In this essay, J.R.R. Tolkien´s novel The Hobbit is analysed from an Ecocritical perspective. How environments/places are described, and what meaning can be attributed to these places is analysed using second wave ecocritical theory. This means that the relationship between what is seen as human and what is seen as non-human isdiscussed in relation to meaning and agency. The main theme of the novel is a journey, and there is a reoccurring motif of longing which forms a framework of safety against which the dangerous journey through the Wild is contrasted. This framework has been used to decide which scenes to analyse. Further, Buell´s theory of place-connectednessis used to describe the relationship between the characters and the places. The placeconnectedness affects how meaning is created in the interaction between the human and the non-human. Lastly, a previous essay using an ecocritical framework is LoboJansson´s Master´s thesis “Lord of the Rings, Lord of Nature: A PostcolonialEcocritical Study of J.R.R Tolkien´s The Lord of the Rings and Its Implications in the EFL Classroom.”. One suggestion for further research in the thesis is to apply an ecocritical framework to other books by Tolkien, such as Silmarillion or The Hobbit(47-48). One aim of this essay is therefore to answer the question whether the environmental descriptions in The Hobbit can indicate the environmental concerns described in Lobo Jansson´s study.

No abstract available / English / M.A. (English)

This book is about the participatory aesthetics of the fantastic. In it, the author argues that the definition of the fantastic presented by Tzvetan Todorov in 1970 can be used, provided it is first adapted to a media-ecological framework, to theorize the role of aesthetic participation in the creation of secondary worlds. Working within a hermeneutical tradition, Todorov understands reader participation as interpretation, in which the creative ambiguities of the literary object are primarily epistemological. However, it is here argued that the aesthetic object of the fantastic is also characterized by material ambiguity. The purpose of this dissertation is then to present a conceptual framework with which to theorize the relation between the material and the epistemological ambiguity of the fantastic. It is argued that such a framework can be found in an ecological understanding of aesthetic participation. This, in turn, entails understanding human subjectivity as a process always already embodied in a material environment. To this extent, the proposed theoretical framework questions the clear and oppositional distinction between form and matter, as well as that between mind and body, nature and culture, and human and non-human, on which a modern and humanist notion of subjectivity is based. And in this sense, the basic ecological assumptions of this dissertation are posthumanist, or non-humanist. From this position, it is argued that an ecological understanding of participation offers a means to reformulate the function of a number of concepts central to studying the aesthetics of the fantastic, most notably the concepts of media, genre and text. As the fantastic focuses on the creation of other worlds, it is an aesthetics of coming into being, of ontogenesis. Accordingly, it will be argued that the participatory aesthetics of the fantastic operationalizes the ontogenesis of media, genres and texts. By mapping the ontogenesis of three distinct media ecologies – the media ecology of fantasy and J. R. R. Tolkien’s secondary world Middle-earth; the media ecology of the American comic book superhero Miracleman; and the media ecology of William Blake – this book argues that the ecological imagination generates world. Per Israelson has been a doctoral candidate in the Research School of Studies in Cultural History at the department of Culture and Aesthetics, Stockholm University. Ecologies of the Imagination is his dissertation.

