Esta dissertação pretende investigar a literatura de fantasia como em contos de fadas a partir do aparente impasse entre a racionalidade e a ordem mágica e poética. Teriam as narrativas maravilhosas algo a dizer? A visão mágica dos textos pode deixar de ser restrita apenas às crianças? Por que razão esse tipo de narrativa é caracterizado pela teoria literária (bem como os críticos literários) como uma literatura menor? Se as mesmas não têm muito a dizer, por que permanecem conhecidas e constantemente recriadas, ou estudadas e analisadas por outras áreas do conhecimento, como a psicanálise? A imaginação norteia a produção nas artes e, como um ato humano, propõe um olhar mais denso e consistente. Com isso, a fonte dessa investigação é o autor e acadêmico J. R. R. Tolkien. Assim, sob o viés da criação artística, a tentativa é formular a contraposição entre duas grandes correntes de análise do efeito proporcionado pela trama que possui sua importância histórica: a tradição platônico/aristotélica versus a tradição estética de Kant e dos românticos. / This dissertation intends to investigate fantasy literature as in fairy tales from the apparent impasse between rationality and the magic and poetic order. Would the fantasy narratives have something to say? Could the magical vision of texts not be restricted just to children readers? Why is this kind of narrative characterized by literary theory (as well as literary critics) as a minor literature? If they do not have much to say, why do they still remain known and constantly recreated, or studied and analyzed by other areas of knowledge, such as psychoanalysis? Imagination guides the production in the arts and, as a human act, proposes a denser and more consistent view. Therefore, the author and academic J. R. R. Tolkien is the source of this research. Thus, under the artistic creation view, the attempt is to formulate the contraposition between two great currents analysis of the effect provided by the plot that has its historical importance: the Platonic/Aristotelian tradition versus Kant and the romantics’ esthetic tradition. / Dissertação (Mestrado)

Orientador: Marcelo El Khouri Buzato / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-21T22:46:25Z (GMT). No. of bitstreams: 1 Silva_DafniePaulinoda_M.pdf: 7502794 bytes, checksum: 99314c54b01f741d21f77e44490321da (MD5) Previous issue date: 2012 / Resumo: A dissertação examina práticas de letramento no jogo de construção colaborativa MUD Valinor, um projeto de fãs da obra de J. R. R. Tolkien. O presente trabalho aplica a metodologia do estudo de caso e utiliza como fonte de dados um corpus coletado no servidor do jogo, além de textos e depoimentos acumulados na comunidade. O objetivo foi desmembrado em três perguntas de pesquisa que se completam: (1) Como funciona a dinâmica social no espaço de afinidade que se apóia no MUD Valinor? (2) Quais as principais características de letramentos de fãs em tal espaço? E (3) Quais são os gêneros discursivos mais centrais para a prática desses letramentos e quais suas características específicas? Na primeira questão, verifica-se que o percurso dos sujeitos para integrar a comunidade passa por dois planos articulados, evoluir na narrativa e como jogador, e depois em paralelo como produsuário. O sujeito transita socialmente e entre funções conforme transita entre letramentos, portanto, há ocorrência de papéis fluídos em decorrência do domínio de letramento. Na segunda questão, estudam-se os letramentos de fãs; temos a perspectiva de letramentos como maneiras socialmente reconhecidas de gerar, comunicar e negociar conteúdo significativo por meio de textos codificados em contextos de participação no discurso; e que os objetos (como o MUD) são parte constitutiva dos letramentos, assim como os sujeitos, estratégias e práticas envolvidas. A partir desse aporte teórico, foram estabelecidas categorias descritivas para as atividades típicas de usuários; nota-se que letramentos de fãs e jogo agregam letramentos externos a pratica do produsuário mudiano. Na