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This essay will argue that J.R.R Tolkien, in The Lord of the Rings: The Two Towers, uses the language of the sublime and provides nature with agency through the Ents in his fictional world in an attempt to make his readers think more about the destruction of nature in their own world. Tolkien does this through his nature writing, his depiction of the Ents and his depiction of how the natural world in Middle-earth is fading away because of industrialization. This essay will argue this by using an ecocritical lens with which to analyze the work

The essay aims to analyze how the two female characters Éowyn and Galadriel in the novel The Lord of the Rings by J.R.R Tolkien exercise female authority through literary features. The essay was conducted through a close reading of the novel and an application of the term female authority, which mainly took place in accordance with its application in other literary analyses of The Lord of the Rings. The term “female authority” is defined here primarily as the ability to validate one’s own thoughts and actions, having a strong influence on others and possessing physical or magical powers. The analysis verifies and contrasts the conclusions of previous research by analyzing female authority through literary features. In conclusion, Éowyn and Galadriel show female authority by staying true to their convictions, sharing their thoughts and ideas, ordering and disciplining people around them and not caring about disagreements with others. The ways in which this takes place are illustrated through application of the literary features conflict, dialogue, metaphor, imagery and theme.

This essay will argue that J.R.R Tolkien, in The Lord of the Rings: The Two Towers, uses the language of the sublime and provides nature with agency through the Ents in his fictional world in an attempt to make his readers think more about the destruction of nature in their own world. Tolkien does this through his nature writing, his depiction of the Ents and his depiction of how the natural world in Middle-earth is fading away because of industrialization. This essay will argue this by using an ecocritical lens with which to analyze the work

The essay aims to analyze how the two female characters Éowyn and Galadriel in the novel The Lord of the Rings by J.R.R Tolkien exercise female authority through literary features. The essay was conducted through a close reading of the novel and an application of the term female authority, which mainly took place in accordance with its application in other literary analyses of The Lord of the Rings. The term “female authority” is defined here primarily as the ability to validate one’s own thoughts and actions, having a strong influence on others and possessing physical or magical powers. The analysis verifies and contrasts the conclusions of previous research by analyzing female authority through literary features. In conclusion, Éowyn and Galadriel show female authority by staying true to their convictions, sharing their thoughts and ideas, ordering and disciplining people around them and not caring about disagreements with others. The ways in which this takes place are illustrated through application of the literary features conflict, dialogue, metaphor, imagery and theme.

Masterarbeit Universität Innsbruck 2023

Anna Kofler, Masterarbeit University of Innsbruck 2023

The subject of the thesis revolves around the research concerning the motifs of good and evil in Tolkien's works and their comparison and applicability to established systems of philosophy. Each individual element of the motifs is analyzed according to three prevailing theories of ethics identifiable in the writings: Manichaeism, Augustinian and Boethian approach to morality, and Aristotle's virtue ethics. Based on the results, the implementation of moral themes is evaluated in regards to the complementarity of its elements., Předmětem této bakalářské práce je studie motivů dobra a zla v Tolkienových dílech a jejich přirovnání a aplikovatelnost vůči již zavedeným filozofickým systémům. Jednotlivé prvky těchto motivů jsou zkoumány z pohledu tří převažujících etických teoriích, jež je možné nalézt v Tolkienově díle: manicheismus, etika svatého Augustina a Boëthia a aristotelské etiky. Na základě výsledků se vyhodnocuje využití morálních motivů z pohledu komplementarity, tedy do jaké míry se jednotlivé prvky doplňují., Fakulta filozofická, Student představil téma a závěry své práce. Student dále diskutoval a reagoval na připomínky a otázky z posudků. Vystoupení bylo precizní, kultivované a připravené., Dokončená práce s úspěšnou obhajobou

[Abstract] Tolkien created the Middle Earth in his books, a whole world which years later, Peter Jackson brought to cinema screens. To take the next step and turn fantasy to reality, three buildings were graphically reconstructed. Each one of them belongs to a different race and therefore, presents independent architectural characteristics. To stablish “the State in Question”, research of all the sources of information was done, including books, but also sketches and illustrations, investigations, academic works, etc. Thanks to it, the characteristics of each architectural movement, linked to each one of the races: men, elves and dwarves, were settled. After reviewing this material, the reconstruction of these three buildings, was done through the study of the filmography: sketching by hand the spaces while analyzing how would they be in reality if constructed. With the knowledge acquired from the points of view of Jackson & Tolkien, the architectural plans, were finally drawn., [Resumo] Tolkien creou nos seus libros a Terra Media, un mundo enteiro que nos mais tarde, Peter Jackson levou ao cinema. Para dar o seguinte paso e converter a fantasía en realidade, tres edificios foron gráficamente reconstruídos. Cada un deles pertenece a unha raza distinta e por tanto, presenta características arquitectónicas independentes. Para establecer o “Estado da Cuestión”, realizouse unha procura de información completa, incluíndo libros, pero tamén sketches e ilustracións, investigacións, traballos académicos etc. Grazas a iso, as características de cada estilo arquitectónico, ligadas a cada unha das razas: homes, elfos e ananos, foron asentadas. Tras revisar este material, a reconstrución dos tres edificios, fíxose a través do estudo da filmografía: debuxando a man alzada os edificios, analizando como poderían ser en realidade se fose construídos. Co coñecemento adquirido desde os puntos de vista de Jackson e Tolkien, finalmente realizáronse os planos arquitectónicos., [Resumen] Tolkien creó en sus libros la Tierra Media, un mundo entero que años mas tarde, Peter Jackson llevó al cine. Para dar el siguiente paso y convertir la fantasía en realidad, tres edificios han sido gráficamente reconstruidos. Cada uno de ellos pertenece a una raza distinta y por tanto, presenta características arquitectónicas independientes. Para establecer el “Estado de la Cuestión”, se ha realizado una búsqueda de información completa, incluyendo libros, pero también sketches e ilustraciones, investigaciones, trabajos académicos, etc. Gracias a ello, las características de cada estilo arquitectónico, ligadas a cada una de las razas: hombres, elfos y enanos, fueron asentadas. Tras revisar este material, la reconstrucción de los tres edificios, se hizo a través del estudio de la filmografía: dibujando a mano alzada los edificios, analizando cómo podrían ser en realidad si fuese construidos. Con el conocimiento adquirido desde los puntos de vista de Jackson y Tolkien, finalmente se realizaron los planos arquitectónicos.

