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An essay is presented entitled "The Essay on the Istari." It offers index of names for the book "The Lord of the Rings," where the character Gandalf has been attributed of having similarities with Merlin figures but is not considered as a carbon copy of previous exemplars. It explores the ubiquitous wizard figure of Merlin from the medieval times.

The article discusses the Augustinian and Manichean concepts of evil and reflects on Alexandxer de Tocqueville's "peculiar" modern incarnation of evil. Saint Augustine of Hippo described evil as "merely a name for the privation of good." Manicheanism, on the other hand, viewed evil as coequal with a good God and no less powerful. The article also examines the concept of evil as expressed in J. R. R. Tolkien's "Lord of the Rings" trilogy.

The test for a wizard, already the wisest of the wise, is to resist arrogance and serve those less wise. If he passes this test, a time will come when he must willingly accept his own death in order to be transformed into something still greater. In Tolkien's great story, Lord of the Rings, the wizard Saruman fails his tests, while Gandalf passes with flying colors. Where once Saruman was the stronger of the two, now Gandalf easily surpasses Saruman's powers. Gandalf the Grey becomes Gandalf the White, taking on Saruman's mantle. When the dwarf Gimli comments that Gandalf is dressed all in white now, Gandalf replies “Yes, I am white now. Indeed I am Saruman, one might almost say. Saruman as he should have been.” [ABSTRACT FROM AUTHOR]

An essay is presented on the writing style of China Miéville. Reference is made to several of his writings which have the most in common with J.R.R. Tolkien's "The Lord of the Rings." The author criticizes Miéville's work, his writing styles and the characters in his stories citing some of his books whose characters are other than human. Bas-Lag's preoccupation with ugliness is pointed to in a world that is utterly thin and perfunctory. Comparison between Tolkien and Miéville is presented in relation to humanity and morality.

The article discusses what literary elements distinguish fantasy literature and motion pictures from other genres. The author notes the fictional nature of fantasy and comments that magic and imagination are not required elements for a work to be classified as fantasy. He notes how fantasy works such as the "Lord of the Rings" book series are inspired by mythology and suggests this element distinguishes fantasy from horror and science fiction literature.

The article discusses the philosophy of author J.R.R. Tolkien. Borrowing concepts from Gerard Manley Hopkins and John Duns Scotus, Tolkien developed the concept of recovery, in which a person is able to interact with the world as though they have never done so before. Using Mark Haddon's novel "The Curious Incident of the Dog in the Night-Time" the article details how recovery can lead people to seeing things differently rather than just glancing at them and accepting it for what it is. The author also uses examples from Tolkien's "Lord of the Rings" series to prove his point.

A literary criticism of the J.R.R Tolkien's books "The Hobbit" and "The Lord of the Rings" is presented. It delves into the symbolic significance of the characters such as Bilbo Baggins, Gollum, and Gandalf. It discusses the fictitious places in the books which include the Middle-earth. The critic says that Tolkien doubted as to whether the readers would ever have the access to his narratives about Middle-earth.

The article discusses the interpretation of writer J.R.R. Tolkien about lust as the seventh deadly sin. Accordingly, the seven deadly sins are the means which Tolkien most often chooses to designate and examine the process whereby human nature is ruined or twisted from within. It states that the lust actually appears on Tolkien's "Lord of the Rings" and his other works. Tolkien defines lust as deviance from the expected sexual associations such as uncontrolled sexual passion, rape, infidelity, promiscuity, or sexual perversion. It states that Tolkien's interpretation of lust, which is present on his many books, is synonymous with greed, or strong desire. It adds that Tolkien refers lust as strong desire to possess material things.

This article explores how author J. R. R. Tolkien developed a courtship centered on Éowyn, a character in the novel "The Lord of the Rings," that is imbued with the same wartime ethos that surrounded the young women of World Wars I and II. Éowyn's relationships with Aragorn and Faramir cast her in the dual roles of war bride-left-behind and foreign war bride. The principles that lie behind the concept of the war bride make it a timeless phenomenon. The analogy or comparison of Éowyn to the war brides of Tolkien's time adds further proof to the influence of the World Wars on Tolkien's works.

