Some Boethian Themes in J.R.R. Tolkien’s Lord of the Rings

There appear to be quite a few parallels between Tolkien’s The Lord of the Rings and Boethius’s The Consolation of Philosophy (Consolatio Philosophiae), and they seem to concern particularly, though not only, the character drawing in Tolkien’s book. Those parallels are preeminently connected with the fact that both Boethius and Tolkien like to think of the most extreme situations that can befall a human. And both are attached to the idea of not giving in to despair, and of finding a source of hope in seemingly desperate straits. The idea that there is some link between Boethius and Tolkien is naturally not new. T.A. Shippey talks about it in his The Road to Middle Earth, but he concentrates on the Boethian conception of good and evil, which is also of course an important matter, but surely not the only one that links Tolkien and Boethius. On the other hand, it is not my intention to claim that there is something in Tolkien’s book of which it can be said that it would have been absolutely impossible without Boethius. Still, I think it may be supposed that just like Boethian motifs are natural in the medieval literature of the West, so they can be thought of as natural in the work of such dedicated a medievalist as J.R.R. Tolkien.

An Analysis on the Pursuit of Happiness in The Lord of the Rings

Since The Lord of the Rings was adapted by Peter Jackson into trilogy film in 2001-03, it has astounded its critics and gratified its fans and students. Many critical journals or graduation papers have also talked about this massive novel. After doing a lot of reading concerning these reviews, it’s clear that most of them analyze this work using psychoanalytical criticism; myth and archetypal criticism; cultural studies, and recently ecocriticism. Among these theories, psychoanalytic interpretation mainly focuses on Freud’s key ideas, namely the id; ego; and superego. According to Freud’s theory that: “Psychoanalytic literary criticism is not simply about interpreting a text’s protagonists. It also seeks to relate the text to the mind of its author.”(Berg, 2003, p.84). In this circumstance, this paper will probably dig some new insights by using this theory. The paper will follow the protagonist’s inner mind through employing Freud’s some key ideas, such as repression and projection. Based upon psychoanalytic analysis of the protagonists, this paper tries to argue that the three Hobbits can acquire happiness as long as they deal properly with the relationship between themselves and the society. In other words, common people can also push the wheel of history as long as they code well with themselves and the society.

Classical Epic in the Works of J.R.R. Tolkien

<p>The Lord of the Rings has often been described as an 'epic', and although Tolkien drew most famously on Northern mythology in his creation of Middle-earth much of his work also bears similarities to classical epic, both with regard to particular characters and archetypes and to more general themes and motifs. This thesis examines the connections between The Lord of the Rings and the epics of Homer and Virgil, investigating the manner in which these allusions function in Tolkien and how they contribute to our understanding of Middleearth as at least partially an epic world with epic ideals of heroism. At the same time, however, it identifies the ways in which Tolkien changes or subverts such classical ideals and archetypes as they combine with other cultural influences. Following the model established in The Hobbit, The Lord of the Rings begins with the folk-tale heroes and setting of the Shire before gradually moving into an epic world. Not only heroes such as Aragorn, but less obviously epic heroes such as Gandalf, Frodo and Sam, draw frequently on the iconography and motifs associated with specific and general classical figures, while women such as Arwen, Eowyn and Galadriel can similarly be read as part of classical tradition. Moreover, despite the purely fictional nature of Middle-earth in contrast to the historical (if mythologised) cultures of classical epic, The Lord of the Rings contains many examples of epic type-scenes that in classical epic illustrate the correct manner in which a hero should behave both in peace and in battle. The Lord of the Rings' relationship to epic is complex, however, not only employing these heroic and epic conventions but also subverting or superseding them as Tolkien engages with the problems of classical motifs within a very different universe. The heroes and heroines of The Lord of the Rings must navigate codes of behaviour both classical and non-classical, and willingly relinquish those out of place in the new age being born around them. This tension between old and new codes of behaviour is made more explicit during the book's twin 'returns', that of Aragorn to Minas Tirith and the hobbits to the Shire. Although these continue to draw extensively on classical predecessors, most notably Aeneas' prophesised arrival in Latium and Odysseus' famous homecoming, these predecessors are also superseded as Middle-earth moves into the Fourth Age. While The Hobbit moves from folk tale to epic and back again, The Lord of the Rings moves from folk-tale to epic to somewhere “beyond the epic” (Flieger 145), and as the book draws to its elegiac conclusion pure classical values become increasingly supplanted by the book’s own heroic code, influenced by many heroic traditions and overwhelmingly by Tolkien's Catholic beliefs. In the end, The Lord of the Rings can perhaps be read as an epic about the passing of epic, and thus an epic for the modern world.</p>

