This study investigates the representation of narrative space in the novel and the film of The Return of the King. As the two representations belong to two different mediums, the theories on narrative space in the novel and in the film are examined in order to distinguish between their modes of representation of space. In essence, the theory utilised for the spatial analysis focuses on the content, function and symbolic meaning within spaces, as created by the description of objects, the repetition and accumulation of spatial information, as well as the movement of characters within spaces and the interaction between characters and different spaces. This spatial interaction relates to the events, representations of time and the role of the narrator within the different dimensions of narrated space, that is, concrete and abstract space. The three most significant spaces within the novel and the film, namely Minas Tirith, Mount Doom and Hobbiton form the basis of the analysis, which focuses on the narrative spaces as they are represented. From this study, it becomes clear that there are different levels of meaning embodied within a space: the physical and geographical space, the social space of interaction and the abstract, symbolic space. The significant spaces and their meanings in the novel have been subjected to filmic transformation. Essentially, the spaces in both the novel and the film display the fact that space ultimately influences those events and people who interact with it and vice versa. These spaces thus embody specific meanings, which contribute towards the undertaken journey represented in Tolkien's fantastical, imaginative world. / MA (English), North-West University, Potchefstroom Campus, 2014

"This thesis is a critical analysis of Tolkien's Elvish. This critical analysis is motivated in the same way as critiques of other aspects of literary art, such as plot, characterization, and structure. The latter are subject to critical evaluation precisely because they are a part of the writer's creative art. Elvish is also the product of the artist's creativity. The fact that Tolkien is a trained philologist and distinguished language scholar and has obviously lavished much time and effort on Elvish make this created language a valid area for analysis and criticism...in view of the extent of the available data, all that can be attempted here is a description of Elvish morphology and syntax in light of both the evidence and Tolkien's comments about it."--leaves 1-5

Based on Noam Chomsky’s argument that the faculty of language is primarily a tool of thought whose purpose is to interpret the world, this dissertation argues that reading literature provides a cognitive experience like John Gardner’s “Fictive Dream” that mimics our interpretive experience of the world. Literary experience exploits language as an epistemological faculty that makes aspects of the external world intelligible. Yet the faculty of language is also capable of evoking entirely mental worlds that do not reflect the mindexternal world. Because the literary experience is entirely mindinternal, even the cultural knowledge we bring into play for its understanding still relies on innate features of language. Thus, during the act of reading, we hold this cultural knowledge in abeyance, allowing the text to structure how we bring it to bear on the experience as a whole. A scientific approach to literature can help uncover principles to further elucidate the literaryepistemological experience. Whereas much literary criticism assumes that a critic’s purpose is to mine a text for its deeper meaning, this dissertation argues for a Cognitive Formalist approach in which criticism serves not simply to explain the experience evoked by any particular text according to linguisticepistemological principles, but also to evaluate the moral implications of that specific textual experience. As a means of demonstrating potential implications of a scientific cognitive approach to literary criticism based on linguisticepistemological understanding, the current study offers sample passages from J. R. R. Tolkien’s The Lord of the Rings. These passages allow us to offer first approximations of some explanatory principles of the literaryepistemological experience, such as the importance of fictive time and fictional event sequences, which in turn gives us greater insight into how, for example, verb tense and aspect contribute to the evocation of the action of fiction in the reader’s mind. Ultimately, the fictive vantage point constructed by the text allows the reader access to a complex moral framework in which fictive characters are understood to make choices that will in turn set the stage for the reader’s own ethical reception of the text and the experience it offers. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

This study seeks to gain an insight into the experiences Lord of the Rings tourists have on guided tours in New Zealand and the role of the tour guide(s) in that experience. The study examines motivations, expectations, actual experience and its evaluation and the role of the tour leader and guides. By drawing primarily on the results of qualitative research that examined the experience of film tourists and other people involved in the film tourism industry over a span of three years, I identified underlying motivations involved in the production and consumption of film tourism. The study found that pre-tour images of Lord of the Rings and its publicity surrounding the making of the films play a significant role in the formation of film tourists' expectations. The emotional relationship towards the films and the novel by J.R.R. Tolkien had motivated film tourists to seek a meaningful and sincere experience. Furthermore, the film and its making as discussed on the DVDs, further publicised myths like the authenticity of the film production itself and the experience of great meaning for one's personal life. Consequently, the study found that most film tourists put a high significance on the sincerity of the relationships within the tour community and with the tour leader and guide(s). The film location visit itself was experienced as highly rewarding but was significantly enhanced by the presence of the tour community ('fellowship'), reenactments and the physical presence on site. This embodiment was crucial for the overall experience as it further authenticated the location visit but also the journey itself as a worthy and spiritual endeavour. It was shown that the New Zealand image of 'green', 'clean' and 'exotic otherness' has been reinforced by multiple media portraits and matches many aspects of the Middle-earth image. All film tourists judged the use of New Zealand for the portrayal of Middle-earth as 'authentic' even if they knew about J.R.R. Tolkien's British background. Furthermore, they judged their film tourism experience as authentic even though the locations were used in a fictional setting. Thus the notions of object authenticity was explored and replaced with the concepts of existential authenticity and sincerity to shift the focus towards the active process of negotiation of authenticity in the tourism experience. To understand tourists' behaviour and motivation, notions of 'spirituality' and 'pilgrimage' were also employed. The study tourists undertook a meaningful and spiritually significant journey that was enhanced through the experience of embodiment and community which suggested parallels between the religious pilgrim and the secular film tourist. Both are on a meaningful journey to distant places and follow scripted guidelines while also creating their own experience. Embodiment played an important role. Furthermore, film tourists sought the community of other believers and were willing to 'follow in the footsteps' of film stars and crew when choosing which film locations and eateries to visit as they sought places that had attained an 'aura'.

