation of a mythology to his country, England. This ambition was matched with his juvenile passion of inventing languages and his profession as a philologist and Anglo-Saxon teacher at Oxford University. Middle-earth, Tolkien’s secondary world, becomes the place where his fairy tales occurs and his languages may develop. This work shows how Tolkien’s work fits in the context of contemporary literature and that his production involves many elements collecting mythology, philology, fantasy and modernity.It consists of three parts: in the first part, some of the themes and the mythological sources of Tolkien’s tales are analyzed, in particular the Finnish sources, the Medieval and poetic ones. Thesecond part, the linguistic matters concerning Tolkien's work are taken into consideration and, in particular, the way how languages may create a world and the relation between reality and the perception of such reality, which will inevitably influence the language referred to it.Finally, in the third part, the Fairy element, which is one of the bases of Tolkien’s work is discussed, as well as the reception of our author, both from the critique point of view and the audience one, so as to demonstrate why he may be considered as one of the greatest writers of the twentieth century
32
Parmeggiani, Laura. "La censura sovietica e la letteratura per l’infanzia in traduzione: il caso Tolkien". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018.
Znajdź pełny tekst źródłaStreszczenie:
In questa tesi si vuole analizzare il rifiuto da parte della censura sovietica del romanzo "Lo Hobbit" di J. R. R. Tolkien, delineando il particolare cursus attraverso il sistema totalitario a cui l'opera sarebbe dovuta essere sottiposta in quanto testo straniero dedicato a una fascia di pubblico delicata quale quella dell'infanzia. Nel fare ciò, delineo i processi di funzionamento del sistema censorio sovietico, spiego le particolarità del trattamento della letteratura straniera in traduzione e la letteratura per l'infanzia e avanzo ipotesi sulle tematiche sensibili che possano aver attirato l'attenzione della censura su questo testo. In ultima istanza analizzo l'impatto che il romanzo ha avuto sul lettore sovietico nel periodo storico in cui passò finalmente il controllo censoriale.
33
Wood, Anthony. "Melancholia, mourning and the quest for renewal in the legendarium of J.R.R. Tolkien". Thesis, University of Essex, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.605576.
Pełny tekst źródłaStreszczenie:
This thesis analyses the creative theory and practice of J.R.R. Tolkien (1892-1973). In my Introduction, I situate Tolkien's fantastic legendarium within the historical climate of loss pervading the first half of the twentieth century. Using the theories of Sigmund Freud, I argue that personal experiences of such climate and actual losses are manifested in Tolkien's fiction, both as a compensatory mechanism and as a mythopoelic activity. In Chapter One, 1 determine how the psychological dynamics of mourning and melancholia are represented in the themes of fall, exile and mortality that connect the narratives of the chronotopic ages of Tolkien's mythology. In Chapter Two, I evaluate Tolkien as a philologist, and the influence of Gothic and Old English on linguistic structure in The Silmarillion (1977). I constellate his "secret vice" of language invention with the theories of modernist poet Stephane Mallarme. I furthermore determine how these factors influence the symbolic representation of culture in Middle-earth by linguistic means, exploring how words in Tolkien's invented languages evolve from literal signifiers into reservoirs of melancholia. In Chapter Three, I indicate how lost cathexis is regained in The Lord a/the Rings (1954•5) not only through the mechanism of the paternal bond, but also through the creation of ecologically-aware narratives expressing "vistas of history and legend" comparable to the function of dinnseanchas (place-lore) in Irish mythology. In Chapter Four, 1 contend that Tolkien's creative agency stems from deployment of radical nostalgia, and is utilised in such a way as to facilitate mourning and negotiate the collective trauma of apocalyptic "immanence" in the twentieth century. I conclude that this psychological process facilitates a response of renewal in Tolkien's readership
34
Chémali, Marc. "Le sacré dans The Lord of the Rings de J. R. R. Tolkien". Paris 10, 1994. http://www.theses.fr/1994PA100168.
Pełny tekst źródłaStreszczenie:
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 sainteThe 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
35
Franceschin, Emma <1997>. "Donne e mondi fantastici. Un'analisi delle figure femminili in Tolkien, Troisi e Josephson". Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21130.
Pełny tekst źródłaStreszczenie:
Questa tesi si dividerà in due parti. Nella prima il focus sarà sul genere Fantsy e sulla sua storia (dalla favola ad oggi), e sulle principali caratteristiche che lo contraddistinguono, usando come base di partenza il lavoro svolto da Propp sulle favole russe. Nella seconda parte verranno analizzate le tipologie di figure femminili presenti nel genere partendo dai libri de “Il signore degli anelli”, “Le guerre del mondo Emerso” e “The Storm crow” e mettendole a confronto tra di loro.