Classical Epic in the Works of J.R.R. Tolkien

<p>The Lord of the Rings has often been described as an 'epic', and although Tolkien drew most famously on Northern mythology in his creation of Middle-earth much of his work also bears similarities to classical epic, both with regard to particular characters and archetypes and to more general themes and motifs. This thesis examines the connections between The Lord of the Rings and the epics of Homer and Virgil, investigating the manner in which these allusions function in Tolkien and how they contribute to our understanding of Middleearth as at least partially an epic world with epic ideals of heroism. At the same time, however, it identifies the ways in which Tolkien changes or subverts such classical ideals and archetypes as they combine with other cultural influences. Following the model established in The Hobbit, The Lord of the Rings begins with the folk-tale heroes and setting of the Shire before gradually moving into an epic world. Not only heroes such as Aragorn, but less obviously epic heroes such as Gandalf, Frodo and Sam, draw frequently on the iconography and motifs associated with specific and general classical figures, while women such as Arwen, Eowyn and Galadriel can similarly be read as part of classical tradition. Moreover, despite the purely fictional nature of Middle-earth in contrast to the historical (if mythologised) cultures of classical epic, The Lord of the Rings contains many examples of epic type-scenes that in classical epic illustrate the correct manner in which a hero should behave both in peace and in battle. The Lord of the Rings' relationship to epic is complex, however, not only employing these heroic and epic conventions but also subverting or superseding them as Tolkien engages with the problems of classical motifs within a very different universe. The heroes and heroines of The Lord of the Rings must navigate codes of behaviour both classical and non-classical, and willingly relinquish those out of place in the new age being born around them. This tension between old and new codes of behaviour is made more explicit during the book's twin 'returns', that of Aragorn to Minas Tirith and the hobbits to the Shire. Although these continue to draw extensively on classical predecessors, most notably Aeneas' prophesised arrival in Latium and Odysseus' famous homecoming, these predecessors are also superseded as Middle-earth moves into the Fourth Age. While The Hobbit moves from folk tale to epic and back again, The Lord of the Rings moves from folk-tale to epic to somewhere “beyond the epic” (Flieger 145), and as the book draws to its elegiac conclusion pure classical values become increasingly supplanted by the book’s own heroic code, influenced by many heroic traditions and overwhelmingly by Tolkien's Catholic beliefs. In the end, The Lord of the Rings can perhaps be read as an epic about the passing of epic, and thus an epic for the modern world.</p>

Imagining 9/11: Blockbuster Hollywood Cinema as Cultural Violence from 1996-2003

<p>This thesis explores the relationship between blockbuster cinematic violence and its historical context in the period surrounding the events of September 11, 2001. It charts the trajectory of violence by showing that screen violence in successful blockbuster cinema responds to historical developments. Violence in this thesis is defined according to the tripartite definition of violence articulated by peace studies theorist Johan Galtung. In order to analyse the historical positioning of the violence in the blockbusters being analysed, tripartite violence has been fused with the diagnostic critique of cultural theorist Douglas Kellner, which “uses history to read texts and texts to read history” (Media 116). By synthesising the two theoretical frameworks in this way, the diagnostic critique becomes violence-calibrated, and can be readily deployed to discern the ways in which blockbuster screen violence engages with the historical context of the text. The texts analysed represent the top grossing film from each year from 1996 to 2003, a period selected for its political relationship to 9/11. The eight films analysed are: Independence Day, Titanic, Saving Private Ryan, Star Wars: Episode I – The Phantom Menace, Dr. Seuss’ How the Grinch Stole Christmas, Harry Potter and the Sorcerer’s Stone, Spider-Man, and The Lord of the Rings: Return of the King. This thesis shows that the films from the pre-9/11 period articulate a clear “dream” of a world that is defined in binary terms with a good Self in opposition to an evil Other that is always external. The trends found in the violent dreams begin to shift with The Grinch as the relationship between the Self and Other changes, but the transformation does not fully manifest itself until the post-9/11 period when the films are marked by paranoia stemming from the repeated appearance of an Other than can pass as the Self, and ultimately a Self that behaves like the Other. While the violence that is found in the pre-9/11 films “dreams” of the Bush response to 9/11, the post-9/11 films ultimate envision a future that the War on Terror could not deliver. In the end, this thesis will develop a methodology that can be used to explore blockbuster cinematic violence in terms of the nuances that exist between the three types of violence Galtung articulates: direct, structural, and cultural.</p>

