Tolkien’s hobbit characters are capable of a particular type of rhetorical persuasion, one which relies on their ability to leverage their status as outsiders among the other people of Middle-earth. The hobbits are uniquely suited to the task of bringing unity to Middle-earth’s people because of the simplicity of their rhetoric, which focuses on proving their own morality and presenting truths without elaboration. When compared with the text, the film adaptations of The Lord of the Rings also help highlight the importance that Tolkien placed on the simplicity of hobbit rhetoric. These abilities of the hobbits become clear through a narrative analysis of the stories from Tolkien’s world, including Bilbo’s speech patterns, the efforts of Merry and Pippin to convince the Ents to fight Isengard, and Frodo’s appeal for unity and aid as made to the Council of Elrond.

This study explores the manner in which modern French fantasy novels have diverged from the Tolkienian, high-fantasy precedent established in the late 90s and the very early 2000s. From 2010–2020, authors Jean-Philippe Jaworski, Justine Niogret, Pierre Pevel, and Claire Duvivier have re-imagined the fantasy realm by deliberately working in opposition to the tropes of high-fantasy. The following work is split into two segments–the first of which analyzes how this high-fantasy divergence manifests within the evolved role of the hero, as it pertains to Jaworski, Pevel, and Niogret. The latter tackles the inverse, being the de-heroized, humanist approach of Duvivier that further depicts how the genre continues to evolve. Through a varying theoretical framework, this interdisciplinary work establishes that the following novels mutually support one another in an effort to diverge from the historic, high-fantasy precedent: Jaworski's Gagner la guerre (2009), Niogret's Chien du heaume (2010), Pevel's Le Chevalier (2015), Duvivier's Un long voyage (2020). / Master of Arts / The project follows a continued line of inquiry related to modern French fantasy novels, and questions the place of the hero within the fantasy realm from 2010–2020. What is uncovered is a shifting within the genre–one that favors varying forums of heroism, and rejects the restricted nature of the righteously motivated high-fantasy hero. This is a genre study; many of the literary devices discussed are only marginally innovative, in a greater literary sense. However, this research asserts that their uniqueness within the scope of the genre merits inquiry. This project discusses the modern French fantasy scene and its divergence from the influence of J.R.R. Tolkien.

"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

Made available in DSpace on 2016-04-25T19:20:50Z (GMT). No. of bitstreams: 1 Diego Genu Klautau.pdf: 4610246 bytes, checksum: 462e2dbba434befae196ec870b9a899e (MD5) Previous issue date: 2007-12-19 / Secretaria da Educação do Estado de São Paulo / The Good and the Evil had always been questions that had worried the humanity. Either through the religion, of the philosophy, and the art, such subjects had been always boarded for the men. The justification of this research if places in the reflection of an existence of meaning and wisdom in previous times to modernity. For this, its existence would be to uncurl for the progress and release of the man, declassifying everything what it existed before as loss and useless time. The Christianity of Saint Augustin answers of different form to such questions. In the literature of Tolkien, these expressions many times if touch and if they move away. The bankruptcy of the modern proposals promotes in the literature of Tolkien a possibility to find this quarrel. Through diverse mithological sources and of medieval Christian traditions, Tolkien creates, or ` sub-creates ', a world where the Good and the Evil are explicit, at the same time subtle and almost tenuous. The time is not everything. Nor everything is justified for history. Something, that passes for history, but is not imprisoned it, it is presents in the literary composition of Tolkien. To try to understand this tension, between the presence of history and the movement of release of it, is necessary to understand what it is the Good and what is the Evil, therefore compelling categories of the critical in the literary composition of The Lord of the Rings. The basic method is the bibliographical revision, through the interpretation of the literature as constituted of philosophy of Augustin, and thus presenting a critical one to the historical context where it was produced. As general procedure of reasoning we elaborate the script of research, based on the evidence of the hypothesis evaluating the personages pf The Lord of the Rings as keys for the understanding of the concepts of Good and Evil in a augustinian reading. To recognize in a fantastic literature, a meeting of the man with its deep reflections, of ethical and moral nature, the said virtues cardinals of Saint Augustin, based on a work of literary and historical research, is a felt way for the proper one of the life / O Bem e o Mal sempre foram questões que preocuparam a humanidade. Seja através da religião, da filosofia, e da arte, tais temas foram sempre abordados pelos homens. A justificativa desta pesquisa se coloca na reflexão de uma existência de significado e sabedoria em tempos anteriores à modernidade. Para esta, sua existência seria o desenrolar para o progresso e libertação do homem, desclassificando tudo o que existia antes como perda de tempo e inútil. O Cristianismo de Santo Agostinho responde de forma diferente a tais questões. Na literatura de Tolkien, estas expressões muitas vezes se tocam e se afastam. A falência das propostas modernas promove na literatura de Tolkien uma possibilidade de encontrar esta discussão. Através de diversas fontes mitológicas e de tradições cristãs medievais, Tolkien cria, ou sub-cria , um mundo em que o Bem e o Mal são explícitos, ao mesmo tempo sutis e quase tênues. O tempo não é tudo. Nem tudo se explica pela história. Algo, que passa pela história, mas não está presa a ela, se apresenta na obra literária de Tolkien. Para tentar entender esta tensão, entre a presença da história e o movimento de libertação dela, é necessário entender o que é o Bem e o que é o Mal, pois categorias impulsionadoras da crítica presente na obra literária O Senhor dos Anéis. O método básico é a revisão bibliográfica, através da interpretação da literatura como constituída de filosofia de Agostinho, e assim apresentando uma crítica ao contexto histórico em que foi produzida. Como procedimento geral de raciocínio elaboramos o roteiro de pesquisa, baseado na comprovação da hipótese avaliando os personagens de O Senhor dos Anéis como chaves para a compreensão dos conceitos de Bem e de Mal numa leitura agostiniana. Reconhecer numa literatura fantástica, um encontro do homem com suas reflexões profundas, de natureza ética e moral, as ditas virtudes cardeais de Santo Agostinho, baseada num trabalho de pesquisa literária e histórica, é um caminho para o próprio sentido da vida

