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Maratova, Zhamal Zh, i Tatiana V. Nazarova. "W. Morris’s tradition in J.R.R. Tolkien’s epic fantasy". RUDN Journal of Studies in Literature and Journalism 25, nr 3 (15.12.2020): 497–510. http://dx.doi.org/10.22363/2312-9220-2020-25-3-497-510.
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This article offers a comprehensive review of W. Morris influence on the epic fantasy of J.R.R. Tolkien. The purpose of the research is to reflect how Morris tradition influenced the development of Tolkiens fantastic prose - which later formed a separate subgenre of epic fantasy - and the whole fantasy genre. The objectives of the study include tracing the history of the development of fantastic element in literature - which served as a basis for the works of both authors - and finding poetological similarities and differences between W. Morris and J.R.R. Tolkien. The comparative study is based on the works of V. Gopman and K. Massey as well as on the original writings of Morris and Tolkien. The result of the study is the justification for W. Morris as the natural literary precursor of Tolkien. Based on the influence and partial borrowing of Morris imagery and motifs, Tolkin develops the theoretical foundation for the genre of magical fairy tale, which will later be called fantasy.
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Busbee, M. B. "Grundtvig and Tolkien on Beowulf: A comparative analysis". Grundtvig-Studier 61, nr 1 (1.01.2010): 12–30. http://dx.doi.org/10.7146/grs.v61i1.16567.
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Grundtvig and Tolkien on Beowulf: A comparative analysis[En komparativ analyse a f Grundtvigs og Tolkiens syn på heltekvadet Beowulf]Af M.B. BusbeeI 1941 betegnede Kemp Malone J. R. R. Tolkiens nu berømte forelæsning Beowulf: The Monsters and the Critics (1936) som Grundtvig i nutidig klædedragt. I 1975 kommenterede Andreas Haarder Malones bemærkninger og hævdede, at Tolkiens konklusioner var hans egne. I stedet for at fortsætte skellet mellem studier af Grundtvig og Tolkien, hvoraf mange henkastet underforstår Grundtvigs indflydelse på Tolkien, er det på tide at revurdere de spørgsmål, der er involveret i Malones påstand og Haarders tilbagevisning.Derfor gennemfører denne artikel en analyse af Tolkiens udkast til hans forelæsning og en sammenligning af den trykte udgave af hans forelæsning og Grundtvigs kritiske kommentarer til digtet skrevet mellem 1815 og 1820.Analyserne foretages med henblik på at genoverveje følgende grundlæggende spørgsmål: Hvad vidste Tolkien om Grundtvig og hans kritik af digtet? Hvilke ligheder er der i de to mænds kritik af Beowulf digtet! Og vigtigst af alt: Trak Tolkien på Grundtvigs kommentarer, da han formulerede sit eget syn på Beowulf eller forsøgte han måske at svare igen?
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Zaripova, Sokhiba. "INTERPRETATION OF ST TION OF STYLISTIC DEVICES AND ME YLISTIC DEVICES AND METHODS IN THODS IN ''THE HOBBIT''". Scientific Reports of Bukhara State University 5, nr 2 (24.05.2021): 178–86. http://dx.doi.org/10.52297/2181-1466/2021/5/2/16.
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Background. The origin, popularity and importance of high fiction in English literature are directly linked to Tolkien's work. Tolkien’s novels were the reasons for the critical rise of English fiction to some extent. His “Hobbit” achieved great success at that time and it was the most popular work among readers. When L. Baum created examples of the fantasy genre, detailed historical events, settings and landscapes were considered as the part of the such genre. On the contrary, Tolkien, refined and elevated these concepts. Tolkien set out to associate the roots of his ideas, which embodied location and time, in the field of fiction. Methods. In this article there have been drawn some views related to the analysis of stylistic devices in the novel of “Hobbit”.
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Munro, Rebecca. "The Art of The Lord of the Rings: A Defense of the Aesthetic". Religion and the Arts 18, nr 5 (2014): 636–52. http://dx.doi.org/10.1163/15685292-01805002.
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This article provides something of a corrective to the ongoing trend in Tolkien studies to read his fiction theologically and attach aspects of it to specific Christian doctrine and practice. Tolkien made his resistance to such “symbolic or allegorical” interpretation very clear in his letters. I argue that recognizing and reading Tolkien as a literary artist provides a more appropriate method by which we may appreciate The Lord of the Rings as the author intended, as literary art. Through such an approach, we may also come to a more accurate understanding of how Tolkien’s faith, as a Catholic Christian writer, enriches his masterpiece. Evidence for my argument comes from Tolkien’s writings and The Lord of the Rings, in which Tolkien’s aesthetic criteria for the art of story-telling is most fully embodied and demonstrated.
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Ilina, Alexandra S. "Christianity in Middle-Earth: St. Augustine and J.R.R. Tolkien". Voprosy Filosofii, nr 9 (2021): 184–93. http://dx.doi.org/10.21146/0042-8744-2021-9-184-193.
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The article is devoted to the analysis of motives and ideas in the epics of J.R.R. Tolkien, which he borrows from the texts of Augustine and from the texts of the Augustinian tradition. Main thesis of the paper is that the theological aspects of Tolkien’s “Middle-earthic” works are close to the ideas that Augustine asserts in his writings. Tolkien’s and Augustine’s opinions are similar on many central Christian issues, such as the problem of the relationship between free will and grace, the problem of the relationship between good and evil, the problem of the Fall and the problem of sin. For example, for Augustine, as for Tolkien, the fall is a consequence of the free will of an intelligent being who wants to take a higher place in the Hierarchy of Creation. This desire is called “pride” by both Augustine and Tolkien; for them pride is the mother of all subsequent vices. Both Augustine and Tolkien call the creatures that have taken possession of vice “evil”, but evil itself in the writings of Augustine, as in the writings of Tolkien, is not an essence. Evil “parasitizes” on the created, which is originally good, and destroys it. Evil for Tolkien and Augustine is non-being, the denial of being. These individual aspects form the basis of the worldview systems of Augustine and Tolkien; therefore, they are given a special place in our article.
