O objetivo deste estudo é encontrar a associação entre o engajamento emocional e participativo, as competências culturais e as decepções dos fãs brasileiros do universo tolkieniano na recepção da trilogia de O Hobbit, no cinema. Visa, ainda, encontrar os indícios da decepção como sentimento - pela via da espectatorialidade - ou emoção - pela via da recepção. Além disso, a pesquisa contribui para o campo dos estudos da experiência fílmica, relacionando emoção e sentimento às concepções de recepção cinematográfica e espectatorialidade fílmica. Para isso, traçamos um percurso teórico-metodológico nesse campo, abordando seus antecedentes e desdobramentos, propondo uma nova nomenclatura para a recepção e a espectatorialidade. Decepção é entendida em dois estados afetivos distintos: emoção, mais imediata, passageira e não durável; e sentimento, mais duradouro e profundo, que estrutura e define nossa subjetividade humana. Foram utilizados os dados brasileiros da pesquisa The Hobbit Project, compostos por questionários focados na recepção da trilogia. Baseado na adaptação da escala de engajamento participativo e produtivo, proposta por Lopes et al (2011), os respondentes dos questionários foram classificados em tipologias de fãs (Consumidores, Críticos, Produtores e Curadores) Os fãs constituem comunidades interpretativas, compartilhando sentidos e modos de organização, e comunidades emocionais, compartilhando emoções, pautas, interesses, valores, metas, símbolos e códigos afetivos e reforçando ensinamentos e pressuposições comuns. A pesquisa demonstrou que o percurso formativo da decepção parte do engajamento emocional e participativo, passa pelo desenvolvimento das competências culturais, as expectativas e é concluído no desapontamento. A competência Conhecimento da narrativa canônica do universo tolkieniano permeou todo o percurso, transformando-se na decepção Tratamento da narrativa. Como principais resultados, as maiores decepções com a narrativa foram encontradas na avaliação geral dos filmes, no tratamento narrativo da morte de um dos três guerreiros anões, na adaptação deturpada ou descaracterizada de determinados personagens e no romance inter-racial apresentado no filme. / This study aims to find the relation among the emotional and participatory engagements, the cultural competences and the deception of the Brazilian fans of the Tolkien universe in the reception of The Hobbit trilogy in movie theaters. It also aims to identify the marks of deception as a feeling – through spectatorship – or emotion – through reception. In addition to that, it contributes to film experience studies by relating emotion and feeling to the concepts of movies reception and film spectatorship. For that, we build a theoretical and methodological path in the field, and approach its previous and unfolding notions, in order to propose new terms for reception and spectatorship. Here, deception may be understood as two different states of affection: emotion, more immediate, temporary and short-lasting, and feeling, more long-lasting and profound, which structures and defines our human subjectivity. The research used the Brazilian data deriving from The Hobbit Project, comprising questionnaires focused on the reception of the trilogy. The respondents were classified into types of fans (namely Consumers, Critics, Producers and Curators) based on the adaptation scale of productive and participatory engagements proposed by Lopes et al (2011) Fans constitute interpretative communities, in which they share senses and forms of organization, and emotional communities, in which they share emotions, agenda, interests, values, aims, symbols and affective codes, and reinforce common presuppositions and teachings. The results of the study show that the path that builds the deception departs from emotional and participatory engagements, to the development of cultural competences and expectations, and its end is disappointment. The competence of Canon Narrative Knowledge of the Tolkien Universe is present through the whole path, and becomes deception with the Narrative Treatment. One of the main results is the existence of greater deception in the general evaluation of the films, the narrative treatment of one of the three dwarf warriors’ death, the changes of adaptation and characteristics of some characters, and the interracial love story portrayed in the film.