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 considers Härskarringen (1959–61), a Swedish translation of J. R. R. Tolkien’s The Lord of the Rings (1954–55), within the framework of translation studies and the description of norms within different fields of translation. As the work’s position as a translation has been questioned by a number of critics, the aim of the study is to identify features of the text which can be associated with this critique. The methodology employed by the study aims to separate departures in the target text from the source text within fields such as semantics and style. The departures are then ordered on the basis of linguistic form. The study suggests that the translation contains a number of features, and proposes possible explanations for these, based on the result of the study in relation to these points of departure as well as the circumstances in the context of the creation of the translation. The method used is partly based on a model developed by Rune Ingo (1991), and the results are analyzed by means of key concepts from Yvonne Lindqvist (2002). The study concludes that Härskarringen should be considered a work done mainly in accordance with an acceptable translation strategy, and thereby has characteristics of a low prestige translation. The study further considers that the critics of the translation hold, seemingly, that The Lord of the Rings should be translated as high prestige literature, and that they have reacted against the translation consequently. The study suggests that the reason for the questioning of Härskarringen’s position as a translation seems to be that the work has not been translated in accordance with the norms of the literary field to where it is today attributed. The critique can partly be viewed as a result of a raised status of The Lord of the Rings and J. R. R. Tolkien, and thus of the mobility of a work within the literary system. / Den här uppsatsen undersöker Härskarringen (1959–61), en översättning av J. R. R. Tolkiens The Lord of the Rings (1954–55), med en översättningsvetenskaplig deskriptiv metodik. Uppsatsen försöker utröna vilka egenskaper hos den svenska tolkningen som gjort att dess ställning som översättning, till helheten eller enskilda delar, har ifrågasatts av en rad kritiker. Undersökningen utförs genom att tillämpa en metod för utverkande av avvikelser mellan översättningen och originaltexten inom för uppsatsen ändamålsenliga kategorier, såsom betydelsemässiga avvikelser mellan översättning och original. De framkomna avvikande textställena sorteras sedan efter deras språkform, och utifrån resultatet samt förhållanden i översättningens tillblivelse karakteriseras sedan den undersökta aspekten av översättningen genom ett antal egenskapsdrag samt möjliga anledningar till dessa. Slutsatsen efter genomförd undersökning är att Härskarringen, huvudsakligen genom att på olika sätt förhålla sig fritt till originalet, bär många gemensamma drag med översättningar inom lågprestigelitteraturen, och att kritikerna – då dessa förefaller anse att Tolkiens The Lord of the Rings tillhör högprestigelitteraturfältet och bör översättas enligt dess normer – därför har reagerat mot översättningens utformning. Härskarringens ställning som översättning har ifrågasatts på grund av att verket inte har översatts i enlighet med normerna på det litterära fält där det i dag anses befinna sig. Företeelsen får delvis ses som en följd av The Lord of the Rings och J. R. R. Tolkiens ökade anseende, och är därmed ett exempel på återverkningar av ett verks rörlighet inom det litterära systemet.

Thesis (M.A.)--Brigham Young University. Dept. of English, 2002. / Includes bibliographical references (p. 67-69).

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 thesis focuses on the formal and stylistic analysis and comparison of two works written by English authors, namely William Morris' poem The Story of Sigurd the Volsung and the Fall of the Niblungs (1876) and J. R. R. Tolkien's poetic work The Legend of Sigurd and Gudrún (published posthumously in 2009) with respect to how each of these works deals with the original Old Norse motives which they are based on. Both Sigurd the Volsung and The Legend of Sigurd and Gudrún can be described as poetic adaptations of the Old Norse tale of Sigurd Fafnisbani, which is recounted in the Saga of the Volsungs and in a cycle of poems found in the Poetic Edda. Both Morris and Tolkien borrowed this story to use it in their own works, yet each of them treats it in a different manner. Therefore, not only do both of the works differ from the original Old Norse texts on multiple levels, but they also differ one from another. The differences between them can be traced in the metrical properties of the individual poems, for instance, or in the use of specific stylistic elements. From this, it can be inferred that although it was the goal of both authors to evoke the atmosphere of the legendary heroic past where Sigurd's story takes place, each of them attempts to do so in a different way. This is probably caused by...

The theme of the thesis is to look into the conflict of good and evil in the work of Tolkien The Silmarillion from a Biblical perspective. The text of Silmarillion itself is mainly used for identification of themes related to the central one. These themes are further analysed to reveal their origin, namely whether they came from the biblical tradition or some other tradition. The first part is devoted to the Silmarillion itself and provides a brief summary to remind reader of the basic plot line and motifs. The second part addresses the issue of good and evil from a cosmic perspective and its definition. This section also identifies the general principles of this combat taking into account its particular realisations and allows reader to determine the influence of Christianity, Norse mythology, and other sources on Tolkien's work. The third part deals with the conflict between good and evil in relation to particular persons or groups of persons, and describes the way people surrender to the evil and how they can resist it. It makes clear what values Tolkien considered important. In this thesis reader can once again find summarisation of the factors that influenced Tolkien's work.