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Cossio, Andoni. "Further notes on J. R. R. Tolkien’s photostats of The Equatorie of the Planetis (MS Peterhouse 75.I)". SELIM. Journal of the Spanish Society for Medieval English Language and Literature. 27, nr 1 (28.07.2022): 166–76. http://dx.doi.org/10.17811/selim.27.2022.166-176.
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Andoni Cossio proposes in a recent article the addition of The Equatorie of the Planetis (c. 1393) in MS Peterhouse 75.I to
“Section A” of Oronzo Cilli’s Tolkien’s Library: An Annotated Checklist (2019). However, Cossio fails to specify the folios of MS Peterhouse 75.I to which the photostats in Tolkien VC 277 correspond. A detailed descriptive list of the photostats that J. R. R. Tolkien received from Derek J. Price could be useful in the understanding of the type of assistance Tolkien offered to Price and R. M. Wilson at the time they were preparing an edition of The Equatorie of the Planetis(1955). This note will supply that missing information as well as speculate about the nature of Tolkien’s contribution to the project and its implications. Tolkien devoted considerable attention to the study of Geoffrey Chaucer’s language, and he may have been aware, after careful examination of The Equatorie of the Planetis, that its attribution to Chaucer rested on inconclusive evidence. This view of course would have challenged Price and Wilson’s assumptions and it may explain why we know so little about Tolkien’s involvement.
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Cossio, Andoni. "The Missing Letters J. R. R. Tolkien Received from Derek J. Price and R. M. Wilson: Addendum to “Further Notes on J. R. R. Tolkien’s Photostats of The Equatorie of the Planetis (MS Peterhouse 75.I)”". SELIM. Journal of the Spanish Society for Medieval English Language and Literature. 28, nr 1 (31.07.2023): 97–106. http://dx.doi.org/10.17811/selim.28.2023.97-106.
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In 2021, Andoni Cossio suggested cataloguing The Equatorie of the Planetis (MS Peterhouse 75.I, c. 1393) under “Section A” in Tolkien’s Library: An Annotated Checklist, by Oronzo Cilli. One year later, Cossio unearthed the exact list of MS Peterhouse 75.I folios J. R. R. Tolkien had once owned in the form of photostats (2022). In this second article, Cossio alludes the to the hypothetical existence of correspondence that Tolkien exchanged with Derek J. Price and R. M. Wilson during the preparation phase of Price and Wilson’s edition of The Equatorie of the Planetis (1955). New evidence gathered from Maggs Bros. Ltd. private archive (1991b), as well as auction (Phillips 1988; Sotheby’s 1995) and sales (Maggs Bros. Ltd. 1991a) catalogues demonstrate the existence of epistles and other material Tolkien received, though the brief, and often inaccurate, descriptions of the lots and items do not determine Tolkien’s exact contributions. However, the catalogues provide additional information about the timeline of Tolkien’s participation, and disclose that Price was the one to approach Tolkien in the first place. This note will elucidate those aspects and further complement Cossio’s (2022) article in other ways.
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Davidsen, Markus Altena. "In de Ban van Tolkien". Religie & Samenleving 10, nr 3 (1.12.2015): 213–34. http://dx.doi.org/10.54195/rs.12238.
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This article discusses how ‘believing’ works in Tolkien spirituality, a fiction-based religious milieu that uses J. R. R. Tolkien’s narratives, in particular The Lord of the Rings and The Silmarillion, as authoritative texts. Members of this milieu engage in ritual communication with the supernatural beings from Tolkien’s universe, including the elves and the Valar (gods). After presenting the history of Tolkien spirituality and describing the main groups, I develop a model for analysing religious rationalisation. By this term I refer to the process through which theology is developed within religious traditions as a second-order reflection on ritual practices and authoritative narratives. I demonstrate that contrary to what one might expect the strategies of religious rationalisation in Tolkien spirituality are not that different from what we see in other new religions. While one might think that members of fiction-based religions (can) believe only in a cautious and playful manner, practitioners of Tolkien spirituality in fact tend to believe literally and to legitimise their beliefs with supposed proof. It is striking, however, that they tend to believe in a ‘cosmological’ rather than in a ‘historical’ mode, i.e. they believe in the existence of the Valar as spiritual beings, but not in the historical factuality of Tolkien’s narratives. In this sense, Tolkien spirituality may be a good illustration of a broader ‘dehistoricising turn’ in contemporary religion. The development of reflective beliefs in Tolkien spirituality is further shown to be governed by three principles that together seek to reduce tension between conflicting ideas within the tradition and to strike a balance between fabulousness and plausibility. It is suggested that these three principles of belief elaboration govern religious rationalisation also in other religious traditions, at least in traditions with a low level of institutionalisation.
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Collinge, William J. "What Story Are We In? The Use of Tolkien in John Dunne's Recent Works". Horizons 30, nr 2 (2003): 208–26. http://dx.doi.org/10.1017/s0360966900000505.
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ABSTRACTThis paper examines the use of themes from J.R.R. Tolkien in the work of John Dunne, C.S.C. of the past two decades, but especially The Mystic Road of Love (1999) and Reading the Gospel (2000). Dunne has “culled” four sentences from Tolkien that express Dunne's own sense of being on a journey with God: “Things are meant. There are signs. The heart speaks. There is a way.” These sentences not only express Dunne's personal journey but also indicate where, according to Dunne, humanity is going in its collective journey with God. The paper concludes by shifting the focus from Dunne to Tolkien and asking how, if Dunne is close to right about Tolkien's significance, the conventional view of twentieth-century English literature and Tolkien's place in it would have to change.
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Wicher, Andrzej. "Some Boethian Themes in J.R.R. Tolkien’s Lord of the Rings". Romanica Silesiana 20, nr 2 (20.12.2021): 1–24. http://dx.doi.org/10.31261/rs.2021.20.03.
