They are free to choose from among several topics: Length: 3-5 typed, double-spaced pages Weight: 20% of the course grade Workshop and/or Writing Center: Friday of Week 9 Due: __________________ of Week 10 by PM in the Blackboard dropbox (online) As our recent studies of Tolkien's critical and creative work have shown, Tolkien’s roles as a philologist, a comparative mythologist, and a translator of medieval Scandinavian and English literature influenced the development of As I will show in greater detail later in this pedagogical essay, our work in class well prepares students to write this paper.
With the fourth unit on Tolkien as the father of modern fantasy, we undertake the study of (LOTR).
Tolkien and understand them, 3) to use biographical, historical, psychological, philological, literary, and possibly other critical paradigms to write about the works of Tolkien, 4) to craft a critical research paper or creative project (short story or a series of poems) in response to the mythology of Tolkien, 5) to appreciate Tolkien as a poet, 6) to witness the impact of Tolkien’s mythology on culture, 7) to remember what you have learned and apply it in the future, and 8) to integrate faith and learning (as Tolkien himself did).
Because Tolkien was a philologist and a medievalist, I encourage the students to plan to use philological and literary critical approaches to interpretation as well.
I assign a series of papers, of increasing complexity, to verify student understanding of our studies together.
The course culminates in a final presentation and a critical or creative project, which may be a research paper, a series of poems imitative of Tolkien’s own forms (an alliterative poem, a riddle poem, a prose-poem allegory, a lay, a strictly metered and rhymed narrativepoem [either romance or elegy], a bestiary poem, a narrative, descriptive or nursery-rhyme styled poem about Faery-land, and a free-choice poem), or a piece of fan-fiction: a short-story set in Middle-earth.Most are printed books that may be borrowed from the library. In order to explore how my students and I gained new insight into Tolkien’s creative process, this essay will first give an overview of the organization of my course, “The Mythology of J. By sharing these ideas, I hope other teachers will also gain inspiration for their own teaching of the original works of Tolkien and Tolkien’s translations of medieval literature. I tell my students that this biographical paradigm for interpretation will shift – as when a person looking through a kaleidoscope turns the wheel and so changes the image perceived – to encompass historical (outer events) and psychological (inner events) paradigms for interpretation as well.Students are assigned to six small groups; they must generate discussion questions for Books I, II, III, IV, V, and VI of Tolkien’s epic, one set of questions for each day that we discuss LOTR.These questions are shared online with all students before the class period in which they are to be discussed.is designed to point students to resources dealing with the works of the Gawain-Poet available through the Gumberg Library (and beyond).The "Gawain-Poet" is the name scholars have given to the anonymous poet who wrote the Middle English masterpiece . ), the poem known as "Pearl," and so some scholars call this author the Pearl-Poet. Today, many English professors use his texts to teach medieval poetry in survey courses of British literature and medieval literature – and when teaching the works of Tolkien himself. Recently, I had the pleasure of teaching an author course, “The Mythology of J. For my students and me, this learning experience led to new understanding about the influence of medieval literature on Tolkien’s fertile imagination. Specifically, his ideas about fantasy, recovery, escape, consolation, and eucatastrophe, expressed in his essay “On Fairy-Stories,” appear to be concepts he derived in part from his reading of medieval poetry and later developed in his own works of fantasy literature. Tolkien,” then consider approaches to teaching Tolkien’s three modern English verse translations of Middle English poetry. As this is an author course in the English major, I explain that biographical criticism will be used to help us understand and interpret Tolkien’s corpus of literature and that we must understand Tolkien’s life well in order to understand its relationship to his fiction. Tolkien, the medievalist who became the father of modern fantasy literature, translated many poems out of Old English, Old Norse and Middle English into carefully versified modern English. Tolkien,” as an upper division seminar for English majors at a private, Christian liberal arts college, and in it, teaching three of Tolkien’s translations of medieval poems in relationship to Tolkien’s legendarium: . Tolkien and how it shaped his mythology, 2) to read the major works of J. , rather than Humphrey Carpenter’s standard biography, because Garth emphasizes Tolkien’s youthful friendships and experiences in World War I, which provide particularly meaningful contexts for interpreting Tolkien’s epic, .Imagine using these old stones just to build a nonsensical tower! He had no sense of proportion.” But from the top of that tower the man had been able to look out upon the sea.(– and between medieval English literature and Tolkien’s fantasy fiction.