When John Ronald Reuel Tolkien was 23 Years old, he had already learned Greek, Latin, Anglo Saxon, Old English, Finnish, Welsh and Gothic and had already invented two own languages, called Nevbosh and Qenya. Together with his interest in languages there came up an interest in myths and legends of the countries behind these languages and he read eagerly all the old legends he came across. During these studies he became aware of the fact that England itself had no own mythology. There was the Celtic, the Roman, the Norse and the Christian Mythology but none especially of England. The awareness of this fact and the lack of a mythology behind his own language, Qenya, made him write poems and short stories that told of events and persons as could have taken place in an English mythology. In the invention of these stories he was inspired by the Bible, the Edda [17][18], Celtic Tales, Fairy stories and the pieces of William Shakespeare, just to name the most important sources. In this Essay I would like to focus on the Norse elements that served as sources for the ideas of Tolkien. It is not the aim of this Essay to compare each idea Tolkien had with similar elements in the Norse Mythology. there are already more than enough articles on the ring as Norse element and the attempt to apply Odin to almost each of the Ainur or Tom Bombadil. It shall simply give an idea about how much this mythology served Tolkien as a source of inspiration.

In den Büchern des Autors J.R.R. Tolkien finden sich Figuren, Orte, sowie Handlungs- und Stilelemente, welche an altnordische Dichtung erinnern. In dieser, bei weiten nicht vollständigen Aufzählung werden die wichtigsten und augenfälligsten von ihnen aufgeführt und erklärt.

When I had first heard of Peter Jackson’s film adaptation of J.R.R. Tolkien’s fantasy epic The Lord of the Rings I was swept up into the mania surrounding anything fantasy. 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. 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. 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. 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. 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. The second chapter is concerned with the shepherding figures of Galadriel and Gandalf and how they help deliver the redemption concerned with Frodo and Aragorn in the third chapter. The conclusion finally caps the argument with Leaf by Niggle in the backdrop which I feel pins Tolkien’s works together. Tarot card imagery has been used throughout to help cement the comparative aspect of Tolkien’s work; comparative mythology being one of the fundamental themes of this dissertation. Mark-Anthony Fenech Tutor: Prof. Peter Vassallo Co-tutor: Prof. Ivan Callus

In Romania there is no academic program dedicated entirely to the study of the Viking period in Scandinavia and Europe, but Romanian historiography can still boast with a decent number of monographs, translations and studies relating to early medieval Northern Europe. The concern of the present study is that of offering a general view on the language variations used by Romanian historians or translators when referring to certain Viking historical characters, rituals, artefacts or any other aspects regarding the history of the Norsemen. One of the first terms that ought to be considered by this study is the Old Norse word “viking” (used in runic inscriptions in contexts such as the verbal group “fara í víking” – meaning “to go on a raid”, “to go a-viking”). The complexity of translating this verbal structure into Romanian comes from the difficulty of turning the borrowed ethnonym “Viking” into a verbal phrase. Thus, it has been rendered as “a merge in expediţie vikingă”/”going on a Viking [+fem. desinence] expedition”. The only downside of using this phrase is that it might imply pleonasm since the Romanian noun “viking” already refers to raids and seafaring activities. Other authors have instead proposed the translation of “cineva care face un înconjur”/”somebody who goes on an expedition”, or simply “care e departe de casă”/”someone away from home”. But a royal saga also tells us about a noble who was “stundum í kaupferdum en stundum í víkingu” which is translated into Romanian as “în acelaşi timp în călătorie de afaceri şi în expediţie vikingă [at the same time in business trip and in viking expedition]”. The translation of í víking as “a merge în expediţie viking [going on a viking expedition]” also appears. In the translation of Frans G. Bengtsson’s well know The Long Ships, going a-viking is translated into Romanian as “seceriş [reaping], incursiune de jaf [raid for plundering]”, which is interestingly the only identifiable metaphor for this activity. Vikings also rarely appear as “wikingi” instead of the very common “vikingi” in Romanian translations.

