Tag Archives: The Lord of the Rings

Widsith, D&D, Fanworks, and Films: Another Year in ENGL 4475

27 Thursday Apr 2017

Posted by in Fan studies, Medievalisms, Old English, pedagogy, Teaching, Tolkien

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ENGL 4475: the year in review

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.

ENGL 4475 gift of lembas

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).

ENGL 4475 cosplay Gavin Rollins

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 and his D&D research team

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.

D&D dice from diceaholic.wordpress.com

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.

Jenkins, Henry. “About: Aca/Fan Defined.” Confessions of an Aca-Fan.

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.

Smol, Anna. “ ‘Oh…Oh…Frodo!’: Readings of Male Intimacy in The Lord of the Rings..” Modern Fiction Studies, vol. 50, no. 4, 2004, pp. 949–979.

Jackson’s Lost Opportunity: The Death of Sister-Sons

16 Friday Jan 2015

Posted by in Fan studies, Medieval, Medievalisms, Old English, Review, Tolkien

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Thorin Fili Kili banner

Thorin, Fili, Kili banner. TheOneRing.net

I enjoy many things about Peter Jackson’s Hobbit films – the material realization of various Middle-earth cultures, the creation of the best movie dragon I’ve ever seen, Martin Freeman’s Bilbo, to name only a few – but of course Jackson is not making the films specifically for me, a medievalist with a love of Tolkien’s work. As such, I had hoped that Jackson would have given us a resonant scene focusing on an uncle and his nephews — Thorin, Fili, and Kili — making their heroic last stand in battle together. There is a long tradition of the special relationship between “sister-sons” and their uncles in medieval literature that Tolkien refers to in The Hobbit. Working out that relationship to its traditional end would have inserted Jackson’s scene more firmly in a body of stories about these deeply embedded emotional relationships that are a part of western Europe’s cultural history.[1]

Now wait a minute, you might be saying to yourself. Jackson [2] clearly indicates a strong relationship between Thorin and his nephews, and their death scenes in The Battle of the Five Armies are somewhat connected and set apart from others. Yes, but not exactly in the traditional way I’m talking about.

In The Hobbit, Tolkien simply reports, “Of the twelve companions of Thorin, ten remained. Fili and Kili had fallen defending him with shield and body, for he was their mother’s elder brother.” (“The Return Journey,” The Hobbit 268).[3] Yes, they defend each other because they’re family, but more specifically because Fili and Kili are Thorin’s “sister-sons” (sweostor sunu in Old English).

Fili, Kili

Fili, Kili. Lisa’s Video Frame Capture Library. The Hobbit: An Unexpected Journey. Image 235

Uncle-nephew relationships, and sometimes even more precisely maternal uncle-nephew relationships (therefore, “sister-sons”), are frequently represented as a special bond in medieval literature. In Beowulf, the poet alludes to the story of Sigemund, êam (maternal uncle) to Fitela (line 881), and how they fought together in times of need. In line 115 of the Old English poem “The Battle of Maldon,” Wulfmær, one of the fallen warriors, is identified as the lord’s swuster sunu. Tolkien recognizes the appropriateness of Wulfmær’s place near his uncle in the verse drama “The Homecoming of Beorhtnoth Beorhthelm’s Son,” which is based on “The Battle of Maldon.”  In this play, two men are searching after the battle for the body of their lord when one of them finds Wulfmær:

This head we know!
Wulfmær it is. I’ll wager aught
not far did he fall from friend and master.

