This is the third post showcasing the work of some of my students in my Tolkien and medievalism class this year. You can find Part 1 and Part 2 at these links. As I’ve explained in previous posts, I give my students the option of creating an adaptation in any medium of Tolkien’s work or of a medieval text and then writing an analysis of what they have done.
Today’s feature is by Rebecca Foster, whose video, “Misty Mountains,” appears here with her permission. Rebecca takes as her inspiration the song “Far Over the Misty Mountains Cold” in The Hobbit. She wanted to represent how the song takes Bilbo into his imagination, which she illustrates with her watercolours to accompany the poem. Her essay discussed Tolkien’s ideas on imagination, the relation between Primary and Secondary worlds, and included research on Tolkien’s artwork — perhaps you’ll detect his influence!
“Misty Mountains.” Copyright Rebecca Foster. Posted with permission.
Anna Smol, “Adaptation as Analysis: Creative Work in an English Classroom.” Fandom as Classroom Practice: A Teaching Guide, edited by Katherine Anderson Howell, U of Iowa P, 2018, pp. 17 – 31 and 147-50.
It’s syllabus-writing season! Here’s an exercise I devised several years ago that I’m still using to promote students’ active thinking about course policies — and faculty understanding of how students perceive course requirements and regulations. The article explaining my exercise was published in the Atlantic Universities’ Teaching Showcase Proceedings 2010, pages 55-59.
The abstract follows, and a link to the full article is given below.
Abstract “Think Like A Professor!: Student and Faculty Perceptions of Course Policies”
The “Think Like a Professor!” exercise is designed to enliven introductory classes while presenting course policies and regulations to students. The exercise pulls students out of their passive role as receptacles of course information, puts them in the instructor’s place, and asks them to apply the instructor’s course policies in various scenarios based on real incidents. The exercise accomplishes several goals, including establishing appropriate modes of interaction among students, asking students to read and extract information, requiring students to apply, analyze, and synthesize facts and ideas, giving students insight into how their actions are perceived by faculty and others, and giving faculty feedback on their regulations and a view of student attitudes and values.Students are encouraged to see that course policies and regulations have a purpose that is applicable to both students and instructors.
I’ve filed away my course notes and given out the final grades. ENGL 4475: Tolkien & Myth-making is officially over for the 2016-17 academic year. The project proposals, annotated bibliographies, abstracts, research papers, and exams are all done now. What’s left is my delight at the many ways my students found to explore Tolkien’s fiction in relation to adaptation, medievalism, and fandom.
Gift of lembas by a student from ENGL 4475
Our last class of the year is a celebration of the work students have done. We set up in a party room with snacks and drinks and read excerpts from each other’s essays. After all, it’s more interesting if you’re writing for your peers and not just for your teacher. My students then present their research projects to the rest of the seminar. I give them a range of general options for these projects, from studying Tolkien’s adaptations of texts such as Beowulf to producing their own adaptations based on Tolkien’s fiction. Because this is a senior-level English course, all of the projects require a written researched analysis of the texts and, if relevant, of the students’ process of adaptation or their participation in fandom.
On presentation day, the class had assembled around the seminar table but for one student, who at the last moment made quite an entrance in full costume, much to our delight. Gavin Rollins’ project was about cosplay, but he didn’t just write about it; he arrived as a living example of his research. (He also brought us some delicious lembas).
Part of Gavin Rollins’ cosplay project
Gavin’s paper dealt with the immersive, communal experience of cosplay and the intertextuality of Tolkien’s fiction and Jackson’s films.
A couple of other students were thinking along the same lines when they conducted their study of Dungeons and Dragons gaming. Andrew Potter used his and his friends’ experiences to investigate the question, can a D&D adventure feel like a “faerian drama“? Andrew’s answer is maybe, and certainly more likely than the experience of playing a video game or watching a film.
