philosophical problems in tolkien's trilogy the lord of the rings.docx

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o‘zbekiston respublikasi oliy ta’lim, fan va innovatsiyalar vazirligi __universiteti ro’yxatga olindi №__________ ro’yxatga olindi №__________ “_____” ____________20 y. “_____” ____________20 y. “___________________________ “ kafedrasi “_____________________________ “ fanidan kurs ishi mavzu:________________ bajardi:_________________________________ tekshirdi:_______________________________ ______________ - 20___ philosophical problems in tolkien's trilogy " the lord of the rings” table of contents introduction chapter i 1.1 development 1.2 pre-production 1.3 casting 1.4 public and critical response chapter ii 2.1 the shire and a hole in the ground turning point 2.2 what must i do? 2.3 the time of the elves is over 2.4 the slow decay of time 2.5 home is behind, the world ahead 2.6 the road less travelled 2.7 a crown for a king 2.8 elven-kin and human king? conclusion references introduction mountain peaks fly below and ancient longing sings through the air. snow capped, the misty mountains reach for worlds above, while down in their depths, a small band of …

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n the unthinkable happened (no spoilers here!) and all the adventures they’d been on since and to wonder what could possibly be next. finally, i was compelled to remember an ancient time, a time of deep and dark mystery. as we fall into the abyss, the music drives us on with majestic fury matched only by the visual treat of that cavern, that water and those characters. the lord of the rings: the two towers certainly opens with a bang and draws me right in to the characters, their plight and the possibilities of hope in the midst of hopelessness. how do you do justice to three epic movies that have contributed so much to the world of cinema and visual storytelling? i’ve tried to do homage to each of these movies individually and this time, i wish to do homage to the trilogy as a whole. i might be …

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swer" to the question, as well as at least one quotation from another writing by tolkien that he sees as relevant. finally, kreeft includes a quotation from c. s. lewis, which he views as "showing the same philosophy directly stated" (11). the inclusion of quotes from lewis is not completely surprising, as kreeft identifies on his faculty web page at boston college the writings of lewis as a professional research interest. but the inclusion of the quotations of lewis turns out to be a major weakness in the book. kreeft's approach implies that the two men were of extraordinarily similar minds; in fact he writes in the introduction that "g. k. chesterton and hilaire belloc were so close in personal friendship, in philosophical and religious belief, and in the common vocation of fighting a common jihad against the modern world that they were called the 'chester belloc monster'. we could …

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s comments. but that led to me realize a second major weakness in the book. what kreeft writes in response to any single question is rarely more than five or six pages. sections that address questions such as "is knowledge always good?", "what is truth?", "is the past (tradition) a prison or a lighthouse?", "can words have real power?", are only two to three pages in length. and the total length of each section includes the use of quotations from the lord of the rings, other writings by tolkien (often from his letters or the essay "on fairy-stories"), and quotations from lewis. the result is that an interesting point by kreeft is barely mentioned before the section ends and he moves on to another question. a third weakness of this book is that kreeft makes almost no reference to the northern traditions—particularly the theory of courage—that so strongly influenced tolkien. …

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he rings and "an option on the hobbit". peter shaffer was commissioned to write a script for a three-hour film, which was deemed "elegant" but was never made. at this time, denis o'dell, a producer working for the beatles, expressed interest in making a "musical multimedia extraveganza" starring the band members. he had considered richard lester to direct, but instead tipped david lean. with lean busy on ryan's daughter, it passed to stanley kubrick (who deemed it "unfilmable") and michaelangelo antonioni, to no avail.in 1969, with the full rights now in their disposal, ua commissioned john boorman to write a new script, but by the time he completed his rough draft in 1970, it was deemed too costly. in 1972, arthur rankin used a loophole in the us publication of the books (which made them public domain) to create an animated tv special based on the hobbit (1977), and a …

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o‘zbekiston respublikasi oliy ta’lim, fan va innovatsiyalar vazirligi __universiteti ro’yxatga olindi №__________ ro’yxatga olindi №__________ “_____” ____________20 y. “_____” ____________20 y. “___________________________ “ kafedrasi “_____________________________ “ fanidan kurs ishi mavzu:________________ bajardi:_________________________________ tekshirdi:_______________________________ ______________ - 20___ philosophical problems in tolkien's trilogy " the lord of the rings” table of contents introduction chapter i 1.1 development 1.2 pre-production 1.3 casting 1.4 public and critical response chapter ii 2.1 the shire and a hole in the ground turning point 2.2 what must i do? 2.3 the time of the elves is over 2.4 the slow decay of time 2.5 home is behind, the world ahead 2.6 the road...

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