Browsing by Subject "Tolkien"
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(2018)Tutkielmani käsittelee todellisuuden rakentumista J.R.R. Tolkienin teoksessa Taru Sormusten Herrasta. Tutkielman lähtökohtana on Tolkienin legendaarion synkroninen luenta, jonka tarkoituksena on osoittaa, että Tolkienin fiktiomaailmaa käsitteleviä tekstejä on mielekästä lukea yhtenä suurena, toisiaan täydentävänä jatkumona. Tutkielma osoittaa, että legendaarion yksittäiset tekstit, kuten Taru Sormusten Herrasta, rakentavat sisäistä todellisuuttaan usein viittaamalla omien tekstirajojensa ulkopuolelle. Tarkoituksena on osoittaa, miten kokonaisymmärrystä Tolkienin fiktiomaailman todellisuudesta ja sen toiminnasta on mahdollista laajentaa ulottamalla legendaarion yksittäisen tekstin luenta kattamaan myös legendaarion muihin osiin, kuten Silmarillioniin ja Hobittiin, suuntautuvat viittaukset. Tutkielman teoreettisena lähtökohtana on Benjamin Harshav'n konstruktiivisen poetiikan teoria. Konstruktiivinen poetiikka mahdollistaa Tolkienin fiktiomaailman tutkimisen systemaattisesti useiden eri todellisuuden tasojen yhteensulautumana. Osoitan tutkimuksessa, että käyttämällä Harshav'n teoriaa teoksen Taru Sormusten Herrasta todellisuus on mahdollista erottaa systemaattisesti kolmeksi eri todellisuuden tasoksi, joille pystytään määrittämään omat narratiiviset funktionsa ja todellisuuden hahmottamisen tapansa. Liikkumalla analyysissä yksittäisen teoksen tekstirajojen yli legendaarion laajempaan luentaan on mahdollista ymmärtää, miten Tolkien rakentaa romaanin syvän ja monitasoisen todellisuuskäsityksen käyttämällä hyväkseen legendaarion muodostamaa laajaa intratekstuaalista kenttää. Tutkielma osoittaa, miten analysoimalla teoksen eri todellisuudentasoja, tasojen muodostamia todellisuuskäsityksiä, niitä välittäviä romaanihahmoja ja näiden hahmojen välistä kanssakäymistä on mahdollista ymmärtää Taru Sormusten Herrasta -romaanin todellisuuden rakentumista uudessa valossa.
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(2020)In this thesis, I examine the proper names found in J.R.R. Tolkien’s adaptation The Story of Kullervo and their relation to the source text, the Kullervo cycle found in the Finnish epic Kalevala. The main purpose of this study is to provide more insight into Tolkien’s early language creation and to determine the role Finnish and the Kalevala had in it. The Story of Kullervo is an informative source on the subject, since it is Tolkien’s first work of mythic prose and filled with invented proper names. In more detail, the aim is to determine how Tolkien’s version of the Kullervo cycle differs from the original regarding its proper names, where Tolkien drew inspiration for the new or alternative names he created, and whether any of these proper names are connected to Tolkien’s earliest Elvish language, Qenya. With its many changes to the plot, structure and nomenclature, The Story of Kullervo is no ordinary translation. The theoretical framework of this study is founded on the role proper names play in a narrative – the different functions proper names contain within themselves and with respect to the context their used in and the strategies established in the translation field for conveying their semantic content. I consider The Story of Kullervo to be an adaptation and keep this in mind throughout the thesis, touching on topics of adaptation studies and its relation to translation studies. I conduct my research through document analysis, the primary sources being the Finnish Kalevala and The Story of Kullervo from which I collect all proper names and epithets to be used as data. In addition, I try to determine whether the choices Tolkien made when constructing his nomenclature were affected by other works, such as W.F. Kirby’s English translation of the Kalevala and C.N.E. Eliot’s Finnish grammar, which Tolkien used when studying the language. Tolkien transferred some of the original names into The Story of Kullervo unchanged, although most of them he either modified in some way or replaced completely with inventions of his own. He also created several bynames for many of the referents. A little over half of these invented proper names can be connected to either Finnish or the Kalevala, whereas a little less than half are connected to the early version of Qenya. This division is not mutually exclusive, and some of the names contain both Finnish and Qenya elements. It is difficult to determine which came first, however: the proper names in The Story of Kullervo or their Qenya counterparts, or if the construction was somewhat simultaneous. The impact other literary works and mythologies had on his work is less notable, yet there are instances of this as well. Less than ⅕ of all proper names couldn’t be connected to any of the above-mentioned sources. Signs of Tolkien’s early language creation can certainly be seen in the nomenclature of The Story of Kullervo. His motivation for writing the short story was to bring out the beauty and magic of the Kalevala, a task in which he thought W.F. Kirby had failed. This is probably one of the reasons why Tolkien wanted to add some of his own distinctive features to the story and why he didn’t pay much attention to conventional translation practices.