Luke Hammond (centre) and his D&D research team
Luke Hammond created his own D&D-style adventure based on Tolkien’s Mines of Moria episode and experimented with his friends in a campaign lasting several hours to see how Tolkien’s place descriptions worked (they worked well) and what kind of choices would be made by players who didn’t know the books or the movies. (Turns out the Frodo-character put on the Ring every chance he could get!). Luke’s analysis also considered how the role-playing genre could fulfill Tolkien’s ideas expressed in his essay “On Fairy-Stories” about fantasy, recovery, escape, and consolation.
Image from diceaholic.wordpress.com
It would take too long to summarize every student’s project, but at least I can give you a taste of the variety we enjoyed. Courtney Francis wrote about Legolas/Gimli fanfiction; Megan Bruce about surveillance in The Lord of the Rings, including her poem about Galadriel’s mirror as a surveillance tool. Nicole Martina tackled Tolkien’s descriptive landscapes and his artistic style. And Allyson Roussy adapted the Old English poem “Widsith,” in which a widely-travelled poet recounts all the great rulers and places he has been, thus recording legends and histories in his verse. Allyson transposed the style of “Widsith” to the history of Middle-earth, beginning with Silmarillion tales and ending with The Lord of the Rings. Her speaker is Gandalf, someone who has travelled widely and seen a great deal in Middle-earth. Although she does not attempt to write consistently in alliterative verse, she typically captures the four-beat style of her Old English model. Here is a passage spoken by Gandalf:
…I acted as guide in the war against Sauron. I counselled men and elves and exiles, sought those who desired to aid our cause, who strengthened the armies of Middle-earth. I was with Aragorn, of the House of Isildur, Beren’s mirror, with Barahir’s ring, last heir to the throne of Gondor and Arnor, A true leader with patience and humility, The hands of a healer and the hands of a king….
Film adaptations of Tolkien’s work also provided fertile ground for analysis. Kimia Nejat studied Jackson’s film representations of Frodo and Sam. Samantha VanNorden, starting with the premise that Middle-earth is a character in The Lord of the Rings, analyzed Jackson’s representations of certain landscapes. And Alexandra Rudderham examined Tolkien’s representation of Galadriel along with the film adaptations by Ralph Bakshi and Peter Jackson. Tolkien’s handling of gender and women has long been a topic of debate, and Alex further asked, have filmmakers captured all of Galadriel’s qualities as a beautiful, perilous, powerful queen? Compare for yourself; first, Bakshi’s animated 1978 version:
and then Peter Jackson’s 2001 Fellowship of the Ring:
Fan Studies in the Classroom
I’ve had an opportunity to write about the kind of work I ask my students to do in this course. My essay “Adaptation as Analysis: Creative Work in an English Classroom” is forthcoming in the book Fan Studies in the Classroom, edited by Katherine Howell, to be published by the University of Iowa Press. In this essay I discuss the theory behind my ENGL 4475 assignments, the practical details of how they’re done, and why I think the assignments encourage intertextual engagement, creativity, and textual analyses. I’ll post more when the book is published. In the meantime, some of my former students’ assignments can be seen on the ENGL 4475: Studies in Medievalism – Tolkien & Myth-making course page.
Selected Bibliography
This is not meant to be a complete bibliography by any means, but I thought that a few readers might like to sample some of the sources, especially those dealing with fandom and adaptation, that my students have read as part of their research. I’ve culled one or two sources from each essay in case anyone wants to look further into some of the topics my students have written about.
Abrahamson, M.B. “J.R.R. Tolkien, Fanfiction, and the Freedom of the Reader.” Mythlore, vol. 32, no. 1, 2013, pp. 53- 72.
Allington, Daniel. “‘How Come Most People Don’t See It?’: Slashing The Lord of the Rings.” Social Semiotics, vol. 17, no. 1, Mar. 2007, pp. 43–62.
Amendt-Raduege, Amy. “Dream Visions in J.R.R. Tolkien’s The Lord of the Rings.” Tolkien Studies, vol. 3, 2006, pp. 45-55.
Barker, Martin. “Envisaging ‘Visualisation’: Some challenges from the international Lord of the Rings audience project.” Film-Philosophy, vol. 10, no. 3, 2006, pp. 1-25.
