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J.R.R Tolkien was born in 1892 in South Africa. After the death of his parents, Tolkien studied language at Oxford where he later became a language professor and developed the fictional world of Middle Earth. Tolkien’s books have influenced a whole genre of fantasy and mesmerized readers from all around the world. The Hobbit is a humble children’s book written for his own children. It was published in 1937 and since then both children and adults have read the book and adored it. The Hobbit is a prelude to The Lord of the Rings, but can be read as an independent story. The book consists of many different themes and is more than just a children’s adventure; it is a tale of war, ethics and personal development. It is easy to feel sympathy with the protagonist Bilbo, who is an approximately three foot tall hobbit, since we all can feel small sometimes in life. But in The Hobbit, Bilbo develops into a hero despite his small size. The plot describes how Bilbo joins a company of 13 dwarves and Gandalf, the old wizard, on a journey to the Lonely Mountains in the east to recover the ancient treasure taken and guarded by the dragon Smaug. But through the book the reader may begin to understand that Bilbo will come back home from adventure with something much more important than piles of gold and precious metal; he comes back home with compassion, maturity and bravery: he becomes a hero. The hero that is described in Tolkien’s The Hobbit is different than other common heroes in literature: Hercules, Achilles and Beowulf to mention a few, all of whom are strong males and warriors. Bilbo, however, is a small hobbit with more heart than muscles and he still changes the world into something better. As I will argue in this essay, a hero, according to Tolkien, is a sensitive character rather than a mighty warrior. The Hobbit is not a novel about an isolated hero, but as I will show friendship is a core value.
I want to consider the work of J.R.R. Tolkien in terms of its reception, which combines remarkable popular success with extraordinary critical hostility.1 What are so many readers finding so rewarding in these books that so many professional literary intellectuals think is so bad? The solution to this riddle, I suggest, arises out of the meaning and values of his work as apprehended by both sets of readers, constellated around the idea, values and projects of modernity - something which Tolkien's alternative, "re-enchanted" world fundamentally questions. Crucial too, therefore, are various aspects of what has come to be called postmodernity which, taken together, imply a passing of modernist hegemony. To put it crudely, then, I intend to use postmodernism to defend the contemporary meaning of Tolkien's anti-modernism against his numerous Marxist, materialist, psychoanalytic and structuralist critics. But I shall also use the issue of re-enchantment to criticize postmodernist secularism. I finish up with a few suggestions about both criticism and the writing of fantasy which arise out of this approach. Without suggesting a comparable importance, a certain parallelism with Tolkien's famous lecture on Beowulf has emerged in the course of my own essay, except that this time, the story is contemporary literature, and the irritatingly atavistic and intractable monster at its centre is The Lord of the Rings itself. I too am going to suggest that the latter's critics too have missed its point, and have done so for reasons which turn on their own relationship of complicity with modernity.
Spring 2013 Chloé Avril Title: Gender Roles in Harry Potter. Stereotypical or Unconventional? Author: Filippa Tsatsa Supervisor: Ronald Paul Abstract: In this essay I will analyze the three main characters in the Harry Potter books based on how they perform gender. My main focus is if the characters challenge gender stereotypes or if they build on clichés, norms and stereotypes when it comes to performing gender. By performing a close reading of the novels and by theorizing them with the help of Judith Butler’s theory on gender as something performative I have come to the conclusion that the Harry Potter novels both challenge and do not challenge the stereotypes of gender. However, all characters show both masculine and feminine characteristics and that is what makes the novels unconventional in this aspect. Keywords: Harry Potter, Sex, Gender, Judith Butler, Femininity/Masculinity, Stereotypes
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