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(2020)In this thesis, I examine the proper names found in J.R.R. Tolkien’s adaptation The Story of Kullervo and their relation to the source text, the Kullervo cycle found in the Finnish epic Kalevala. The main purpose of this study is to provide more insight into Tolkien’s early language creation and to determine the role Finnish and the Kalevala had in it. The Story of Kullervo is an informative source on the subject, since it is Tolkien’s first work of mythic prose and filled with invented proper names. In more detail, the aim is to determine how Tolkien’s version of the Kullervo cycle differs from the original regarding its proper names, where Tolkien drew inspiration for the new or alternative names he created, and whether any of these proper names are connected to Tolkien’s earliest Elvish language, Qenya. With its many changes to the plot, structure and nomenclature, The Story of Kullervo is no ordinary translation. The theoretical framework of this study is founded on the role proper names play in a narrative – the different functions proper names contain within themselves and with respect to the context their used in and the strategies established in the translation field for conveying their semantic content. I consider The Story of Kullervo to be an adaptation and keep this in mind throughout the thesis, touching on topics of adaptation studies and its relation to translation studies. I conduct my research through document analysis, the primary sources being the Finnish Kalevala and The Story of Kullervo from which I collect all proper names and epithets to be used as data. In addition, I try to determine whether the choices Tolkien made when constructing his nomenclature were affected by other works, such as W.F. Kirby’s English translation of the Kalevala and C.N.E. Eliot’s Finnish grammar, which Tolkien used when studying the language. Tolkien transferred some of the original names into The Story of Kullervo unchanged, although most of them he either modified in some way or replaced completely with inventions of his own. He also created several bynames for many of the referents. A little over half of these invented proper names can be connected to either Finnish or the Kalevala, whereas a little less than half are connected to the early version of Qenya. This division is not mutually exclusive, and some of the names contain both Finnish and Qenya elements. It is difficult to determine which came first, however: the proper names in The Story of Kullervo or their Qenya counterparts, or if the construction was somewhat simultaneous. The impact other literary works and mythologies had on his work is less notable, yet there are instances of this as well. Less than ⅕ of all proper names couldn’t be connected to any of the above-mentioned sources. Signs of Tolkien’s early language creation can certainly be seen in the nomenclature of The Story of Kullervo. His motivation for writing the short story was to bring out the beauty and magic of the Kalevala, a task in which he thought W.F. Kirby had failed. This is probably one of the reasons why Tolkien wanted to add some of his own distinctive features to the story and why he didn’t pay much attention to conventional translation practices.
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(2016)Tämän pro -gradun tutkielman tavoitteena on hahmottaa, miten Kalevalan vaikutus on nähtävissä Tolkienin teoksissa. Laulamisella, musiikilla ja taikavoimalla on samankaltainen asema molemmissa teoksissa. Teosten samankaltaisuudet tulevat esiin muun muassa hahmoissa ja tapahtumissa mutta myös tematiikassa ja motiiveissa. Tärkeät motiivit ovat myyttisiä vastakohta-asetelmia, ne ovat muinaisuus-nykyisyys, harmonia-disharmonia ja muistaminen-keksiminen. Käsittelen asetelmia silloin kuin ne esiintyvät musiikin, laulamisen tai taikavoiman yhteydessä. Englantilainen J.R.R. Tolkien löysi Kalevalan vuonna 1912, ja oli välittömästi lumoutunut. Myöhemmin hän kirjoitti että Kalevalan Kullervon tarina toimi Silmarillionin alkuna. Käsittelen tutkielmassani erilaisia tarinoita Tolkienin tuotannosta sekä Kalevalasta, muun muassa Silmarillionin suuren soinnun tarinaa ja Berenin ja Lúthienin rakkaustarinaa. Esittelen Kalevalasta muun muassa Väinämöisen ja Joukahaisen laulukilpailua, kanteleen rakentamista ja tarinaa, jossa kaikki liikuttuivat kyyneliin. Vertailen tarinoiden kohtauksia, hahmoja, teemoja ja motiiveja keskenään. Välillä Tolkienin kirjoittamisprosessi muistuttaa Kalevalaa, erilaisista kohtauksista tulee esiin, että Tolkien näki itsensä mytologian keräilijänä. Myös Silmarillionin Leithianin Laulu muistuttaa suomalaista kansanrunoutta, koska molemmat ovat ikivanhoja ja runojen sanat vuosien kuluessa unohtuneet. Suurin ero on, että Kalevalan laulut ovat peräisin autenttisesta kansanperinteestä, kun taas Tolkienin folklore on hänen mielikuvituksensa tuote. Kaiken kaikkiaan Tolkienin tuotannossa on monia kohtauksia, jotka muistuttavat Kalevalan kohtauksia. Kaikki kohtaukset liittyvät musiikkiin, laulamiseen ja taikavoimaan. Myyttiset vastakohta-asetelmat tulevat esiin kaikki pro -gradussani käsitellyissä kohtauksissa.
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(2023)In this thesis, I study the role of the Christian virtues of weakness, humility and self-sacrifice, and also mortality, in the cosmology and quests of J.R.R. Tolkien’s (1892-1973) Middle-earth core legendarium, which consists of The Silmarillion, The Hobbit and The Lord of the Rings. What I aim to show is that these virtues are what the general cosmology of Middle-earth is oriented towards and simultaneously what successful heroism requires in the quests of Middle-earth. As the Middle-earth timeline progresses, the Christian virtues become increasingly prevalent. In the close reading section on cosmology, it is observed that this development is foreshadowed in the primordial Music and Vision of Creation, where the unfolding history of Middle-earth is envisioned by divine powers. Over the timeline, the gradual shift from powerful, graceful and immortal towards weak, humble and mortal is realised through the demographic shifts, where with very few exceptions, the powerful and immortal fade away and leave in favour of the weak and mortal, who take over and gain agency. As is observe in the close reading section on the quests of Middle-earth, this development is reflected in those quests, and successful heroism is often carried out by the weak and humble mortals, notably often through self-sacrifice. Ultimately, the Christian virtues become manifested in the Hobbits and their unlikely triumph over the greatest evil.
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