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There appear to be quite a few parallels between Tolkien’s The Lord of the Rings and Boethius’s The Consolation of Philosophy (Consolatio Philosophiae), and they seem to concern particularly, though not only, the character drawing in Tolkien’s book. Those parallels are preeminently connected with the fact that both Boethius and Tolkien like to think of the most extreme situations that can befall a human. And both are attached to the idea of not giving in to despair, and of finding a source of hope in seemingly desperate straits. The idea that there is some link between Boethius and Tolkien is naturally not new. T.A. Shippey talks about it in his The Road to Middle Earth, but he concentrates on the Boethian conception of good and evil, which is also of course an important matter, but surely not the only one that links Tolkien and Boethius. On the other hand, it is not my intention to claim that there is something in Tolkien’s book of which it can be said that it would have been absolutely impossible without Boethius. Still, I think it may be supposed that just like Boethian motifs are natural in the medieval literature of the West, so they can be thought of as natural in the work of such dedicated a medievalist as J.R.R. Tolkien.
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Hayley, Michael. "Arthurian Influence in the Lord of the Rings". Elements 16, nr 1 (31.10.2021): 59–65. http://dx.doi.org/10.6017/eurj.v16i1.14065.
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J.R.R. Tolkien's beloved Lord of the Rings has been considered one of the greatest works of English literature. This work analyzes Tolkien's inspiration and motivation in his writing process by situation middle-earth in the context of postwar England. Evaluation Tolkien's letters reveal his affinity for Arthurian legend, and his desire to reinvent it to create a myth that was distinctly English. A comparison of the two bodies of legend reveals similar Archetypal elements and characterizations that give Tolkien's legendarium credibility and weight. Through Sauron's destruction of middle-earth, Tolkien reveals his concerns for a modern, industrialized England and the consequences of war. In The Lord of the Rings, Tolkien reinvents the legend of Arthur into a synthesis of English national identity and exigency for the future.
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Jacob, Ashna Mary, i Nirmala Menon. "Packaging Polytheism as Monotheism". Religion and the Arts 24, nr 1-2 (22.04.2020): 84–109. http://dx.doi.org/10.1163/15685292-02401014.
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Abstract This essay deconstructs the godhead that Tolkien constructs in his mythopoeia. Tolkien’s polychronicon, The Silmarillion, splits the godhead between a creator God and a pantheon of gods and goddesses. Tolkien claims that Ilúvatar is a Yahweh-like God and the primary deity; on the other hand, the Valar, the fourteen gods and goddesses created by this primary God, who assist in creation, shape the world, have power over elements, and reign as ‘mistaken gods’ among the Elves, Dwarves, and Men, are not deities. This split of godhead is ignored, and the mythopoeic deity acclaimed as the biblical God and his angels is upheld as a Christian allegory. The essay negates the Christian parallels associated with Ilúvatar and Valar and establishes that Tolkien packages polytheism as monotheism. Monotheism does not permit secondary god/gods. Polytheism on the other hand often features an abstract creator God who creates a polytheistic pantheon. Tolkien’s model, which features a Creator deity and a pantheon of created deities, falls under the second category. The essay infers that Tolkien’s two-tier godhead firstly invalidates the norm of monotheism, and secondly conforms to creator deity and created deity structure of polytheism.
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HASIRCI, Baris. "An Examination of Fantasy Illustration and the Illustrations of Pauline Baynes and John Howe Through the Writings of J. R. R. Tolkien". Journal of Social Research and Behavioral Sciences 7, nr 14 (10.12.2021): 25–54. http://dx.doi.org/10.52096/jsrbs.7.14.3.
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J. R. R. Tolkien, known for originating “The Lord of the Rings” trilogy is one of the most acclaimed authors of fantasy literature whose work has captured the imagination of people of all ages and backgrounds. It is evident that through his work, Tolkien is able to kindle in the hearts of his readers desire for a new world and adventures. In the article, the aim is to focus on Tolkien’s ideas on fantasy illustration as relayed in his essays and letters to understand how illustrators may enliven feelings of wonder as Tolkien has done with his words. The style he has employed to create his own illustrations, his criteria for selecting illustrations to be published with his works, why he was partial to the illustrations of Pauline Baynes and the similar qualities found in the works of John Howe, who is one of the most widely recognized illustrators of Tolkien’s work is discussed. Through this study, the essence of the works of Tolkien that have such a strong impact on readers and the qualities that fantasy illustrations of today should possess in the pursuit of creating a desirable “Secondary World” for the readers’ imaginations to enter may be discovered. Keywords: Fantasy illustration, Secondary World, desire, Arts & Crafts Movement, the Golden Age of British Illustration
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Gulliver, Peter. "J. R. R. Tolkien and the OED". English Today 18, nr 4 (16.09.2002): 53–55. http://dx.doi.org/10.1017/s0266078402004091.
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Amid all the publicity surrounding the release of the film of J. R. R. Tolkien's The Fellowship of the Ring, it has occasionally been mentioned that Tolkien was an English professor. What is rather less well known is that in 1919 and 1920, at the very start of his career, Tolkien worked on the staff of the Oxford English Dictionary; he later said of this time that he ‘learned more in those two years than in any other equal period of my life’.
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Fernández Camacho, Pamina. "Elven-Latin and Semitic Adûnaic: Linguistic, Religious, and Political Strife in Tolkien's Island of Númenor". Journal of Inklings Studies 13, nr 1 (kwiecień 2023): 67–86. http://dx.doi.org/10.3366/ink.2023.0176.
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Tolkien's island of Númenor is a window on the classical tradition and its depiction of ancient civilizations such as Egypt, Persia, and Carthage. It connects Tolkien with two nineteenth-century trends: the attempt, fashionable among British intellectuals, to search for the ‘Semitic’ roots of their culture, and the negative association, established by hostile European countries, between the British empire and Carthage. Like Carthage, Númenor is a thalassocracy, engaging in the reviled practice of human sacrifice in honour of Melkor (a name strongly reminiscent of the Phoenician god Melkart), and its language, Adûnaic, has a ‘Semitic colouring’. But this language coexists with another, Quenya, described by Tolkien himself as ‘Elven-Latin’, used for ‘ceremony, and for high matters of lore and song’. Those two languages create a symbolic divide that harkens back to something that affected Tolkien personally: the centuries-long strife between Anglican Protestantism and Catholicism in his own country. This creates an interesting parallel with the original fable used by Tolkien as point of departure: Plato's story of the rise and fall of Atlantis, interpreted by modern scholars as a tale of Athens and its gradual slide into what the philosopher believed to be the wrong path.