36
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.
Pełny tekst źródłaStreszczenie:
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.
37
Skublics, Heather A. L. E. "Naming and vocation in the novels of J.R.R. Tolkien, Patricia Kennealy and Anne McCaffrey". Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68137.
Pełny tekst źródłaStreszczenie:
"Naming and Vocation in the Novels of J. R. R. Tolkien, Patricia Kennealy and Anne McCaffrey" discovers in recent works of fantasy and science fiction a pattern of authority which is rooted in the existence of namers and characters who are called to specific tasks. Each of these authors portrays individuals who are called to their own particular and unique roles by other figures whose knowledge of them is deeper than their own. The Biblical account of Samuel's life provides a paradigm for both namer and named that is informative in recognising this pattern in each of the works studied. The virtues essential to living out the call of a namer are faith and obedience; and personal fulfilment as well as heroic feats can only be achieved if those virtues are cultivated.
38
Hiley, Margaret Barbara. "Aspects of modernism in the works of C.S. Lewis, J.R.R. Tolkien and Charles Williams". Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/1814/.
Pełny tekst źródłaStreszczenie:
In recent years, the works of the Oxford Inklings C. S. Lewis, J.R.R. Tolkein, and Charles Williams have increasingly found academic acknowledgment. However, no real attempt has yet been made to evaluate their writings in terms of the literature of the twentieth century. The present thesis aims to remedy this omission by reading the works of the Inklings against those of their modernist contemporaries. Both modernist works and those of the Inklings are heavily influenced by the experience of the World Wars. The present study examines in particular how the topic of war is employed in modernism and the Inklings’ fantasy as a structuring agent, and how their works seek to contain war within the written work in an endeavour that is ultimately doomed to failure in the face of war’s reality. History plays a highly important role for both modernists and Inklings. Their works attempt to construct a coherent and authoritative (nationalist) history, while at the same time paradoxically acknowledging the impossibility of doing so. The works examined employ various forms of intertextuality to create authenticity and authority, and make extensive use of myth – which, according to Barthes, transforms an arbitrary history into self-evident (and thus authoritative) nature (cf. Roland Barthes, Mythologies. London: Vintage, 1992). Finally, it is the question of language that lies at the heart of the modernists’ and the Inklings’ projects. Both show a high degree of self-awareness and self-reflexivity, openly thematising that their respective worlds are constructed of words. They are also concerned with the perceived crisis of language, and with the necessity of discarding outworn traditions coupled with the difficulty of creating new ones.
39
Gonçalves, Dircilene Fernandes. "Pseudotradução, linguagem e fantasia em \'O Senhor dos Anéis\', de J. R. R. Tolkien". Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-17102007-140251/.
Pełny tekst źródłaStreszczenie:
Em mais de meio século desde a publicação do primeiro volume de O Senhor dos Anéis, de J. R. R. Tolkien, em 1954, a maioria das discussões sobre a construção ficcional tolkieniana tem se concentrado em sua fundamentação lingüística, ou seja, o fato, reafirmado diversas vezes pelo próprio Tolkien, de que a obra foi escrita para dar um mundo às línguas inventadas por ele. O ponto de partida desta pesquisa é a observação do trabalho lingüístico de Tolkien desde uma outra perspectiva: a da concepção da narrativa como tradução fictícia. Partindo de um estudo da pseudotradução dentro dos Estudos da Tradução, observamos como ela opera especificamente nessa obra, com o objetivo de demonstrar que ela é não só uma técnica, mas o princípio criativo da narrativa. Após analisarmos a ficção tradutória que serve como moldura para a narração dos eventos da estória, complementamos a pesquisa com um estudo da utilização da linguagem na construção da fantasia mitológica de Tolkien. Na somatória dessas duas operações, procuramos mostrar como o processo de encadeamento de uma ficção dentro de outra ficção é fundamental para a criação de uma obra no limiar da fantasia e da realidade.Throughout more than half a century since the publication of the first volume of J. R. R. Tolkien\'s The Lord of the Rings, in 1954, most discussions on the composition of Tolkien\'s fiction have concentrated on the fact that it is a fundamentally linguistic work; namely, the fact, sustained many times by Tolkien himself, that the narrative was created to give a world to the languages invented by the author. The starting point of this research is the observation of such linguistic composition from another perspective: the conception of the narrative as a fictitious translation. Setting about from a study of pseudotranslation inside Translation Studies, we examine how it operates specifically in this work, aiming at demonstrating that it is not merely a narrative technique, but the very creative principle of the narration. After the analysis of the translational fiction, which functions as a frame for the rendering of the events in the story, we present a further study on the use of language in the construction of Tolkien\'s mythological fantasy. Summing up these two operations, we aim at showing how the interlacing process of one fiction into another is fundamental for the creation of a work that dwells on the threshold of fantasy and reality.
