Search results

1

Essays on J.R.R. Tolkien

100%

Loborec M.

Libri & Liberi

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2014

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vol. Volume 3

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issue No.2

434-436

EN

A book review of a collection of essays edited by Peter Hunt and tittled "J.R.R. Tolkien: The Hobbit and The Lord of the Rings". This collection was published in 2013.

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J.R.R. Tolkien, Opowieść o Kullervo, tłum. A. Sylwanowicz, pod red. V. Flieger, Warszawa: Prószyński i S-ka, 2016, 272 ss.

100%

Dymel-Trzebiatowska H.

Studia Scandinavica

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2017

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issue 1 (21)

217-222

PL

"W listopadzie 2016 roku dzięki wydawnictwu Prószyński i Spółka na polskim rynku zagościła pozycja szczególna. Anonsowana wcześniej jako nowa książka Tolkiena nie wymagała dodatkowej reklamy i z pewnością wyostrzyła apetyt fanów fantasy, tym bardziej, że oficjalnie skierowana jest do tzw. szerokiego kręgu czytelników. Ten nieznany dotąd w polskim przekładzie utwór, który wychodzi poza ramy tytułowego opowiadania, nie jest jednak fantasy i nie do końca jest też nowy. Proponuje raczej szerokie spojrzenie na rolę, jaką fińska Kalevala odegrała w kreowaniu świata Śródziemia, i właśnie w tym tkwi jego wartość."

3

Krąg mitów arturiańskich w twórczości Johna Ronalda Reuela Tolkiena i Andrzeja Sapkowskiego

89%

Kosiba J.

Tematy i Konteksty

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2022

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vol. 17

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issue 12

363-388

EN

The article is devoted to the functioning of the Arthurian legends in the works by both J.R.R. Tolkien and A. Sapkowski. The universe of Andrzej Sapkowski, who inscribed his own story into the Arthurian myth, makes an impression of being rooted in a long, centuries-old tradition. Tolkien also drew from the legend of King Arthur and the Knights of the Round Table, using the eternal desire for the coming of the king – restorer. The most interesting issue is the different approach to the legend presented by both writers. Tolkien omitted elements "contaminated" with Christian influence, extracting the pure essence of pagan Celticism, while renouncing an inspiration from the medieval history. Sapkowski, on the contrary, openly admits to his fascination, apotheising the Arthurian myth in both its forms – the primitive one and the one filtered through the Christian tradition.

PL

Artykuł poświęcony jest funkcjonowaniu legend arturiańskich w twórczości J.R.R. Tolkiena i A. Sapkowskiego. Uniwersum "Wiedźmina", wpisane w mit arturiański, sprawia wrażenie zakorzenionego w długiej, wielowiekowej tradycji. Tolkien czerpał z legendy o królu Arturze i rycerzach Okrągłego Stołu, wykorzystując przede wszystkim wpisane w kulturę europejską odwieczne pragnienie nadejścia króla - odnowiciela. Najciekawszą kwestią jest odmienne podejście do legendy prezentowane przez obu pisarzy. Tolkien celowo pominął elementy "skażone" wpływami chrześcijańskimi, wydobywając czystą esencję pogańskiej celtyckości, rezygnując jednocześnie z inspiracji średniowieczną historią. Sapkowski, przeciwnie, otwarcie przyznaje się do fascynacji średniowieczną wersją mitu, apoteozując go w obu jego postaciach - pierwotnej i przefiltrowanej przez tradycję chrześcijańską.

4

Anatomia aliteracji. J.R.R. Tolkien jako tłumacz poematu Pan Gawen i Zielony Rycerz

89%

Markiewka T.

Świat i Słowo

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2023

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vol. 41

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issue 2

51-69

EN

The article presents a short comparative analysis of two versions of the English ro mance in verse Sir Gawain and the Green Knight – the original text from the 14th century and its modern translation by J.R.R. Tolkien. The Middle English source text uses a North-West English dialect and is an interesting example of a late revival of alliteration originally rooted in the old English tradition. Alliteration as a formal organizing principle is combined with end-rhymes which complete the structure of the poem; this is both sophisticated and rare. Tolkien’s modern rendition of the romance recognizes and respects its dominant structural elements and attempts to recreate all the formal aspects of the text as adequately as possible. The modern version, while being a translation, acquires the semi-authorial signature of Tolk ien, both a translator and scholar who creates a highly competent and historically informed rendition. The translator’s craft is particularly visible when Tolkien’s ver sion is juxtaposed with the Polish translation by Andrzej Wicher. The linguistic and cultural distance between Polish and English is larger than the distance between the original and the modern rendition in English, and, as a result, the translation of Andrzej Wicher manages to reproduce only a limited number of alliterations and hence loses many artistic features that were essential components of the original text.