An analysis of the elements of Norse mythology which can be found in the literary universe of J.R.R. Tolkien

In this article some aspects of Tolkien’s work with regard to his relationship to folklore and nationalism are presented. It is also argued, contrary to Lauri Honko’s view of literary epics, that pre-literary sources constitute a problem for the creators of literary epics and that their elements can direct the choice of plot and form. Tolkien felt that there was a British – but no English – mythology comparable to the Greek, Finnish or Norse ones. He tried to reconstruct the ‘lost mythology’ with building blocks from existing mythologies, and dedicated his work to the English people. In this, he saw himself as a compiler of old source material. This article considers his use of Old Norse sources. With Honko’s notion of the second life of folklore it is argued that Tolkien managed to popularise folklore material while his efforts to make his work exclusively English failed; for a contemporary audience it is rather cross-cultural.

Nordic references abound in contemporary popular culture, they are so common in fantasy literature, role-playing games, comics or cinematography that the time of their anonymity outside of Scandinavia has long gone by. Whether or not merely anthropological curiosities that serve for a good story or attempts to reconnect with the ancient past in the form of Neopagan revivals, the world of Asgard and Valhalla proves to be very potent in its adaption to different discourses.

The influences on Tolkien. A piece written at A-Level for an Extended Project Qualification.

This dissertation considers Viking Age Scandinavian inscribed runestones in order to determine their societal origins and the impacts they had on Viking Age religious cultural changes. The three types of monuments discussed are: runestones with religious inscriptions and magical texts; runestones with mythic, legendary and religious imagery; and runestones with political and religious intentions. By comparatively examining Pagan and Christian runestones, the question of which culture initially drove the production of these memorials is addressed. Twenty-five runestones are examined in detail, including the stones of kings Gormr Gamli and Haraldr Blátönn in Jelling, Denmark which serve as primary case studies and representative examples. While religion is the dominating motif of Scandinavian runestones, the evidence shows that no conclusive answer exists on the Pagan or Christian origins of inscribed runic culture. This study proposes that religious hybridization or syncretism is the strongest possibility, yet further research into more precise dating methods needs to be conducted.

There are a lot of race in the J. R. R. Tolkien’s the Lord of the Rings novel (1937-1949). This article will investigate the type of race in Norse Mythology that found in the J. R. R. Tolkien’s the Lord of the Rings novel (1937-1949). The matter will be discussed in this article is what are the character and race that come from the Norse Mythology in the J. R. R. Tolkien’s The Lord of The Rings novel (1937-1949). The perspective and stereotype of the J. R. R. Tolkien in race are also giving the support elaboration in this article. The race in this novel will be collected and determined them in to the race that come from the Norse Mythology. In the general finding, show the kind of the races that appear in the J. R. R. Tolkien’s the Lord of the Rings novel (1937-1949).

Viking Language 2: The Old Norse Reader immerses the learner in the legends, folklore, and myths of the Vikings. The readings are drawn from sagas, runes and eddas. They take the student into the world of Old Norse heroes, gods, and goddesses. There is a separate chapter on the ‘Creation of the World’ and another on ‘The Battle at the World’s End,’ where the gods meet their doom. Other readings and maps focus on Viking Age Iceland, Greenland, and Vínland. A series of chapters tackles eddic and skaldic verse with their ancient stories from the old Scandinavian past. Runic inscriptions and explanations of how to read runes form a major component of the book. Where there are exercises, the answers are given at the end of the chapter. Both Viking Language 1 and 2 are structured as workbooks. Students learns quickly and interactively. More information on our website: vikinglanguage.com