Syftet med denna uppsats var att undersöka hur den socialt konstruerade maktstrukturen ”ras” representeras inom tv-serien Rings of Power utifrån olika ras- och genusstereotyper samt normer. Därtill undersöks också hur rasifiering och rasifierade skillnader införlivas genom verkets fiktiva arter. Detta görs i syfte att förstå hur rasifierade grupper framställs i samtida, populärkulturella verk. För att uppfylla syftet med studien har metoden narrativ analys applicerats på tv-serien Rings of Power. De två teorierna intersektionalitet och hegemonisk maskulinitet, samt begreppen stereotyper, normer och rasifiering, har använts för att analysera materialet ur ett intersektionellt perspektiv. Rasifierade skillnader framkommer i Rings of Power genom bland annat införlivandet av stereotyper och normer; iscensättningen av dessa bidrar till dess reproduktion och förstärkning av den vita, manliga överordningen i samhället. Samtidigt lyckas Rings of Power framställa samtliga karaktärer som komplexa och dynamiska individer med multifacetterade identiteter. Vid en första anblick verkar dagens fantasyverk, i det här fallet serien Rings of Power, vara mer jämställda och jämlika på grund av en mer inkluderande representation vad gäller ras och genus eftersom antalet kvinnliga karaktärer, BIPOC-karaktärer och fördelningen av formella maktpositioner visar på en utveckling. Dock visar en närmare analys av materialet att serien återskapar flera strukturer, stereotyper och normer, vilket innebär att fantasygenrens utveckling inte är så stor som den initialt verkar vara., Our aim with this thesis was to examine the representations of the socially constructed power structure race within the tv-series Rings of Power, Additionally, the study also examines how racialization and racialized differences are incorporated through the fictional species. To fulfil the purpose of our thesis, we chose to apply the narrative analysis method on the fantasy series Rings of Power. Furthermore, the intersectionality theory and hegemonic masculinity theory, as well as the concepts of stereotypes, norms and racialization, were used to analyze the material from a gender and race perspective. The racialized power structures in Rings of Power are influenced by for example the embodiment of our stereotypes and norms. The incorporation of these contributed to the reproduction and empowerment of the white-male superiority in the society. Nevertheless, Rings of Power does succeed in presenting the characters as complex and dynamic individuals with multifaceted identities. At first glance, the contemporary works of fantasy, in this case Rings of Power, seem to be more equal as a consequence of the broad representation of race, gender and the number of women and BIPOC-characters present and their distribution of formal positions of power. However, by doing a more profound analysis of the series, one can perceive that it recreates structures, stereotypes, and norms from reality, which implies that the development of the fantasy genre is not as great as it initially may seem.

Syftet med denna uppsats var att undersöka hur den socialt konstruerade maktstrukturen ”ras” representeras inom tv-serien Rings of Power utifrån olika ras- och genusstereotyper samt normer. Därtill undersöks också hur rasifiering och rasifierade skillnader införlivas genom verkets fiktiva arter. Detta görs i syfte att förstå hur rasifierade grupper framställs i samtida, populärkulturella verk. För att uppfylla syftet med studien har metoden narrativ analys applicerats på tv-serien Rings of Power. De två teorierna intersektionalitet och hegemonisk maskulinitet, samt begreppen stereotyper, normer och rasifiering, har använts för att analysera materialet ur ett intersektionellt perspektiv. Rasifierade skillnader framkommer i Rings of Power genom bland annat införlivandet av stereotyper och normer; iscensättningen av dessa bidrar till dess reproduktion och förstärkning av den vita, manliga överordningen i samhället. Samtidigt lyckas Rings of Power framställa samtliga karaktärer som komplexa och dynamiska individer med multifacetterade identiteter. Vid en första anblick verkar dagens fantasyverk, i det här fallet serien Rings of Power, vara mer jämställda och jämlika på grund av en mer inkluderande representation vad gäller ras och genus eftersom antalet kvinnliga karaktärer, BIPOC-karaktärer och fördelningen av formella maktpositioner visar på en utveckling. Dock visar en närmare analys av materialet att serien återskapar flera strukturer, stereotyper och normer, vilket innebär att fantasygenrens utveckling inte är så stor som den initialt verkar vara., Our aim with this thesis was to examine the representations of the socially constructed power structure race within the tv-series Rings of Power, Additionally, the study also examines how racialization and racialized differences are incorporated through the fictional species. To fulfil the purpose of our thesis, we chose to apply the narrative analysis method on the fantasy series Rings of Power. Furthermore, the intersectionality theory and hegemonic masculinity theory, as well as the concepts of stereotypes, norms and racialization, were used to analyze the material from a gender and race perspective. The racialized power structures in Rings of Power are influenced by for example the embodiment of our stereotypes and norms. The incorporation of these contributed to the reproduction and empowerment of the white-male superiority in the society. Nevertheless, Rings of Power does succeed in presenting the characters as complex and dynamic individuals with multifaceted identities. At first glance, the contemporary works of fantasy, in this case Rings of Power, seem to be more equal as a consequence of the broad representation of race, gender and the number of women and BIPOC-characters present and their distribution of formal positions of power. However, by doing a more profound analysis of the series, one can perceive that it recreates structures, stereotypes, and norms from reality, which implies that the development of the fantasy genre is not as great as it initially may seem.

Since its first publishing in 1954, The Lord of the Rings has been read by millions, and it has become the subject of many scholarly studies. However, one of its most famous characters, Gollum, has only been marginally examined. The aim of this essay is to counteract precisely that and examine how Gollum exists within, and in his own way embodies, the theological and moral system of The Lord of the Rings. In order to study Gollum, I have identified four key aspects of Christian theology and morality in these novels: binary moral values, free will, temptation and redemption. The first section of the analysis has a wide focus, using these four aspects to examine the moral structure of Middle-earth. This serves as the context in which Gollum exists and can be studied. In the second section of the analysis, he is, in turn, discussed in relation to the four aspects presented in the first section, with the addition of kinship as a fifth aspect. I reach the conclusion that despite Gollum’s extreme behaviour, he fits seamlessly into the Christian moral system of Middle-earth, struggling with the same issues as the other characters, although it takes on another shape in his story. It is also made clear that such a reading of Gollum opens up for an interpretation of him being a symbol of the general moral struggle found in the other characters of the story.

«El Señor de los Anillos» es seguramente la obra épica más importante e influyente del siglo XX. Además de su valor intrínseco, el trabajo de Tolkien sentó los parámetros genéricos de la novela fantástica, inspirando el posterior nacimiento de diversos universos literarios. En la épica tolkieniana, como es sabido, se reconoce el influjo basilar del cristianismo. El reciente fenómeno audiovisual «Juego de Tronos», profundamente asentado en los usos culturales postmodernos, plantea una lectura radicalmente opuesta del género fantástico, de la axiología de los personajes y la moral política. No obstante, ambos cuerpos convergen en el empleo multidimensional de las pautas narrativas mesiánicas. En el presente texto pretendo identificar sucintamente dichas pautas y analizarlas desde una perspectiva interdisciplinar. Como conclusión sostengo la importancia nuclear de la narrativa mesiánica en la configuración argumental e histórica-contextual de las obras de Tolkien y George R. R. Martin., «The Lord of the Rings» is surely the most important and influential epic work of the 20th Century. In addition to its intrinsic value, Tolkien's work set the generic parameters of the fantasy novel, inspiring the subsequent birth of various literary universes. In the Tolkien epic, as it is known, the basilar influence of Christianity is recognized. The recent audiovisual phenomenon «Game of Thrones», deeply rooted in postmodern cultural uses, proposes a radically opposite reading of the fantasy genre, of the axiology of the characters and political morality. However, both bodies converge in the multidimensional use of messianic narrative patterns. In this text, I intend to succinctly identify these guidelines and analyze them from and interdisciplinary perspective. In conclusion, I maintain the nuclear importance of the messianic narrative in the plot and historical-contextual configuration of the works of Tolkien and George R. R. Martin.