5

J.R.R. Tolkien’s Portrayal of Femininity and Its Transformations in Subsequent Adaptations

88%

Łaszkiewicz W.

Crossroads. A Journal of English Studies

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2015

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vol. 11

EN

The aim of the following paper is to examine the portrayal of female characters and femininity in J.R.R. Tolkien’s The Hobbit and The Lord of the Rings. Since Tolkien’s heroines have been both praised and severely criticized, this paper will, first of all, investigate and recapitulate the arguments in favor and against Tolkien’s depiction of women. Secondly, it will be argued that the ambiguity surrounding these fictional characters stems from the writer’s private relationship with women. Finally, the paper will analyze how Tolkien’s ambiguous female characters have fared in various adaptations of his works, particularly in the cinematic versions produced by Peter Jackson and in fan-made art.

6

The giants beneath: Cultural memory and literature in Kazuo Ishiguro’s The Buried Giant

75%

Borowska-Szerszun S.

Crossroads. A Journal of English Studies

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2016

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vol. 15

EN

Drawing on the approaches of discussing the concept of memory within literary studies, as delineated by Erll and Nünning (2005), this paper examines The Buried Giant by Kazuo Ishiguro as a site of ‘memory of literature’ and as a ‘medium of cultural memory’. Reworking the well-known cultural motif of quest, Ishiguro’s novel also evokes associations with the medieval literary tradition, especially Sir Gawain and the Green Knight, and contemporary fantasy literature, understood as a mode of writing rather than a formula. It is also argued that by referring to a fictional past of Arthurian romances rather than historiography, the novel comments on the role of literature in creating cultural remembrance, becoming a specific metaphor of its processes.

7

Istoty żywe, posiadające logos. Nieludzcy mieszkańcy uniwersum Tolkienowskiego i ich języki

75%

Niemojewski M.

Przegląd Humanistyczny

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2015

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vol. 59(3 (450))

13-24

PL

The Lord of the Rings, like all J.R.R. Tolkien’s literary legacy, for years has been popular among faithful readers and is gaining new ones; moreover it is inspiring researchers to formulate theses and develop scientific analyses. These works offer various perspectives of interpretation, but you can list among them three dominant ones: biographical, mythological and religious one, which is a variant of the second perspective. All the research approaches are tied by two motifs, which both by Tolkien critics and by enthusiasts are regarded as key to understanding his artistic legacy: nonhuman inhabitants of Middle-earth and their languages. Reflection on the mutual relationship of these motifs can lead to the disclosure in Tolkien’s work the germ of anthropological imagination.

8

„Mythopoeia” and „Quenta Silmarillion” by J.R.R. Tolkien — God, Faith, Freedom, and the Second Coming

75%

Lichański J. Z.

Literatura i Kultura Popularna

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2016

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vol. 22

23-47

EN

The aim of the study is to describe how such categories as: God, faith, freedom, Second Coming are presented in the works of J.R. R. Tolkien, mainly in the poem Mythopoeia and in the epos Quenta Silmarillion. The author referring to the achievements of the writer, and also literature and tries to show how specified categories are introduced to the aforementioned literary works and what a role they play. The myth that in Tolkien’s work plays an important role, is an expression of hope; analysis also shows that faith and expectation of the Second Coming do not restrict the freedom of heroes. On the contrary — they are its full expression. Another problem is the issue of “kiss of Circe”, which symbolizes Tolkien’s “seduction economic delusion of happiness” and that deprives us of the gift of being free. The thesis of the author coincides with Hermann Brochs note that our hope lies in remaining faithful „Platonic ideas”, which is close conjunction with Christian hope. Otherwise — we will fight in barbarism. Tolkien’s work shows us the essence of said Hope. As said Stefan Lichański “in the process of exploring this love works in a latent, we delude ourselves that everything we get, we owe yourself while here we need the inspirational power of God’s love”.

9

O gdańskich korzeniach J. R. R. Tolkiena

63%

Derdziński R.

