Syftet med denna uppsats är att fokusera de queera ögonblicken i J.R.R. Tolkiens trilogi The Lord of the Rings för att visa att det queera finns i kulturen på samma sätt som det icke-queera. När är de två hobbitarna Frodos och Sams relation queer? Vad gör den queer? Hur kan vi förstå denna queerhet i termer av homosocialitet och homoerotik? Uppsatsen är inspirerad av Tiina Rosenbergs queera läsningar, jag använder mig dessutom av Adrienne Richs teori om "lesbisk kontinuitet" och Sedgwicks resonemang om manligt homosocialt begär. Jag har kommit fram till att Frodos och Sams relation rör sig mellan mer och mindre queerhet. Då den inte är statisk kan den inte förstås som renodlat homosocial eller homoerotisk. Däremot kan den ses som en del av en manlig samkönad kontinuitet, vilken inkluderar allt ifrån homosocialitet till homoerotik.

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Esta dissertação tem como objetivo analisar o diálogo intermidiático que se estabelece na passagem de A Sociedade do Anel, de John Ronald Reuel Tolkien (1892 – 1973) para o jogo The Lord of The Rings Online (Lotro) e pretende dar conta de aspectos importantes na construção desse diálogo, de como se instala e como se movimenta, dando enfoque, segundo o viés comparatista, ao processo de remidiação e aos aspectos de estrutura, meia-realidade e ficção interativa, próprios da interação entre as mídias pertencentes ao corpus. A obra de John R. R. Tolkien já passou por inúmeros e complexos processos (re)midiação, The Lord of The Rings Online é um deles. O jogo contempla toda a parte do mapa da Terra Média e a história narrada nos dois primeiros volumes de O Senhor dos Anéis e guia seus jogadores por missões denominadas epic books, que seguem, assim como os nove membros da sociedade do anel, os caminhos até as grandes batalhas em Mordor. A análise aqui realizada parte da problemática de classificação do que uma mídia é (MCLUHAN, 2013) e do modo como as mídias se relacionam entre si e o contexto em que são inseridas (BOLTER; GRUSIN, 2000), agregando os postulados teóricos do videointerativo. A partir do corpus de pesquisa, propõe-se um estudo comparado que compreende, exemplificando as devidas diferenças de articulações estruturais e de outros aspectos, a passagem (VAN TIEGHEM, 1931) da literatura para o videogame como um empreendimento bem-sucedido, que valoriza as duas mídias e promove novas experiências ao leitor. / This M.A. thesis analyses the intermediatic dialogue established between The Fellowship of the Ring, a book written by Professor John Ronald Reuel Tolkien (1892 - 1973), and The Lord of the Rings Online (Lotro), a Massively Multiplayer Online Role-playing Game. Here, I intend to explain important aspects for the construction of this dialogue such as how it is created and how it has been articulating itself, focusing, according to Comparative Literature Studies’, on the remediation process and on aspects such as structure, half-reality and interactive fiction, characteristic of the interaction between both media. John R. R. Tolkien’s book has gone through several complex processes of (re)mediation, being The Lord of the Rings Online one of them. The game features the part of Middle-Earth that is told in the first two volumes of The Lord of the Rings. Lotro guides its players through missions called epic quests, which follow the nine members of the fellowship of the ring to the great battles at Mordor. The analysis proposed starts from the problematic issue of classifying what a medium is (MCLUHAN, 2013), the way through which media relate to one another and the context in which they are created (BOLTER; GRUSIN, 2000), adding the theoretical postulates of videogames. It is a comparative analysis that includes, as an example of the appropriate differences in structural articulations and other aspects, the passage (VAN TIEGHEM, 1931) from literature into videogame as a successful exchange that values both media, while promoting new experiences to the reader.