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Popov, D. A. "THE EMBODIMENT OF SOCIAL VALUES IN MYTHOLOGY: THE AXIOLOGICAL CONTEXT OF THE WORKS OF JOHN R.R. TOLKIEN". RUDN Journal of Philosophy 23, nr 1 (15.12.2019): 85–93. http://dx.doi.org/10.22363/2313-2302-2019-23-1-85-93.
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The article deals with the mythological creativity of G.R.R. Tolkien as a socio-cultural phenomenon associated with the values of European culture. The author proceeds from the hypothesis that the myth is the embodiment of social identity, this function it retains after the loss of its ideological functions. The revival of literary mythology in the XIX-XX centuries there is an attempt to update this feature of the myth. The success of the literary myth is due to the fact that he was able to absorb and Express the basic values of society. Tolkien’s work is one of the successful examples of the literary embodiment of socially significant values, combining both traditional values and value formations characteristic of the modern era. The article shows that Tolkien’s work has organically absorbed the pagan basis, the Christian attitude, and the values characteristic of the XX century. Pagan heroic principle, Christian mercy, the idea of freedom, democracy-all this is organically intertwined in the works of Tolkien, their success is due to the harmony of the whole range of social attitudes represented in the European consciousness of the mid XX century. Currently, the decline in interest in Tolkien is a reflection of the change of value preferences of European culture.
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Miller, T. S., i Elizabeth Miller. "Tolkien and Rape". Extrapolation: Volume 62, Issue 2 62, nr 2 (1.06.2021): 133–56. http://dx.doi.org/10.3828/extr.2021.8.
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J. R. R. Tolkien’s representation of women in his fiction has generated a number of controversies since its original publication. This essay examines two major issues: an evasiveness in Tolkien’s treatment of sexual violence against women that is not disconnected from a gendered terror that underlies several moments in his works and functions to link women’s sexuality and desiring with death. Specifically, we read the author’s depiction of Shelob and her appetitive, arachnoid monstrosity as at once displacing sexual violence onto the monstrous feminine and evoking a revulsion at the aging female body. We next explore the consequences of the author’s depictions of women and his handling of sexual violence in close connection with his own 1939 public performance of Chaucer’s Reeve’s Tale, a comic narrative turning on two rapes that Tolkien nevertheless conceals in a comparable fashion to his elision of sexual violence in Middle-earth.
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Bahula, Timothy F. "The Fellowship of the Wiki? OR, A Readers Response to Hogendoorn’s “There and Back Again”". Canadian Journal of Action Research 18, nr 3 (30.04.2018): 72–73. http://dx.doi.org/10.33524/cjar.v18i3.358.
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Having spent countless hours in my youth reading and re-reading J. R. R. Tolkien lore, it was hard for me to miss Adrian Hogendoorn’s appropriation of the subtitle of Tolkien’s most accessible work. Tolkien published The Hobbit in 1937 with the subtitle There and Back Again as a children’s adventure novel, detailing the quest of Bilbo Baggins, his 13 dwarfish companions, and the wizard, Gandalf. The quest to reclaim the kingdom and treasure of the Lonely Mountain begins and ends in Bilbo’s sleepy, but respectable hobbit-hole, Bag End. Although Bilbo eventually returns home to Bag End, his journey there and back again has profoundly changed him, and in more ways than just making him inordinately wealthy. According to Tolkien lore, Bilbo recorded his adventures for posterity in The Red Book of Westmarch, which became Tolkien’s source for The Hobbit. Likewise, Hogendoorn’s Principles of Learning (PoL) wiki contributions illuminate episodes of his learning journey. He makes the connections between moments of learning in courses and specific wiki entries in his wikiography. I am slightly envious of his use of the wiki and the wikiography as a capstone project for his MEd studies. This “off-label use” of the wikiography seems to be a brilliant means of further entrenching the learning of his program of studies.
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SANTOSKI, TAUM. "TOLKIEN". Notes and Queries 37, nr 2 (1.06.1990): 212—b—212. http://dx.doi.org/10.1093/nq/37-2-212b.
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Satish, Arjun, Ramesh Jain i Amarnath Gupta. "Tolkien". Proceedings of the VLDB Endowment 2, nr 2 (sierpień 2009): 1630–33. http://dx.doi.org/10.14778/1687553.1687610.
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Goering, Nelson. "The Fall of Arthur and The Legend of Sigurd and Gudrún : A Metrical Review of Three Modern English Alliterative Poems". Journal of Inklings Studies 5, nr 2 (październik 2015): 3–56. http://dx.doi.org/10.3366/ink.2015.5.2.2.
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J.R.R. Tolkien produced a considerable body of poetry in which he used the traditional alliterative metre of Old Norse and Old English to write modern English verse. This paper reviews three of his longer narrative poems, published in The Legend of Sigurd and Gudrún and The Fall of Arthur, examining Tolkien’s alliterative technique in comparison to medieval poetry and to the metrical theories of Eduard Sievers. In particular, the two poems in The Legend of Sigurd and Gudrún, which are adapted from Old Norse material, show a number of metrical and poetic features reminiscent of Tolkien’s sources in the Poetic Edda. The Fall of Arthur, on the other hand, is in a style that is, in detail and in general, strongly reminiscent of Old English poetry. Throughout all these compositions, Tolkien employs a distinctive alliterative style, closely based on medieval and philological models, but adjusted according to the linguistic needs of modern English and to his own preferences.
