Submitted by STÉFANO STAINLE null (stefano@stainle.com.br) on 2016-07-08T22:06:35Z No. of bitstreams: 1 DISSERTACAO_-_VERSAO_-_CAPA_-_DURA_-_STEFANO.pdf: 1429025 bytes, checksum: edd0f4b4e3b4ea54c0cd16da71d665d1 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-07-11T19:07:02Z (GMT) No. of bitstreams: 1 stainle_e_me_arafcl.pdf: 1429025 bytes, checksum: edd0f4b4e3b4ea54c0cd16da71d665d1 (MD5) / Made available in DSpace on 2016-07-11T19:07:02Z (GMT). No. of bitstreams: 1 stainle_e_me_arafcl.pdf: 1429025 bytes, checksum: edd0f4b4e3b4ea54c0cd16da71d665d1 (MD5) Previous issue date: 2016-05-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Com essa pesquisa pretende-se, a partir de uma abordagem teórico-crítica de O Senhor dos Anéis, obra máxima de J. R. R. Tolkien, analisar o modo de atuação da personagem Gandalf, de forma a esclarecer e melhor compreender como essa personagem atua na narrativa e, com essa atuação, possibilita a existência da narrativa em si mesma, equilibrando ou desequilibrando o compasso do enredo. A forma como ela se movimenta e se manifesta no enredo é que permite concluir que cabe a Gandalf a responsabilidade de ser o urdidor dos elementos narrativos. Ele possilita que os elementos distintos da obra se conectem e dessa forma impulsionem a narrativa. Para tal análise há a mobilização de teorias que se referem à atuação da personagem e ao contexto literário em questão. Tais teorias são relacionadas aos gêneros romance, épica, contos de fadas, novelas de cavalaria e mito, bem como a psicanálise, religião, personagem e herói. Partindo do estudo da referida personagem, intenciona-se contribuir, em última instância, para uma melhor compreensão do universo ficcional criado pelo autor e um melhor entendimento dos recursos utilizados na composição da atuação da referida personagem na narrativa, aspecto que até o momento não foi adequadamente abordado e analisado pela crítica especializada na obra do autor. / With this research it is intended to analyse the way of acting of the character Gandalf departing from a theoretical-critical approach of The Lord of the Rings, J. R. R. Tolkien’s masterpiece, and by this, searching the enlightment and better understanding of how this character acts on the paths of the narrative and how this acting makes possible the existence of narrative itself, by balancing or even unbalancing the plot’s compass. The way he moves and acts in the plot allows us to conclude that Gandalf is the responsible for manipulating the narrative elements. He makes possible the connection among different elements of the plot, boosting the narrative. There is a mobilization of theories concerning the character's performance and the literary context to do such analysis. The theories are related to the genres novel, epic, fairy tale, romance and myth, as well as to the psychoanalysis, the religion, the character and the hero. Departing from the study of the referred character, it is intended to contribute, in the last resort, to a better understanding of the fictional universe created by the author and a better comprehension of the resources used in the composition of the reported character’s performance in the narrative, an aspect that was not properly approached and analysed by the critics on the work of the author.

Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-06-27Bitstream added on 2014-06-13T20:20:10Z : No. of bitstreams: 1 pereira_alrm_me_arafcl.pdf: 611867 bytes, checksum: 441ea8ec6438d6b91c6e4dde1fbde7d1 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / J. R. R. Tolkien afirmou que o tema central de sua principal obra, O Senhor dos Anéis, é a tensão provocada entre a morte inevitável e a busca pela imortalidade. Diante disso, procurase nesse trabalho verificar de que maneira essa temática influencia a forma do romance e desenvolve uma crítica acerca do papel da arte e da técnica enquanto artigo de valor e fonte memória para seres cuja existência é finita ou seres ligados a um universo em constante transformação. Por um lado, há seres como os elfos que estão ligados diretamente à natureza de Arda e são fadados a não deixá-la até que chegue o seu fim. Esses seres, aparentemente imortais, sofrem com as constantes mudanças no planeta e tentam, através da técnica, agir diretamente sobre o mundo, tentando conservá-lo tal como ele é. Por outro lado, há os homens mortais, que, diante de sua própria mortalidade, buscam ter seus feitos eternizados em obras de arte, como esculturas, tapeçarias ou textos literários. / J. R. R. Tolkien declared that the central issue of his major work, The Lord of the Rings, is the tension emerging between the unavoidable death and the search for immortality. Therefore, this study is a research about how that aspect affects the structure of the novel and how it discusses the role of art and technique as a piece of value and a resource of memory available for finite or immortals beings, whose existence is linked to a continuously changing world. On the one hand, there are in novel beings such as elves that are directly connected to the nature of Arda and are doomed to remain there until its end. These apparently immortal beings can’t bear such constant changes on the planet and employ technical means in order to have an affect on the world and keep it as it is. On the other hand, mortal men, faced with their own mortality, seek out art as a way to have their deeds registered and so kept alive forever in works such as sculptures, tapestry or literary texts.