This article discusses how author J. R. R. Tolkien took the mixed message of the Anglo-Saxon poem "The Battle of Maldon," with its positive and negative exempla of heroic action, and shaped a unified presentation of heroic responsibilities in the novel "The Lord of the Rings." It explores Tolkien's exploration and adaptation of the issues presented in the poem, as well as the parallels of situation between the poem and the novel. It also discusses several episodes of heroism in the book. A brief background on the poem is included.

This article explores the influence of Andrew Lang's fairy tale collection "The Green Fairy Book" on J. R. R. Tolkien, author of the novel "The Lord of the Rings." The fairy tales that Lang chose gave Tolkien examples of the kinds of magic and wonder he would want for his own work, helping to shape his tastes in fantasy. Elements in Tolkien which are related to elements in Lang's fairy tale collections are dragons, goblins and wizards. The article describes how Tolkien identified himself as one of Lang's intended audience.

This article discusses the moral fate of Radagast the Brown, a fictional character in J. R. R. Tolkien's stories. Radagast plays a key, intermediary role in communications between the characters Gandalf and Saruman. Radagast's role takes on a telling consequence with respect to how Tolkien thought about the novel "The Lord of the Rings" while he was writing it and afterwards. His odd lack of notoriety makes him a slight anomaly in Middle-earth. The article also explores Tolkien's sources for the name and character of Radagast.

This article explores the nature of the sacrifice that Aragorn, a character in J. R. R. Tolkien's novel "The Lord of the Rings," makes as heir and king in order to heal the lands of Middle-earth and its people and how this sacrifice helps him assert his legitimacy as the rightful or sacral king. It discusses Aragorn's choosing of the time and manner of his death, the instances of self-sacrifice which mark Aragorn's journey to his ascension and how Aragorn's healing skills serve to substantiate his right to the kingship.

The curiosity of childhood too often dies as we grow older, and we lose our "sense of wonder" about the world around us. The Hobbits Meriadoc Brandybuck (Merry) and Peregrin Took (Pippin) retain that childlike curiosity throughout the entire quest of The Lord of the Rings. As we follow them, we delight in their unceasing enthusiasm and humor, and most of all: curiosity. They offer a path that we can all follow to our advantage, a corrective to the hardening of the imagination that too often happens as we grow older, a path that leads to accomplishment and eventually to wisdom. [ABSTRACT FROM AUTHOR]

This article is the first installment of the serialization of Frodo's Quest, a book that describes seven paths of the hero in J. R. R. Tolkien's The Lord of the Rings as models of the path of individuation. In this introductory chapter, the history and significance of The Lord of the Rings are summarized, and the seven paths are briefly introduced: (1) the Path of Curiosity (Merry and Pippin); (2) the Path of Opposites (Gimli and Legolas); (3) the Path of the Wizard (Gandalf); (4) the Path of the King (Aragorn); (5) the Path of Failed Individuation (Gollum); (6) the Path of Love (Sam); and (7) the Path of Transcendence (Frodo). The second installment of this book follows in this issue. [ABSTRACT FROM AUTHOR]

An underappreciated aspect of The lord of the rings (TLOTR) by JRR Tolkien is in how the author dealt with death, longevity and ageing in the work. During his early years, Tolkien endured first the passing of both parents and then the deaths of most of his friends during the First World War. It was not surprising that a search for the meaning of life and death became a preoccupation of Tolkien. Tolkien's Roman Catholic faith underpinned his thoughts about mortality. He also found solace in Northern myths that held that there was intrinsic worth to courage in the face of our inevitable demise. Along with his colleague, CS Lewis, he took an opposing stand to JBS Haldane, Olaf Stapledon and other precursors of transhumanists, who felt that bioengineering would allow us to extend human life span virtually without limit. Although Tolkien acknowledged the urge to try to escape our mortality, TLOTR is a story about accepting the need to let go with all of the attendant regrets and sorrow. [ABSTRACT FROM AUTHOR]

