One of the most interesting aspects of J.R.R. Tolkien's stories, especially The Lord of the Rings is the presentation of the multidimensional characters; therefore, the complexity of interpretations concerning their actions, motives, and aims will be manifested from the beginning of the story, until the end. Following the study of a mythic hero's adventure, initiation, and psychological aspects, the present paper focuses on the investigation of Predestinate Call to Adventure. The researcher has benefited the theories of Joseph Campbell, presented in his renowned book The Hero with a Thousand Faces and the supplementary comments of Christopher Vogler. In fact, the researcher's motivation for the work initiated in this regard is to improve the very few previous attempts studied by others, concerning Frodo Baggins' role as the main and the most tragic hero of The Lord of the Rings.
J.R.R. Tolkien (1892–1973) was highly influential in shaping modern fantasy literature and popularising medievalism. Scholarship has examined various aspects of Tolkien's literary imagination in The Lord of the Rings (1954–1955); however, to date, there has been no thorough scrutiny of the significance of aesthetics in his creative works. This paper contends that Tolkien's magnum opus as part of his long‐life myth‐making project was shaped profoundly by the late 18th‐century aesthetics of the sublime. It draws on Burkean physiological sublime to argue that contrary to Kantian rationality, certain Tolkienian landscapes demonstrate the qualities of the natural sublime and generate physical experiences on the observer that accentuates the primacy of emotions over reason. The article proposes a new direction in Tolkien studies by highlighting the aesthetic overtones of Tolkien's engagement with the sublime, which played a significant role in constructing his English mythology.
The presence of the Catholic framework in J.R.R. Tolkien's legendarium has long been the subject of debate. Various Tolkien scholars and literary critics have already written different critical interpretations to consider whether to assign The Lord of the Rings and The Silmarillion to Christian Mythology or not; numerous attempts have been made to clarify this statement. Therefore, the reasons, why it should be included in this category are many and various. There are several examples in Tolkien's The Lord of the Rings that can be studied in relation to Christian themes and motives. Consequently, the aims of this paper are to study the possible similarities of Varda, Queen of the Stars, and Galadriel, the Lady of Light, to the Blessed Virgin Mary in Christian contexts. Moreover, to study the influence of Tolkien's strong faith, which shaped his Catholic imagination, all through his legendarium, and subsequently leads us to observe Tolkien's complete obedience to Catholicism, and especially, his profound devotion to the Blessed Virgin Mary.
In this paper, I examine the theoretical aspects of worldbuilding in Murasaki’s and Tolkien’s imagined worlds and accentuate the role of aesthetic landscape creation through which spatio-temporal layers are negotiated. As a starting point, I refer to Thomas Ryba’s Husserl, Fantasy and Possible Worlds (1990), where he evaluates the believability of secondary worlds via Husserlian phenomenology. To shed light on Ryba’s statement that authors must be “adept at describing the qualities of characters and the world in which they live” (232) through the lens of engagement, I contend that critically acclaimed imagined worlds such as Heian Japan in The Tale of Genji (c.1000 A.D.) and Middle-earth in The Lord of the Rings (1954-1955) demonstrate two fundamental qualities: the physical environments possess aesthetic qualities and the emotional experience of the place is integrated into the fabric of worldbuilding, generating an aura of believability.
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