Battis, Jes. “Gazing upon Sauron: Hobbits, Elves, and the Queering of the Postcolonial optic.” Modern Fiction Studies, vol. 50, 2004, pp. 908-26.
Clark, George. “J.R.R. Tolkien and the True Hero.” J.R.R. Tolkien and His Literary Resonances: Views of Middle-Earth, Greenwood Press, 2000, pp. 39–52.
Cohen, Cynthia M. “The Unique Representation of Trees in The Lord of the Rings.” Tolkien Studies, vol. 6, 2009, pp. 91-125.
Croft, Janet Brennan and Leslie Donovan, editors. Perilous and Fair: Women in the Works and Life of J.R.R. Tolkien. Mythopoeic Press, 2015.
Enright, Nancy. “Tolkien’s Females and the Defining of Power.” Renascence, vol. 59, Issue 2, 2007, 93-108.
Ewalt, David M. Of Dice and Men: The Story of Dungeons and Dragons and the People Who Play It. Scribner, 2013.
Gygax, Gary. “The Influence of J.R.R. Tolkien on the D&D and AD&D Games.” Dragon, vol. 95. March 1985. pp. 12-13.
Hammond, Wayne G. and Christina Scull. J.R.R. Tolkien: Artist & Illustrator. HarperCollins, 2004.
Haydock, Nickolas. The Imaginary Middle Ages: Movie Medievalism. McFarland, 2008.
Hellekson, Karen and Kristina Busse, editors. Fan Fiction and Fan Communities in the Age of the Internet: New Essays. McFarland, 2006.
Hutcheon, L. with S. O’Flynn. A Theory of Adaptation, 2nd ed, Routledge, London and New York.
Pugh, Sheenagh. The Democratic Genre: Fan Fiction in a Literary Context. Bridgend, Seren, 2005.
Rahman, Osmud, Liu Wing-Sun, and Brittany Hei-Man Cheung. “’Cosplay’: Imaginative Self and Performing Identity.” Fashion Theory-The Journal Of Dress Body & Culture, vol. 16, no. 3, Sep 2012, pp. 317-342.
Rateliff, John. “Tolkien Moot 2008 MerpCon IV John D. Rateliff solo speech History of the Hobbit author.” YouTube, 28 Jun 2012.
Reid, Robin Anne. “Thrusts in the Dark: Slashers’ Queer Practices.” Extrapolation, vol. 50, no. 3, 2009, pp. 463–483.
_________. “Tree and flower, leaf and grass: The Grammar of Middle-earth in The Lord of the Rings.” Fantasy Fiction into Film. Edited by Stratyner, Leslie and James R. Keller. McFarland, 2007.
Russell, Gary. The Lord of the Rings: Art of the Fellowship of the Ring. HarperCollins, 2002.
Shank, Nathan. “Productive Violence and Poststructural Play in the Dungeons and Dragons Narrative.” Journal of Popular Culture, vol 48, no.1, 2015.
I can now definitively say that Leslie Donovan’s Approaches to Teaching Tolkien’s The Lord of the Rings and Other Works is available. Back in July, I posted an announcement of the book’s August release, but it’s only this week that I’ve received my copies from the publisher and that I’ve noticed the book is available for order (and not just pre-order) on Amazon websites.
Leslie Donovan has collected a wealth of information that can be used by teachers who want to run a full course on Tolkien’s works or who want to incorporate a study of his works into various kinds of college and university courses.
In “Part One: Materials,” Leslie describes editions of Tolkien’s works, multimedia aids for teaching, and the standard scholarly and reference works useful for the study of Tolkien. In identifying these resources, she draws on her years of experience as a Tolkien scholar and teacher, but she also had additional input in 83 survey responses received from Tolkien teachers (Preface xi). You can click on the images below to read the full table of contents.