In this essay, Ralph C. Wood's religious-philosophical interpretation of LotR has been analyzed, with emphasis upon his conclusions about evil and sin in LotR. Some of Wood's claims about evil and sin in LotR have been applied upon the character Boromir, in order to show how sin is manifested as truth-transgression, pride, avarice, and misdirected love. A theoretical section is presented in order to define the concepts of sin, mimetic desire, and evil. The literary analysis focuses upon the character Boromir; the relevant works of literary scholas Ralph C. Wood and René Girard have been chosen as points of reference in this analysis. Attention is also given to an article by the historian Stephen Morillo, in the analysis of Norse pagan and Christian interpretations. It has been argued that a Christian reading of LotR, contrary to Morillo's standpoint, is possible.

The realm of fantasy literature has always been that of the 'invisible', in as much as it has either been 'excluded' from traditional academic circles or at most marginalised from the general body of literary texts and considered a literature of 'escape'. This positioning of fantasy literature has caused a definition of the genre that is two-dimensional, and that perpetuates its alienation from the 'canon'. Although the works of fantasy literature by J.R.R. Tolkien are sometimes considered 'worthy' literature, but he is an exception in literary circles. In light of the 'invisible' position that fantasy literature occupies, this thesis attempts, through the use of Derridian and Jungian theory to (re)define fantasy literature by proposing a definition of fantasy literature that is three¬dimensional and that stems precisely from its 'invisible' position. The 'spherical' theory proposed illustrates how fantasy literature allows the reader to (re)examine his/her reality by presenting him/her with a reality that is different to his/her everyday concrete reality, but that at the same time shares the same moral, ethical and identity issues found in the 'visible' world and that the reader is faced with on a daily basis. The prolific use of magic in fantasy cannot be ignored and in this thesis, the use of magic within the texts and its function in a scientifi-rational world is focused on in detail. With each text, a different kind of magic is focused on. In Tolkien, the focus is on Alchemy and how the characters in his novels undergo an Alchemical transformation. The Tolkien texts that are focussed on are The Silmarillion, The Hobbit and The Lord of the Rings. The chapter on Patricia McKillip focuses primarily on the use of magic in her protagonist's search for identity. The texts used form part of her Riddle Master trilogy and are, The Riddle Master of Hed, Heir of Sea and Fire and Harpist in the Wind. The section on Katherine Kerr explores the idea of a 'new' magic for a 'new' world and focuses on how in the three novels, The Red Wyvern, The Black Raven and The Fire Dragon, magic takes on a 'new' definition. / Dissertation (MA (English))--University of Pretoria, 2006. / English / unrestricted

This essay examines J.R.R Tolkien’s The Lord of the Rings through the application of a theoretical framework of postcolonial ecocriticism, endeavoring to discern the author’s concerns and the environmental and colonial underpinnings interwoven in the novel through a thematic analysis focusing on the concepts of pastoral, nature, wilderness and development. The results show that Tolkien undoubtedly projected his profound sentiments for environmental disruption as a product of a rapidly changing world during his lifetime. Although Tolkien’s trilogy is a work of high fantasy written in a different context, this essay argues that it is valid for scrutiny in relation to contemporary society. Furthermore, this study investigates the implementation of the text in the Swedish EFLclassroom with the purpose of raising students’ awareness for, and investment in the environment, whilst improving their all-round communicative skills, ultimately educating for a sustainable future.

When Peter Jackson sought to adapt J.R.R. Tolkien’s The Lord of the Rings to film, many fans worried about the changes that could be made to such a beloved story. Though the response to the films was generally positive, all three movies did have their detractors. Many of the complaints centered on his badly adapting the source material, specifically the characters. When Jackson released The Two Towers, fans were outraged further by how Jackson had handled Faramir. However, these interpretations of The Lord of the Rings and Faramir are a narrow evaluation of the larger problem facing fan and scholarly communities, that being, the devaluation of Escapism and what Tolkien calls, “escapist texts,” in today’s society. Tolkien claims that the main purpose of escapist texts is that they allow audiences to recover previous experiences that gave them feelings of happiness or joy. Despite criticism of Escapism, escapists texts don’t urge people to abandon their lives and seek something else. Rather, escapist texts encourage audiences to identify with and empathize with the characters represented in these texts, in order to return to their lives and accept responsibility for and connection with other people. When audiences see The Lord of the Rings and Faramir (whether in book form or in film form), they identify and connect with these stories and characters and seek responsibility in their own lives, which brings them, and those around them, hope.