Abstract: The Lord of the Rings is the most famous work of Tolkien, the writer, linguist, medievalist and professor of English literature. Some consider it as a masterpiece, others as a childish tale, but the novel leaves nobody indifferent. Thirty years after its publication, it still fascinates. The aim of the following work is to approach the autobiographical dimension of the novel, with a psychodynamic perspective and through the oedipal paradigm. Therefore, the released elements are studied under a double analytical and structural prospect, then emphasised relatively to the biographical data of the author and to his cultural environment. [Copyright &y& Elsevier]

The article offers a comparison of J. R. R. Tolkien's characters Beorn and Tom Bombadil in "The Hobbit" and "The Lord of the Rings" respectively. A brief background of the characters is provided. It says that Beorn has magical power and self-assurance while the latter has physical power as well as intensity. It notes that both characters represent a certain type of heroic figure who is autonomous, living in isolation but not isolated.

The article analyzes "Mount Doom," a chapter of the book "The Lord of the Rings," by J. R. R. Tolkien, as a literary version of an international tale "Aarne-Thompson Type 1137: The Ogre Blinded (AT 1137)," that originated in oral tradition. It compares the work of Tolkien with variants of AT 1137 by Homer and J. F. Campbell. Also illustrated are the ways in which the tale was modified. It adds that Tolkien had made a situation where form and motif held a strong affinity to type 1137.

The article analyzes the history of Galadriel, a character in the book "The Lord of the Rings," by J. R. R. Tolkien. Her role in "The Silmarillion," published in 1977 after the death of the author, is discussed. It also considers the accounts of "The History of Galadriel and Celeborn," which Tolkien's son Christopher included in "The Unfinished Tales," published in 1982. It adds that one remarkable feature of "The Shibboleth of Fëanor" is the emphasis placed on the pride of Galadriel.

The article examines the role of Galadriel, the fictitious Elven Queen of "The Lord of the Rings," by J. R. R. Tolkien, in the text of the book. It looks at the similarities of the queen with the treatment of character Morgan le Fey in "Sir Gawain and the Green Knight (SGGK)," a tale that the author translated from Middle English. It notes that Galadriel is suspected of being dangerous due to her discomforting soul searching. A summary of SGGK is also provided.

The article applies the concept of the gaze to the examination of the relationship of audience to text in the film adaptation of J. R. R. Tolkien's "The Lord of the Rings," directed by Peter Jackson. It says that the innovative cinematography and computer generated imagery restrict the unbounded imagination of readers. Also noted is film theorist Frederic Jameson making a connection between power dynamics and the visual image in his book "Signatures of the Visible."

The article discusses how modern criticism has misinterpreted the role of women in the "Lord of the Rings," by J. R. R. Tolkien. It says that a number of modern scholars disregard the fantasy epic because of its apparent lack of depth. It states that the author stresses the significance of women as healers or protectors of Middle-earth and the human spirit in his work. Also noted are female characters who assist in fulfilling the author's theme of peace in the book, including Arwen Evenstar.

The article examines the role of women in combat in the works of authors J. R. R. Tolkien and C. S. Lewis. It cites history and literature record examples of female warrior figures, including the Amazons. It notes the limited number of female characters in Tolkien's "The Lord of the Rings." It also adds that earliest depictions of Lewis divide women into innately good females who are essentially disembodied spirits and innately bad ones who serve primarily as temptations to men.

The author examines the themes of medieval feudalism and fidelity in the book "The Lord of the Rings," by J. R. R. Tolkien. She says the social structure of Middle-earth in the book is based on medieval historic models. She also states that the imaginative vision of Tolkien stresses the significance of the role of the vassal, the loyal follower and the everyman of medieval society. Also noted are characters chosen to show the importance of accepting the role of vassal, including Faramir.