This article outlines the context for the creation of J. R. R. Tolkien's legendarium, through exemplifications of language, mythological characters, and the way they interrelate in the works about Middle-Earth. Language enables the construction of the foundations of Tolkien's ideology, to which the mythological characters that make up the universe created by this author are added. This universe is most visibly shown in the works of The Lord of the Rings and The Silmarilion. The article begins with a brief biography of Tolkien, in addition to the publication chronology of his works, which complement each other. Tolkien's way of narrating provides the basis for the total construction of a new world sustained by its characters and their language., El presente artículo bosqueja el contexto de creación del legendarium de J. R. R. Tolkien, a través de las ejemplificaciones del lenguaje, los personajes mitológicos y la manera en que éstos se interrelacionan en las obras sobre la Tierra Media. El lenguaje posibilita la construcción de los fundamentos de la ideología de Tolkien, a lo cual se suman los personajes mitológicos que conforman el universo creado por este autor. Este universo se muestra más visiblemente en las obras de El Señor de los Anillos y El Silmarilion. El artículo inicia con una breve biografía de Tolkien, además de la cronología de publicación de sus obras, que se van complementando entre sí. La manera de narrar de Tolkien elabora el sustento de la construcción total de un mundo nuevo sostenido por sus personajes y su lenguaje.

In this study I have compared the use of intradiegetic history in the fantasy worlds of J. R. R. Tolkien and George R. R. Martin in their novels The Fellowship of the Ring and A Game of Thrones. Both authors make use of ancient kingdoms and their aftermaths in constructing their fantasy worlds and the stories that takes place within them. There are however some differences in how they do it. Inspired by Heckel Hartwig’s definition of “Golden age theory” I sought to map out these differences. In Tolkien’s work there is a clear dichotomy between good and evil where the good characters are the once who discuss historical knowledge regardless of class and gender. In Martin’s world however there is no clear distinction between good and evil, and therefore social class and gender become bigger markers for historical knowledge. Artefacts and ruins prove to be another theme where the two authors differ. The ruins in Tolkien’s Middle-earth are often inhabited by ghost whilst the ruins in Martins Westeros lack this form of old inhabitants. Instead Martins world has institutions which can draw back their roots thousands of years which make old buildings have another form of history. In both authors world’s old artefacts of war such as swords and armour were made better in the “Golden age” which has turned them into symbols of status in the “present day”. Over all there are both differences and similarities between the fantasy worlds and the author’s use of history in them.

В статье рассматриваются особенности репрезентации цветообозначений при описании лексико-семантической группы «Гидрографические классы». Можно отметить особое отношение автора к водным объектам: наличие восьми «цветовых» гидронимов; оттенок волшебства: персонажи (Золотинка, Нимродель), Заповедное озеро, река Ветлянка в Вековечном Лесу; борьба Светлых сил с Тёмными (волны в виде белых всадников); красота и необъятность мира (вид сверху на впадение реки Андуин в море). Световая лексика часто дополняет и усиливает цветовую.

В статье рассматриваются особенности репрезентации цветообозначений при описании лексико-семантической группы «Гидрографические классы». Можно отметить особое отношение автора к водным объектам: наличие восьми «цветовых» гидронимов; оттенок волшебства: персонажи (Золотинка, Нимродель), Заповедное озеро, река Ветлянка в Вековечном Лесу; борьба Светлых сил с Тёмными (волны в виде белых всадников); красота и необъятность мира (вид сверху на впадение реки Андуин в море). Световая лексика часто дополняет и усиливает цветовую.

В статье рассматриваются особенности репрезентации цветообозначений при описании лексико-семантической группы «Гидрографические классы». Можно отметить особое отношение автора к водным объектам: наличие восьми «цветовых» гидронимов; оттенок волшебства: персонажи (Золотинка, Нимродель), Заповедное озеро, река Ветлянка в Вековечном Лесу; борьба Светлых сил с Тёмными (волны в виде белых всадников); красота и необъятность мира (вид сверху на впадение реки Андуин в море). Световая лексика часто дополняет и усиливает цветовую.

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.

After the success of The Lord of the Rings (1954-1955), the first translations of Tolkien’s work into other languages began to spread all over the world. However, Tolkien (philologist and translator of works from Old and Middle English) considered it necessary to publish some guidelines on how to translate the fictional names in his work, for whose creation he had developed a complex linguistic network of both real and fictional languages. These notes, published under the title “The Nomenclature of The Lord of the Rings”, not only provide useful philological information for the translation of his work, but also allow to understand Tolkien’s opinion about translation methods, which can also be related to current theories in translation studies. It is indeed observed that Tolkien’s position changes through time, since he first defends a foreignizing, author-oriented translation (according to the terminology of Venuti and Schleiermacher). However, in his later writings he justifies a more domesticating or target-oriented translation. Nevertheless, it is also important to bear in mind the relevance of the translation’s function and context of production, which justifies an analysis of Tolkien’s view on translation in relation to descriptive theories that negotiate the value of translation equivalence., Tras el éxito de The Lord of the Rings (1954-1955), las primeras traducciones de la obra de Tolkien empezaron a propagarse por todo el mundo. Sin embargo, Tolkien, filólogo y traductor de obras del inglés antiguo e inglés medio, se vio en la necesidad de indicar cómo traducir los nombres ficcionales presentes en su obra, integrados en una complicada red genealógica de lenguas tanto reales como ficcionales. De estas notas sobre la traducción («The Nomenclature of The Lord of the Rings»), además de desprenderse indicaciones filológicas para la traducción de su obra, se puede analizar asimismo la postura de Tolkien sobre la traducción, que puede a su vez relacionarse con la reflexión traductológica actual sobre los diferentes métodos de traducir. En efecto, se observa que la postura de Tolkien pasa de ser en un principio marcadamente «extranjerizante» o «hacia el autor» (siguiendo la terminología de Venuti y Schleiermacher) para finalmente defender un método más «naturalizante» o «hacia el receptor». Sin embargo, conviene tener en cuenta la importancia de la función y el contexto de producción, por lo que es preciso actualizar la postura de Tolkien sobre la traducción en relación con teorías descriptivas que negocian el valor de la equivalencia.

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.

