![]() The first chapter concerns the fallacy of humanity within Tolkien’s myth, precisely through Túrin, the downfall of Númenor and Boromir and how redemption is achieved for their crimes. This dissertation is concerned with the Christian and Pagan elements within the redemptive journeys of a select number of characters in The Silmarillion, The Hobbit and The Lord of the Rings. In my opinion Tolkien is one of the foremost literary geniuses of the 20th century, a man who was creating a myth that was to spawn other myths and remain enduring hence my choice of subject for the dissertation. Hand in hand with the love for anything Tolkien rose my interest into mythology and the fantastic, the classical fairy tale from childhood and the mystical. Since then I have explored Tolkien’s works thoroughly, expanding beyond The Lord of the Rings into his other books such as The Hobbit, The Silmarillion and Unfinished Tales amongst others. Tolkien’s fantasy epic The Lord of the Rings I was swept up into the mania surrounding anything fantasy. When I had first heard of Peter Jackson’s film adaptation of J.R.R. For this duplication and its polarisation into two sides to become more comprehensible, the light Gry Faurholt shed is essential: firstly, the alter ego is an identical double the 'duplication' of a protagonist who seems to be either the victim of an identity theft perpetrated by mimicking paranormal presence or subject to a paranoid hallucination econdly, the 'divided' or split personality features a monster double the dark half of the protagonist, an unleashed vengeful fiend that acts as a physical manifestation of a dissociated part of the primary self (Gry Faurholt, Self as Other: The Doppelgänger). Zivkovic explains more thoroughly that ts variations in prose fiction most often include the phantasmal duplication of the individual, through likeness or affinity and the division of a personality, by fantastic or rationally inexplicable means, or through the opposition or the complementarity of separate characters who can be looked upon as different aspects of a sundered whole (Zivkovic 122). The Doppelgänger, placed simply, is someone who looks exactly like someone else, or an imaginary spirit that looks exactly like a living person. The Doppelgänger, the German equivalent for " Double-Goer ", a too complex concept to define in short, was coined " by the novelist Jean Paul (Richter), who in 1796 defined people who see themselves " (Zivkovic 122). What makes the utmost contribution to the shaping of hesitation in readers' hearts is the indubitable notion of the Doppelgänger. Most importantly though, the literature of the Fantastic provokes to the reader the uncomfortable feeling of hesitation, which defines it as sort of interactive, in the sense that the reader has to play an active role in making a decision on whether the supernatural met in such stories could be explained or accepted. By now, passionate followers have experienced several changes in stories and style yet, the " secret ingredients " for the success have not altered in substance: the reader confronts not only fantastic and supernatural elements inspired by folklore in settings, but also an application of these to the protagonists, transcending traits of their personality to the level of Fantasy, with one of the most characteristically refined masterpieces being The Lord of the Rings, written by John Ronald Reuel Tolkien. Argyris Fantasy is a literary genre that has fascinated countless readers since the ancient world of Mesopotamia, with its first indication of existence being, probably, the Epic of Gilgamesh. Tolkien's " The Lord of the Rings " Panagiotis V. ![]()
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