Esta dissertação tem como objetivo analisar o diálogo intermidiático que se estabelece na passagem de A Sociedade do Anel, de John Ronald Reuel Tolkien (1892 – 1973) para o jogo The Lord of The Rings Online (Lotro) e pretende dar conta de aspectos importantes na construção desse diálogo, de como se instala e como se movimenta, dando enfoque, segundo o viés comparatista, ao processo de remidiação e aos aspectos de estrutura, meia-realidade e ficção interativa, próprios da interação entre as mídias pertencentes ao corpus. A obra de John R. R. Tolkien já passou por inúmeros e complexos processos (re)midiação, The Lord of The Rings Online é um deles. O jogo contempla toda a parte do mapa da Terra Média e a história narrada nos dois primeiros volumes de O Senhor dos Anéis e guia seus jogadores por missões denominadas epic books, que seguem, assim como os nove membros da sociedade do anel, os caminhos até as grandes batalhas em Mordor. A análise aqui realizada parte da problemática de classificação do que uma mídia é (MCLUHAN, 2013) e do modo como as mídias se relacionam entre si e o contexto em que são inseridas (BOLTER; GRUSIN, 2000), agregando os postulados teóricos do videointerativo. A partir do corpus de pesquisa, propõe-se um estudo comparado que compreende, exemplificando as devidas diferenças de articulações estruturais e de outros aspectos, a passagem (VAN TIEGHEM, 1931) da literatura para o videogame como um empreendimento bem-sucedido, que valoriza as duas mídias e promove novas experiências ao leitor. / This M.A. thesis analyses the intermediatic dialogue established between The Fellowship of the Ring, a book written by Professor John Ronald Reuel Tolkien (1892 - 1973), and The Lord of the Rings Online (Lotro), a Massively Multiplayer Online Role-playing Game. Here, I intend to explain important aspects for the construction of this dialogue such as how it is created and how it has been articulating itself, focusing, according to Comparative Literature Studies’, on the remediation process and on aspects such as structure, half-reality and interactive fiction, characteristic of the interaction between both media. John R. R. Tolkien’s book has gone through several complex processes of (re)mediation, being The Lord of the Rings Online one of them. The game features the part of Middle-Earth that is told in the first two volumes of The Lord of the Rings. Lotro guides its players through missions called epic quests, which follow the nine members of the fellowship of the ring to the great battles at Mordor. The analysis proposed starts from the problematic issue of classifying what a medium is (MCLUHAN, 2013), the way through which media relate to one another and the context in which they are created (BOLTER; GRUSIN, 2000), adding the theoretical postulates of videogames. It is a comparative analysis that includes, as an example of the appropriate differences in structural articulations and other aspects, the passage (VAN TIEGHEM, 1931) from literature into videogame as a successful exchange that values both media, while promoting new experiences to the reader.

This essay focuses on J.R.R Tolkien’s The Lord of the Rings, how the different races in the text are portrayed and how they interact with each other. The essay uses postcolonial theories, mainly “Orientalism” and “Otherness”, to prove traces of racism in the text. It focuses on the text and what can be found in the characters opinions of each other. The aim of this essay is to prove that in The Lord of the Rings there is an underlying story of racial issues between the different races of Middle-Earth and that these issues can be described as racism.  The colonial themes of the text can mostly be found in the geographical descriptions, the colour of skin and the stereotypical descriptions of different races within the text. The stereotypical descriptions are probably sprung from the fact that J.R.R Tolkien grew up towards the end of the big Imperialist era of 19th century Europe and the similarities and descriptions of foreign cultures existing in the real world can be traced throughout the text.  The Lord of the Rings contains themes with racial issues and this can be described as racism, even though it is not possible to say that The Lord of the Rings is a racist text as whole. / Uppsatsen analyserar Sagan om Ringen av J.R.R Tolkien. Den visar på hur olika raser är beskrivna i texten och hur dessa grupper interagerar med varandra. Uppsatsen använder sig av Postcoloniala teorier, i huvudsak Orientalism och de andra för att visa på rasistiska spår i texten. Uppsatsen behandlar texten och undersöker karaktärernas åsikter om varandra. Målet med uppsatsen är att visa att Sagan om ringen har underligande rasistiska strömningar mellan de olika raserna i Midgård. Det koloniala temat i texten ses tydligast i de geografiska beskrivningarna, hudfärg på karaktärer och de steriotypa beskrivnnignarna av olika grupper i verket. De steriotypa beskrivnnigarna kommer troligtvis ifrån Tolkiens egen uppväxt i det imperialistiska Storbritanien under slutet av 1800-talet då tidstypiska beskrivingar från denna era kan skönjas i texten som helhet. Sagan om ringen innehåller flera rasistiska partier men det är inte möjligt att beskriva hela verket som rasistiskt.