terceira questão de pesquisa, identificam-se quais os gêneros discursivos / textuais centrais às práticas já mencionadas. A partir da teoria bakhtiniana, são estabelecidos gêneros de MUD, é avaliado como esses gêneros se constituem e processam suas funções vinculadas às práticas do jogo. Utiliza-se a teoria para examinar a situação de produção dos enunciados, e compreender como este fator é intrínseco ao seu conteúdo, construção composicional e estilo. Busca-se análise dos gêneros textuais centrais a pratica dos letramentos de MUD, examinando-os para, ao final refletir, acerca das subversões e renovações que acontecem quando os sujeitos (jogadores) têm liberdade para se apropriar deles. Por fim, a presente dissertação gostaria de propor uma discussão sobre as implicações dessas práticas letradas para o estudo de novos letramentos, além de possíveis implicações e aplicabilidade de sistemas colaborativos com fins educacionais / Abstract: This dissertation looks at literacies practices in the collaborative construction game known as MUD Valinor, a project created by fans of the works of J. R. R. Tolkien. The present work applies case study methodology and uses a corpus collected on the game's server as the main source of data, together with texts and statements from the community that have been gathered. The core aim has been subdivided into three research questions which complete each other: (1) how do social dynamics work within the affinity space that is supported by MUD Valinor? (2) What are the main characteristics of the literacy of fans within this space? (3) What are the most central genres of discourse for the practice of these literacies, and what are their main characteristics? In relation to the first question, we see that the path trailed by the subjects towards the integration of the community passes through two articulated planes, the development in narrative skills and also as a player, and then in parallel as a produser. The subject shall also have social transit and also pass through different functions as it moves between different forms of literacy, which means that there is the occurrence of fluid roles resulting from knowledge of literacy. In the second issue, there is the study of literacy patterns shown by fans; we have the perspective of literacies being regarded as socially accepted ways of generating, communicating and negotiating significant content through encoded texts within contexts of participation in discourse; and that objects (such as MUD) are a constituent element of literacies, as also the subjects, strategies and the practices involved. Based on this theoretical background, we have established different descriptive categories for the typical activities of users. We see that the literacies of the fans and also of the game add external literacies to the practice of the produser of MUDs. In the third question of the research, there is the identification of which discourse or textual genres are central to the practices as already mentioned. Based on the Bakhtinian theory, genres of MUDs are established, and then assessments are carried out to see how these genres are established and how they process their functions attached to the playing of the game. The theory is used to investigate the situation in which the statements are produced, and then to understand how this factor is indeed inherent to its content, compositional construction and style. There is also a search for an analysis of the textual genres which are central to the practice of MUD literacies, by duly examining them, and finally to think about the subversions and renovations which take place when the subjects (players) are free to take them in. Last but not least, the present dissertation would like to propose a discussion about the consequences that these literate practices would have for the study of new literacies, and also the possible implications and the applicability of collaborative systems for educational purposes / Mestrado / Linguagem e Tecnologia / Mestra em Linguística Aplicada

