Submitted by Marta Toyoda (1144061@mackenzie.br) on 2016-11-28T20:09:08Z No. of bitstreams: 2 Judith Tonioli Arantes.pdf: 1348559 bytes, checksum: ea4435da15e5c53860582aab1441adfe (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-11-28T20:09:09Z (GMT). No. of bitstreams: 2 Judith Tonioli Arantes.pdf: 1348559 bytes, checksum: ea4435da15e5c53860582aab1441adfe (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-08-09 / This thesis studies The Silmarillion, a work by J. R. R. Tolkien, in order to identify the mythic structure that underlies the fantasy literature. Myths reveal the sacred and the actions of the heroes and gods in illo tempore and, when taken to the literary work of J.R.R. Tolkien, they allow some thinking about the diferente aspects that are part of the fantasy literature. The Silmarillion can be understood both as a mythological compendium of myths and narratives, and as na expression of fantasy as a genre, what composes the foundation to the thought concerning the the creation of the Secondary World known, in the scope of Tolkien’s work, as Arda. The theoretical studies by Norhtrop Frye regarding the mythological structure presented in literature and the meaning and purport of myths, as well as the theoretical perspectives on fantasy literature as developed by Rosemary Jackson, Lucie Armitt and Farah Mendlesohn, provide the toolsto this study along with the essay by Tolkien known as On fairy stories, that delas with the functions of fairy stories, which can be harmonized with fantasy literature in this study. It is possible, thus, to verify that not only does Tolkien create a World which is the stage to the events in his Works, but also creates, even more specifically, a way to think and write myths in literature aiming to think about importante aspects of the Primary World, that is, the World understood as real. In order to understand the relationship established between the Primary and the Secondary Worlds, three categories which are based on the narrative are presented: the fall, the redemption, and the hope. When considered in the light of the mythological themes and the biblical narrative, they allow the understanding about the dianoia that underlies Tolkien’s narrative, mainly in The Silmarillion. / Esta tese estuda a obra O Silmarillion, de J.R.R. Tolkien a fim de identificar a estruturação mítica que subjaz à literatura de fantasia. Os mitos revelam o sagrado e as ações dos heróis e dos deuses in illo tempore e, quando deslocados para a composição literária de J.R.R. Tolkien, permitem uma reflexão sobre os diferentes aspectos que caracterizam o gênero fantasy. A obra O Silmarillion pode ser compreendida tanto como um compêndio de mitos e narrativas, quanto como uma expressão do gênero fantasia, o que compõem a base para uma reflexão a respeito do pensamento subjacente à criação do Mundo Secundário, conhecido no âmbito da obra de J.R.R. Tolkien, como Arda. Neste estudo, são instrumentalizados os estudos teóricos de Northrop Frye acerca da estrutura mitológica presente na literatura e dos sentidos e significados dos mitos, além das perspectivas teóricas sobre a literatura de fantasia, desenvolvidas nas obras de Rosemary Jackson, Lucie Armitt e Farah Mendlesohn, incluindo, também, o estudo teórico de Tolkien, On fairy stories, que discute as funções das histórias de fadas, que podem ser conciliadas, neste estudo, com a literatura de fantasia. Verifica-se, então, que Tolkien não apenas cria um Mundo, que é palco das narrativas descritas em suas obras, mas cria também e, principalmente, um modo de pensar e escrever o mito na literatura a fim de refletir aspectos importantes do Mundo Primário, ou seja, o mundo postulado como real. Para a compreensão das relações estabelecidas entre o Mundo Primário e o Mundo Secundário, apresentam-se três categorias estruturadoras da narrativa: a queda, a redenção e a esperança, as quais, quando relacionadas aos temas mitológicos e à narrativa bíblica, permitem compreender a dianoia subjacente à narrativa tolkieniana, sobretudo em O Silmarillion.

J.R.R. Tolkien’s pioneering work of fantasy fiction, The Lord of the Rings, was written in a period of twelve years, starting in 1937 during WWII and ending in 1949 a few years after the war ended. However, Tolkien’s experience with war began in 1915, when he entered combat in WWI as a young second lieutenant. Understandably, Tolkien’s war experiences have led many fans and scholars to question to what extent the World Wars influenced his works. In response to these queries Tolkien adamantly denied any connection, stating in the forward to the second edition of LOTR that “The real war does not resemble the legendary war in its process or its conclusion.” Despite Tolkien’s flat denial of any connection between his personal war experiences and his fictional world, many critics have dedicated their studies to identifying concrete similarities that exist between LOTR and WWI. Yet, there exists a substantial and entirely ignored connection between Tolkien’s own wartime experience and his writings. More specifically, no significant study exists examining the connection between Tolkien’s depictions of medical treatments in LOTR and his own experiences with wartime medicine. These connections are particularly noteworthy because after the trauma of the Somme, Tolkien spent almost the entirety of the war as an invalid, in and out of war hospitals. Tolkien’s descriptions of medical remedies, which are richly detailed and significant to the plot, are therefore connected to his own experience. Examining each of these remedies within LOTR and linking them to medical practices used in WWI reveals previously unidentified points of correlation.