After the success of The Lord of the Rings (1954-1955), the first translations of Tolkien’s work into other languages began to spread all over the world. However, Tolkien (philologist and translator of works from Old and Middle English) considered it necessary to publish some guidelines on how to translate the fictional names in his work, for whose creation he had developed a complex linguistic network of both real and fictional languages. These notes, published under the title “The Nomenclature of The Lord of the Rings”, not only provide useful philological information for the translation of his work, but also allow to understand Tolkien’s opinion about translation methods, which can also be related to current theories in translation studies. It is indeed observed that Tolkien’s position changes through time, since he first defends a foreignizing, author-oriented translation (according to the terminology of Venuti and Schleiermacher). However, in his later writings he justifies a more domesticating or target-oriented translation. Nevertheless, it is also important to bear in mind the relevance of the translation’s function and context of production, which justifies an analysis of Tolkien’s view on translation in relation to descriptive theories that negotiate the value of translation equivalence., Tras el éxito de The Lord of the Rings (1954-1955), las primeras traducciones de la obra de Tolkien empezaron a propagarse por todo el mundo. Sin embargo, Tolkien, filólogo y traductor de obras del inglés antiguo e inglés medio, se vio en la necesidad de indicar cómo traducir los nombres ficcionales presentes en su obra, integrados en una complicada red genealógica de lenguas tanto reales como ficcionales. De estas notas sobre la traducción («The Nomenclature of The Lord of the Rings»), además de desprenderse indicaciones filológicas para la traducción de su obra, se puede analizar asimismo la postura de Tolkien sobre la traducción, que puede a su vez relacionarse con la reflexión traductológica actual sobre los diferentes métodos de traducir. En efecto, se observa que la postura de Tolkien pasa de ser en un principio marcadamente «extranjerizante» o «hacia el autor» (siguiendo la terminología de Venuti y Schleiermacher) para finalmente defender un método más «naturalizante» o «hacia el receptor». Sin embargo, conviene tener en cuenta la importancia de la función y el contexto de producción, por lo que es preciso actualizar la postura de Tolkien sobre la traducción en relación con teorías descriptivas que negocian el valor de la equivalencia.

Katrin Kranz, Universität Innsbruck, Diplomarbeit, 2019, (VLID)4384073

The literary heroic ideal changed with the Great War, as the Victorian hero ideal was no longer plausible in a post-war world. The new ideal was pacifist and non-heroic but not everyone who had been through the Great War agreed that there was no heroicism. This essay discusses the development of the heroic ideal in the mid twentieth century in relation to the two brothers Boromir and Faramir in J. R. R. Tolkien’s The Lord of the Rings (1954-1955). By using intertextuality, historical criticism and biographical criticism, the ideals behind the creation of the characters, as well as the relationship between the characters, are examined. Focus is put on the contrast between past and future ideals, and on how Tolkien diverts from the prevailing pacifist post-war ideal by creating a new heroic ideal. Additionally, the significance of the brother-brother relationship is discussed, providing a new link between the ideals of the past and the future.

Since the first Industrial Revolution and up to our current days, there has been an exponential growth in the power of technology over nature and over humanity. Simultaneously, the concern about the negative impact that an excessive use of technology may have on people has equally increased, and it still does. These concerns have taken many expressions in Western society for some centuries now, which show the universality and importance of the topic. Literature is one of the major instruments of these expressions, especially fantasy, and J. R. R. Tolkien was one of the main exponents of the 20th Century in this field. Particularly in The Lord of the Rings, he projected his ideas regarding this highly relevant issue, motivated greatly by his experience of the terrors of World War I. The industrial transformation of Isengard has typically been analysed by scholars as the principal reference to this issue in the novel, but another important example is the One Ring. It is presented as a device which provides utter and destructive power, corrupting practically every individual that interacts with it. However, is it only from the Ring that the characters’ corruption emerges, or does it have another source? The aim of this paper is to prove that corruption is not a single-source phenomenon, but that it has two sides: one external and other internal to the individual, and that the latter is most important. For this purpose, I will first look at Tolkien’s views regarding technology, evil and corruption. Then I will show how the Ring is presented as a device that brings corruption to individuals, and I will analyse a spectrum of those characters and their interaction with the Ring in order to determine the true source of their corruption and its implications.

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.

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.

Since the first Industrial Revolution and up to our current days, there has been an exponential growth in the power of technology over nature and over humanity. Simultaneously, the concern about the negative impact that an excessive use of technology may have on people has equally increased, and it still does. These concerns have taken many expressions in Western society for some centuries now, which show the universality and importance of the topic. Literature is one of the major instruments of these expressions, especially fantasy, and J. R. R. Tolkien was one of the main exponents of the 20th Century in this field. Particularly in The Lord of the Rings, he projected his ideas regarding this highly relevant issue, motivated greatly by his experience of the terrors of World War I. The industrial transformation of Isengard has typically been analysed by scholars as the principal reference to this issue in the novel, but another important example is the One Ring. It is presented as a device which provides utter and destructive power, corrupting practically every individual that interacts with it. However, is it only from the Ring that the characters’ corruption emerges, or does it have another source? The aim of this paper is to prove that corruption is not a single-source phenomenon, but that it has two sides: one external and other internal to the individual, and that the latter is most important. For this purpose, I will first look at Tolkien’s views regarding technology, evil and corruption. Then I will show how the Ring is presented as a device that brings corruption to individuals, and I will analyse a spectrum of those characters and their interaction with the Ring in order to determine the true source of their corruption and its implications.

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.

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.

Since the first Industrial Revolution and up to our current days, there has been an exponential growth in the power of technology over nature and over humanity. Simultaneously, the concern about the negative impact that an excessive use of technology may have on people has equally increased, and it still does. These concerns have taken many expressions in Western society for some centuries now, which show the universality and importance of the topic. Literature is one of the major instruments of these expressions, especially fantasy, and J. R. R. Tolkien was one of the main exponents of the 20th Century in this field. Particularly in The Lord of the Rings, he projected his ideas regarding this highly relevant issue, motivated greatly by his experience of the terrors of World War I. The industrial transformation of Isengard has typically been analysed by scholars as the principal reference to this issue in the novel, but another important example is the One Ring. It is presented as a device which provides utter and destructive power, corrupting practically every individual that interacts with it. However, is it only from the Ring that the characters’ corruption emerges, or does it have another source? The aim of this paper is to prove that corruption is not a single-source phenomenon, but that it has two sides: one external and other internal to the individual, and that the latter is most important. For this purpose, I will first look at Tolkien’s views regarding technology, evil and corruption. Then I will show how the Ring is presented as a device that brings corruption to individuals, and I will analyse a spectrum of those characters and their interaction with the Ring in order to determine the true source of their corruption and its implications.

This essay provides an analysis of the soundtrack of the cinematographic trilogy The Lord of the Rings, composed by The Fellowship of the Ring, The Two Towers and The Return of the King. From the musical analysis, the dissertation aims to show the importance of the music of The Lord of the Rings as a dramatic and narrative element, reveal the emotional associations the different motifs add to the story and describe the influence of this soundtrack in the viewer¿s perception. The classification and analysis of the leitmotivs and instrumentation and their relation with the characters, objects, communities and places are vital to understand the importance of the soundtrack scored by Howard Shore for the filmic discuss., El presente trabajo ofrece un análisis de las bandas sonoras de la trilogía cinematográfica El señor de los Anillos, formada por La Comunidad del Anillo, Las Dos Torres y El retorno del Rey. A partir del análisis musical, el trabajo que se realiza pretende mostrar la importancia de la música de El Señor de los Anillos como elemento dramático y narrativo, desvelar las asociaciones emocionales que los diferentes motivos añaden a la trama y describir la influencia de esta banda sonora en la percepción del espectador. La clasificación y análisis de los leitmotivs e instrumentación, y su relación con los personajes, objetos, comunidades o lugares, son vitales para entender la importancia de la banda sonora compuesta por Howard Shore para el discurso fílmico.