“Part Two: Approaches” consists of 29 essays describing ways of teaching Tolkien — at different levels; in large classes and small; in English departments and others; from a medieval or a postmodern perspective — I have yet to sample all of them. The contents of Part Two are divided into the following sections: Teaching the Controversies, Tolkien’s Other Works as Background, Connections to the Past, Modern and Contemporary Perspectives, Interdisciplinary Contexts, and Classroom Contexts and Strategies for Teaching. My own article is on “Tolkien in the First-Year Literature Survey Course” and is based on my teaching of English 1171 here at Mount Saint Vincent University.
To supplement all of this information, you can also check out the resources posted in the new journal Waymeet for Tolkien Teachers, where some of the essay-writers have posted their course materials.
Click on the thumbnails below to read the full table of contents.
Approaches to Teaching Tolkien’s The Lord of the Rings and Other Works is a volume of essays published by the MLA (Modern Language Association) in their Approaches to Teaching World Literature series. The book, to be released tomorrow, August 1st, is edited by Leslie Donovan, and contains essays on teaching Tolkien’s works in various programs and course levels. I’m planning to post the Table of Contents as soon as I can get my hands on a copy.
I have an essay in the book, “Teaching Tolkien in the First-Year Literature Survey Course,” which is based on my experience in teaching a section of English 1171 in my department here at Mount Saint Vincent University. In this course, I teach Tolkien’s Fellowship of the Ring in the context of other works in the English literary tradition. (For an upper-level course dealing with more of Tolkien’s works, you can check out my English 4475: Tolkien and Myth-making webpage).
Take a look at the rich resources already being posted on Waymeet: materials on teaching Tolkien’s works in courses on medieval and modern studies, myth, war, children’s literature, science. I think that this journal and the MLA book will become a valuable source of inspiration, tips, techniques, and materials for anyone teaching Tolkien’s works in universities and colleges. I’m definitely looking forward to browsing through the materials before my next round of teaching Tolkien.
You can pre-order the Approaches to Teaching book from Amazon in the US, Canada, or the UK or from the MLA bookstore.
Today I have a post that combines my interests in both Tolkien and pedagogy.
In one of my English courses, Studies in Medievalism: Tolkien and Myth-making, I ask students to read the works of J.R.R. Tolkien and some of the medieval literature that influenced him. We also consider later adaptations of Tolkien’s fiction in various media. As part of this cultural study of contemporary fandom and myth-making, students have the option of producing their own adaptation of Tolkien’s Middle-earth stories, accompanied by a researched analysis that relates their project to critical discussions of adaptation, fandom, medievalism, and Tolkien’s fiction.
In the January 2014 semester, my student Shelby MacGregor produced a series of photographs illustrating scenes from an imagined dystopian Lord of the Rings movie, set sometime in the near future. The analysis that she wrote to accompany these pictures discussed Tolkien’s representation of nature and technology compared to Peter Jackson’s film versions and considered some of the problems of adaptation.
Below, you will find some of Shelby’s photographs along with her descriptions. (All photos copyright Shelby MacGregor).
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Photos and Descriptions by Shelby MacGregor
This project aimed to present scenes in a post-modern adaptation of J.R.R. Tolkien’s Lord of the Rings. It was heavily inspired by Peter Jackson’s interpretation of the trilogy, and also by the science fiction films of Ridley Scott.
Frodo, who must install a virus in the Super Computer
Moving the story to somewhere in our future instead of somewhere in our past would require different weapons and technologies from the original. The Ring became a computer chip, and instead of throwing the Ring into a volcano, it became a virus that would be installed into the Super Computer that was controlling industry and therefore destroying the world.
Frodo and Sam play a large role in this imagined film, as they are charged with installing the virus in the Super Computer. They are dressed in more natural clothes to connect to the natural lifestyles of the people in the Shire and to contrast the natural world with industry in a visual and striking way. Mordor appears as a power plant, with Frodo daunted by the size and destruction found in the modern world.
Each character is styled differently to reflect the regions of Tolkien’s Middle-earth that they come from. Lady Eowyn is the closest to Jackson’s representation of her. It is assumed that the people of Rohan accept less technology than the rest of Middle-earth, preferring to tend to their horses.