O objetivo deste estudo é encontrar a associação entre o engajamento emocional e participativo, as competências culturais e as decepções dos fãs brasileiros do universo tolkieniano na recepção da trilogia de O Hobbit, no cinema. Visa, ainda, encontrar os indícios da decepção como sentimento - pela via da espectatorialidade - ou emoção - pela via da recepção. Além disso, a pesquisa contribui para o campo dos estudos da experiência fílmica, relacionando emoção e sentimento às concepções de recepção cinematográfica e espectatorialidade fílmica. Para isso, traçamos um percurso teórico-metodológico nesse campo, abordando seus antecedentes e desdobramentos, propondo uma nova nomenclatura para a recepção e a espectatorialidade. Decepção é entendida em dois estados afetivos distintos: emoção, mais imediata, passageira e não durável; e sentimento, mais duradouro e profundo, que estrutura e define nossa subjetividade humana. Foram utilizados os dados brasileiros da pesquisa The Hobbit Project, compostos por questionários focados na recepção da trilogia. Baseado na adaptação da escala de engajamento participativo e produtivo, proposta por Lopes et al (2011), os respondentes dos questionários foram classificados em tipologias de fãs (Consumidores, Críticos, Produtores e Curadores) Os fãs constituem comunidades interpretativas, compartilhando sentidos e modos de organização, e comunidades emocionais, compartilhando emoções, pautas, interesses, valores, metas, símbolos e códigos afetivos e reforçando ensinamentos e pressuposições comuns. A pesquisa demonstrou que o percurso formativo da decepção parte do engajamento emocional e participativo, passa pelo desenvolvimento das competências culturais, as expectativas e é concluído no desapontamento. A competência Conhecimento da narrativa canônica do universo tolkieniano permeou todo o percurso, transformando-se na decepção Tratamento da narrativa. Como principais resultados, as maiores decepções com a narrativa foram encontradas na avaliação geral dos filmes, no tratamento narrativo da morte de um dos três guerreiros anões, na adaptação deturpada ou descaracterizada de determinados personagens e no romance inter-racial apresentado no filme. / This study aims to find the relation among the emotional and participatory engagements, the cultural competences and the deception of the Brazilian fans of the Tolkien universe in the reception of The Hobbit trilogy in movie theaters. It also aims to identify the marks of deception as a feeling – through spectatorship – or emotion – through reception. In addition to that, it contributes to film experience studies by relating emotion and feeling to the concepts of movies reception and film spectatorship. For that, we build a theoretical and methodological path in the field, and approach its previous and unfolding notions, in order to propose new terms for reception and spectatorship. Here, deception may be understood as two different states of affection: emotion, more immediate, temporary and short-lasting, and feeling, more long-lasting and profound, which structures and defines our human subjectivity. The research used the Brazilian data deriving from The Hobbit Project, comprising questionnaires focused on the reception of the trilogy. The respondents were classified into types of fans (namely Consumers, Critics, Producers and Curators) based on the adaptation scale of productive and participatory engagements proposed by Lopes et al (2011) Fans constitute interpretative communities, in which they share senses and forms of organization, and emotional communities, in which they share emotions, agenda, interests, values, aims, symbols and affective codes, and reinforce common presuppositions and teachings. The results of the study show that the path that builds the deception departs from emotional and participatory engagements, to the development of cultural competences and expectations, and its end is disappointment. The competence of Canon Narrative Knowledge of the Tolkien Universe is present through the whole path, and becomes deception with the Narrative Treatment. One of the main results is the existence of greater deception in the general evaluation of the films, the narrative treatment of one of the three dwarf warriors’ death, the changes of adaptation and characteristics of some characters, and the interracial love story portrayed in the film.

O objetivo deste estudo é encontrar a associação entre o engajamento emocional e participativo, as competências culturais e as decepções dos fãs brasileiros do universo tolkieniano na recepção da trilogia de O Hobbit, no cinema. Visa, ainda, encontrar os indícios da decepção como sentimento - pela via da espectatorialidade - ou emoção - pela via da recepção. Além disso, a pesquisa contribui para o campo dos estudos da experiência fílmica, relacionando emoção e sentimento às concepções de recepção cinematográfica e espectatorialidade fílmica. Para isso, traçamos um percurso teórico-metodológico nesse campo, abordando seus antecedentes e desdobramentos, propondo uma nova nomenclatura para a recepção e a espectatorialidade. Decepção é entendida em dois estados afetivos distintos: emoção, mais imediata, passageira e não durável; e sentimento, mais duradouro e profundo, que estrutura e define nossa subjetividade humana. Foram utilizados os dados brasileiros da pesquisa The Hobbit Project, compostos por questionários focados na recepção da trilogia. Baseado na adaptação da escala de engajamento participativo e produtivo, proposta por Lopes et al (2011), os respondentes dos questionários foram classificados em tipologias de fãs (Consumidores, Críticos, Produtores e Curadores) Os fãs constituem comunidades interpretativas, compartilhando sentidos e modos de organização, e comunidades emocionais, compartilhando emoções, pautas, interesses, valores, metas, símbolos e códigos afetivos e reforçando ensinamentos e pressuposições comuns. A pesquisa demonstrou que o percurso formativo da decepção parte do engajamento emocional e participativo, passa pelo desenvolvimento das competências culturais, as expectativas e é concluído no desapontamento. A competência Conhecimento da narrativa canônica do universo tolkieniano permeou todo o percurso, transformando-se na decepção Tratamento da narrativa. Como principais resultados, as maiores decepções com a narrativa foram encontradas na avaliação geral dos filmes, no tratamento narrativo da morte de um dos três guerreiros anões, na adaptação deturpada ou descaracterizada de determinados personagens e no romance inter-racial apresentado no filme. / This study aims to find the relation among the emotional and participatory engagements, the cultural competences and the deception of the Brazilian fans of the Tolkien universe in the reception of The Hobbit trilogy in movie theaters. It also aims to identify the marks of deception as a feeling – through spectatorship – or emotion – through reception. In addition to that, it contributes to film experience studies by relating emotion and feeling to the concepts of movies reception and film spectatorship. For that, we build a theoretical and methodological path in the field, and approach its previous and unfolding notions, in order to propose new terms for reception and spectatorship. Here, deception may be understood as two different states of affection: emotion, more immediate, temporary and short-lasting, and feeling, more long-lasting and profound, which structures and defines our human subjectivity. The research used the Brazilian data deriving from The Hobbit Project, comprising questionnaires focused on the reception of the trilogy. The respondents were classified into types of fans (namely Consumers, Critics, Producers and Curators) based on the adaptation scale of productive and participatory engagements proposed by Lopes et al (2011) Fans constitute interpretative communities, in which they share senses and forms of organization, and emotional communities, in which they share emotions, agenda, interests, values, aims, symbols and affective codes, and reinforce common presuppositions and teachings. The results of the study show that the path that builds the deception departs from emotional and participatory engagements, to the development of cultural competences and expectations, and its end is disappointment. The competence of Canon Narrative Knowledge of the Tolkien Universe is present through the whole path, and becomes deception with the Narrative Treatment. One of the main results is the existence of greater deception in the general evaluation of the films, the narrative treatment of one of the three dwarf warriors’ death, the changes of adaptation and characteristics of some characters, and the interracial love story portrayed in the film.