The now well-established fan tradition of “slash fiction” locates homoerotic undercurrents beneath the surface of popular films, television serials, and books, from Star Trek to Pride and Prejudice. The encoding/decoding model of media production and reception has recently been used to explain how enthusiasts of slash fiction are able to discern subtexts invisible to the majority of readers and viewers, with those enthusiasts’ discussions of texts being cited as evidence; here, it is argued that this mis-characterises complex rhetorical manoeuvres as transparent reports on private comprehension processes. A sample of online fan discourse regarding one particular homoerotic pairing is analysed, it being proposed that reception study as a whole must re-conceptualise the data upon which it most heavily relies; namely, spoken or written reports of encounters with texts. This forms part of an ongoing project employing discursive psychology and the study of argumentation to investigate reading and textual culture. [ABSTRACT FROM AUTHOR]

A literary criticism is presented about the significance of female characters in defining power in J. R. R. Tolkien's trilogy "The Lord of the Rings." He argues that female's choice of love over pride underpins their representation of power and salvation. Topics include a refutation of criticism that Tolkien's works portray sexist stereotypes of women, as well as the biblical allusions in his work to the Virgin Mary and Jesus Christ.

The article explores the story entails with the book "The Lord of the Rings," written by John Ronald Reuel Tolkien as proposed to fit in the narrative theory which contrasts to old literary analysis. Previous scholars have neglected the importance of the account written by the author believing that such work has no much value. However, latest studies has recognized Tolkien as worth of person to reconsider such as what appeared in several issues of the periodical "Modern Fiction Studies." The narrative outlook of the story such as the part of Frodo and Sam as noted is worth considering what is presented in the sequel part "The Hobbit."

The article describes fictitious character Tom Bombadil of J. R. R. Tolkien's book "The Lord of the Rings." The character was intentionally put into the story that he does not fit into. The problem in Bombadil's character in the rest of the book became evident when the result of its first radio dramatization did not impress Tolkien. According to Tolkien, Bombadil expresses the spirit of knowledge and an embodiment of an idea.

The article describes fictitious character Frodo Baggins of J. R. R. Tolkein's book "The Lord of the Rings." Frodo is said to be like Bilbo in "The Hobbit" and their greatest similarity is the life of seclusion they share. Frodo's isolation may be because he does not have any close relatives and his life is filled with hiding. Frodo has learned the lesson in which he has been resistant to, the lesson about community and the significance of not always trying to be alone.

The article focuses on the role of female wise warriors in the works of authors J. R. R. Tolkien, C. S. Lewis and J. K. Rowling. Tolkien's Éowyn in "The Lord of the Rings" speaks for many women who are able to engage in battles. Lewis' Orual in "Till We Have Faces" proves herself a great warrior and queen. Hermione Granger in Rowling's "Harry Potter" series is another warrior figure who knows when to fight and understands the aggressive force and defensive action.

The article focuses on the effects of First World War on the work of several authors. The "The Worm Ouroboros," by E. R. Eddison, speaks directly to the legacy of brutal futility of the war. J. R. R. Tolkien's "The Lord of the Rings" stresses the meaningful sacrifice in the context of war. Lord Dunsany's "Don Rodriguez: Chronicles of Shadow Valley" reflects his conviction that romance can resonate in the post-war world.

The author focuses on the experiences of author J. R. R. Tolkien during World War I and its similarities to his works. His best friends Rob Gilson died in the Battle of the Somme while Geoffrey Smith died from a gas gangrene in northern France. The character of Frodo in "The Lord of the Rings" was influenced by Tolkien's war experiences in which the character suffers from post-traumatic stress disorder. The book "The Hobbit" is a tale written before the outbreak of World War II.

The article examines the influence of the response of Pope Pius X and the Catholic Church to modernism on the works of author J. R. R. Tolkien. In his letter dated November 1, 1963, Tolkien addresses his son's crisis of faith and expresses concern to those who attempt to deconstruct the historical Jesus. Tolkien's books "The Hobbit" and "The Silmarillion" reflect the arguments made by the Pope on anti-modernism. Several characters on "The Lord of the Rings" illustrate the Pope's descriptions of Modernists.