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Stansfield, Gavin. "The Ethics of Remembering and the Consequences of Forgetting". Ata: Journal of Psychotherapy Aotearoa New Zealand 19, nr 1 (18.09.2015): 83–85. http://dx.doi.org/10.9791/ajpanz.2015.07.
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There is a powerful metaphor for the world of unmetabolised ancestral trauma in a scene from The Two Towers (Tolkien, 1965), the middle volume of Tolkien’s Lord of the Rings trilogy which is hauntingly depicted in Peter Jackson’s film of the same name (Jackson, Osborne, Walsh, & Ordesky, 2001-2003).
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Freeman, Austin. "Flesh, World, Devil: The Nature of Evil in J.R.R. Tolkien". Journal of Inklings Studies 10, nr 2 (październik 2020): 139–71. http://dx.doi.org/10.3366/ink.2020.0077.
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This article examines the nature of evil in Tolkien's work in light of Tom Shippey's well-known assertion that Tolkien struggled between two poles: a ‘Manichaean’ or dualist position and the Catholic Augustinian or ‘Boethian’ position which views evil as an absence. After noting that subsequent respondents to Shippey take this distinction for granted and often seem to misread Shippey himself, the author argues that in fact the whole discussion is ill-founded. New frameworks for reading Tolkien's views on evil should be sought. The article then presents a new proposal: dividing Tolkien's evils into the tripartite distinction of flesh, world, and devil long present in theological discussions.
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Markiewka, Tomasz. "Przepisywanie Beowulfa: J.R.R. Tolkiena meandry przekładu". Między Oryginałem a Przekładem 24, nr 40 (30.06.2018): 47–63. http://dx.doi.org/10.12797/moap.24.2018.40.03.
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Rewriting Boewulf: J.R.R. Tolkien’s Meandering Translation J.R.R. Tolkien’s works related to translation include both translations and adaptations in the form of pastiche. All of them have been published as posthumous editions, equipped with detailed critical commentaries and edited by the writer’s son, Christopher Tolkien. Among recent publications in English and Polish, one that deserves particular attention is a 1926 prose translation of the Old English poem Beowulf (2014, Polish ed. 2015). This edition presents Tolkien performing a few roles, acting as a translator, translation critic, editor, commentator, literary scholar, linguist, and creative writer. In fact, “translation” becomes a textual hybrid in which one can observe the work of a translator from the initial phase of close reading of a source text through three variants of prose translation (two from 1926 and one from 1942); alternative fragmentar translations in alliterative verse; a detailed philological and cultural commentary composed of lecture notes; original literary works inspired by Beowulf, which include the short story Sellic Spell (in two English versions and as a back translation into Old English); and two versions of the original poem The Lay of Beowulf. As a result, the 2014 edition of Tolkien’s Beowulf realizes the ideal of a translation once described by Vladimir Nabokov: the text of translation emerges from multilayered commentary, which, in Tolkien’s work, crosses the boundaries of languages and genres.
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STORME, Hans. "J.R.R. Tolkien". INTAMS review 7, nr 2 (1.12.2001): 230–35. http://dx.doi.org/10.2143/int.7.2.2004520.
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Hughes, Shaun F. D. "Tolkien Worldwide". MFS Modern Fiction Studies 50, nr 4 (2004): 980–1014. http://dx.doi.org/10.1353/mfs.2005.0006.
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Ordway, Holly. "‘Further Up and Further In’: Representations of Heaven in Tolkien and Lewis". Journal of Inklings Studies 3, nr 1 (kwiecień 2013): 5–23. http://dx.doi.org/10.3366/ink.2013.3.1.2.
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This essay examines the depiction of Heaven in J.R.R. Tolkien’s “Leaf by Niggle” and C.S. Lewis’ The Last Battle, with reference to Dante’s Paradiso, arguing that their depictions of Heaven are both theologically rich and imaginatively satisfying. The essay begins by considering the difficulties inherent in depicting Heaven, and then arguing that a depiction of the Christian vision of Heaven must reflect its incarnational reality. The essay next provides literary context for the discussion of Tolkien and Lewis by considering Dante’s representation of Heaven, with reference to Lewis’ thoughts on the imagery in Paradiso. The essay then analyzes Tolkien’s “Leaf by Niggle” and Lewis’ The Last Battle, showing how the authors’ choice of imagery evokes Heaven as active, participatory, communal, and incarnational. In both works, imagery of the Incarnate Christ plays an important role, as does the evocation of the infinitude of Heaven through metaphors of storytelling and journeying. Tolkien gives us an image of Heaven as art come to life, Lewis one of Heaven as story lived out. Both draw on aesthetic responses to nature and landscape to evoke, rather than describe, Heaven as a place infinitely desirable, a place where our nature as creative beings is fulfilled.
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Rocha, Fabian Quevedo da. "From the fairy tale to the epic". Literartes 1, nr 12 (8.12.2020): 206–22. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2020.168942.
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This work analyses how Tolkien uses elements of the fairy tale and the epic genre to write his novel The Hobbit. Published in 1937, J. R. R. Tolkien's first published novel is frequently seen as a fairy tale. In addition, by using the author's essay "On Fairy Stories" to analyze his own fiction, it is possible to argue that it has most of the characteristics he ascribes to the fairy tale genre: it takes place in a consistent secondary world, it satisfies several human desires, such as the one of glimpsing other worlds and the one of conversing with other beings; more importantly, it has a "happy ending", which is, par excellence, the essence of the genre for the author. However, a close reading of such fiction reveals that its light tone is slowly replaced by a darker one, typical of ancient narratives like the epic poem Beowulf. This research, therefore, investigates how Tolkien builds a narrative that begins with the sobriety of the fairy tale, reaches a climax characteristic of the epic, and closes with a bittersweet taste that mixes traces of both genres. To do so, I rely on Tolkien's own theories concerning such genres.
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Lichański, Jakub Z. "„Mythopoeia” and „Quenta Silmarillion” by J.R.R. Tolkien — God, Faith, Freedom, and the Second Coming". Literatura i Kultura Popularna 22 (6.09.2017): 23–47. http://dx.doi.org/10.19195/0867-7441.22.2.