Imagining 9/11: Blockbuster Hollywood Cinema as Cultural Violence from 1996-2003

<p>This thesis explores the relationship between blockbuster cinematic violence and its historical context in the period surrounding the events of September 11, 2001. It charts the trajectory of violence by showing that screen violence in successful blockbuster cinema responds to historical developments. Violence in this thesis is defined according to the tripartite definition of violence articulated by peace studies theorist Johan Galtung. In order to analyse the historical positioning of the violence in the blockbusters being analysed, tripartite violence has been fused with the diagnostic critique of cultural theorist Douglas Kellner, which “uses history to read texts and texts to read history” (Media 116). By synthesising the two theoretical frameworks in this way, the diagnostic critique becomes violence-calibrated, and can be readily deployed to discern the ways in which blockbuster screen violence engages with the historical context of the text. The texts analysed represent the top grossing film from each year from 1996 to 2003, a period selected for its political relationship to 9/11. The eight films analysed are: Independence Day, Titanic, Saving Private Ryan, Star Wars: Episode I – The Phantom Menace, Dr. Seuss’ How the Grinch Stole Christmas, Harry Potter and the Sorcerer’s Stone, Spider-Man, and The Lord of the Rings: Return of the King. This thesis shows that the films from the pre-9/11 period articulate a clear “dream” of a world that is defined in binary terms with a good Self in opposition to an evil Other that is always external. The trends found in the violent dreams begin to shift with The Grinch as the relationship between the Self and Other changes, but the transformation does not fully manifest itself until the post-9/11 period when the films are marked by paranoia stemming from the repeated appearance of an Other than can pass as the Self, and ultimately a Self that behaves like the Other. While the violence that is found in the pre-9/11 films “dreams” of the Bush response to 9/11, the post-9/11 films ultimate envision a future that the War on Terror could not deliver. In the end, this thesis will develop a methodology that can be used to explore blockbuster cinematic violence in terms of the nuances that exist between the three types of violence Galtung articulates: direct, structural, and cultural.</p>

Cultural Representation of New Zealand's Landscapes in the Films of The Lord of the Rings and its Implications for Tourism

<p>Filmic images influence how we see the world and filmic tourists visit places to experience the image they have seen on the screen. New Zealand is an example of a destination that has embraced the relationship between film and tourism. Through its box-office success and the associated tourist promotions, The Lord of the Rings (TLotR) film trilogy has exposed New Zealand's landscapes to a global audience of potential travellers. This study analyses the landscape portrayal in the first and second film of TLotR and filmic tourists' experiences of these landscapes. As with many other film tourism destinations, the screen locations are a mix of real landscapes, film sets, and digital enhancements. Thus, the tourist will not necessarily be able to experience the landscapes of the films. This results in implications regarding the sustainability of film tourism and tourism management. The study employed an overall interpretive approach to analyse the landscape portrayal in the films and filmic tourists' experiences. Triangulation was used to reveal iconic landscapes of the films. Empirical research was undertaken with three tourism operators offering TLotR themed products: a half-day tour of the Hobbiton location in Matamata, a half-day jeep safari tour around Queenstown, and a multi-day tour of 'New Zealand as Middle-earth' for TLotR enthusiasts. Filmic tourists' experiences of former TLotR film sites are explored in these case studies. The cultural landscapes portrayed in the films are a combination of actors' performances, narratives in the plot, film sets and digitally generated images. New Zealand's landscapes were used as geography, metaphor and spectacle as part of the narrative. This study determined that Hobbiton, Rivendell and Edoras were the three main iconic landscapes of the films. The findings show that the more perfect the representation of hyper-reality in the tours, the higher the satisfaction and the more enhanced the tourist experience. Filmic tourists desire to step into the film set and to be part of the film when re-enacting film scenes. In addition, guides integrate stories about the challenge of filmmaking or behind-the-scenes' anecdotes, which served to enhance the fascination and 'authenticity' of the experience. There is still a need for more information and support to ensure high quality interpretation and guiding given the importance of these aspects in mediating tourist experience and informing resultant levels of satisfaction. By better understanding how filmic tourists experience these cultural landscapes, tourism operators and destination marketers can better meet expectations, thereby expanding the beneficial effects of film tourism on destinations.</p>