Among the Scandinavians far down in Christian times, the idea prevailed that their heathen ancestors had believed in the existence of a place of joy, from which sorrow, pain, blemishes, age, sickness, and death were excluded. This place of joy was called Ódáinsakur, the-acre-of-the-not-dead, Jörð lifandi manna, the earth of living men. 1 It was not situated in heaven but below, either on the surface of the earth or in the lower world, but it was separated from the lands inhabited by men in such a way that it was exceeding perilous, although not impossible, to come there. A saga from the fourteenth century 2 incorporated in Flateyjarbók, and with a few textual modifications in Fornaldarsögur Norðurlanda, tells the following: Erik, the son of a petty Norse king, one Christmas Eve, made the vow to seek out Odainsakur, and the fame of it spread over all Norway. In company with a Danish prince, who also was named Erik, he proceeded first to Mikligard (Constantinople), where the king engaged the young men in his service, and was greatly benefited by their warlike skill. One day, the king talked with the Norwegian Erik about religion, and the result was that the latter surrendered the faith of his ancestors and accepted baptism. He told his royal teacher of the vow he had taken to find Odinsakur,-"frá honum heyrði vér sagt á voru landi,"-and asked him if he knew where it was situated. The king believed that Odainsakur was identical with Paradise, and said it lies in the East beyond the farthest boundaries of India, but that no one was able to get there because it was enclosed by a wall of fire, which reaches up to heaven itself. Still Erik was bound by his vow, and with his Danish namesake he set out on his journey, after the king had instructed them as well as he was able in regard to the way, and had given them a letter of recommendation to the authorities and princes through whose territories they had to pass. They travelled through Syria and the immense and wonderful India, and came to a dark country where the stars are seen all day long. After having traversed its deep forests, they saw a river when it began to grow light, over which there was a vaulted stone bridge. On the other side of the river, there was a plain from which came sweet fragrance. Erik conjectured that the river was the one called Pison by the king in Mikligard, and which has its source in Paradise. On the stone bridge lay a dragon with his mouth agape. The Danish prince advised that they return, for he considered it impossible to conquer the dragon or to pass it. But the Norwegian Erik seized one of his men with one hand, 1 er heiðnir menn kalla Ódáinsakr, en kristnir menn jörð lifandi manna eða Paradísum, "that the heathen people call Odainsakur, but Christian people the land of living men or Paradise" Eireks saga víðförla. 2 Eireks saga Víðförla

The article discusses physical status and external appearance of dvergar of pre-Christian Nordic folk belief, mythology and literature. Sources in focus of the research include a runic inscription, a skaldic poem, three Eddic lays and carvings on a runic stone. Resumen: El artículo discute el estado físico y la apariencia externa de los dvergar en la creencia popular, mitología y literatura nórdica pre-cristiana. Las fuentes en las que se centra la investigación incluyen una inscripción rúnica, un poema escáldico, tres poemas eddicos y tallas en una piedra rúnica.

Earlier versions of most of the essays in this collection were delivered at the Viking Society Student Conference on the theme of Old Norse Made New held at the University of Oxford on 25 February 2006 (Clark, Fimi, Finlay, O'Donoghue, Phelpstead, and Townend). These papers are published alongside others on medievalist topics from previous Viking Society Student Conferences (Ashurst and Larrington). This collection addresses students and scholars with an interest in the ways in which Old Norse literature and the medieval culture of Iceland and Scandinavia have influenced writers, especially writers in English, after the Middle Ages. The essays collected here cover a wide chronological span (from the eighteenth century to the twenty-first) and a range of literary genres (poetry, novel, libretto, children's literature, fantasy fiction).