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Mythopoeia and Quenta Silmarillion by J.R.R. Tolkien — God, Faith, Freedom, and the Second Coming The aim of the study is to describe how such categories as: God, faith, freedom, Second Coming are presented in the works of J.R. R. Tolkien, mainly in the poem Mythopoeia and in the epos Quenta Silmarillion. The author referring to the achievements of the writer, and also literature and tries to show how specified categories are introduced to the aforementioned literary works and what a role they play. The myth that in Tolkien’s work plays an important role, is an expression of hope; analysis also shows that faith and expectation of the Second Coming do not restrict the freedom of heroes. On the contrary — they are its full expression.Another problem is the issue of “kiss of Circe”, which symbolizes Tolkien’s “seduction economic delusion of happiness” and that deprives us of the gift of being free. The thesis of the author coincides with Hermann Brochs note that our hope lies in remaining faithful „Platonic ideas”, which is close conjunction with Christian hope. Otherwise — we will fight in barbarism. Tolkien’s work shows us the essence of said Hope. As said Stefan Lichański “in the process of exploring this love works in a latent, we delude ourselves that everything we get, we owe yourself while here we need the inspirational power of God’s love”.
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Ghanbarian, Parisa, Mona Hoorvash i Mahsa Hashemi. "Elven chora : feminine space and power in Tolkien's The Lord of the Rings". Brno studies in English, nr 1 (2023): 129–45. http://dx.doi.org/10.5817/bse2023-1-7.
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The Lord of the Rings has earned Tolkien high praise as well as a reputation for misogyny due to its scarce and marginal female characters. A rather neglected aspect of Tolkien's trilogy which challenges this notion is the femininity embedded within the story and its significance in the value system of the novel. Despite depicting fewer female human characters, Tolkien has created a race which is dominantly characterized by feminine attributes: the race of the Elves. Questioning the accusations of misogyny through a feminist psychoanalytic reading, this study uses Kristeva's chora to recognize the Elven lands as feminine space dominated by the semiotic rather than the symbolic, and Irigaray's notion of puissance to unearth the celebration of feminine power in the novels' depiction of the Elves. The careful consideration of the Elves, their society and their lands demonstrate the preference for the feminine which is in contrast with the phallic.
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Kosinskaya, A. S., i S. V. Kravchenko. "THE CATEGORY OF PITY IN «THE GREAT DIVORCE» BY C.S. LEWIS AND «THE LORD OF THE RINGS» BY J.R.R. TOLKIEN". VESTNIK IKBFU PHILOLOGY PEDAGOGY AND PSYCHOLOGY, nr 1 (2023): 82–89. http://dx.doi.org/10.5922/pikbfu-2023-1-8.
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The article analyzes the main features of the category of pity in the texts of two inklings — C. S. Lewis and J. R. R. Tolkien in the context of the ethical binary opposition of “good and evil”. This binary opposition is not randomly chosen: Lewis wrote “The Great Divorce” in order to refute the famous artistic idea of William Blake about a fruitful union or the marriage of Heaven and Hell, which personifies the creative mixture of good and evil, and as a result, the blurring of the boundaries of the main ethical categories, manifested in the moral relativism of man of the twentieth (and, perhaps, the twenty-first) centuries. The genre of the text “The Lord of the Rings” by Tolkien can be defined as an epic fantasy dedicated to the eternal struggle of good and evil. The confrontation between the two members of the ethical binary opposition of interest to us is at the center of Tolkien’s narrative. In both Lewis’s text and Tolkien’s work, good and evil are not relative categories inherent in the consciousness of the perceiving person, but existential categories of the world order. This binary opposition is, according to Lewis’s thought, “the key to understanding the universe”. The method of comparative analysis makes it possible to reveal the unity and at the same time minor differences in the representation of the category of pity in the work of the two inklings. From the point of view of correlation with the basic ethical binary opposition, the category of pity in the texts of Lewis and Tolkien is analyzed. Different meanings (models) of pity are considered, the main features of realisation of this category in the texts of “The Lord of the Rings” and “The Great Divorce” are described.
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Hansen, Christopher. "The monstrous feminine: Ungoliant, Shelob, and women in Tolkien’s Middle-Earth". Crossroads A Journal of English Studies, nr 34(3) (2021): 4–15. http://dx.doi.org/10.15290/cr.2021.34.3.01.
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This article seeks to provide an analysis of Tolkien’s portrayal of feminine figures by emphasizing the roles of Ungoliant and Shelob, the monstrous spiders which Tolkien codes female, and finding how these sexual and procreative beings fit into Tolkien’s theological and gender essentialist views of women, and then how this reflects on other women within Tolkien’s legendarium, arguing that far from any of Tolkien’s women being empowered, they are instead always subservient to his essentialist understandings of women, that they are biologically and intellectually usually inferior to men and have specific gendered roles in Tolkien’s very Catholic gender binary, and so his literary women are in fact not empowered but fit into his restrictive sense of gender roles between men and women.
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Meshkurova, A. O. "REPRODUCED FOREIGN LANGUAGE COMMUNICATION AS AN ELEMENT OF REALISTIC DEPICTION OF J. R. R. TOLKIEN’S FANTASTIC WORLD". Writings in Romance-Germanic Philology, nr 1(50) (13.10.2023): 182–93. http://dx.doi.org/10.18524/2307-4604.2023.1(50).285560.