This essay provides an analysis of the soundtrack of the cinematographic trilogy The Lord of the Rings, composed by The Fellowship of the Ring, The Two Towers and The Return of the King. From the musical analysis, the dissertation aims to show the importance of the music of The Lord of the Rings as a dramatic and narrative element, reveal the emotional associations the different motifs add to the story and describe the influence of this soundtrack in the viewer¿s perception. The classification and analysis of the leitmotivs and instrumentation and their relation with the characters, objects, communities and places are vital to understand the importance of the soundtrack scored by Howard Shore for the filmic discuss., El presente trabajo ofrece un análisis de las bandas sonoras de la trilogía cinematográfica El señor de los Anillos, formada por La Comunidad del Anillo, Las Dos Torres y El retorno del Rey. A partir del análisis musical, el trabajo que se realiza pretende mostrar la importancia de la música de El Señor de los Anillos como elemento dramático y narrativo, desvelar las asociaciones emocionales que los diferentes motivos añaden a la trama y describir la influencia de esta banda sonora en la percepción del espectador. La clasificación y análisis de los leitmotivs e instrumentación, y su relación con los personajes, objetos, comunidades o lugares, son vitales para entender la importancia de la banda sonora compuesta por Howard Shore para el discurso fílmico.

This essay provides an analysis of the soundtrack of the cinematographic trilogy The Lord of the Rings, composed by The Fellowship of the Ring, The Two Towers and The Return of the King. From the musical analysis, the dissertation aims to show the importance of the music of The Lord of the Rings as a dramatic and narrative element, reveal the emotional associations the different motifs add to the story and describe the influence of this soundtrack in the viewer¿s perception. The classification and analysis of the leitmotivs and instrumentation and their relation with the characters, objects, communities and places are vital to understand the importance of the soundtrack scored by Howard Shore for the filmic discuss., El presente trabajo ofrece un análisis de las bandas sonoras de la trilogía cinematográfica El señor de los Anillos, formada por La Comunidad del Anillo, Las Dos Torres y El retorno del Rey. A partir del análisis musical, el trabajo que se realiza pretende mostrar la importancia de la música de El Señor de los Anillos como elemento dramático y narrativo, desvelar las asociaciones emocionales que los diferentes motivos añaden a la trama y describir la influencia de esta banda sonora en la percepción del espectador. La clasificación y análisis de los leitmotivs e instrumentación, y su relación con los personajes, objetos, comunidades o lugares, son vitales para entender la importancia de la banda sonora compuesta por Howard Shore para el discurso fílmico.

The Lord of the Rings trilogy is greatly diverse in species, races, and ethnicities which is a fact that over the decades has engendered great scholarly discussions about hidden racism in the literary work. Therefore, an analysis of intercultural matters and encounters realized throughout the story is relevant for detecting a possible racist ideology. By applying the postcolonial concept “Othering,” which is an act of differentiation, this essay analyzes racist instances in the story, and the result of or opposition to those, in order to indicate the presence of an anti-Othering ideology in the trilogy. The analysis is conducted through discussion of Othering of other species/races/ethnicities caused by blind trust in one’s own group, Othering inside one’s own group, Othering of other species/races/ethnicities, and discussion about instances of multicultural acceptance. Considering Tolkien’s relationship to nature, this discussion also extends to Othering of nature. Consequently, this essay concludes how The Lord of the Rings trilogy arguably is against Othering since the story generally presents the act as negative to others, oneself, and/or one’s beloved as well as contains instances which simply convey a positive view of multiculturalism., Sagan om ringen trilogin är väldigt mångfaldig i arter, raser och etniciteter vilket genom årtionden har genererat storskaliga akademiska diskussioner om förekomsten av en dold rasism i det litterära verket. Därmed är en analys av de interkulturella angelägenheter och möten som tar plats under berättelsens gång relevant för att upptäcka en möjlig rasistisk ideologi. Genom att applicera det postkoloniala konceptet ”Othering”, vilket är en differentieringsakt, analyserar denna uppsats rasistiska instanser i berättelsen och resultatet av eller oppositionen till dessa för att indikera förekomsten av en motståndsideologi till ”Othering” i trilogin. Analysen genomförs genom diskussioner om ”Othering” av andra arter/raser/etniciteter orsakade av blind tilltro till ens egen grupp, ”Othering” inom ens egen grupp, ”Othering” av andra arter/raser/etniciteter och diskussion om instanser av multikulturell acceptans. Med tanke på Tolkiens relation till naturen sträcker sig även denna diskussion till ”Othering” av naturen. Denna uppsats drar följaktligen slutsatsen att Sagan om ringen trilogin är emot ”Othering” eftersom berättelsen generellt sett presenterar aktionen som negativ för andra, en själv och ens älskade, såväl som innehåller instanser som helt enkelt förmedlar en positiv syn på multikulturalism.

The Lord of the Rings trilogy is greatly diverse in species, races, and ethnicities which is a fact that over the decades has engendered great scholarly discussions about hidden racism in the literary work. Therefore, an analysis of intercultural matters and encounters realized throughout the story is relevant for detecting a possible racist ideology. By applying the postcolonial concept “Othering,” which is an act of differentiation, this essay analyzes racist instances in the story, and the result of or opposition to those, in order to indicate the presence of an anti-Othering ideology in the trilogy. The analysis is conducted through discussion of Othering of other species/races/ethnicities caused by blind trust in one’s own group, Othering inside one’s own group, Othering of other species/races/ethnicities, and discussion about instances of multicultural acceptance. Considering Tolkien’s relationship to nature, this discussion also extends to Othering of nature. Consequently, this essay concludes how The Lord of the Rings trilogy arguably is against Othering since the story generally presents the act as negative to others, oneself, and/or one’s beloved as well as contains instances which simply convey a positive view of multiculturalism., Sagan om ringen trilogin är väldigt mångfaldig i arter, raser och etniciteter vilket genom årtionden har genererat storskaliga akademiska diskussioner om förekomsten av en dold rasism i det litterära verket. Därmed är en analys av de interkulturella angelägenheter och möten som tar plats under berättelsens gång relevant för att upptäcka en möjlig rasistisk ideologi. Genom att applicera det postkoloniala konceptet ”Othering”, vilket är en differentieringsakt, analyserar denna uppsats rasistiska instanser i berättelsen och resultatet av eller oppositionen till dessa för att indikera förekomsten av en motståndsideologi till ”Othering” i trilogin. Analysen genomförs genom diskussioner om ”Othering” av andra arter/raser/etniciteter orsakade av blind tilltro till ens egen grupp, ”Othering” inom ens egen grupp, ”Othering” av andra arter/raser/etniciteter och diskussion om instanser av multikulturell acceptans. Med tanke på Tolkiens relation till naturen sträcker sig även denna diskussion till ”Othering” av naturen. Denna uppsats drar följaktligen slutsatsen att Sagan om ringen trilogin är emot ”Othering” eftersom berättelsen generellt sett presenterar aktionen som negativ för andra, en själv och ens älskade, såväl som innehåller instanser som helt enkelt förmedlar en positiv syn på multikulturalism.