《魔戒》（The Lord of the Rings）是現代奇幻小說的代表作品，由英國語文學家、牛津大學教授托爾金創作，自二十世紀五十年代中期分三卷出版後，帶動了奇幻小說此一文學類型在英美的興起。現在流行的奇幻小說，不少仿照了托爾金《魔戒》的架構和寫法。 / 現代奇幻小說核心概念之一，是要建構一個令讀者信任的“架空世界。小說家為了創造這種獨立存在的想像世界，各出奇謀，手法不一。托爾金塑造架空世界的技巧，很大程度上來自他愛好並從事研究的領域--語言及其歷史發展。在《魔戒》的架空世界中，托爾金刻意經營了一個獨特的語言系統，本研究稱之為“奇幻語言。這個系統至少涵蓋古語、新創語和命名系統三個層面：古語隱含“中土大地 種族發展的歷史；新創語映現了種族不同而語言各殊的現象；命名系統則是前兩者的集中呈現。三者互有關聯，其相互作用加強了架空世界的内部邏輯。 / 本研究擬從奇幻語言這三個層面入手，結合中國語言及文學的特色，分析四個《魔戒》中譯本的處理手法，藉此探討不同中譯本分別呈現出來的《魔戒》面貌，以及譯文衍生的變異狀況。本研究的分析指出，架空世界的成功變形與再生，有賴譯者對作者奇幻構想的整全掌握，並在譯文中重建一套與作者奇幻構思契合、而又自洽自足的內部邏輯。 / The Lord of the Rings (LOTR) by John Ronald Reuel Tolkien (1892-1973) marked the birth of modern fantasy fiction as a genre when it was published in three volumes in the 1950s. The structure and writing techniques of LOTR have been imitated by many fantasy novels since then. / Constructing a trustworthy “Secondary World is one of the most important aims of modern fantasy novels. To reach that goal, novelists employ various methods to create such an independent existence. Tolkien’s techniques in building his Secondary World come largely from Philology, his specialized research area which studies the histories of, and relationships between, languages. An ingenious language system, named in this thesis as “fantastic language, is designed and embedded into the story of LOTR by Tolkien. It covers at least three aspects, namely archaism, invented languages and nomenclature. Archaism indicates and suggests a long history behind the Middle-earth; invented languages show how languages differ among various races; nomenclature is the intersection of the former two aspects. The interaction between the three aspects of the fantastic language enhances the inner logic of the Secondary World, making it appear to be more consistent and real. / This thesis will analyze and discuss different representations of Tolkien’s Secondary World by exploring four Chinese translations of fantastic language in LOTR with reference to specific features of Chinese language and literature. This thesis points out that the successful transformation and re-creation of a Secondary World depends on a thorough understanding of the author’s imagination, and a re-construction of a self-consistent logic compatible with the author’s design. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 張甜. / "2013年7月". / "2013 nian 7 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 194-211). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Zhang Tian. / 摘要 --- p.ii / Chapter 第一章 --- 緒論 --- p.5 / Chapter 一、 --- 研究對象 --- p.5 / Chapter 二、 --- 各章簡介 --- p.9 / Chapter 三、 --- 文獻回顧 --- p.10 / Chapter 四、 --- 研究價值和方法 --- p.15 / Chapter 第二章 --- 奇幻文學發展和特點 --- p.17 / Chapter 一、 --- 奇幻的範圍 --- p.17 / Chapter 1.1. --- 奇幻文學：廣義與狹義 --- p.19 / Chapter 1.2. --- 以“文學類型界定奇幻文學 --- p.21 / Chapter 二、 --- 奇幻創作理論基礎 --- p.29 / Chapter 2.1. --- “架空世界誕生宣言 --- p.29 / Chapter 2.2. --- 令人信服的驚奇感 --- p.30 / Chapter 2.3. --- 從《哈比人》到《魔戒》 --- p.32 / Chapter 2.4. --- 《魔戒》的奇幻技巧 --- p.34 / Chapter 第三章 --- 《魔戒》架空世界和語言的關係 --- p.36 / Chapter 一、 --- 《魔戒》與語言 --- p.36 / Chapter 二、 --- 托爾金的語言世界 --- p.37 / Chapter 2.1. --- 對語音的敏感認知 --- p.37 / Chapter 2.2. --- 對古老語言的愛好 --- p.38 / Chapter 2.3. --- 從欣賞語言到新創語言 --- p.40 / Chapter 2.4. --- 從感性探索到科學研究 --- p.41 / Chapter 三、 --- 托爾金的文學世界 --- p.42 / Chapter 3.1. --- 民間故事研究熱潮 --- p.42 / Chapter 3.2. --- 文學團體互動啓發 --- p.45 / Chapter 四、 --- 三個奇幻世界與兩次語言轉變 --- p.46 / Chapter 4.1. --- 世界一的奇幻圖景 --- p.47 / Chapter 4.2. --- 偽譯以及世界二 --- p.50 / Chapter 4.2.1. --- 溝通世界一與世界二的橋樑：偽譯 --- p.50 / Chapter 4.2.2. --- 世界二的語言結構 --- p.51 / Chapter 4.2.3. --- 世界一到世界二的變形 --- p.52 / Chapter 4.2.4. --- 奇幻語言之三個層面：互動及比重 --- p.55 / Chapter 4.3. --- 中譯以及世界三 --- p.56 / Chapter 第四章 --- 《魔戒》古語之中譯 --- p.59 / Chapter 一、 --- 奇幻小說中的古語 --- p.59 / Chapter 1.1. --- 古語的定義 --- p.59 / Chapter 1.2. --- 古語的流行與誤區 --- p.60 / Chapter 二、 --- 《魔戒》古語及其中譯 --- p.60 / Chapter 2.1. --- 《魔戒》古語中譯之困難 --- p.61 / Chapter 2.2. --- 古老的詞彙 --- p.62 / Chapter 2.3. --- 古老的語法 --- p.67 / Chapter 2.3.1. --- 詞形變化 --- p.67 / Chapter 2.3.2. --- 前置句式 --- p.68 / Chapter 2.3.3. --- 分句關係 --- p.70 / Chapter 2.4. --- 古老的寫作技巧 --- p.71 / Chapter 2.4.1. --- 套語 --- p.71 / Chapter 2.4.2. --- 詩文結合 --- p.73 / Chapter 2.4.2.1. --- 洛汗人詩歌 --- p.73 / Chapter 2.4.2.2. --- 哈比人詩歌 --- p.77 / Chapter 2.4.2.3. --- 精靈詩歌 --- p.82 / Chapter 2.4.2.4. --- 湯姆龐巴迪的詩歌 --- p.89 / Chapter 第五章 --- 《魔戒》命名系統之中譯 --- p.97 / Chapter 一、 --- 一般文學與奇幻文學的名字 --- p.97 / Chapter 1.1. --- 有意義的虛構名字 --- p.97 / Chapter 1.2. --- 奇幻小命名系統的重要性 --- p.98 / Chapter 1.3. --- 《魔戒》命名系統的獨特之處 --- p.100 / Chapter 二、 --- 《魔戒》命名系統翻譯：托爾金的觀點 --- p.100 / Chapter 2.1. --- 〈命名〉提倡的翻譯方法 --- p.101 / Chapter 2.2. --- 〈命名〉對中文譯者指導作用的局限性 --- p.103 / Chapter 三、 --- 《魔戒》命名系統中譯研究 --- p.103 / Chapter 3.1. --- 中文人地名翻譯規範 --- p.104 / Chapter 3.2. --- 哈比人名和夏爾地名 --- p.105 / Chapter 3.2.1. --- 哈比人名 --- p.105 / Chapter 3.2.1.1. --- 熟悉又陌生的哈比人名 --- p.105 / Chapter 3.2.1.2. --- 透明的哈比人姓氏 --- p.106 / Chapter 3.2.1.3. --- 不透明的哈比人姓氏 --- p.107 / Chapter 3.2.1.4. --- 不可譯元素 --- p.108 / Chapter 3.2.2. --- 夏爾地名 --- p.110 / Chapter 3.2.2.1 --- 透明的夏爾地名 --- p.110 / Chapter 3.2.2.2 --- 半透明的夏爾地名 --- p.111 / Chapter 3.2.3. --- 重要人名與地名 --- p.113 / Chapter 3.2.4. --- 夏爾人地名總結 --- p.113 / Chapter 3.3. --- 布理姓氏 --- p.114 / Chapter 3.3.1. --- 作品描述影響譯名 --- p.114 / Chapter 3.3.2. --- 出現偏差的意譯 --- p.116 / Chapter 3.3.3. --- 布理姓氏中譯總結 --- p.117 / Chapter 3.4. --- 洛汗人名、馬名和地名 --- p.117 / Chapter 3.4.1. --- 洛汗人名 --- p.118 / Chapter 3.4.2. --- 洛汗馬名 --- p.119 / Chapter 3.4.3. --- 洛汗地名 --- p.121 / Chapter 3.4.4. --- 洛汗命名系統中譯總結 --- p.122 / Chapter 3.5. --- 新創語人名和地名 --- p.122 / Chapter 第六章 --- 《魔戒》新創語之中譯 --- p.124 / Chapter 一、 --- 多語文本之中譯 --- p.124 / Chapter 二、 --- 《魔戒》裡的新創語 --- p.126 / Chapter 2.1. --- 新創語的地位 --- p.126 / Chapter 2.2. --- 《魔戒》新創語分類 --- p.127 / Chapter 三、 --- 《魔戒》新創語之中譯 --- p.128 / Chapter 3.1. --- 圖片形式的新創語翻譯 --- p.128 / Chapter 3.2. --- 文字形式的新創語翻譯 --- p.133 / Chapter 3.2.1. --- 篇幅較長的新創語翻譯 --- p.133 / Chapter 3.2.2 --- 新創語詞彙片語之翻譯 --- p.136 / Chapter 3.2.2.1. --- 《魔戒》洛汗語和矮人語翻譯 --- p.137 / Chapter 3.2.2.2. --- 《魔戒》樹人語、半獸人語和黑話翻譯 --- p.139 / Chapter 3.2.2.3. --- 《魔戒》精靈語翻譯 --- p.142 / Chapter 第七章 --- 結論 --- p.147 / Chapter 附錄一 --- 中英譯名對照 --- p.154 / Chapter 附錄二 --- 《魔戒》種族人名地名中譯表 --- p.156 / Chapter 附錄三 --- 《魔戒》命名系統指南 --- p.168 / 参考書目 --- p.194