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The article is dedicated to the analysis of depicted foreign communication in the novel “The Lord of the Rings” by renowned writer J. R. R. Tolkien. It highlights that character speech is a key element that helps the author to create “lifelike” and compelling characters in Tolkien’s fantasy world. The role of characters’ speech in revealing their personalities, thoughts, emotions, and interactions with the surrounding environment is examined. Special attention is given to the use of Tolkien’s artificially created Elvish language, which adds unique color and depth to the fantasy world. This study reveals that the analyzed linguistic elements contribute to immersing the reader in the characters’ world and aid in understanding their mental characteristics. Tolkien’s Elvish language is one of the most developed constructed languages in the realm of fantasy literature, complete with its own grammar, vocabulary, and script. The semantics of the Elvish language is also intertwined with its cultural and historical context. By meticulously crafting the semantics, Tolkien not only conveys lexical meanings but also provides deeper insights into the Elven world. Overall, the semantic richness of Tolkien’s Elvish language serves as more than just an embellishment in the fantasy novel; it acts as a crucial element that enhances readers’ comprehension and emotional engagement. This scientific article contributes to the study of foreign language communication in literature and sheds light on important aspects of the novel “The Lord of the Rings” from a linguistic analysis perspective. The findings of this research hold significant potential for further scholarly investigations in the fields of philology and literary studies.
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Killilea, Alison Elizabeth. "The Grendel-kin: From Beowulf to the 21st century". Boolean: Snapshots of Doctoral Research at University College Cork, nr 2015 (1.01.2015): 97–101. http://dx.doi.org/10.33178/boolean.2015.20.
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Since the 19th century, the Anglo-Saxon poem Beowulf has received sustained critical attention; first transcribed and translated in the early 1800’s, Beowulf was at a focus point in scholarly study, albeit not on the merit of its literary or poetic achievement. The text was valued more as an interesting linguistic document until what has been described as one of the most important turning points in criticism of the poem, J.R.R Tolkien’s study Beowulf: The Monsters and the Critics, delivered in 1936. In this essay, Tolkien argued for the integrity of the poem in and of itself and for the central place of what are now often seen as the defining aspects of the poem: the monsters, who Tolkien argued held symbolic significance in the poem, and elevated it to more than just an exciting epic concerning the feats of the hero Beowulf against Grendel, Grendel’s mother, and the dragon. Since ...
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Kuusela, Tommy. "In Search of a National Epic: The use of Old Norse myths in Tolkien's vision of Middle-earth". Approaching Religion 4, nr 1 (7.05.2014): 25–36. http://dx.doi.org/10.30664/ar.67534.
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In this article some aspects of Tolkien’s work with regard to his relationship to folklore and nationalism are presented. It is also argued, contrary to Lauri Honko’s view of literary epics, that pre-literary sources constitute a problem for the creators of literary epics and that their elements can direct the choice of plot and form. Tolkien felt that there was a British – but no English – mythology comparable to the Greek, Finnish or Norse ones. He tried to reconstruct the ‘lost mythology’ with building blocks from existing mythologies, and dedicated his work to the English people. In this, he saw himself as a compiler of old source material. This article considers his use of Old Norse sources. With Honko’s notion of the second life of folklore it is argued that Tolkien managed to popularise folklore material while his efforts to make his work exclusively English failed; for a contemporary audience it is rather cross-cultural.
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Zhang, Ziyi. "An Analysis of the Female Images in Tolkiens Works: Galadriel, owyn and Arwen". Lecture Notes in Education Psychology and Public Media 41, nr 1 (14.03.2024): 205–11. http://dx.doi.org/10.54254/2753-7048/41/20240650.
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John Ronald Reuel Tolkien is well recognized for his notable contributions to the genre of heroic romances, as shown by his renowned works, namely The Hobbit and The Lord of the Rings. Consequently, he is widely regarded as the progenitor of contemporary fantasy literature. The study aims to examine the principal female characters in the works of J.R.R. Tolkien, namely Galadriel, owyn, and Arwen, employing textual analysis and comparative study as the primary methods. The former two individuals serve as exemplars of female warriors, characterized by their courage, strength, unwavering convictions, and relentless pursuit of their aspirations. The latter represents a somewhat less favorable portrayal of the female image. Arwen, being designated as the "second sex", is shown with a dearth of individual narratives and distinct characteristics, primarily serving as a supporting figure to the male protagonists within the story. Nevertheless, despite the deficiencies in Tolkien's depiction of female representations, the merits of his work ultimately surpass the drawbacks.
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Linman, Wu. "Science and Romance: Philology’s Marginalization under the Trend of Structural Linguistics in the 20th Century— The Case of J. R. R. Tolkien". International Journal of English Literature and Social Sciences 9, nr 4 (2024): 001–4. http://dx.doi.org/10.22161/ijels.94.1.
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J. R. R. Tolkien, the author of The Lord of the Rings, made his unique concept of language as the cornerstone of his academic thought and literary creation. He created an immortal epic legend, brought readers a sense of reality and created an awesome mythological system for Britain. However, he was often criticized for his lack of academic contributions. Combining the development and reasons of linguistics in the 20th century, this paper discusses Tolkien’s linguistic aesthetics, making a brief analysis of their academic significance, and demonstrates Tolkien’s efforts to save philology under the backdrop of structuralism.
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Araujo, Marcelo Marques, i Alexandre Nogueira. "Storytelling as an Engagement Strategy: J. R. R. Tolkien and the Journey of the Common Hero". Concilium 24, nr 3 (29.02.2024): 326–41. http://dx.doi.org/10.53660/clm-2810-24c23.
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The present paper sought to understand the use of storytelling as a capable tool of Strategic Communication on generating engagement among J. R. R. Tolkien’s fans. The elements of storytelling found in “The Hobbit” and “The Lord of the Rings” are examined, such as the influences of that tool on promoting engagement based on Tolkien’s narratives, which are marked by Hero’s Journey. Furthermore, the practice of storytelling relates to the concept of engagement in order to demonstrate how the storytelling present in Tolkien’s narratives is capable of engaging the writer’s fan community. Finally, the relationship between storytelling, engagement, and Tolkien is developed jointly, which contributes to the research in the Strategic Communication area.
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Mentxakatorre Odriozola, Jon. "Ofermod y heroísmo humilde: sobre la interpretación de Tolkien". Revista de Filología de la Universidad de La Laguna, nr 43 (2021): 171–90. http://dx.doi.org/10.25145/j.refiull.2021.43.09.