This project allowed me to work with adaptation theory, photography, editing, and costume design, as I made or styled every item that the characters are wearing. I was aiming to make film scenes come to life that are instantly recognizable as The Lord of the Rings, while also staying away from simply remaking Jackson’s film scenes. It was an interesting and challenging project, and I am glad that I got the opportunity to try something creative.
It’s the beginning of the semester for most university professors. Do you dread having to stand in front of your students reading from your course outline? Do you feel it’s a futile gesture, knowing that many of them will forget or ignore the information in the syllabus? In order to defeat the boredom of the syllabus run-through, I’ve devised an exercise called “Think Like a Professor!” that I’ve been using with my first-year classes for several years now. It gets students reading, analyzing, and applying information from the very first day of the course while giving you insight into their attitudes and values. It enables students to become more aware of how their actions are perceived by faculty and to understand the reasons for various course policies. And it should model for students the kind of collaborative and respectful interactions that you are aiming for in your course.
My discussion of this exercise was published in the 2010 Atlantic Universities’ Teaching Showcase Proceedings. I reprint the first 3 paragraphs here; if you want to read the rest of the essay, follow this link and scroll to page 55 in the pdf.
It’s the first day of class, and we all know the drill. The course outlines, with requirements, expectations, and policies detailing how your course will be run, must be handed out. You need to get your students to read what must look to them like the fine print of a long contract – one of several outlines they’ll be collecting in the first couple of days. Especially for first-year students just out of high school, course outlines may present a confusing array of do’s and don’ts: all assignments must use APA, or was that MLA? No late papers will be accepted, but sometimes late papers will have points deducted. You must have a note for absences, but some profs don’t take attendance. You have to write all the assignments to pass, but didn’t someone say that you could do extra assignments for additional credit?
For the course instructor, the necessity of going over the course outline can deflate the liveliest of introductory classes. You may find yourself standing in front of the class on the first day, plodding through each requirement and every policy statement, declaiming against errors and misdemeanours while your students’ eyes glaze over. Or, you can hand out the course outlines and tell your students to read through them on their own – in theory, not an unreasonable expectation; in practice, one that seldom works.
To enliven these introductory classes – both for my sake and my students’ – I present an exercise that pulls students out of their passive role as receptacles of course information, puts them in my place, and asks them to apply my course policies in various scenarios – in other words, to “Think Like a Professor!” Their task is to imagine that they are the professor of our course and have written the course outline, including all of its policies, expectations, and requirements, and that they will now be faced with various situations, all based on actual events, in which they will have to apply the rules of the course. The exercise serves many purposes: to introduce students to each other; to start developing constructive, collaborative discussions among students; to encourage them to read a text closely; to direct them to a knowledge of the rules and regulations of the course, and to gain some understanding of academic life. The benefits of the assignment are reciprocal: as the instructor, you gain insight into some of the beliefs and practices of your students. Sometimes, you may realize that you have to explain issues or revise requirements that you thought were clear and complete; at other times, your students can advise you on ways to deal with difficult problems. You may be asking your students to “think like a professor,” but this exercise also gives you access to
thinking like a student.
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To read more about this exercise and the issues that it raises, please follow this link and scroll to page 55.
If you have any other suggestions for overcoming syllabus boredom, please add them to the comments!
I’m planning to post — at irregular intervals — some of the ideas I’ve had about university teaching and to showcase some of the projects that my students have done. I’ve been teaching undergraduate courses for a long time, and I think that one of my main goals from the very beginning has been to convince students that the intellectual life is worth living, and that it can be lived both within the classroom and beyond its walls. I’m not after some sort of practical demonstration that the study of English literature is “relevant” — that old buzzword– although I think it does have many practical applications. What I’m after is the demonstration that thinking about literature is part of what thoughtful people do even if they aren’t English professors, and they do it because it helps to explain our world, to connect us with the past, and to introduce us to different lives and cultures.
I usually try to build in certain features into my assignments:
–the assignment has to be read by or exhibited to or performed for an audience other that just myself, preferably even beyond the students in the class;
–students should be challenged to think about how to communicate their subject in new and creative ways, often using a variety of skills and talents. The conventional research paper is still a staple of my course requirements, but it’s not the only way that my students practice their writing and research skills.