The article focuses on the works of author J. R. R. Tolkien. Tolkien's works are related and focus on the influences of Norse and Germanic mythology. The style of his poetry were influenced by Anglo-Saxon. He brings to modern readers the ideas, the style and the atmosphere of the ancient poets in his books "The Lord of the Rings," "The Hobbit" and "The Silmarillion."

The article focuses on resonances of medieval swords as described in J. R. R. Tolkien's books "The Lord of the Rings" and "The Hobbit." Tolkien called the weapons given to the characters as the northern mythological imagination. The swords of Middle-earth as presented in the books show the influence of famous literary, mythological and historical weapons from northern Europe. The association of the weapons with particular heroes reflect on the nature of heroism in Tolkien's work.

The article discusses how the myth and song intersect in the "The Hobbit," the "Lord of the Rings" trilogy by J. R. R. Tolkien, and "The Road Goes Ever On," by Donald Swann. The author suggests several ways to relate song and myth, which can inform music education, beyond the values of studying music mythically. It has been shown that the importance of song in the Tolkien narrative draws attention to music qua music and alternative means of knowing the symbol systems at the heart of the general education curriculum. The author also noted some of the potentials and criticisms of this focus on myth and song and how those criticisms may be met.

J.R.R. Tolkien described an entire Age of history in his main opus, The Lord of the Rings . In doing so, he told miners a lot about their past, much before any written record was kept or handed down. At a time when many people are wondering about the future of the mining industry, the possible depletion of natural resources and the modern concept of “sustainable development”, it is interesting to analyse the evolution of the mining industry, not just within the last half of the century, but over the last two Ages. Maybe there will be some surprises, but maybe also some reassurances that although many changes and new ways of thinking have occurred over the Ages, mining activities have continued and survived even through the changes of the miners race from the race of Dwarves to the race of Men. Big People: name given by the Hobbits and Dwarves to Men Fourth Age : current age of the world. It started at the very end of the last tale of “The Lord of the Rings”, when Arwen, the Elven Star of her People, vanishes from the world, thus definitely ending the abode of Elves in Middle Earth and the Age of the Elves. Middle Earth : As the Fourth Age has its “world”, the “Third Age” had its Middle Earth. It is difficult to locate it now, though some regions, such as “the County” for example, seem to have survived in many respects in our actual Scotland.1 Miners : when not preceded by a qualification, this term designates Dwarves in the Third-Age as well as the Big-People of the Fourth-Age of Middle-Earth. Moria-silver or Mithril or True-Silver : “its worth was ten times that of gold, and now it is beyond price (...). It could be beaten like copper, and polished like glass, and the Dwarves could make of it a metal, light and yet harder than tempered steel. Its beauty was like to that of common silver, but the beauty of mithril did not tarnish or grow dim.”2 Third Age : the Age previous to this Age. The acts and glory of the Third-Age are told in the tales “Bilbo” and in “The Lord of the Rings”. [ABSTRACT FROM AUTHOR]

Compares the books "The Lord of the Rings," by J. R. R. Tolkien and "The Inferno," by Dante Alighieri. Use of references from Alighieri by Tolkien to enhance the spiritual dimension of his novels; Examples of similarities between the books; Resemblance of Tolkien's orcs with that of Alighieri's demons.

The 20th century’s most popular novelist? – the third of three articles. The year 2005 marks the 50th anniversary of the publication of J.R.R. Tolkien’s prose epic The Lord of the Rings: voted ‘the book of the century’ in a poll conducted in 1997 by the UK book retailer Waterstones and ‘the UK’s best loved book’ in a BBC survey carried out in 2003. TLOTR was adapted to the screen in 2001 by the New Zealand-based director Peter Jackson and released, to widespread acclaim, in three parts between 2001 and 2003. The present is the third of three linked discussions of Tolkien’s work and the media through which it has been channelled (text and film), and of why it has been so phenomenally popular. [ABSTRACT FROM AUTHOR]

Focuses on fan fictions about Rosie Cotton, a hobbit character in the book series "The Lord of the Rings," by J. R. R. Tolkien. Avoidance of the task of explaining the relationship of the character with her husband by slash writers; Focus of essayist Cynthia L. McNew on the importance of feminine characters in the series; Role of the Internet and the film adaptation of the book in the growth of Rosie Cotton fan fiction.