This essay investigates the applicability of Joseph Campbell’s notion of the Hero’s Journey from his theoretical work The Hero with a Thousand Faces on J.R.R. Tolkien’s The Hobbit, or, There and Back Again. This has been done by outlining the essential aspects of Campbell’s theory and then performing a reading and analysis of Tolkien’s work. Furthermore, this essay focuses on the narrative structure proposed by Campbell, but also the heroic character’s development—in this instance, Bilbo Baggins’ development. As such, a brief examination of Campbell’s attitude and use of Freudian psychoanalysis has been performed as well as a presentation of Bilbo Baggins’ character and dual nature before the adventure. As a possible line of argument Tolkien’s knowledge of myth is also briefly expounded on. This essay does not research or make any definitive statements on the universal applicability of Campbell’s theory, but merely finds that Tolkien’s The Hobbit, or, There and Back Again appears to conform well to Campbell’s proposed narrative structure and that the development of Bilbo’s heroic character, or his character arc, is in concurrence with this as well.

Sammanfattning   Den här uppsatsen uppmärksammar filmer och sociala medier som marknadsföringsverktyg inom turismbranschen. Det konkreta syftet med denna uppsats är dels att undersöka hur turister själva marknadsför filmturistiska platser via sociala medier, i denna specifika studie TripAdvisor och Facebook, för filmtrilogin ”The Hobbit” och den filmturism som uppstod från den föregående filmtrilogin ”The Lord of the Rings”. Och dels att undersöka vad turister skriver om på sociala medier gällande den filmturism som bedrivs på turistdestinationen Hobbiton Movie set i Nya Zeeland. De teorier som denna uppsats bygger på är teorier kring ”tourist produced content”. Samt kring filmturism och marknadsföring av denna. De metoder som används för att uppnå syftet är två olika typer av innehållsanalys: en kvalitativ innehållsanalys med hjälp av argumentationsanalys, och en kvantitativ innehållsanalys. Det empiriska materialet består av kommentarer från TripAdvisor och Facebook angående turistdestinationen Hobbiton Movie set. De resultat som framkom där var följande. Först tycker turisterna att det är värt att besöka destinationen ifall man är intresserad av filmerna inom filmtrilogin ”The Hobbit”. Men turisterna anser även att de tar ut ett för högt pris för besöket. Samt tycker vissa turister att destinationen inte är tillgänglig för alla samhällsgrupper, exempelvis inte för personer med funktionsnedsättning. Det konkreta resultatet var följande: det gäller för turistdestinationer, såsom Hobbiton Movie set, att ta till sig turisters kommentarer och liknande för att säkerställa att alla turisters behov uppfylls. Analysen fann att marknadsföring av filmturistiska platser sker inte bara genom traditionell marknadsföring utan också via turisters frivilliga marknadsföring av dessa via sociala medier. Vilket förändrar vem som har makten att marknadsföra turistdestinationer. Den övergripande slutsatsen handlar således om att både filmer och sociala medier marknadsför filminspelningsplatser som kan komma att besökas utifrån att människor sett dessa platser i filmer och kommentarer om dessa platser på sociala medier. Således en marknadsföring av de kulturella landskap som skildras i filmer och som upplevs av turister.