40
Racy, Gustavo. "Lá e de volta outra vez : J. R. R. Tolkien - campo literário e editorial". Pontifícia Universidade Católica de São Paulo, 2012. http://tede2.pucsp.br/handle/handle/2373.
Pełny tekst źródłaStreszczenie:
Made available in DSpace on 2016-04-25T20:20:54Z (GMT). No. of bitstreams: 1
Gustavo Racy.pdf: 491993 bytes, checksum: 048f5a1bdf1745162be3d49f27e8d988 (MD5)
Previous issue date: 2012-11-22Conselho Nacional de Desenvolvimento Científico e Tecnológico
What legitimates a text? In what way may one understand literature and even analyze it? This research has as its objective to think about the existents relations in the production of the English literary field departing from three ways: Pierre Bourdieu s sociological analysis of the exchange of symbolic goods and the social and political relations involving the different social fields with which the literary field relates; the historic situation departing from the analysis of Raymond Williams and Edward Palmer Thompson; and at last, the analysis of the chosen literary piece itself through the ideals of myth, language and literature on Walter Benjamin s thinking. For that given its contradictory position in the field - J.R.R Tolkien s work was chosen as object. Even reaching extraordinary levels of popularity in so little time in a moment when publicity and propaganda hadn t invaded the editorial field, the authors work still lives on despite its success through different generations and classes as minor literature, being excluded and little debated by its legitimate pairs
O que legitima um texto? De que modo se pode compreender a literatura e mesmo analisá-la? Esta dissertação tem como objetivo pensar as relações existentes na produção do campo literário inglês tomando por base três vertentes: a análise sociológica de Pierre Bourdieu sobre a troca dos bens simbólicos e as relações sociais e políticas envolvidas nos diferentes campos sociais com os quais dialoga o campo literário; a situação histórica baseada nas reflexões de Raymond Williams e Edward Palmer Thompson; e por último a análise interna da obra escolhida a partir das reflexões sobre mito, linguagem e literatura no pensamento de Walter Benjamin. Para isso, foi selecionada como objeto de investigação, e por sua situação contraditória no campo literário, a obra de John Ronald Reuel Tolkien, autor que atingiu marcas espetaculares de popularidade em pouco tempo e em um momento em que a publicidade e a propaganda ainda não haviam invadido o campo editorial; talvez por isso, e apesar do sucesso ultrapassou gerações e classes, seja considerado pelo campo literário um autor menor , carente de legitimação entre seus pares
41
Oxnam, Danielle Marie. "A Storied Friendship: A Look into the Lives of C.S. Lewis and J.R.R. Tolkien". Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/579329.
Pełny tekst źródłaStreszczenie:
This paper focuses on the monumental friendship between two iconic writers of the twentieth century, C.S. Lewis and J.R.R. Tolkien. Meeting early during their careers as Oxford professors in the 1920s, the two men soon became close through their shared love of literature, language, and Christianity. Over the course of their 35-year friendship they enjoyed many powerful, enigmatic discussions and encouraged one another to pursue writing in their own ways. Out of this camaraderie The Lord of the Rings and The Chronicles of Narnia, two iconic series of the modern age, were born. In these novels lives the powerful spirit and complex intrigue of both Lewis and Tolkien. Their complex imaginations, love of mythology, and above all fascination with the Christian narrative contributed to the success of their novels and are responsible for their continued relevance today. Without the support of the other, neither man seems likely to have completed their famous works on their own or to have developed such a strong and profound Christian faith. This paper seeks to explore the meaningful friendship that so shaped the personal lives and careers of C.S. Lewis and J.R.R. Tolkien.
42
Brémont, Aurélie. "Les Celtes en Terre-du-Milieu : inspirations celtiques dans les œuvres de J.R.R Tolkien". Paris 4, 2009. http://www.theses.fr/2009PA040151.