His companion answers:

His sister-son! The songs tell us,
ever near shall be at need nephew to uncle.  (“Homecoming” 127)

Other uncle-nephew relationships can be found in Charlemagne and Roland, Hrothgar and Hrothulf, Arthur and Gawain. The relationship isn’t always positive; in some stories, Mordred is Arthur’s sister-son, which makes his treachery even worse. Théoden and Éomer or Turgon and Maeglin provide some other examples in Tolkien’s work. Verlyn Flieger explains how we can even see the Bilbo-Frodo relationship in this light. [4]

So what does Jackson do with the uncle-nephew bond? In The Battle of the Five Armies, Thorin welcomes Fili and Kili to the kingdom of Erebor, addressing them as his “sister’s sons.” In Jackson’s movies the young dwarves Fili and Kili refer to Thorin as their uncle, and in The Desolation of Smaug Thorin tells Fili that one day he will be king.[5] In The Battle of the Five Armies, when Thorin finally bursts out of the mountain gate to join the battle, the two warriors running closest to him on either side are Fili and Kili. In their last fight, Thorin calls Dwalin, Fili, and Kili to go with him in an attempt to take down Azog. Gandalf comments that Thorin is taking his best fighters with him. In Old English they would be called his heorð-geneatas, his “hearth-companions,” a small group of noble, well-trained fighters who are closest to their lord, and it is reasonable to think that the young and courageous nephews would be among them. Fili and Kili, then, are appropriately represented as sister-sons in most of Jackson’s Hobbit.

But the uncle-nephew bond dissipates in their final scenes. While Tolkien recognizes in “The Homecoming” that “ever near shall be at need nephew to uncle,” in The Battle of the Five Armies the nephews end up nowhere near their uncle in a time of need. Instead, Thorin sends Fili and Kili away to hunt for Azog, and then the two nephews split up in separate searches as well. Fili is killed in the sight of both of his kinsmen (we don’t see him fighting heroically to the end; he’s just skewered and then thrown over a cliff) but both Thorin and Kili are too far away to do anything about that attack. Uncle and nephew cannot stand and defend each other. The killing of Fili enrages Kili, who runs off in a passionate Orc-killing spree, but his end is complicated by the arrival of Tauriel.

Now, I have to make clear that I do not object in principle to the creation of new characters like Tauriel. But her involvement in Kili’s last fight obscures the uncle-nephew bond that defines Thorin and his sister-sons. Instead of Thorin, Fili, and Kili fighting side-by-side until they are cut down, we get a different trio: Kili-Tauriel-Legolas defending each other. Kili’s last look is not to his uncle but to Tauriel; his uncle is too far away to be part of the scene. The special bond of an uncle with his nephews who “had fallen defending him with shield and body,” is nowhere to be seen.

Peter Jackson knows how to film emotional battle scenes, as he demonstrated in The Return of the King: sweeping music, slow motion, the melee of battle, the depiction of personal anguish.

Return of the King battle scenes

from Lisa’s Video Frame Capture Library. Return of the King. Aragorn, Image 1808; Eowyn with Theoden, Image 1811; Eomer with Eowyn, Image 1846

Had Jackson completed the Hobbit story with a heroic last stand of uncle and nephews fighting side-by-side on the battlefield, their tale would have participated in a long tradition of sister-son stories and allowed us to feel the emotional impact of that relationship in a visceral way.

Thorin, Kili

Thorin, Kili. Lisa’s Video Frame Capture Library. The Hobbit: trailers. Image 326.

Too bad the opportunity was lost so close to the end of the movie.

Endnotes

[1] These uncle-nephew relationships are important in other cultures beyond the European, but I am only familiar with the northern European literary uncle-nephew motif. It is likely that the practice of fostering high-born children – having a son educated in his uncle’s home, for example – contributed to the motif in medieval literature.

[2] I use “Jackson” throughout as shorthand. Although he was the director of the Hobbit movies, he was not the only writer. The full writing team consists of Peter Jackson, Philippa Boyens, Fran Walsh, and Guillermo del Toro, who gets a writing credit for his involvement with the project in its earlier stages.