Cultural Representation of New Zealand's Landscapes in the Films of The Lord of the Rings and its Implications for Tourism

<p>Filmic images influence how we see the world and filmic tourists visit places to experience the image they have seen on the screen. New Zealand is an example of a destination that has embraced the relationship between film and tourism. Through its box-office success and the associated tourist promotions, The Lord of the Rings (TLotR) film trilogy has exposed New Zealand's landscapes to a global audience of potential travellers. This study analyses the landscape portrayal in the first and second film of TLotR and filmic tourists' experiences of these landscapes. As with many other film tourism destinations, the screen locations are a mix of real landscapes, film sets, and digital enhancements. Thus, the tourist will not necessarily be able to experience the landscapes of the films. This results in implications regarding the sustainability of film tourism and tourism management. The study employed an overall interpretive approach to analyse the landscape portrayal in the films and filmic tourists' experiences. Triangulation was used to reveal iconic landscapes of the films. Empirical research was undertaken with three tourism operators offering TLotR themed products: a half-day tour of the Hobbiton location in Matamata, a half-day jeep safari tour around Queenstown, and a multi-day tour of 'New Zealand as Middle-earth' for TLotR enthusiasts. Filmic tourists' experiences of former TLotR film sites are explored in these case studies. The cultural landscapes portrayed in the films are a combination of actors' performances, narratives in the plot, film sets and digitally generated images. New Zealand's landscapes were used as geography, metaphor and spectacle as part of the narrative. This study determined that Hobbiton, Rivendell and Edoras were the three main iconic landscapes of the films. The findings show that the more perfect the representation of hyper-reality in the tours, the higher the satisfaction and the more enhanced the tourist experience. Filmic tourists desire to step into the film set and to be part of the film when re-enacting film scenes. In addition, guides integrate stories about the challenge of filmmaking or behind-the-scenes' anecdotes, which served to enhance the fascination and 'authenticity' of the experience. There is still a need for more information and support to ensure high quality interpretation and guiding given the importance of these aspects in mediating tourist experience and informing resultant levels of satisfaction. By better understanding how filmic tourists experience these cultural landscapes, tourism operators and destination marketers can better meet expectations, thereby expanding the beneficial effects of film tourism on destinations.</p>

Arthurian Influence in the Lord of the Rings

J.R.R. Tolkien's beloved Lord of the Rings has been considered one of the greatest works of English literature. This work analyzes Tolkien's inspiration and motivation in his writing process by situation middle-earth in the context of postwar England. Evaluation Tolkien's letters reveal his affinity for Arthurian legend, and his desire to reinvent it to create a myth that was distinctly English. A comparison of the two bodies of legend reveals similar Archetypal elements and characterizations that give Tolkien's legendarium credibility and weight. Through Sauron's destruction of middle-earth, Tolkien reveals his concerns for a modern, industrialized England and the consequences of war. In The Lord of the Rings, Tolkien reinvents the legend of Arthur into a synthesis of English national identity and exigency for the future.

On the Untranslatability of Cultural Aspects of Myth: An Investigation of Tolkien’s The Lord of the Rings

This study aims to explore the strategies which Persian translators of English myth works have adopted in dealing with cultural aspects. In addition, this study scrutinizes the culture-related problems which have led to untranslatability in myth translation. The analyzed parts were extracted from the first book of The Lord of the Rings (2012) by Tolkien and its two Persian translations by Alizadeh (2003) and Amini (2004). This comparative analysis was done based on the characteristics of adequate translation proposed by Newmark (1998) and Baker (1992), and also adequate discoursal translation components proposed by Lotfipour (2015). The most attention is on the translating of proper names, the genre of the work, and the author’s style about the cultural dimension of the work. The results revealed that the cultural knowledge of the translator about myth, origins, and features, affects the adequacy of translation. In addition, the main finding of this study proved that certain factors influence the translator’s performance to produce an adequate myth translation.