Pełny tekst źródłaStreszczenie:
Plus de cinquante ans après la publication de son chef d’œuvre Le Seigneur des Anneaux, Tolkien est un auteur qui fascine toujours, bien au-delà de l’engouement passager qu’on pourrait attribuer à un auteur de littérature fantastique. L’intérêt des chercheurs n’est pas moindre que celui des lecteurs et l’univers fictif que Tolkien a créé, et que l’on découvre notamment dans les volumes de The History of Middle-earth, recèle encore bien des secrets. Parmi ceux-ci se trouve l’importance de la culture celtique. Longtemps délaissée au profit des Anglo-Saxons dont Tolkien avait fait sa spécialité, cette dernière commence à faire valoir ses droits avec des auteurs comme Marjorie Burns ou Verlyn Flieger et cette recherche s’y consacre entièrement. Le premier axe d’exploration fait coïncider la mythologie irlandaise et la mythologie tolkienienne pour préciser la parenté entre les Tûatha Dé Dânann et les Elfes. En s’appuyant sur les théories de Dumézil appliquées aux Celtes par Leroux et Guyonvarc’h, tous les aspects de la civilisation celtique (organisation sociale et militaire, principes religions et activités magiques) sont étudiés d’après les textes mythologiques et mis en parallèle avec les récits de la Terre du Milieu. La partie centrale s’intéresse quant à elle à la littérature médiévale, qu’elle soit poésie irlandaise et bretonne ou légende arthurienne. On a ainsi l’occasion de découvrir certains textes moins connus de Tolkien et de résoudre l’épineuse question de la place du roi Arthur dans les sources du Seigneur des Anneaux. Enfin, la dernière partie de cet ouvrage étudie les influences de style et de narration de la littérature dite celtique dans l’écriture de Tolkien, puis les conséquences de la parenté galloise d’un des langages elfiques dans la composition des contes de la Terre du Milieu. Un prologue et un épilogue encadrent cette recherche en replaçant les influences celtiques dans la problématique plus générale du projet de Tolkien de créer une mythologie pour son paysThough fifty years have passed since the publication of The Lord of the Rings, Tolkien is still an object of fascination, way beyond what could be expected from a fantasy writer. The interest is as high in the scholarly world as it is in the reading world and the universe Tolkien created, which is now fully laid out in The History of Middle-earth, is still full of secrets. Among those is the question of the importance of Celtic influences. Long cast aside because of the predominance of the Saxon ancestry of which Tolkien was a specialist, this culture starts to be acknowledged as important with such scholars as Marjorie Burns or Verlyn Flieger, and it is the object of this thesis. The first track of exploration puts together the Irish mythology and that of Tolkien to underline the connection between the Tuatha De Danann and the Elves. On the basis of Dumezil’s theories as they have been applied to Celtic culture by Leroux and Guyonvarc’h, every aspect of the Celtic civilisation (social, military, religious, magical) is laid out from the texts and compared to the tales of Middle earth. The central part of the research deals with medieval literature, be it Irish and Breton poetry or Arthurian legends. It gives the opportunity to discover some of Tolkien’s less famous texts and to answer the delicate problem of the place of Arthur and his world in the inspirations of The Lord of the Rings. Finally, the last two chapters presented here focus on the style and narration that are typical of Celtic literature to see if they can be found under Tolkien’s pen, and on the consequences of the Welsh lineage for Sindarin in the portraying and legends of the Sindarin people. A prologue and an epilogue frame this thesis by placing Celtic influences in the larger question of the invention of a mythology for England, which was Tolkien’s attempt
43
Korpua, J. (Jyrki). "Constructive Mythopoetics in J. R. R. Tolkien's Legendarium". Doctoral thesis, Oulun yliopisto, 2015. http://urn.fi/urn:isbn:9789526209289.