In deze scriptie wordt binnen het theoretische kader van de descriptieve vertaalwetenschap onderzocht hoe eigennamen uit The Fellowship of the Ring door J.R.R. Tolkien worden vertaald naar het Nederlands en het Afrikaans. De namen worden verzameld in een drietalig corpusonderzoek en daarna gecategoriseerd volgens type en de door Jan Van Coillie (2006) beschreven vertaalstrategieën. De resultaten van de twee vertalingen worden dan vergeleken en gepresenteerd met enkele illustratieve voorbeelden uit beide vertalingen. Het resultaat van de analyse toont aan dat de Afrikaanse vertaling meer doelcultuur-gericht is dan de Nederlandse en dat de vertaaloplossingen in de Afrikaanse vertalingen minder consequent zijn uitgevoerd. / This essay studies how proper names in The Fellowship of the Ring by J.R.R. Tolkien are translated into Dutch and Afrikaans through the theoretical framework of Descriptive Translation Studies. The names are collected in a three-language corpus study and then categorised by type of name and translation strategy as described by Jan Van Coillie (2006). The results from the two translations are then compared and presented with a few illustrative examples from both translations. The results from the analysis show that the Afrikaans translation is more target culture-oriented than the Dutch translation and that the Afrikaans translation contains less consistent translation solutions.

No description available.

This study seeks to examine whether the language in The Lord of the Rings books by J.R.R. Tolkien could potentially lead Swedish readers to emotional experiences of wonder while reading these stories. This is achieved by conducting an analysis of metaphors on select excerpts from these books – more specifically from the translated Swedish edition of 1992. The result of this analysis is then interpreted and discussed using the emotional state of wonder as a theoretical framework. The study shows that the writing language of Tolkien does feature several metaphors that could possibly relate to both reader emotions and experiences related to wonder. The findings also suggest that Tolkien’s language displays a mythical quality, possibly influenced by his personal interests and life experiences. The study therefore also suggests that this mythical quality could potentially play into the emotional experiences of Swedish readers.

Who wants to live forever? Jeder. Keiner. Die Suche nach irdischer Unsterblichkeit ist als Gegenstand von Erzählung so alt wie das Erzählen selbst: Seit Anbeginn der Überlieferung bildet diese Suche einen zentralen Stoff menschlicher Fantasie, der sich bis in die aktuellen Formen auch audiovisuellen Erzählens fortgesetzt hat. Ihre Narrative begleiten dabei ein ganz reales Streben um die Verlängerung des Lebens, das sich vom Okkultem zum Religiösen, vom Magischen zum Wissenschaftlichen und bis in die rezenten Life-Science des Silicon Valley an immer neue Kontexte zu heften verstand. Dem Wechselspiel beider Sphären widmet sich die vorliegende Arbeit: Sie verfolgt, wie sich im fortlaufenden Gespräch über die Unsterblichkeit Legenden und Beobachtungen, Geschichten und Untersuchungen, Visionen und Studien, kurz Fiktion und Forschung annähern. Gerade an der entstehenden Schnittstelle kann Erzählung ihr ganzes Potential entfalten: Wo sie zum Simulationsraum einzig in der Fiktion durchzuspielender Phänomene wird, da ist ihr Zugang exklusiv. Ihre Unsterblichen stecken den Rahmen für ein zukünftiges Operieren mit realen Lebensverlängerungsangeboten ab. Ihre Aushandlung von Unsterblichkeit generiert Deutungsangebote, die mit Philosophie, Publizistik und auch Naturwissenschaft um die Legitimität auch einer Interpretation bereits gegenwärtiger Konflikte konkurrieren.:1. Der Wunsch nach ewigem Leben 5 2. Konzepte der Unsterblichkeit 16 2.1 ›Der unsterbliche Sterbliche‹ 19 2.2 Gegenbilder – Weitere Unsterblichkeitskonzepte 22 2.3 Zwischenfazit 33 3. Tücken der Unsterblichkeit 36 3.1 Der Horizont der Religion 37 3.1.1 Unsterblichkeit im antiken Mythos 37 3.1.2 Abrahamitische Legenden – Der wandernde Jude und Al Chadhir 46 3.2 Vom Glaubensrahmen zum Erzählexperiment 64 3.2.1 Aufklärung über die Ewigkeit – Jonathan Swifts »Struldbruggs« 64 3.2.2 Provokation und Ermächtigung – Robert Maturins »Melmoth der Wanderer« und Mary Shelleys »Der sterbliche Unsterbliche« 72 3.2.3 Philosophie der Ewigkeit – Karel Čapeks »Die Sache Makropulos« 82 3.2.4 Die ewige Wiederkehr – Simone de Beauvoirs »Alle Menschen sind sterblich« 91 3.3 Moderne Fantasy – Die Elben des Tolkien-Universums 107 4. Trotz und Trost 118 5. Life-Science und third culture: Fortschritte zur Unsterblichkeit? 127 5.1 Eine Alternative zum Tod? 129 5.2 Annäherungen an die Unsterblichkeit 139 5.3 Mediale Inszenierungen des Lebensquells 153 5.4 Die neuen Herren des Todes 159 6. Narrative Reflexionen des Fortschritts – Neue Tücken der Unsterblichkeit 172 6.1 Leib, Seele, Identität 179 6.2 Distribution und Apartheit 195 6.3 Überbevölkerung 209 6.4 Gerontokratie 219 6.5 Stagnation 228 7. Vision und Warnung 237 8. Popularisierung und Medien 248 8.1 Trost und Trotz im Bild 252 8.2 Vision und Warnung im Bild 263 8.3 Transfer in weitere Erzählräume – Anime, Graphic Novel, Kinderbuch, Gaming 281 9. Fazit 296 10. Quellen- und Literaturverzeichnis 307 10.1 Erzählungen 307 10.1.1 Literatur 307 10.1.2 Audiovisuelles 312 10.2 Forschung und Forschungsquellen 316 10.2.1 Kulturwissenschaft 316 10.2.2 Philosophie 334 10.2.3 Life-Science 342