The aim with this essay is, through the lens of narratology, to study J.R.R. Tolkien’s The Lord of the Rings, and find as many examples of different narratological aspects as possible. These narratological aspects will then be presented in a thorough analysis. Furthermore, the difference in narratological theory between realistic and unrealistic literature is highlighted. The aim is also to try and find out whether the narrative structure might have influenced the novel’s popularity among its numerous readers. The analysis shows that the primary narrator is omniscient, the novel is well structured with good descriptions of the settings and well depicted portrayals of the characters. The analysis also shows that time and space are equally as important as in a classical work of fiction. Moreover, it is evident that the narrative structure is an essential aspect of the success and longevity of the novel, in which the narration and the characterizations are vital. The analysis also highlights the unrealistic features of the novel.

The purpose of the study was to evaluate the didactic potential, and applicability of fiction in religious education. The subject I wanted to examine was J.R.R. Tolkiens The Fellowship of the Ring and whether it could be enriching for religious studies in upper secondary school, focusing on normative ethics.The study used a qualitative research method and the empirical material consisted of J.R.R. Tolkiens The Fellowship of the Ring. The book was read several times and sorted and reduced using focused coding searching for ethical dilemmas and different thematic units. The result was analyzed with the help of the high school’s curriculum, previous research, and selected theoretical concepts, normative ethics and didactic potential.The results showed that the book contained a large number of ethical dilemmas and several thematic units wich could help realize its didactic potential. The book’s usefullnes and didactic potential, focusing on normative ethics in religious studies, could then be proven on the basis of the upper secondary school’s and religious studies curriculum, as well as using previous research. The ethical dilemmas and thematic units found throughout the book make it highly usefull for discussing issues of normative ethics in the classroom.

No description available.

In an interview with Hy Bender, Neil Gaiman states, "We have the right, and the obligation, to tell old stories in our own ways, because they are our stories." While fantasy stands apart from other types of fiction, it still provides a particular kind of commentary on the culture/time it is being created in, often by toying with older themes and conventions. Stories of the quest for kingship tend to fall by the wayside in favor of the "unlikely hero" tale. While the king's story is not always vastly different from that of the hero, there are some key points that need to be taken into consideration. Unlike many heroes, especially in the modern sense, kings (whether recognized at first or not) are born for the duty they must eventually fulfill. A hero may be unaware of the problem at first or later reluctant to engage it; more often than not in tales of kingship there is a deep awareness of the problem and the knowledge of their potential in solving it. There is always a sense of inherent purpose and destiny: they must undertake quests in order to legitimize themselves and their power — their right to rule. These stories bear a similar structure and shared themes that can be found in medieval sources as well as earlier myths. Tales of kingship in modern fiction, specifically in the work of Neil Gaiman (The Sandman) and George R. R. Martin (A Game of Thrones), are similar to the medieval models, as kingship and the requirements of kingship were popular themes in medieval texts, including Beowulf and King Horn. The role of the king in epic tales varies from hero to villain, at times even occupying both roles depending on the story. In the tales explored herein and in much of the medieval source material that inspired the fantasy tradition, the king also takes on the role of healer. The interwoven plots of George R. R. Martin's A Song of Fire and Ice series revolve around the struggle for the rightful rule over seven kingdoms, and while the protagonist in The Sandman is in many ways vastly different from Tolkien's Aragorn, the character still exists with a sense of purpose, responsibility, and duty; a regal bearing that does not necessarily occur in the majority of typical heroes. The influence of Tolkien's work both as a scholar and an author is apparent in Gaiman's use of mythology and Martin's style of world creation; both authors have admitted their creative debt to and continuing admiration of Tolkien's style of fantasy. It is impossible to discuss modern fantasy without acknowledging Tolkien as an influence to these two more recent authors. This paper will discuss The Lord of the Rings as a bridge between modern fantasy and medieval/mythological sources. In each of these modern fantasy tales of kingship, healing and reunion become major themes, tied into the right/duty of a ruler. The patterns established by medieval tales are used by modern authors to create fantasy kings, giving their narratives legitimacy that may have been difficult to establish without these patterns and links back to the medieval tradition. / Master of Arts