Pełny tekst źródłaStreszczenie:
Abstract This doctoral dissertation discusses constructive mythopoetics in J. R. R. Tolkien’s legendarium, the mythopoetic logics and elements on which Tolkien’s texts and his fantasy world are constructed. My aim in this research is to create a reading of Tolkien’s fiction that shows that it is possible to discern a mythopoetic code in Tolkien’s legendarium. My hypothesis is that Tolkien’s mythopoetic fiction aims to be coherent on the levels of languages, myths, and inter- and intratextual background. This coherence can be found throughout the various texts and fragments of Tolkien’s fiction. From the cosmogonical creation myth of The Silmarillion, to the fairy-story lightness of The Hobbit and the quest fantasy of The Lord of the Rings, Tolkien’s fiction has its roots in the mythopoetic logics of his theory of creative writing (or myth-making). Tolkien is the sub-creator; he is creating myths and building his own world. For Tolkien, God is the primary creator, but the author is the (sub-)creator of his own creation. This is consistent throughout Tolkien’s legendarium, despite the fact that whilst creating his fiction, Tolkien is “pretending” to be a translator of mythical pseudo-historical documents. In the main chapters, my research logics trace the inner timeline of Tolkien’s legendarium. Starting from the creation of the world, I move onto the long fall and struggle and to the end of the world. When discussing the theme of creation, I focus on the concept of creation on the intratextual level of Tolkien’s legendarium as well as on Tolkien’s aesthetics of creative work. In the end of the dissertation, I turn my attention also to the creative work of the reader. My theoretical approach is influenced by both Northrop Frye’s constructive theory of literature and Benjamin Harshav’s theory of constructive poetics. I discuss the creative methods of speculative historical epic and the dichotomies of beginning and end, good and evil, mortality and immortality, spiritual and physical, and visibility and invisibility, as well as how these elements are manifested in Tolkien’s mythopoetic vision. The structure of Tolkien’s constructive mythopoetics is illuminated through the grand concepts of the Creation, the Existence, the Fall and the StruggleTiivistelmä Väitöskirjani käsittelee konstruktiivista mytopoetiikkaa J. R. R. Tolkienin legendaariossa. Työ keskittyy ennen kaikkea mytopoeettiseen logiikkaan ja elementteihin, joiden kautta Tolkienin tekstit ja hänen luomansa fantasiamaailma rakentuvat. Tutkimukseni muodostaa Tolkienin fiktion luennan, joka osoittaa, että Tolkienin legendaariolle voidaan löytää mytopoeettinen koodi. Tämä koodi havainnollistaa, että Tolkienin mytopoeettinen fiktio luo koherentin ja uskottavan kokonaisuuden kielen, myyttien sekä inter- ja intratekstuaalisten vaikutussuhteiden kautta. Tämä yhteenkuuluvuus ja koodi on nähtävissä, vaikka Tolkienin legendaarion osat ovat keskenään perin erilaisia, eri kirjallisuuslajeihin kuuluvia ja vaikka osa on julkaistu vain fragmentteina hänen kuolemansa jälkeen. Tolkienin mytopoeettinen logiikka ja luovan kirjoittamisen teoria näkyvät aina Silmarillion-teoksen kosmogonisesta luomismyytistä kevyen satumaiseen Hobittiin tai aina seikkailufantasiaan Taru Sormusten Herrasta. Tekijänä Tolkien näyttäytyy teoksissaan “alempana luojana” (sub-creator), joka kehittää myyttejä ja rakentaa fantasiamaailmaansa. Tolkienille Jumala on “ylempi luoja”, johon kirjailija vertautuu fiktion tasolla. Väitöskirjani tutkimuslogiikka seuraa Tolkienin legendaarion aikajärjestystä. Aloitan työni maailmanluomisesta, siirryn tämän jälkeen ns. pitkään tappioon ja haipumiseen sekä aina maailmanloppuun saakka. Luomisen teemaa käsitellessäni päähuomioni on sekä Tolkienin legendaarion teosten sisäisessä kertomuksessa että hänen kirjallisen luomisensa estetiikassa. Väitöskirjan loppupuolella käännän huomiotani myös lukijan “luomistyöhön” teoksia lukiessa. Käyttämääni teoreettiseen näkökulmaan ovat vaikuttaneet erityisesti Northrop Fryen konstruktiivinen kirjallisuusteoria sekä Benjamin Harshavin konstruktiivinen poetiikka. Käsittelyssäni ovat myös spekulatiivisen historiallisen epiikan metodit sekä hyvän ja pahan, kuolevaisuuden ja kuolemattomuuden, henkisen ja fyysisen sekä näkyvän ja näkymättömän vastakkainasetteluparit, ja ennen kaikkea se, kuinka nämä vastakkainasetteluparit ja elementit näyttäytyvät Tolkienin mytopoeettisessa visiossa. Tolkienin fiktion konstruktiivinen mytopoetiikka havainnollistuu metafyysisten ja temaattisten käsitteiden Luominen (Creation), Olemassaolo (Existence), Lankeamus (Fall) ja Ponnistelu (Struggle) kautta
44
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.
Pełny tekst źródłaStreszczenie:
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: 2013-11-07The 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.