<p>Syftet med föreliggande uppsats var att, genom litteraturstudier av C. S. Lewis Narnia-serie samt J. R. R. Tolkiens <em>Härskarringen, </em>undersöka förekomsten av kristusgestaltning i nämnda litteratur. Genom att studera nämnda verk var avsikten även att undersöka de eventuella kristna influenser som återspeglar författarnas egen tro och närmare studera de tänkbara paralleller med Bibelns Kristus som förekommer. Utifrån de analyser som görs av texterna i arbetet blir slutsatsen att även om det finns klara influenser från Bibelns Kristusgestalt kan man inte i båda böckerna se en klar kristusgestalt. När det gäller <em>Härskarringen </em>finns där inte en klart framträdande Kristus även om de kristna influenserna är många. När det gäller Narnia är de kristna influenserna tydligare och parallellerna med Kristus framträder klarare.</p>

Denna uppsats berör hur C. G. Jungs arketypteori används i tolkandet av filmen Sagan om Konungens Återkomst. Valda scener analyseras där arketyper identifieras och deras roller förklaras. Även annan symbolik som kan delge åskådaren av filmen en större mening med både berättelsen och arketypernas funktioner presenteras. Mytens betydelse för oss människor vävs samman med exempel från det verkliga livet för att delge en större förståelse för vad uppsatsen vill säga läsaren. Klassiska hjältar som ställs mot osannolika hjältar. Filosoferande om individuell eskatologi och diskussion om härarföraretalens mening är några exempel på vad J.R.R. Tolkiens klassiska berättelse, här i Hollywoods tappning, egentligen har att säga oss.

Syftet med föreliggande uppsats var att, genom litteraturstudier av C. S. Lewis Narnia-serie samt J. R. R. Tolkiens Härskarringen, undersöka förekomsten av kristusgestaltning i nämnda litteratur. Genom att studera nämnda verk var avsikten även att undersöka de eventuella kristna influenser som återspeglar författarnas egen tro och närmare studera de tänkbara paralleller med Bibelns Kristus som förekommer. Utifrån de analyser som görs av texterna i arbetet blir slutsatsen att även om det finns klara influenser från Bibelns Kristusgestalt kan man inte i båda böckerna se en klar kristusgestalt. När det gäller Härskarringen finns där inte en klart framträdande Kristus även om de kristna influenserna är många. När det gäller Narnia är de kristna influenserna tydligare och parallellerna med Kristus framträder klarare.

Begreppet ”fan edits” betecknar filmer som klipps om av fans, vilka är missnöjda med hur en adaption för vita duken som gjorts. I min uppsats vill jag påvisa dels hur samspelet mellan fans och filmmakare/filmbolag sett och ser ut, dels försöka klargöra varför copyright/fair use är så knepigt att applicera på området.

The Tide Lords series of fantasy novels set out to examine the issue of immortality. Its purpose was to look at the desirability of immortality, specifically why people actively seek it. It was meant to examine the practicality of immortality, specifically — having got there, what does one do to pass the time with eternity to fill? I also wished to examine the notion of true immortality — immortals who could not be killed. What I did not anticipate when embarking upon this series, and what did not become apparent until after the series had been sold to two major publishing houses in Australia and the US, was the strength of the immortality tropes. This series was intended to fly in the face of these tropes, but confronted with the reality of such a work, the Australian publishers baulked at the ideas presented, requesting the series be re-written with the tropes taken into consideration. They wanted immortals who could die, mortals who wanted to be immortal. And a hero with a sense of humour. This exegesis aims to explore where these tropes originated. It will also discuss the ways I negotiated a way around the tropes, and was eventually able to please the publishers by appearing to adhere to the tropes, while still staying true to the story I wanted to tell. As such, this discussion is, in part, an analysis of how an author negotiates the tensions around writing within a genre while trying to innovate within it.

No abstract available / English / M.A. (English)