This PhD thesis intends to explore the possible influences and rewritings of Arthurian legends in J.R.R. Tolkien's The Lord of the Rings. Tolkien's work seems to be strongly influenced by Arthurian literature. The themes of Quest for the Ring and the Fellowship of the Ring echo the Grail Quest and the Order of the Round Table. The Ring as the centre of the plot in The Lord of the Rings is a clear allusion to the Grail legend while the Arthurian myth of the Wasteland is represented in Rohan, whose ruler resembles the Fisher King, and in Gondor, which echoes the Arthurian idea of a ruler and his land as one. The tragic love between Aragorn and Arwen has some parallelisms with Tristan and Isolde's fatal love while Frodo and Bilbo's uncle-nephew relationship reminds us of King Arthur and Gawain. Also, Galadriel, Arwen or Éowyn share many resemblances with some Arthurian heroines such has Morgan Le Fay, the Lady of the Lake or Guenevere, among others. Similarly, landscapes and objects from The Lord of the Rings have Arthurian resonances. Indeed, the term 'Middle-earth' appears in medieval literature, including Arthurian texts, while Aragorn's sword clearly resembles King Arthur's legendary blade, Excalibur.

[Resumen] Las palabras del arquitecto Robert Mallet-Stevens “el decorado debe presentar al personaje antes de que éste aparezca, debe indicar su posición social, sus gustos, sus hábitos, su estilo de vida, su personalidad” muestran la importancia de la escenografía. Dar voz a aquello que no puede expresarse mediante el diálogo se convierte en su función principal. En las películas fantásticas, la escenografía, como extensión de la arquitectura, se adentra en mundos de culturas imaginarias e imposibles construcciones que debe resultar verosímiles. Este es el caso de El Señor de los Anillos, obra cumbre de J.R.R Tolkien. La adaptación cinematográfica de Peter Jackson enfrentó las dificultades propias del género y los riesgos de llevar una obra tan conocida a la gran pantalla. Para solventarlos, la dirección artística se valió de todas las modalidades de escenografía a su alcance y de un planificado diseño que llevaba más de cuarenta años esperando a ser usado: los bocetos del propio autor y las ilustraciones de Alan Lee y John Howe., [Abstract] The words of the architect Robert Mallet-Stevens “the set must present the character before he has even appeared. It must indicate his social position, his tastes, his habits, his lifestyle, his personality” show the importance of the scenography. To give voice to what the dialogue cannot express becomes its principal function. In fantastic films, the scenography, as an extension of architecture, ventures in worlds of imaginary cultures and impossible constructions, which have to pass as real. This is the case of The Lord of the Rings, J.R.R. Tolkien’s masterpiece. Peter Jackson’s cinematographic adaptation faced the difficulties of the genre and the risks of taking such a recognized piece to the big screen. To solve this, the artistic direction used all the scenography modalities they could, along with a planned design that had been awaiting for more than forty years to be used: the author’s sketches, and Alan Lee and John Howe’s illustrations., [Resumo] As palabras do arquitecto Robert Mallet-Stevens “o decorado debe presentar ó personaxe antes de que este apareza, debe indicar a súa posición social, os seus gustos, os seus hábitos, o seu estilo de vida, a súa personalidade” mostran a importancia da escenografía. Dar voz a aquelo que o diálogo non pode expresar convértese na súa función principal. Nas películas fantásticas, a escenografía, como extensión da arquitectura, intérnase en mundos de culturas imaxinarias e imposibles construcións que debe facer pasar por reais. Este é o caso de O Señor dos Aneis, obra cume de J.R.R. Tolkien. A adaptación cinematográfica de Peter Jackson enfrontou as dificultades propias do xénero e os riscos de levar unha obra tan coñecida á gran pantalla. Para resolvelos, a dirección artística valeuse de tódalas modalidades de escenografía ao seu alcance e dun planificado deseño que levaba máis de corenta anos esperando para ser usado: os bosquexos do propio autor e as ilustracións de Alan Lee e John Howe.

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.

Allegory is not obsolete as Samuel Coleridge and Johann Wolfgang von Goethe have claimed. It is alive and well and has transformed from a restrictive concept to a concept that is flexible and can form to meet the needs of the author or reader. The most efficient way to evidence this is by making a case study of it with a suitable work that will allow us to perceive its plasticity. This essay uses J.R.R. Tolkien’s The Lord of the Rings as a multi-perspective case study of the concept of allegory; the size and complexity of the narrative make it a suitable choice. My aim is to illustrate the plasticity of allegory as a concept and illuminate some of the possibilities and pitfalls of allegory and allegoresis. As to whether The Lord of the Rings can be treated as an allegory, it will be examined from three different perspectives: as a purely writerly process, a middle ground of writer and reader and as a purely readerly process. The Lord of the Rings will then be compared to a series of concepts of allegorical theory such as Plato’s classical “The Ring of Gyges”, William Langland’s classic The Vision of William Concerning Piers the Plowman and contemporary allegories of racism and homoeroticism to demonstrate just how adaptable this concept is. The position of this essay is that the concept of allegory has changed over time since its conception and become more malleable. This poses certain dangers as allegory has become an all-round tool for anyone to do anything that has few limitations and has lost its early rigid form and now favours an almost anything goes approach.

In the field of comparative literature The Lord of the Rings has been most frequently studied within the contexts of romance and epic. This approach, however, leaves out important generic aspects of the global picture, such as the narrative’s strong adherence to the novel genre and to mythic traditions beyond romance and epic narratives. If we choose one particular genre as the yardstick against which to measure the work’s success in narrative terms, we tend to end up with the conclusion that The Lord of the Rings does not quite make sense within the given limits of the genre in question. In Tolkien’s work there is a narrative and stylistic exploration of the different genres’ constraints in which the Western narrative traditions – myth, epic, romance, the novel, and their respective subgenres – interact in a previously unknown but still very much coherent world that, because of the particular cohesion required by such a chronotope, exhibits a clear contextualization of references to the previous traditions. As opposed to many contemporary literary expressions, the ensuing absence of irony and parody creates a generic dialogue, in which the various narrative traditions explore and interrogate each other’s limits without rendering the others absurdly incompatible, ridiculous or superfluous., En el campo de la literatura comparada, El señor de los anillos ha sido analizada sobre todo en el contexto del romance y la épica. Sin embargo, este acercamiento deja de lado importantes aspectos genéricos, como la presencia del género de la novela y las tradiciones mitológicas. Si elegimos cualquier género concreto como vara de medir para evaluar el éxito de la obra en términos narrativos, tendemos a llegar a la conclusión de que El señor de los anillos no termina de encajar en ninguno. En la obra de Tolkien, existe una exploración narrativa y estilística de los límites de diferentes géneros literarios en que las principales tradiciones narrativas occidentales –el mito, la épica, el romance y la novela, con sus respectivos subgéneros– interactúan en un mundo previamente desconocido pero muy coherente que, debido a la cohesión requerida por el uso de semejante cronotopo, muestra una consistente contextualización de las referencias a las tradiciones previas. A diferencia de muchas expresiones literarias de modernistas contemporáneos, la resultante ausencia de ironía y parodia da lugar a un diálogo entre tradiciones en que los diferentes géneros exploran e interrogan sus propios límites sin dejar a otros como absurdamente incompatibles, risibles o superfluos.