Przegląd Środkowo-Wschodni

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2018

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vol. 3

217-250

PL

Ustalenie rodowodu J.R.R. Tolkiena wciąż pozostaje poważnym wyzwaniem dla badaczy jego życia i twórczości. Autorzy najważniejszych biografi i poprzestają zazwyczaj na opisaniu najbliższych, angielskich przodków pisarza, o kontynentalnych zaś, „saksońskich” korzeniach rodu jedynie wspominają. Ten tekst jest oryginalną próbą rekonstrukcji wcześniejszych dziejów rodziny Tolkienów, wywodzącej się – jak wynika z przedstawionych tu badań – z Gdańska oraz obszarów dawnych Prus Książęcych, Królewskich i Wschodnich (dla zachowania spójności wywodu autor posługuje się w całym tekście najpóźniejszą historycznie, ale łatwiej identyfi kowaną nazwą Prusy Wschodnie). Analiza dokumentów źródłowych, odnalezionych przez autora w archiwach Londynu, Gdańska i Krzyżborka (obecnie Sławskoje w obwodzie kaliningradzkim) pozwoliła na uzasadnione włączenie do drzewa genealogicznego twórcy Władcy Pierścieni postaci, których związków z Tolkienem albo wcześniej przekonująco nie dowiedziono, albo w ogóle nie badano. Są to: John Benjamin Tolkien, Daniel Gottlieb Tolkien, Christian Tolkien, Michael Tolkien i należący do najodleglejszy z potwierdzonych protoplastów, Friedrich Tolkien. Autor artykułu wskazuje także pruskie niegdyś miejscowości, które mogły być najstarszymi siedzibami rodu Tolkienów.

EN

J. R. R. Tolkien’s (1892–1973) ancestry has been an obscure matter. From the official biographies of the famous Oxford professor and author we have known only about Tolkien’s great-grandparents and about the general direction of the Tolkien family’s migration in the eighteenth century described as „Saxony”. Ryszard Derdziński has found out J. R. R. Tolkien’s great-great-grandfather’s roots. Discovering crucial genealogical documents from London, Gdańsk (Poland) and Kreuzburg (East Prussia) ie. church records, a Parliament bill, newspaper news, entries in the books from that age etc. Derdziński has proved that John Benjamin Tolkien (1752–1719), J. R. R. Tolkien’s ancestor who lived and died in London and was a watch- and clockmaker, was born in Gdańsk in June 1752. His brother was Daniel Gottlieb Tolkien from London who also was born in Polish Gdańsk in July 1746. They emmigrated from Gdańsk to London in the years 1766–1772. Their father was Christian Tolkien (1706–1791), a craftsman from Gdańsk, brother of a Gdańsk furrier, Michael Tolkien (1708–1795). Both Christian and Michael were born in a little town Kreuzburg in East Prussia (now Slavskoye in Kaliningrad Oblast). Derdziński has found there at least four generations of this line of the Tolkien family and the fi rst known Tolkien from Kreuzburg was Friedrich Tolkien from 1614. The article shows also the genesis of the Tolkien family name and locates its beginning in the fourteenth century and a small village Tolkynen (today Tołkiny in Poland).

10

Między wzniosłością a upodleniem. Obrazowanie oraz znaczenie śmierci w fantasy przygodowej i mitopoetyckiej

62%

Płoszaj J.

Literatura i Kultura Popularna

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2017

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vol. 23

75-91

EN

This article presents and compares methods of description of death in two primary variants of fantasy literature: sword and sorcery and mythopoeic fantasy. The focus is on works of the precursors of fantasy literature — Robert E. Howard (Conan the Barbarian series) and John R.R. Tolkien (The Lord of the Rings, Silmarillion), and texts of authors who creatively developed two primary types of fantasy literature — Fritz Leiber (Fafhrd and the Gray Mouser cycle) and Ursula K. Le Guin (Earthsea cycle). The analysis is divided into two parts. The first one describes methods of presentation of death and their functions in sword and sorcery literature. In this variant of fantasy many literary images of death can be found, which focus particularly on its biological aspects. The next part shows analogical elements in mythopoeic fantasy, where the descriptions of death are inspired by the medieval chansons de geste. The article shows important differences between methods of presenting of death in sword and sorcery and mythopoeic fantasy and between functions of death in this two primary types of fantasy literature. In sword and sorcery the descriptions of death have great importance in the adventure plot structure, because they are connected with activities and adventures of the main character. In mythopoeic fantasy the kind of a character’s death often shows moral condition of this character. Moreover, death in mythopoeic fantasy is important for the balance and stability of created world.

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1 Studia Scandinavica

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