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Tolkien’s The Hobbit and The Lord of the Rings employ traditional races from fairy tales: elves, men and dwarves. These peoples are differentiated principally by their dominant desires, but also by their speech, diet, and realms. I argue that these three races are significantly inspired by the three aspects that characterize the Republic’s tripartite soul—logistikon, thumoeides, and epithumetikon—along with their respective principal desires: desire for truth, greatness, and material goods. For Tolkien, therefore, these races have a corporate or political psychology that explains who they are as peoples in the history of Middle-earth. I offer a comprehensive view of the major races, connecting the dwarves with the appetitive artisans of the Republic, humans with the honour- and glory-seeking auxiliaries, and elves with the ruling guardians. This treatment explains the artisanal dwarves, as well as the battle-loving men (and women) of Rohan and Gondor, and the nostalgic, ‘anamnetic’ condition of exile that distinguishes the elves. Indeed, the condition of elves in many descriptions recalls a Platonic philosopher returned to the Cave, as well as the Neo-Platonic sagacity pictured in the biographies of Plotinus and Proclus.
"Orfeo out of Care"
(2022)
The paper focuses on an example of multiple-step reception: the contribution of the classical story of Orpheus and Eurydice and the mediaeval lay Sir Orfeo to Tolkien’s work.
In the first part, I compare the lay with Virgilian and Ovidian versions of Orpheus’ myth. This comparison shows the anonymous author’s deep knowledge of the ancient texts and complex way of rewriting them through stealing and hybridization.
The lay was highly esteemed by Tolkien, who translated it and took inspiration from it while describing the Elven kingdom in The Hobbit and building the storyline of Beren and Lúthien in The Silmarillion. Through this key tale, Orpheus/Orfeo’s romance has a deep influence also on Aragorn and Arwen’s story in The Lord of the Rings. The most important element that Tolkien takes from the Sir Orfeo figuration of the ancient story is undoubtedly the insertion of political theme: the link established between the recovery of the main character’s beloved and the return to royal responsability.
The second part of the paper is, thus, dedicated to the reception of Sir Orfeo and the classical myth in Tolkien. It shows how in his work the different steps of the tradition of Orpheus’ story are co-present, creating an inextricable substrate of inspiration that nourishes his imagination.
The paper investigates Tolkien’s narratives of decline through the lens of their classical ancestry. Narratives of decline are widespread in ancient culture, in both philosophical and literary discourses. They normally posit a gradual degradation (moral and ontological) from an idealized Golden Age, which went hand-in-hand with increasing detachment of gods from mortal affairs. Narratives of decline are also at the core of Tolkien’s mythology, constituting yet another underresearched aspect of classical influence on Tolkien. Such Classical narratives reverberate e.g. in Tolkien’s division of Arda’s history into ages, from an idealized First Age filled with Joy and Light to a Third Age, described as “Twilight Age (…) the first of the broken and changed world” (Letters 131). More generally, these narratives are related to Tolkien’s notorious perception of history as a “long defeat” (Letters 195) and to that “heart-racking sense of the vanished past” which pervades Tolkien’s works – the emotion which, in his words, moved him “supremely” and which he found “small difficulty in evoking” (Letters 91). The paper analyses the reception of narratives of decline in Tolkien’s legendarium, pointing out similarities but also contrasts and differences, with the aim to discuss some key patterns of (classical) reception in Tolkien’s theory and practice (‘renewal’, ‘accommodation’, ‘focalization’).
Vergil was a fundamental source of inspiration for Tolkien, not only when writing the Lord of the Rings, but also at the beginning of his “world-building”. The Fall of Gondolin, written in 1916, was modeled upon the Aeneid, whose second book shares many similarities with the description of Gondolin’s last day. For instance, the attack that seals the fate of the city takes place during a feast in both works, whereas both protagonists (Aeneas and Tuor) leave wives and sons to fight the enemy and witness deaths of their kings (Priam/Turgon). Other analogies include the topos of the fall of the tallest tower of the city as well as the scenes of Creusa/Idril clasping the knees of her husband and begging him not to go back to the battle. Tolkien chose the Aeneid as his main model because, in his opinion, the Aeneid and The Fall of Gondolin evoked the air of antiquity and melancholy. Vergil’s nostalgia for a “lost world” conveyed in the Aeneid greatly resembles the nostalgia pervading both Tolkien’s writing and life.
The following introduction sketches the status questionis of the research on the influence of Greco-Roman antiquity on the works of Tolkien and provides details about the volume’s theoretical impetus and its broad themes. The editors discuss Tolkien’s complicated and indirect relationship with classical models, underscoring certain emergent themes in volume’s contributions, such as decline, multifocal reception and relationship with nature.
Within Persona 5’s modern Tokyo setting, imagined worlds are created that represent the cognitive processes of various characters. These ‘palaces’ allow the player to explore locations far removed from the game’s real-world, contemporary backdrop. One episode creates an ancient Egyptian world. This article examines how this world has been produced and the different transmedial tropes and other influences that its developers have drawn upon. Many references are recognisable to a broad audience (pyramids, gods, hieroglyphs), while others reflect Japanese pop-cultural trends (in various manga and anime), including the mention of an obscure Egyptian god, Medjed. The intentionally fictitious nature of these ‘palaces’ means that the Egypt that appears in this game is not bound by the need to replicate an ‘accurate’ landscape. Instead, the developers were free to design a gamescape that combines multiple and diverse receptions of ancient Egypt.