Allegory is not obsolete as Samuel Coleridge and Johann Wolfgang von Goethe have claimed. It is alive and well and has transformed from a restrictive concept to a concept that is flexible and can form to meet the needs of the author or reader. The most efficient way to evidence this is by making a case study of it with a suitable work that will allow us to perceive its plasticity. This essay uses J.R.R. Tolkien’s The Lord of the Rings as a multi-perspective case study of the concept of allegory; the size and complexity of the narrative make it a suitable choice. My aim is to illustrate the plasticity of allegory as a concept and illuminate some of the possibilities and pitfalls of allegory and allegoresis. As to whether The Lord of the Rings can be treated as an allegory, it will be examined from three different perspectives: as a purely writerly process, a middle ground of writer and reader and as a purely readerly process. The Lord of the Rings will then be compared to a series of concepts of allegorical theory such as Plato’s classical “The Ring of Gyges”, William Langland’s classic The Vision of William Concerning Piers the Plowman and contemporary allegories of racism and homoeroticism to demonstrate just how adaptable this concept is. The position of this essay is that the concept of allegory has changed over time since its conception and become more malleable. This poses certain dangers as allegory has become an all-round tool for anyone to do anything that has few limitations and has lost its early rigid form and now favours an almost anything goes approach.

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 the field of comparative literature The Lord of the Rings has been most frequently studied within the contexts of romance and epic. This approach, however, leaves out important generic aspects of the global picture, such as the narrative’s strong adherence to the novel genre and to mythic traditions beyond romance and epic narratives. If we choose one particular genre as the yardstick against which to measure the work’s success in narrative terms, we tend to end up with the conclusion that The Lord of the Rings does not quite make sense within the given limits of the genre in question. In Tolkien’s work there is a narrative and stylistic exploration of the different genres’ constraints in which the Western narrative traditions – myth, epic, romance, the novel, and their respective subgenres – interact in a previously unknown but still very much coherent world that, because of the particular cohesion required by such a chronotope, exhibits a clear contextualization of references to the previous traditions. As opposed to many contemporary literary expressions, the ensuing absence of irony and parody creates a generic dialogue, in which the various narrative traditions explore and interrogate each other’s limits without rendering the others absurdly incompatible, ridiculous or superfluous., En el campo de la literatura comparada, El señor de los anillos ha sido analizada sobre todo en el contexto del romance y la épica. Sin embargo, este acercamiento deja de lado importantes aspectos genéricos, como la presencia del género de la novela y las tradiciones mitológicas. Si elegimos cualquier género concreto como vara de medir para evaluar el éxito de la obra en términos narrativos, tendemos a llegar a la conclusión de que El señor de los anillos no termina de encajar en ninguno. En la obra de Tolkien, existe una exploración narrativa y estilística de los límites de diferentes géneros literarios en que las principales tradiciones narrativas occidentales –el mito, la épica, el romance y la novela, con sus respectivos subgéneros– interactúan en un mundo previamente desconocido pero muy coherente que, debido a la cohesión requerida por el uso de semejante cronotopo, muestra una consistente contextualización de las referencias a las tradiciones previas. A diferencia de muchas expresiones literarias de modernistas contemporáneos, la resultante ausencia de ironía y parodia da lugar a un diálogo entre tradiciones en que los diferentes géneros exploran e interrogan sus propios límites sin dejar a otros como absurdamente incompatibles, risibles o superfluos.

Obsah této bakalářské práce je zaměřen na analýzu a překlad vybraných vlastních jmen, vyskytujících se zejmnéna v díle Pán Prstenů (1954) od J.R.R. Tolkiena. Analýza a překlad spadá v případě takového díla do skupiny překladu uměleckého, který je společně s Tolkienových přístupem k vlastních jménům popsán v teoretické části. Samotná analýza a navrhovaný překlad vybraných vlastních jmen se nachází v části praktické, která též obsahuje srovnání s již existujícím překladem Stanislavy Pošustové a nabízy subjektivní pohled na problematiku uměleckého překladu v takovém díle., The content of this bachelor thesis is focused on the analysis and translation of selected proper nouns occurring mainly in The Lord of the Rings (1954) by J.R.R. Tolkien. In case of such piece of work, the analysis and translation belong to the category of artistic translation which is described in the theoretical part along with Tolkien's attitude to the proper nouns. The act of analysis and translation is situated in the practical part which also contains the comparison with translation done by Stanislava Pošustová and offers a specific point of view towards the artistic translation issue in such piece of work., Ústav moderních jazyků a literatur

This article analyzes a scene from The return of the king, the last movie of The lord of the rings series, adapted to the movies by Peter Jackson – in pictures from 2001, 2002 and 2003 – from the literary work of J. R. R. Tolkien. The series shows the conflict between the forces of good and of evil, controlled by Sauron, who intends to dominate the Middle-earth with the One Ring, the ring of power. With the purpose of emulating, visually and coherently, the folcloric universe created by Tolkien, Jackson relies on canonical aesthetic resources and relates the opposite sides in the battle for Middle-earth with light and darkness. While Gandalf, the wise wizard of the good, is associated with white and has the light as a weapon, the evil specters (the nazgul) are protected by the shadows and are illustrated in black. The analysis of the rescue of the knights of Gondor – and the progressive ascension of clarity as a predominant element in the scene, as Gandalf gets close to his objective – brings back on new basis, taking into account concepts of the tensive model and the concept of forms of life, the discussion about the semi-symbolic relationship between light and darkness as resources of the plan of expression associated to good and evil., Este artigo analisa uma cena do último filme da saga, O Retorno do Rei, de 2003, da série O Senhor dos Anéis, adaptada para o cinema por Peter Jackson – em filmes de 2001, 2002 e 2003 – da obra literária de J. R. R. Tolkien. A série retrata o confronto entre as forças do bem e as forças do mal, controladas pelo vilão Sauron, que busca dominar a Terra-média com o Um Anel, o anel do poder. Com o objetivo de emular, visualmente e com coerência, o folclórico universo criado por Tolkien, Jackson lança mão de recursos estéticos canônicos, cristalizados, e relaciona os lados opostos na batalha pela Terra-média com a claridade e a escuridão. Enquanto Gandalf, o sábio mago do bem, é associado ao branco e usa a luz como arma, os espectros do mal (os nazgul) se protegem nas sombras e são retratados em preto. A análise do resgate dos cavaleiros de Gondor – e a progressiva ascensão da claridade como predominante na cena, conforme Gandalf se aproxima do objetivo – rediscute, com base em conceitos da semiótica tensiva e do conceito de formas de vida, a relação semissimbólica entre o claro e o escuro como recursos do plano de expressão associados ao bem e ao mal.

