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• W1168663028 abstract "At center of enchanted edifice in The Lord of Rings is idea that out of which this edifice is built must fade. Or as Saruman gloats to elves: pulled down your own house when you destroyed mine (The Lord of Rings [LotR] VI.6.983). This simultaneous creation and demolishment of creates deep psychological impact: Tolkien reinstates to broaden and deepen feelings of and relatedness in reader, while in same moment he puts at risk for loss. Tolkien never resolves for his audience whether or loss wins, instead leaving them in dialogue that distills this fundamental uncertainty. My thesis here is in agreement with previous writers who have indicated that loss is primary content theme of The Lord of Rings and others of writings. Senior described this theme as the sustained and grieved sense of loss, of which death is but one form, that floods through history of Middle-earth (173). Hannon stated that the many quick-moving scenes are secondary to sense book conveys of things slipping into--or already become part of--an irrecoverable past (37). Parker is close to my approach when he states that Tolkien's whole marvelous, intricate structure has been reared to be destroyed, that we may regret it (609). But I am also adding to these readings of content idea that this content of loss is in constant tension with enchanting form of The Lord of Rings and other works: loss undoes enchantment, while at same time undoes loss. To paraphrase what I have written elsewhere about Rumpelstiltskin, Tolkien gave us enchanting works about disenchantment. I use term enchantment rather than related words such as magic or fantasy to align my analysis with Weber's concept of disenchantment of world. Weber stated that in traditional society the remain[s] great enchanted garden (Sociology of Religion 270) imbued with meaning and with mysterious spiritual powers. The process of rationalization that defines modernity, on other hand, [...] means that in principle, then, we are not ruled by mysterious, unpredictable forces, but that, on contrary, we can in principle control everything by means of calculation. That in turn means discenchantment of world (Science as Vocation 12-13; italics in original) Curry identified writings as an effort to re-enchant by creating fictional universe set in pre-modern times that values community and nature and is alive and saturated with meaning. I follow Curry in using own words to define (although Tolkien did not specifically use word enchantment at this moment): the primal desire at heart of Faerie [is] realization, independent of conceiving mind, of imagined wonder (On Fairy-Stories 35) Related to this is definition of recovery, by which he meant We should meet centaur and dragon, and then perhaps suddenly behold, like ancient shepherds, sheep and dogs, and horses--and wolves recovery is re-gaining--regaining of clear view (67). And also related is discussion of consolation, highest consolation being that which gives a fleeting glimpse of Joy, Joy beyond walls of world, poignant as grief (75). (In last statement we approach my thesis as we see loss creeping back in even as Tolkien describes deeply enchanting experience.) These descriptions of are in accord with Freud's analysis in Totem and Taboo of pre-modern, enchanted worldview as being typified by animism and projection (experiencing nonhuman as alive in humanlike way, filled with creatures/spirits/gods that represent parts of our selves). The enchanted worldview also involves crucial affective and object relational qualities: (1) The complex affect of wonder, compounded of pleasure, curiosity, and sense of meaning, is felt during both magical thinking and animism. …" @default.
• W1168663028 created "2016-06-24" @default.
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• W1168663028 date "2015-01-01" @default.
• W1168663028 modified "2023-09-26" @default.
• W1168663028 title "Tolkien's Dialogue Between Enchantment and Loss" @default.
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