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The works of J.R.R. Tolkien have been analysed through a Christian perspective claiming Christian influences  numerous times.  Additionally,  Tolkien  was  inspired by Norse  Mythology in his works. However, his first novel, The Hobbit, has often been overlooked.  This essay has therefore analysed the main characters of  The  Hobbit  in order to determine whether  his influences were mainly from Christian Theology or Norse Mythology. This has  been done through the use of Archetypal Criticism. Specifically,  the  vices of  greed and pride has been set as the  foundational  archetypes  of the research. The results show that Norse Mythology is the major influence of the characters.

As a scholar, Tolkien spent a great deal of time working from manuscripts. Likewise, as a storyteller, in The Lord of the Rings, Tolkien creates a narrative persona who bases his story on his compilation and translation of ancient manuscripts. This persona operates within his story’s narrative frame as an analogue for Tolkien’s own work with manuscripts. Readers have long sought for Tolkien’s sources. The mythologies of medieval Northern Europe have been especially beneficial in helping us understand the influences on Tolkien. No study, however, currently exists that pursues the “manuscript sources” used by Tolkien’s narrative persona. But a reading that attempts to pursue these sources may also prove beneficial. Just as Tolkien inserts himself, in the form of his narrative persona, into the framework of Middle-earth, so also is the reader invited to read The Lord of the Rings from within this same framework. Tolkien wanted to his story to be read from inside Middle-earth as an artifact of history. This study will propose that—by simulating the kinds of phenomena around which a modern compiler of medieval manuscripts and stories has to work: fragmented manuscripts, lacunae, dittography, palimpsests, and variable texts—Tolkien has successfully distressed his story in such a way that it has gained the atmosphere of an ageing legend. The argument of this thesis is that Tolkien’s imitation of classical and medieval manuscript realities is even ambitious enough to suggest that Tolkien’s narrative persona has culled his story from the manuscripts of at least three major literary traditions, each of which is distinct in its interests, concerns, iconographies, historiographies, and themes. In addition to revealing where and how Tolkien has distressed his narrative, this study will also seek to identify what portions of the narrative belong to which of the three major traditions and tease out the implications of the interactions between them. / Thesis (DLitt)--University of Pretoria, 2015. / English / DLitt / Unrestricted

Det här arbetet går ut på att göra en jämförelse av J.R.R Tolkiens bok Sagan om ringen med Peter Jacksons film Sagan om ringen. De två verken jämförs med varandra i hur rasliga skillnader framstår och relateras med sina respektive historiska kontexter. Syftet blir då att få en förståelse av hur mycket den historiska kontexten kan påverka en och samma berättelse.  De två verken skiljer sig på flera områden i hur raserna skildras. Grunden med de här skillnaderna är då att filmen i den mån det går minskat på de rasliga specifika egenskaperna mellan raserna. Det här beror då på att när filmen kom ut 2001 var det inte lika aktuellt att tala om mänskliga raser som det var under första halvan av 1900-talet när boken skrevs.

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This thesis asserts that one aspect of The Lord of the Rings which has been previously overlooked is the hierarchical nature of the master/servant relationship, which mirrors in many ways the hierarchical nature of the Catholic church. Through the various master/servant relationships that Tolkien portrays, he reflects not only the ideal of master and servant working together for good, but also the ways in which this intimate relationship can go horribly wrong. Aragorn represents an ideal master, one who is wise and good, and his servants are either rewarded or punished according to their loyalty to him. In the stories of Wormtongue and Saruman, we see how betrayal and seeking to usurp the power of the master leads to the downfall of the servant. Denethor's fall illustrates how a bad servant becomes, in turn, a bad master. The choices of Faramir, Pippin, Beregond, and the servants of Denethor reflect the difficulties a servant has when trying to decide whether or not to continue following a poor master. Merry and Éowyn show us that sometimes grace may intervene in what seems to be a fairly straightforward situation of disobedience. And the story of Frodo, Sam, and Gollum, from betrayal to ultimate loyalty, at times reflects the complicated hierarchical relationship between mortals and deity.