My first piece in this series is a description of a second-year undergraduate project in a women’s literature course, which was originally posted on the Mount Saint Vincent University English Department blog.
If you’ve walked along the fifth floor of Seton or through the tunnel linking Evaristus and Rosaria, you might have noticed a series of posters called “Pieces of Activist History: Betty Peterson Protest Buttons.” Produced by students in English 2242 (Themes in Women’s Writing), these posters are the result of a collaborative process in which students in this Winter 2014 course learned something about a remarkable Nova Scotian activist while practising their research and communication skills.
Betty Peterson (photo from Women Social Activists of Atlantic Canada website)
Frankly, I did not know what to expect when I assigned this group project. The theme of our course was “protest and polemics” and some of the reading material, such as Betty Friedan’s The Feminine Mystique, focused our attention on Second Wave feminism. I knew that the Mount Library had received a donation of protest buttons from Betty Peterson…
“What has a Woman to do with Learning?”* That was a question that Elizabeth Elstob had to deal with in her lifetime (1683-1756), as her study of languages and of Old English in particular existed in precarious circumstances relying, it seems, on the support and encouragement of her brother William and a few friends. Even so, she proved to be a formidable Anglo-Saxonist, with publications appearing between 1708 and 1715, including one of AElfric’s homilies, a spirited defense of the study of “northern antiquities”, and an Old English grammar, the first such grammar to be written in Modern English.
It seemed appropriate to invoke her spirit on the first day of my Old English course. Wouldn’t she have been pleased by the sight of us! — half a dozen women sitting in a seminar room as registered students in a university, with a female professor. Of course, as a woman Elstob could not have become a university student in her day, let alone a member of the faculty. Nevertheless, she admired and encouraged women’s learning, and wrote of the pleasure and satisfaction that she received from the study of Old English. In fact, she wrote her grammar so that she could “invite the Ladies to be acquainted with the Language of their Predecessors” (vii). Well, last week I was inviting the Ladies in front of me to do just that in an eight-month course on Old English. And while Elizabeth Elstob looked to the Anglo-Saxon past to connect to a tradition of admirable women, for us Elstob herself serves as a foremother and a reminder that the rights so many of us take for granted were denied to so many before us. In fact, I teach in an institution that began as a women’s university, which became in 1925 the only independent women’s college in the British Commonwealth, the only women’s university established in Canada, and an institution that still maintains “an enduring commitment to the advancement of women.”
If only Elstob could have experienced such opportunities. After her brother William died, she was left with serious financial troubles, and she gradually disappeared from view, to be discovered many years later working as an impoverished schoolteacher. Her friends managed to get her a place as a governess in her final years, but she never had an opportunity to return to her Old English scholarship.
In honour of Elizabeth Elstob, then, I ask my students to find their own motivations for studying Old English and to remember always the hard-won right to university education for women that they enjoy and others have had and still have denied to them. I hope that some of Elizabeth’s pleasure and satisfaction in studying the language will be passed on to the women (and men) who study Old English with me.
*Elstob quotations are from the preface to An English-Saxon Homily on the Birth-Day of St. Gregory. 1709.
For a good overview of Elstob’s career, see: Shaun F.D. Hughes. “Elizabeth Elstob (1683-1756) and the Limits of Women’s Agency in Early-Eighteenth-Century England.” Women Medievalists and the Academy. Ed. Jane Change. U of Wisconsin Press, 2005. 3-24.
The annual Teaching Showcase sponsored by the Association of Atlantic Universities is scheduled to take place in Fredericton, New Brunswick on October 13. The theme is “Conversations,” with a variety of presentation modes available.
The deadline for submissions is July 31.
The AAU Teaching Showcase is an event that brings faculty and grad students together from many disciplines to discuss teaching strategies and philosophies. It’s impossible to leave the conference without being inspired to try something new!
Details about the conference and the CFP can be found here. You can also read the Proceedings from previous years’ conferences.
by Anna Smol