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

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

This study investigates the representation of narrative space in the novel and the film of The Return of the King. As the two representations belong to two different mediums, the theories on narrative space in the novel and in the film are examined in order to distinguish between their modes of representation of space. In essence, the theory utilised for the spatial analysis focuses on the content, function and symbolic meaning within spaces, as created by the description of objects, the repetition and accumulation of spatial information, as well as the movement of characters within spaces and the interaction between characters and different spaces. This spatial interaction relates to the events, representations of time and the role of the narrator within the different dimensions of narrated space, that is, concrete and abstract space. The three most significant spaces within the novel and the film, namely Minas Tirith, Mount Doom and Hobbiton form the basis of the analysis, which focuses on the narrative spaces as they are represented. From this study, it becomes clear that there are different levels of meaning embodied within a space: the physical and geographical space, the social space of interaction and the abstract, symbolic space. The significant spaces and their meanings in the novel have been subjected to filmic transformation. Essentially, the spaces in both the novel and the film display the fact that space ultimately influences those events and people who interact with it and vice versa. These spaces thus embody specific meanings, which contribute towards the undertaken journey represented in Tolkien's fantastical, imaginative world. / MA (English), North-West University, Potchefstroom Campus, 2014

This work in the field of the translation theory, extending to the translation practice, focuses on exploring literary terms and techniques, that participate in the construction and poeticisation of the literary text. Very often these terms make problems in the process of translation text from one language to another. The aim is localizing (with regard to its contextual involvement), analysis and subsequent selection of the most appropriate translation solutions of these terms. The work focuses on the translation of these literary devices not only in plan of Slavic languages (Russian, Czech, Slovak), but also takes into account the aspect of non-Slavic languages (English).

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

This project explores the narrative arcs of strong female characters in Young Adult (YA) fantasy literature. Taking up Rosemary Jackson’s assertion that fantasy literature can ‘subvert patriarchal society,’ this thesis examines the fantasy ‘legacy code’ of strong and subversive female characters who settle into a stereotypical performance of gender after finding fulfillment in the heteronormative roles of lover, wife, and mother. This pattern is exemplified by Lady Éowyn of J.R.R. Tolkien’s The Two Towers (1954) and The Return of the King (1955), and reproduced by Hermione Granger of J.K. Rowling’s Harry Potter series – consisting of Harry Potter and the Philosopher’s Stone (1997), Harry Potter and the Chamber of Secrets (1998), Harry Potter and the Prisoner of Azkaban (1999), Harry Potter and the Goblet of Fire (2000), Harry Potter and the Order of the Phoenix (2003), Harry Potter and the Half-Blood Prince (2005), and Harry Potter and the Deathly Hallows (2007). In contrast Keladry of Mindelan in Tamora Pierce’s Protector of the Small series – consisting of First Test (1999), Page (2000), Squire (2001), and Lady Knight (2002) – demonstrates the impact ‘refactoring’ fantasy ‘legacy code’ has on the narrative conclusions of female characters. Using Judith Butler’s theory on the performative nature of gender and building on Farah Mendlesohn’s computer programming analogy of ‘legacy code,’ this thesis illustrates the ways in which fantasy literature often fails to be the literature of subversion Jackson envisions, and demonstrates how refactoring aspects of a female character’s narrative exemplifies subversive narrative conclusions for young adult readers of fantasy literature. / Thesis / Master of Arts (MA) / This thesis examines the ways in which a heteronormative ‘legacy code’ – exemplified by Lady Éowyn in J.R.R. Tolkien’s Lord of the Rings – has been perpetuated in literature marketed towards young adult readers by Hermione Granger in J.K. Rowling’s Harry Potter series and ‘refactored’ by Keladry of Mindelan in Tamora Pierce’s Protector of the Small series. Starting with Rosemary Jackson’s analysis of fantasy literature as a genre with subversive potential and with Judith Butler’s assertion that gender is performative, this thesis analyses the narrative arcs of Éowyn, Hermione, and Kel and demonstrates how the continual representation of strong female characters finding fulfillment in the roles of lover, wife, and mother is limiting, and highlights the subversive potential in ‘refactoring’ heteronormative ‘legacy code.’