The production of cinematographic works is today one of the most powerful marketing tools to increase the flow of visitors, and creating strategies to attract audiovisual productions is one of the most important trends of the global tourism market. It is, therefore, in the context of the film tourism, which runs this reflection which consists, on the one hand, in presenting the state of the art on the subject and, on the other, in the analysis of a case study, which will focus on the film adaptations of a trilogy of literary works. Our choice fell, then, about the movies The Lord of The Rings, because it is a success story within the film and tourism, having put New Zealand on the map of the new film tourism destinations., A produção de obras cinematográficas é hoje uma das ferramentas de marketing mais poderosa para o aumento do fluxo de visitantes, e a criação de estratégias para atrair produções audiovisuais é uma das tendências mais importantes do mercado turístico mundial. É, portanto, no contexto do turismo de cinema, que decorre esta reflexão que consiste, por um lado, na apresentação do estado da arte sobre o tema e, por outro, na análise de um estudo de caso, que irá incidir nas adaptações cinematográficas de uma trilogia de obras literárias. A nossa escolha recaiu, então, sobre os filmes The Lord of the Rings, pois trata-se de um caso de sucesso no âmbito do cinema e do turismo, tendo colocado a Nova Zelândia no mapa dos novos destinos de turismo de cinema.

The production of cinematographic works is today one of the most powerful marketing tools to increase the flow of visitors, and creating strategies to attract audiovisual productions is one of the most important trends of the global tourism market. It is, therefore, in the context of the film tourism, which runs this reflection which consists, on the one hand, in presenting the state of the art on the subject and, on the other, in the analysis of a case study, which will focus on the film adaptations of a trilogy of literary works. Our choice fell, then, about the movies The Lord of The Rings, because it is a success story within the film and tourism, having put New Zealand on the map of the new film tourism destinations., A produção de obras cinematográficas é hoje uma das ferramentas de marketing mais poderosa para o aumento do fluxo de visitantes, e a criação de estratégias para atrair produções audiovisuais é uma das tendências mais importantes do mercado turístico mundial. É, portanto, no contexto do turismo de cinema, que decorre esta reflexão que consiste, por um lado, na apresentação do estado da arte sobre o tema e, por outro, na análise de um estudo de caso, que irá incidir nas adaptações cinematográficas de uma trilogia de obras literárias. A nossa escolha recaiu, então, sobre os filmes The Lord of the Rings, pois trata-se de um caso de sucesso no âmbito do cinema e do turismo, tendo colocado a Nova Zelândia no mapa dos novos destinos de turismo de cinema.

This article analyzes a scene from The return of the king, the last movie of The lord of the rings series, adapted to the movies by Peter Jackson – in pictures from 2001, 2002 and 2003 – from the literary work of J. R. R. Tolkien. The series shows the conflict between the forces of good and of evil, controlled by Sauron, who intends to dominate the Middle-earth with the One Ring, the ring of power. With the purpose of emulating, visually and coherently, the folcloric universe created by Tolkien, Jackson relies on canonical aesthetic resources and relates the opposite sides in the battle for Middle-earth with light and darkness. While Gandalf, the wise wizard of the good, is associated with white and has the light as a weapon, the evil specters (the nazgul) are protected by the shadows and are illustrated in black. The analysis of the rescue of the knights of Gondor – and the progressive ascension of clarity as a predominant element in the scene, as Gandalf gets close to his objective – brings back on new basis, taking into account concepts of the tensive model and the concept of forms of life, the discussion about the semi-symbolic relationship between light and darkness as resources of the plan of expression associated to good and evil., Este artigo analisa uma cena do último filme da saga, O Retorno do Rei, de 2003, da série O Senhor dos Anéis, adaptada para o cinema por Peter Jackson – em filmes de 2001, 2002 e 2003 – da obra literária de J. R. R. Tolkien. A série retrata o confronto entre as forças do bem e as forças do mal, controladas pelo vilão Sauron, que busca dominar a Terra-média com o Um Anel, o anel do poder. Com o objetivo de emular, visualmente e com coerência, o folclórico universo criado por Tolkien, Jackson lança mão de recursos estéticos canônicos, cristalizados, e relaciona os lados opostos na batalha pela Terra-média com a claridade e a escuridão. Enquanto Gandalf, o sábio mago do bem, é associado ao branco e usa a luz como arma, os espectros do mal (os nazgul) se protegem nas sombras e são retratados em preto. A análise do resgate dos cavaleiros de Gondor – e a progressiva ascensão da claridade como predominante na cena, conforme Gandalf se aproxima do objetivo – rediscute, com base em conceitos da semiótica tensiva e do conceito de formas de vida, a relação semissimbólica entre o claro e o escuro como recursos do plano de expressão associados ao bem e ao mal.

The production of cinematographic works is today one of the most powerful marketing tools to increase the flow of visitors, and creating strategies to attract audiovisual productions is one of the most important trends of the global tourism market. It is, therefore, in the context of the film tourism, which runs this reflection which consists, on the one hand, in presenting the state of the art on the subject and, on the other, in the analysis of a case study, which will focus on the film adaptations of a trilogy of literary works. Our choice fell, then, about the movies The Lord of The Rings, because it is a success story within the film and tourism, having put New Zealand on the map of the new film tourism destinations., A produção de obras cinematográficas é hoje uma das ferramentas de marketing mais poderosa para o aumento do fluxo de visitantes, e a criação de estratégias para atrair produções audiovisuais é uma das tendências mais importantes do mercado turístico mundial. É, portanto, no contexto do turismo de cinema, que decorre esta reflexão que consiste, por um lado, na apresentação do estado da arte sobre o tema e, por outro, na análise de um estudo de caso, que irá incidir nas adaptações cinematográficas de uma trilogia de obras literárias. A nossa escolha recaiu, então, sobre os filmes The Lord of the Rings, pois trata-se de um caso de sucesso no âmbito do cinema e do turismo, tendo colocado a Nova Zelândia no mapa dos novos destinos de turismo de cinema.

The production of cinematographic works is today one of the most powerful marketing tools to increase the flow of visitors, and creating strategies to attract audiovisual productions is one of the most important trends of the global tourism market. It is, therefore, in the context of the film tourism, which runs this reflection which consists, on the one hand, in presenting the state of the art on the subject and, on the other, in the analysis of a case study, which will focus on the film adaptations of a trilogy of literary works. Our choice fell, then, about the movies The Lord of The Rings, because it is a success story within the film and tourism, having put New Zealand on the map of the new film tourism destinations., A produção de obras cinematográficas é hoje uma das ferramentas de marketing mais poderosa para o aumento do fluxo de visitantes, e a criação de estratégias para atrair produções audiovisuais é uma das tendências mais importantes do mercado turístico mundial. É, portanto, no contexto do turismo de cinema, que decorre esta reflexão que consiste, por um lado, na apresentação do estado da arte sobre o tema e, por outro, na análise de um estudo de caso, que irá incidir nas adaptações cinematográficas de uma trilogia de obras literárias. A nossa escolha recaiu, então, sobre os filmes The Lord of the Rings, pois trata-se de um caso de sucesso no âmbito do cinema e do turismo, tendo colocado a Nova Zelândia no mapa dos novos destinos de turismo de cinema.