This project examines Tolkien's utilisation of migration in his fantasy world-building. Firstly, it explores the utilisation of Medieval tropes, themes and imagery in Middle-Earth, and how this...Show moreThis project examines Tolkien's utilisation of migration in his fantasy world-building. Firstly, it explores the utilisation of Medieval tropes, themes and imagery in Middle-Earth, and how this creates the basis for believable fictional societies. Following this, it shows how the interactions between Tolkien's societies and characters contribute to the development of Middle-Earth as a fantasy world. Finally, these insights become a lens through which to view the theme of race in Tolkien's fantasy, and show a particular conception of racial issues that repeats itself throughout Tolkien's fiction.Show less
Since the field’s inception, the most common method of translation within philology has been the word-for-word, “literal” method of translation. Word-for-word translations have no regard at all for...Show moreSince the field’s inception, the most common method of translation within philology has been the word-for-word, “literal” method of translation. Word-for-word translations have no regard at all for the stylistic features of the source text, and these are therefore largely lost. For a text which relies heavily on stylistic features, such as poetry, this means that a word-for-word translation can actually be an impediment to a full appreciation of the text. Philology and its translation methods originated in the nineteenth century, but more recently, starting from around the 60s and 70s of the twentieth century, the field of translation studies has given rise to alternative ways of thinking about translation. Translation theory has concerned itself with such matters as how best to maintain stylistic features and which word choice might be the most appropriate given the text as a whole. Thus, it seems that there is an opportunity here for a productive cooperation between philology and translation studies. This thesis summarises translation theory which is relevant to the translation of Old English poetry, and directly demonstrates the relevance of translation theory to philology by putting it into practice in the translation of the Old English poem, Deor.Show less
It is believed that Tolkien's knowledge of Anglo-Saxon culture did not only inspire him to write The Lord of the Rings, but that he also reproduced the Anglo-Saxons and their warrior culture in his...Show moreIt is believed that Tolkien's knowledge of Anglo-Saxon culture did not only inspire him to write The Lord of the Rings, but that he also reproduced the Anglo-Saxons and their warrior culture in his works. However, the heroic ethos that the characters live up to in The Lord of the Rings, and in particular oath-taking, diverges intentionally from the heroic ethos and oaths of loyalty in Anglo-Saxon warrior culture. This thesis explores Tolkien’s views on and presentation of oath-making and –breaking in his trilogy of The Lord of the Rings. Tolkien’s works and his representation of oaths are compared to sworn speech in the Old English poems Beowulf and The Battle of Maldon. This thesis shows that Tolkien created a heroic code that is different from the traditional Anglo-Saxon heroic ethos, one in which free will plays an important part. Tolkien made a conscious attempt to reshape the heroic code and attached other values to the oath of loyalty in The Lord of the Rings.Show less
The portrayal of Christ in Old English verse has hardly been analysed in relation to medieval doctrine, Christology (i.e. the person and nature of Christ) in particular. This thesis attempts to...Show moreThe portrayal of Christ in Old English verse has hardly been analysed in relation to medieval doctrine, Christology (i.e. the person and nature of Christ) in particular. This thesis attempts to fill this gap in the literature on Old English Christian verse by offering an analysis of the dual nature of Christ in the Old English poems Christ I (or Advent), Christ II (or The Ascension), Christ III (or Christ in Judgment), The Dream of the Rood (or The Vision of the Cross), and The Descent into Hell. This thesis shows that the Anglo-Saxon poets responsible for these poems heavily rely on biblical and liturgical images, light imagery, and heroic imagery in their depiction of Christ’s divine nature. Christ’s humanity proves a more delicate topic as each poet approaches it in his own way and does so with caution, probably because of the fierce debates about Christ’s human nature in the Anglo-Saxon Church. Moreover, even though in different ways, these poems portray a fully united human-divine Christ, thus conforming to the orthodox principle of Christology that Christ is both fully God and perfectly human. In presenting Christ in such a fashion, the Anglo-Saxon poets refute the active Christological heresies of their time, such as Arianism and Adoptionism.Show less