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This paper studies Tolkien’s interpretation of German heroism, taking as a starting point his essay-poem «The Homecoming of Beorhtnoth Beorhthelm’s Son» on The Battle of Maldon. Through academic texts on Beowulf and Sigurd, as well as his own legendarium, his reading and contribution are explored, placing the latter in dialogue with the latest research, and detailing the lines and scope of his ideas. After locating the inflection point that Tolkien marked around the word ofermod(e), the historical, literary and religious components that base Tolkien’s interpretation will be explained, in line with the Anglo-Saxon poetic and heroic tradition. Through this, it will become clear that the humble heroism of the subordinate who faces the fatal fate to which his master has led him is rooted in clear examples of Old English literature, and that the darkness brought by the terrible enemy has a mythical dimension, which refers to the shadow and to hell. Finally, in light of the latest contributions, Tolkien’s interpretation will be reaffirmed and enriched, opening new research perspectives on his work
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Pereira Rodrigues Borges, Guilherme. "Tolkien, Pullman e a Ansiedade da Influência". IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 27, nr 1 (31.10.2023): 137–51. http://dx.doi.org/10.34019/1982-0836.2023.v27.40725.
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Este artigo explora a relação entre as obras de J.R.R. Tolkien e Philip Pullman à luz da teoria da ansiedade da influência de Harold Bloom. O artigo começa com a apresentação do mundo ficcional de Arda, criado por Tolkien, e sua influência duradoura na literatura de fantasia. Em seguida, é apresentada a teoria de Bloom e seus seis movimentos ou estágios revisionários, que são, então, considerados em relação a Pullman e Tolkien, mostrando como Pullman passou pelos estágios de clinamen, tessera, kenosis e daemonização. Finalmente, conclui-se que a influência de Tolkien ainda é significativa, mas autores como Pullman estão criando suas próprias visões de mundo e desafiando as concepções estabelecidas.
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Hartley, Gregory. "A Wind from the West: The Role of the Holy Spirit in Tolkien's Middle-Earth". Christianity & Literature 62, nr 1 (grudzień 2012): 95–120. http://dx.doi.org/10.1177/014833311206200106.
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Explorations of Tolkien's latent theology abound, but very little focused scholarship proposes to discuss how Tolkien's legendarium portrays an understanding of the Holy Spirit, especially in light of Tolkien's Roman Catholicism. This essay explores three major features of Tolkien's work that provide insight into this ghostly person of the Trinity. The Silmarillion provides detailed insight as to the exact identity of the “Flame Imperishable,” while its characters demonstrate the indwelling of this Flame. St. Paul explains the gifts of the Holy Spirit in his first letter to the Corinthians and Tolkien seems to mimic many of these gifts in the characters of the nine members of the Fellowship. Lastly, the Great Eagles represent the workings of the Holy Spirit, both as servants of Manwë and as agents of eucatastrophe.
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Foster, Mike. "Tolkien and Chesterton". Chesterton Review 28, nr 4 (2002): 582. http://dx.doi.org/10.5840/chesterton2002284120.
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Honegger, Thomas. "Tolkien the Medievalist". European Legacy 18, nr 6 (październik 2013): 774–76. http://dx.doi.org/10.1080/10848770.2013.816139.
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Croft, Janet. "The Cinematic Tolkien". World Literature Today 78, nr 2 (2004): 76. http://dx.doi.org/10.2307/40158423.
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Hughes, Shaun F. D. "Introduction: Postmodern Tolkien". MFS Modern Fiction Studies 50, nr 4 (2004): 807–13. http://dx.doi.org/10.1353/mfs.2005.0004.
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Smith, Ross. "Steiner on Tolkien". Tolkien Studies 5, nr 1 (2008): 185–86. http://dx.doi.org/10.1353/tks.0.0017.
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Mortimer, Patchen. "Tolkien and Modernism". Tolkien Studies 2, nr 1 (2005): 113–29. http://dx.doi.org/10.1353/tks.2005.0025.
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Croft, Janet Brennan. "Reconsidering Tolkien (review)". Tolkien Studies 3, nr 1 (2006): 190–93. http://dx.doi.org/10.1353/tks.2006.0011.
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Smith, Ross. "Tolkien the storyteller". English Today 22, nr 1 (styczeń 2006): 45–50. http://dx.doi.org/10.1017/s0266078406001076.
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The 20th century’s most popular novelist? – the third of three articles. The year 2005 marks the 50th anniversary of the publication of J.R.R. Tolkien’s prose epic The Lord of the Rings: voted ‘the book of the century’ in a poll conducted in 1997 by the UK book retailer Waterstones and ‘the UK’s best loved book’ in a BBC survey carried out in 2003. TLOTR was adapted to the screen in 2001 by the New Zealand-based director Peter Jackson and released, to widespread acclaim, in three parts between 2001 and 2003. The present is the third of three linked discussions of Tolkien’s work and the media through which it has been channelled (text and film), and of why it has been so phenomenally popular.
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Rossi, Aparecido Donizete, i Samuel Renato Siqueira Sant’Ana. "TOLKIEN NO DRAMA". Revista Scripta Alumni 25, nr 1 (5.07.2022): 48–59. http://dx.doi.org/10.55391/2676-0118.2022.2606.
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O presente artigo busca analisar o poema dramático The homecoming of Beohtnoth Beorhthelm’s son (1953) sob a ótica dos estudos do drama em conjunto com os do gênero elegíaco, tendo o poema anglo-saxão Beowulf como seu expoente. Como ponto de partida, visa-se elucidar as questões relacionadas ao poema dramático para em seguida a obra de Tolkien ser analisada como uma continuação dos eventos presentes no poema The battle of Maldon, mesclando a epistemologia judaico-cristã e a nórdica, de forma a investigar a possibilidade de o texto de Tolkien se tornar um sucessor espiritual para a concepção apresentada em Beowulf, sendo o poema dramático um exercício de criação do autor a partir de leituras históricas voltadas à cultura anglo-saxã. Política de acesso aberto padrão Diamante (Diamond Road Open Access).