Space (topos) as one of the main categories in modem literary criticism helps to discover and study unique aspects of the narrative such as functioning of archetypes, reflection of historical reality in the text, and different types of artistic consciousness (mythological and "realistic"). This work is a first study of time and space in Tolkien's trilogy The Lord of the Rings with the help of the chronotope concept proposed by Mikhail Bakhtin. A critic and author of an original literary concept and one of the most prominent representatives of the school of Russian formalism, Mikhail Bakhtin was also a contemporary of J. R. R. Tolkien who can be ranked among the most significant experimenters in the field of modem literature. Using Bakhtin's classification of spatio-temporal relations in the novel, I was able to identify a type of chronotope in Tolkien's major narrative as one close to mythological and epical chronotopes. In terms of this postulate, I explored methods Tolkien used to create unique time and space of fantasy to make this experimental literary genre widely popular since the middle of the twentieth century onward. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2020. / FAU Electronic Theses and Dissertations Collection

This thesis investigates the function of representations of the Orient in fantasy literature for children with a focus on The Chronicles of Narnia as exemplifying its most problematic manifestation. According to Edward Said (2003:1-2), the Orient is one of Europe’s ‘deepest and most recurring images of the Other… [which]…has helped to define Europe (or the West) as its contrasting image, idea, personality, experience.’ However, values are grouped around otherness in fantasy literature as in no other genre, facilitating what J.R.R. Tolkien (2001:58) identifies as Recovery, the ‘regaining of a clear view… [in order that] the things seen clearly may be freed from the drab blur of triteness or familiarity.’ In Chapter One, it is argued that this gives the way the genre deals with spaces and identities characterized as Oriental, which in Western stories are themselves vested with qualities of strangeness, a peculiar significance. Specifically, new ways of perceiving the function of representations of the Other are explored in the genre of fantasy. Edward Said’s concept of imaginative geographies is then introduced and the significance of this concept in light of the fictional spaces of fantasy is explored. Next, fantasy’s links to representations of the Orient in Romance literature are explained, and the way in which these representations are determined by the heritage of Orientalist discourse is examined. Finally, the issue of children’s literature as colonial space and the implications of this in a fantasy framework are discussed. Chapter Two begins by introducing C.S. Lewis and explaining the ideology at work in The Chronicles of Narnia. The order in which The Chronicles should be approached is then established, and the construction of identity in the first three of The Chronicles is examined. Chapter Three focuses on The Horse and His Boy, the book in which the pseudo-Oriental space of Calormen most prominently figures. Chapter Four is devoted to the last two books of The Chronicles with emphasis on the role played by the Other in the destruction of Narnia in The Last Battle. In Chapter Five, I sum up the essential problems of representing the Orient as illustrated by my study of The Chronicles of Narnia. Representations of the Orient in The Chronicles are compared with pseudo-Oriental constructions in Castle in the Air, by Diana Wynne Jones, Emperor Mage and The Woman Who Rides Like A Man by Tamora Pierce and both Voices and The Earthsea Quartet by Ursula K. Le Guin. The similarities and differences evident in the representations of the Orient in all these works are traced and the implications of them are explored. Le Guin in particular is noted as an author who demonstrates some ways to break free of Orientalist paradigms of identity. / Dissertation (MA)--University of Pretoria, 2010. / English / Unrestricted

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Uppsatsen jämför de båda svenska översättningarna av JRR Tolkiens Lord of the Rings: Åke Ohlmarks Sagan om ringen från 1959 och Erik Anderssons Ringens brödraskap från 2004.Syftet är att se vilken översättning som är närmast originalet och författarens intentioner. Genom att jämföra olika uttryck ges en konkret bild av vilken översättning som mest överensstämmer med Tolkiens originaltext.Dessutom tas olika aspekter på översättande i allmänhet upp, likväl som vilka specifika svårigheter som finns i översättandet av bokens olika konstruerade språk.Min slutsats är att Ringens brödraskap är mest trogen originalet och att läsaren i den får mer eget tolkningsuttrymme.

La Fantasy est aujourd’hui l’un des genres majeurs des littératures de l’Imaginaire et l’un des plus prolifiques. Revendiquant le statut de littérature mythique de notre époque, elle puise ostensiblement son inspiration dans les récits mythologiques et les contes tout en organisant la majorité de ses récits autour d’une quête centrale. Celle-ci, parce qu’elle ne cesse de ressurgir dans les espaces-temps de la Fantasy, parce qu’elle implique toujours des êtres surnaturels mythiques associés aux commencements du monde, à l’instar des Elfes, et parce que, racontée au passé, elle devient objet d’un récit renvoyant à un passé disparu, fonctionne comme un véritable mythe du genre.Le présent ouvrage vise à étudier plus avant ce mythe questuel de la Fantasy afin d’en dégager les constantes et de mettre à jour les thématiques privilégiées par le genre. À travers l’analyse comparative du «Seigneur des Anneaux» et du «Silmarillion» de J.R.R. Tolkien, du cycle de «Terremer» d’Ursula K. Le Guin et du roman «La Glace et la Nuit. Opus un – Nigredo» de Léa Silhol, l’étude replace le mythe questuel de la Fantasy dans l’histoire littéraire et souligne, sous sa gangue faussement archaïque, la modernité du genre et sa pertinence comme discours sur la condition humaine. / Fantasy is now one of the major literary genres of imaginative fiction and one of the most prolific. Claiming to be the mythic literature of our time, it is mainly inspired by mythological narratives and fairy-tales, and it often organises its stories around a central quest. Since that quest constantly reappears in Fantasy space-times, often implies mythic supernatural beings, such as Elves, and becomes the object of a tale about a lost past, it functions as a genuine myth inside the genre.The present study intents to analyse the Fantasy quest myth in order to highlight its main aspects, and, through them, the favourite themes of Fantasy fiction. Through the comparative analysis of J.R.R. Tolkien’s «The Lord of the Rings» and «The Silmarillion», Ursula K. Le Guin’s «Earthsea Series» and Léa Silhol’s «La Glace et la Nuit. Opus un – Nigredo», the Fantasy quest myth is replaced in the literary history. Besides the analysis shows that, despite its apparent archaic aspects, Fantasy fiction is a modern genre and a relevant discourse about human condition.

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