45
Howard, Scott Davis. "Recreating Beowulf's "pregnant moment of poise" pagan doom and Christian eucatastrophe made incarnate in the Dark Age setting of The lord of the rings /". CONNECT TO THIS TITLE ONLINE, 2008. http://etd.lib.umt.edu/theses/available/etd-03312008-092626/.
Pełny tekst źródła
46
Kerley, Allison. "The Culture of Nature in Tolkien's The Lord of the Rings". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/719.
Pełny tekst źródłaStreszczenie:
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.
47
Scarf, Christopher Hans. "The ideal of kingship in the writings of Charles Williams, C.S. Lewis and J.R.R. Tolkien". Thesis, University of Sussex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442430.
Pełny tekst źródła
48
Batstone, P. "Shadow into substance : Education and identitity in the fantasy of C.S. Lewis and J.R.R. Tolkien". Thesis, University of Exeter, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377273.
Pełny tekst źródła
49
Liberi, Noemi. "John Ronald Reuel Tolkien fra critica e traduzione: Il caso della history of Middle-Earth". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7814/.
Pełny tekst źródłaStreszczenie:
Il progetto si propone di tradurre parti di un’opera di John Ronald Reuel Tolkien inedita in Italia. Si tratta dell'introduzione e di un capitolo del settimo volume della History of Middle-Earth, che raccoglie l’intero corpus degli scritti tolkeniani e ne ricostruisce l’evoluzione narrativa. La tesi, oltre al capitolo dedicato alla traduzione dall'inglese all'italiano e alla discussione delle scelte traduttive, include: alcune notizie biografiche su Tolkien, con particolare riferimento agli anni giovanili; una discussione sulla legittimità di un suo eventuale inserimento all'interno dei canoni letterari; una discussione sulle differenti interpretazioni de Il Signore degli Anelli; una discussione sui contenuti di tutti i volumi della History e sulle difficoltà che sorgono nella traduzione delle opere di Tolkien.
50
Carreiro, Marcos Vinícius Nunes. "The Silmarillion e o desenvolvimento de uma nova mitologia no século XX". Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7917.
Pełny tekst źródłaStreszczenie:
Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-10-26T14:29:04Z
No. of bitstreams: 2
Dissertação - Marcos Vinícius Nunes Carreiro - 2017.pdf: 1259484 bytes, checksum: 93e0acfffc760a381c1ad008d52a515e (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-10-26T14:32:37Z (GMT) No. of bitstreams: 2 Dissertação - Marcos Vinícius Nunes Carreiro - 2017.pdf: 1259484 bytes, checksum: 93e0acfffc760a381c1ad008d52a515e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Made available in DSpace on 2017-10-26T14:32:37Z (GMT). No. of bitstreams: 2 Dissertação - Marcos Vinícius Nunes Carreiro - 2017.pdf: 1259484 bytes, checksum: 93e0acfffc760a381c1ad008d52a515e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-09-15
J.R.R. Tolkien began writing his stories in the early twentieth century, with the intention of creating a mythology to his country, England. It is for this purpose that he builds an extensive set of tales, of which The Silmarillion is the reunion of his main narratives, whereas they narrate the beginning of a world known mainly for being the scene of the events of The Lord of the Rings. Thus the objective of this work is to show if Tolkien was even able to create a mythology, and try to point out how he did it and what influenced him in that trajectory, using, for this, not only critics of the work of the author, such as Tom Shippey and Amanda Dutton, but also theorists whose works are recognized in the analysis of myths, such as Eleazar Meletínski and Joseph Campbell.
J.R.R. Tolkien começou a escrever suas histórias no início do século XX, com a intenção de criar uma mitologia que servisse de a seu país, a Inglaterra. É com esse objetivo que ele constrói, ao longo de toda a sua vida, um extenso conjunto de relatos, sendo The Silmarillion a reunião de suas principais narrativas, visto que narram o início de um mundo conhecido principalmente por ser palco dos acontecimentos de The Lord of the Rings. Assim, o objetivo deste trabalho é mostrar se Tolkien, sendo autor do século XX, foi mesmo capaz de criar uma mitologia, ao passo em que http://lattes.cnpq.br/6194240116275620 http://lattes.cnpq.br/1028003493670371 tenta apontar como o fez e o que o influenciou nessa trajetória, utilizando, para isso, não apenas críticos da obra do autor, como Tom Shippey e Amanda Dutton, mas também teóricos cujos trabalhos são reconhecidos na análise de mitos, como Eleazar Meletínski e Joseph Campbell.