[3] Tolkien inserted this line about Fili and Kili dying in defense of their uncle late in the process of composition. According to John Rateliff: “The idea that the two most likeable of all Bilbo’s companions should also die in the battle…first appears in the continuation of the typescript that eventually (autumn 1936) replaced the Third Phase manuscript” (684, n. 11). Rateliff also points out that Thorin was originally Fili and Kili’s great-uncle, but Tolkien later moved him one generation closer. (See, for example, Rateliff  444 – 445, note 11). In Appendix A of The Lord of the Rings, in the section on “Durin’s Folk,” Thorin appears in the genealogy as Fili and Kili’s uncle (1418).

[4] Verlyn Flieger discusses the Bilbo-Frodo kinship in the light of the uncle-nephew motif in her essay, “Frodo and Aragorn: The Concept of the Hero.” The essay has been reprinted in a couple of places, including Flieger’s collected essays in Green Suns and Faërie: Essays on J.R.R. Tolkien. Kent State University Press, 2012 and in the 2004 volume, Understanding the Lord of the Rings: The Best of Tolkien Criticism, edited by Rose A. Zimbardo and Neil D. Isaacs, published by Houghton Mifflin and partly available as a Google e-book.

[5] Rateliff comments on the line of succession in Tolkien’s conception of the Dwarves’ patriarchal line of kings which excludes the maternal nephews (704). In the early Middle Ages, young relatives in the maternal line might succeed a ruler; it is interesting that in this detail Jackson is closer to early medieval practice than the book.

Works Cited

Flieger, Verlyn. “Frodo and Aragorn: The Concept of the Hero.” Green Suns and Faërie: Essays on J.R.R. Tolkien. Kent State University Press, 2012. 141-58. Print. Also available in Understanding The Lord of the Rings: The Best of Tolkien Criticism. Ed. Rose A. Zimbardo and Neil D. Isaacs. Boston: Houghton Mifflin, 2004. 122-45. Print and Google e-book.

Jackson, Peter, dir. The Battle of the Five Armies. New Line Cinema, 2014. Film.

____. The Desolation of Smaug.  New Line Cinema, 2013. Film.

Klaeber’s Beowulf. Ed. R.D. Fulk, Robert E. Bjork, and John D. Niles. 4th ed. Toronto: U of Toronto P, 2009. Print.

Rateliff, John D.  The History of the Hobbit. 2 Vols. Boston and New York: Houghton Mifflin, 2007. Print.

“The Battle of Maldon: Hypertext Edition.” Old English Literature: A Hypertext Course Pack. English Faculty, Oxford. 2009. Web. 14 Jan. 2015.

“The Lord of the Rings: The Hobbit: An Unexpected Journey.” Lisa’s Video Frame Capture Library. 2 Oct. 2014. Screenshots. 14 Jan. 2015.

“The Lord of the Rings: The Hobbit: Trailers.” Lisa’s Video Frame Capture Library. Jul – Nov 2014. Screenshots. 14 Jan. 2015.

“The Lord of the Rings: The Return of the King.” Lisa’s Video Frame Capture Library. n.d. Screenshots. 14 Jan. 2015.

“Thorin, Fili and Kili Banner in Super High-Resolution.” TheOneRing.net. 22 Nov. 2014. JPEG. 14 Jan. 2015.

Tolkien, J.R.R. “Durin’s Folk.” Appendix A.iii. Return of the King, being the third part of The Lord of the Rings. London: HarperCollins, 2007. 1406-19. Print.

_____. The Hobbit, or There and Back Again. London: HarperCollins, 1999. Print.

_____.  “The Homecoming of Beorhtnoth Beorhthelm’s Son.” Tree and Leaf, including the poem Mythopoeia. London: HarperCollins, 2001. Print.

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MLA citation of this post:  Smol, Anna. “Jackson’s Lost Opportunity: The Death of Sister-Sons.” A Single Leaf.  16 Jan 2015. Web.  [insert date of access here without brackets].

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What did you think of these final scenes in the film? Any other examples of sister-sons that you want to discuss or add?  Please feel free to comment!