[pt] A Cartografia propicia, através de seus produtos, o estabelecimento de uma capacidade reflexiva sobre a dimensão espacial de um dado recorte. Corrobora para que diversas análises espaciais sejam elaboradas retratando processos, fenômenos e padrões da superfície terrestre. Apesar desta capacidade, ao longo do tempo, a ciência cartográfica foi submetida à primazia do positivismo lógico, desconsiderando aspectos imateriais e que transcendem aquilo que é observável, desvalorizando a dimensão do imaginário e das realidades passíveis de serem representadas, relegando-as à condição de devaneio e de irrealidade. Contrariamente, esta perspectiva assume centralidade quando dialogada com a arte. Como exemplo cita-se a literatura fantástica, que opera na relação direta entre a ficção e a realidade, fazendo-se utilizar, em muitos casos, de mapas (entre outras representações) visando à espacialização dos universos onde as narrativas se desenrolam. A cartografia subsidia e é subsidiada pelo imaginário, promovendo a representação espacial destes universos imateriais. Assim, buscar-se-á entender como a Cartografia Fantástica representada no universo imaginado de J. R. R. Tolkien contribui para a compreensão das relações geográficas existentes no imaginário do autor. Para tal fim, torna-se necessário que se visitem as fundações criacionais do universo imaginado, percorrendo-se por significados e simbolismos expressos a partir de acontecimentos vivenciados e que perfazem a construção de paisagens fantásticas. Como consequência, tomam-se rebatimentos interpretativos que alçam a realidade dada a múltiplas possibilidades. A cartografação e a construção de uma ardo grafia são fruto deste mesmo processo. Estabelece-se como resultante de interpretações forjadas a partir da recepção, decodificação e transformação das informações transmitidas por Tolkien e que são moldadas a partir de um background histórico, cultural e cognitivo daquele que a concebe. / [en] Cartography provides, through its products, the establishment of a reflective capacity on the spatial dimension of a given area. It corroborates that several spatial analyzes are elaborated portraying processes, phenomena and patterns of the Earth s surface. Despite this ability, over time, cartographic science has been subjected to the primacy of logical positivism, disregarding immaterial aspects and transcending what is observable, devaluing the dimension of the imaginary and the realities that can be represented, relegating them to the condition of reverie and unreality. In contrast, this perspective assumes centrality when dialogued with art. As an example fantastic literature is mentioned, which operates in the direct relationship between fiction and reality, making use, in many cases, of maps (among other representations) aiming at the spatialization of the universes where the narratives unfold. Cartography subsidizes and is subsidized by the imaginary, promoting the spatial representation of these immaterial universes. Thus, we will try to understand how the Fantastic Cartography represented in the imagined universe of J. R. R. Tolkien contributes to the understanding of the geographical relations existing in the author s imagination. For that purpose, it is necessary to visit the creational foundations of the imagined universe, going trough meanings and symbolisms expressed from experienced events that make up the construction of fantastic landscapes. As a consequence, interpretative repercussions that raise a reality given to multiple possibilities. The mapping and construction of an ardo graphy are the result of this same process. It is established as a result of interpretations forged from the reception, decoding and transformation of the information transmitted by Tolkien and which are shaped from a historical, cultural and cognitive background of the person who conceives it.