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This thesis argues for the power of story and, in particular, the story of The Hobbit by J.R.R. Tolkien to help build optimism and hope. The Hobbit is under-used in primary schools and this thesis demonstrates that it is eminently suitable for children. Without imagination children are vulnerable to sadness and despair. The positive development of imagination through heroic tales is likely to benefit children emotionally and psychologically. The story of The Hobbit can be utilised to develop the concept of the Hero's Journey, a persistent trope in oral and recorded literature and an archetype for virtually all human experience. In addition, the thesis shows that critical thinking skills and multiple intelligences can be developed through the use of The Hobbit. Depression in young people is now recognised as a serious public health problem in Australia. Research supports the view that children need optimism. This thesis discusses statistics regarding the increased prevalence of childhood depression and aggression as well as alarming youth suicide reports. The inquiry by the Victorian Parliament into the effects of television violence on children is examined and the scholarly works of Neil Postman, inter alia, are discussed to establish the overall pattern of positive association between television violence and aggression in children. Furthermore, the contention that many contemporary realistic texts do little to promote hopefulness in the young is supported with the opinions of scholars who are respected in the field of children’s literature. Tolkien was a devout Catholic but, even more importantly, he was able to restate traditional values through his imaginative works of The Hobbit and The Lord of the Rings. This has relevance for Catholic educators who strive to relate Gospel values to popular culture. Christian education must extend imagination beyond morality to help young people to find meaning and purpose in their lives. Through the use of The Hobbit and other books of this kind, children can begin to learn not to fear change, failure or setbacks but to see them as important challenges and opportunities for personal growth. This thesis argues for the likely value of a continuum of this type of learning that begins in early childhood, in order to provide a

This essay demonstrates how Bilbo, the main protagonist of J.R.R. Tolkien’s The Hobbit, is a feminine hero despite being male. The study builds on concepts of traditional gender norms which show men as strong, intelligent beings and overall superior to the weak and emotional women. Also included in the study is Carl Jung’s anima archetype (the hypothesized feminine side of the man) as well as conventional hero-types, comparing Bilbo to three other heroes of Tolkien’s creation (Aragorn, Frodo and Beorn) in order to categorize Bilbo and show what kind of a hero he is. The essay shows that Bilbo, based on his actions and personality, and in accordance with the traditional gender norms, classifies as a feminine hero. / Denna uppsats demonstrerar hur Bilbo, huvudkaraktären i J.R.R. Tolkiens The Hobbit, är en feminin hjälte trots att han är manlig. Studien bygger på koncept av traditionella könsnormer som visar män som starka, intelligenta varelser och allmänt överlägsna de svaga och emotionella kvinnorna. Också inkluderat i studien är Carl Jungs anima-arketyp (den hypotetiserade feminina sidan av mannen) såväl som konventionella hjälte-typer och jämför Bilbo med tre andra hjältar som Tolkien skapat (Aragorn, Frodo och Beorn) för att kunna kategorisera Bilbo och visa vad för slags hjälte han är. Uppsatsen visar att Bilbo, baserat på hans handlingar och personlighet, och i överensstämmelse med de traditionella könsnormerna, klassificeras som en feminin hjälte.

This essay argues that the protagonist of The Hobbit, Bilbo Baggins can be considered to be a female character in a male form. By applying feminist literary criticism this essay map out the traditional gender roles in society along with the traditional gender roles in Middle Earth in order to investigate Bilbo’s female characteristics, the similarities between him and women in patriarchal society as well as the female imagery present in The Hobbit. The results show that Bilbo Baggins’ characteristics such as emotionality, sensitivity and compassion corresponds more to the traditional female gender norms than that of the male gender norms. The results also indicate the similarities between Bilbo’s experiences and that of women in a patriarchal society, such as the attention to being respectable and difficulties working in a male-dominated field.

The works of J.R.R. Tolkien have been analysed through a Christian perspective claiming Christian influences  numerous times.  Additionally,  Tolkien  was  inspired by Norse  Mythology in his works. However, his first novel, The Hobbit, has often been overlooked.  This essay has therefore analysed the main characters of  The  Hobbit  in order to determine whether  his influences were mainly from Christian Theology or Norse Mythology. This has  been done through the use of Archetypal Criticism. Specifically,  the  vices of  greed and pride has been set as the  foundational  archetypes  of the research. The results show that Norse Mythology is the major influence of the characters.