Looks at the use of Arthurian motif in the Old Forest episode of the book series "The Lord of the Rings," by J. R. R. Tolkien. Exhibition of the behavior of medieval courtly society by the hobbits in the book series; Comparison between Arthurian knights and the hobbits; Depiction of the Middle Ages in the author's use of the words such as forest and path.

Focuses on the use of "Beowulf" by author J. R. R. Tolkien for some scenes in "The King of the Golden Hall chapter of his book series "The Lord of the Rings." Differences between the mode of transportation used by the literary characters; Potential use of a passage from "Beowulf" in Tolkien's creation of the character of Hámas; Connection of Tolkien's Théoden with King Hrothgar of "Beowulf."

The year 2005 marks the 50th anniversary of the original publication of J. R. R. Tolkien's celebrated novel The Lord of the Rings. Voted both ‘the book of the century’ in a poll conducted by the UK book retailer Waterstones in 1997 and ‘the UK's best-loved book’ in a BBC survey carried out in 2003, TLOTR was adapted to the screen in in 2001 by the previously little-known director Peter Jackson and released in three parts between 2001 and 2003 to widespread popular acclaim. The present is the second of three linked discussions of Tolkien's work and the media through which it has been channelled. The first appeared as ‘Why the film version of The Lord of the Rings betrays Tolkien's novel,’ in ET83 (21:3). The third and closing article will appear in ET85 (22:1). [ABSTRACT FROM AUTHOR]

Investigates the public perception of J. R. R. Tolkien's "The Lord of the Rings" in the U.S. during the late 1960s. Reasons why the book has provoked a wide variety of reactions; Legal copyright status of "The Lord of the Rings"; Discussion of how the book related to its rapidly expanding, almost uniformly youthful readership; Elements that underlay some of the hostility more sophisticated readers have displayed toward "The Lord of the Rings."

Focuses on a Cistercian perspective on Tolkien's "The Lord of the Rings." Shedding of light on living the Gospel in a contemplative way; Tale in a mythical pre-Christian world; Spiritual powers of wickedness.

2005 marks the 50th anniversary of the original publication of J. R. R. Tolkien's celebrated novel The Lord of the Rings. Voted both ‘the book of the century’ in a poll conducted by the UK book retailer Waterstones in 1997 and ‘The UK's best loved book’ in a BBC survey carried out in 2003, TLOTR was adapted to the screen in 2001 by the previously little-known director Peter Jackson and released in three parts between 2001 and 2003 to widespread popular acclaim. But does the film version of The Lord of the Rings betray both the letter and the spirit of Tolkien's novel? [ABSTRACT FROM AUTHOR]

In this article, the author analyzes the role of Frodo and Sam, literary characters in the epic novel "The Lord of the Rings," by J. R. R. Tolkien, as epic heroes. Tolkien was inspired by other Western European epics as he completed "The Lord of the Rings," having associated the hero with another central character. The other central character, however, would not achieve heroic status but his presence was to support the hero. The companionship of Frodo and Sam was emphasized in the two volumes of the novel, namely, "The Lord of the Rings: The Two Towers" and "The Lord of the Rings: The Return of the King."

Voted the greatest book of all time in several polls, J. R. R. Tolkien’s Lord of the Rings has been made into three films between 2001-2003 by New Zealand director Peter Jackson with the complete trilogy out on DVD in 2004. Prompted by the question: “What would Tolkien have made of them?” Mark Sinker discusses the films and the books by way of Tolkien’s inspiration William Morris and the English Arts and Crafts Movement’s notion of ‘‘right-making’’. Sinker contrasts the techniques of computer generated imagery (CGI) with Tolkien’s own ethic of the art and craft of writing, looking at Tolkien’s radical contribution to Fantasy as a genre for adults and how ‘right’ story-telling emerges into 21st century culture. [ABSTRACT FROM AUTHOR]