What happens when the electric guitar meets Thor’s hammer? The effect might be quite bombastic and trigger a sensation of empowerment and enchantment capable of temporarily relocating us to some imaginary places and eldritch times that could cathartically fill up an imagined identity. Metal music is an enormously rich and challenging cultural phenomenon, which has been captivating me for some years and where many times I found solace and an expression of my own emotions. Equally fascinating I find the distant past, with all its aura of mystique and exoticism – “the past is a foreign country”, as the saying goes. What I am writing about in this paper is somehow a compromise between the two, focused on an intriguing and dynamic stylistic trend in metal culture, which is to use Pagan histories as source of inspiration for the lyrics and images of the bands. One vital preliminary remark would be that when such bands aesthetically instrument the past and play with nostalgic reimaginings of history and heritage, they weave a personalized cultural narrative that corresponds to a symbolic collectivity and cultural memory. What guides this study are questions such as: how does the non-musical component relate to old sources and what kind of discourse does it produce? What does it communicate about the relationship between past and present? How can heritage narratives contribute to the formation of a metal identity? Is such an engagement meaningful in postmodern art and society? Not to anticipate too much, I will just hint that ancient tokens can acquire symbolic power if they perform within contemporary traditions of myth and fantasy. Additionally, since I used the term cultural identity in the title, this should be understood in this context as a constructed sense of collective self-representation that makes use of certain identifiers to happen. The identifier I chose to explore is Norse mythology, with reference to the collection of figures and stories in the Eddic material, which constitutes an aesthetic cultural marker that underpins a heritage narrative in metal music: the invention of Northernness. As pinpointed by Stuart Hall, the sense of collectivity is rendered by a more or less artificial imposed “self” built upon shared images of history and cultural codes that provide frames of reference and meaning. we can think about it as a shifting description of the subject, in the process of drawing symbolic boundaries. “The past continues to speak to us. But it no longer addresses us a simple factual past. It is always constructed through memory, fantasy, narrative and myth. Cultural identities are the unstable points of identification or suture, which are made within discourses of history” . The situation is complicated in the postmodern context, where the subject simply disintegrates into a flux of discontinuity that problematizes the concept of identity itself turning it into a construct of language . And in this fragmented picture comes up extreme metal, a constellation of genres with abrasive sound and transgressive content, where one lyrical trend elevates sources like Norse mythology to cultural markers that enact dreams of a primordial past as forms of differentiation and authenticity, yet in a carnivalesque fashion with a strongly immersive touch. Mainly, cultural identity is achieved here through representations of heritage, understood in a context of metal culture. When recycling and reusing themes from old sources in a similar manner, bands invoke their own story and sense of belonging. As a case study I have made a selection (highly subjective, of course) of metal bands and song texts that resort to an intertextual play with the Eddic material, but with the hope to reach a more general overview with theoretical remarks that can be applied to the rest of the scene as well. Moreover, I have devoted large sections to the analysis of the interplay between metal and myth and how the former may be thought to generate an aestheticized spirituality. My practical selection includes bands Enslaved, Einherjer, Helheim (Norway), Månegarm, Amon Amarth, Thyrfing (Sweden), Falkenbach, Black Messiah and Odroerir (Germany), which beyond the aural differentiations share common markers in subject matters. The denominations Pagan and Viking metal are used in this paper to refer to the set of verbal and visual codes, in a nutshell a lyrical trend focused on pre-Christian themes, Nordic ones in the case of the latter, therefore they will often appear synonymously here since I am merely discussing the construction of Northernness. My particular focus will be on a content analysis of the Eddic themes in metal lyrics, but also on a broad contextualization of such a historical reception. That being said, let us begin our journey to Valhalla.

Je conclurai avec une remarque sur le style de la « traduction » de J.R.R. Tolkien. Il veut importer directement en anglais la poétique noroise, en particulier des vers avec deux accents toniques (dimètres). Prenons un exemple de J.R.R. Tolkien. « Their word was spoken, wills were hardened; fate drove them on, fey they parted. None might hinder near them thronging lords nor wisement; with a laugh they rode. » (Guðrunarkviða en nyja, v. 60, p. 273) On remarque que Tolkien ne tient pas la régularité iambique. La troisième ligne est iambique mais à contre sens ou bien bancale (et avec trois accents) si on respecte le sens : ‘ - ‘ - contre ‘ ’ - ‘. La dernière ligne ne peut être que bancale : - - ‘ - ‘. Notons également que mises à part le premier vers et le dernier vers qui commence sur des syllabes non accentuées donc son iambiques, bien que bancale dans les cas (- ‘ - ‘ - et - - ‘ - ‘), tous les autres vers commencent sur une syllabe accentuée et sont donc trochaïque. Mais ma remarque principale sera qu’en anglais les formes traditionnelles, celles qui ont le souffle nécessaire, pour le récit épique sont le ‘heroic couplet’ donc fondamentalement des pentamètres iambiques, ou bien la ‘ballad’ fondée sur un tétramètre puis un trimètre iambiques principalement. La forme retenue par J.R.R. Tolkien manque d’ampleur et le force souvent à faire des élisions et des inversions désagréables musicalement, sémantiquement et syntaxiquement, créant parfois des obscurités de sens.

The battle-maiden " Eschatology " is often accompanied by her sister " Utopia. " For agricultural peoples such as the Vikings, the end things were part of a cyclical occurrence. Binary good and evil did not exist, and every few years the world as it was known had to be destroyed to bring about something different. This new world did not have to necessarily be better or worse, just different and renewed. In the Nibelungenlied, a product of medieval feudal society whose success depended upon respect of authority and domination of nature and chaotic forces of " evil, " the end of the cosmos was not at stake. However, the reader is impressed with the necessity of following one's betters to the point of death in order to maintain the rules of honor and the privilege of nobility. Wagner presents us with an eschatology that topples the hierarchy of command, criticizing its inconsistencies and its " empire built on treaties, " in order to elevate and empower the commoner. Eschatological elements dominate these stories, promising tragic endings that suggest the author's and the audience's cultural context, ideals of social order, as well as Utopian values that will reign following the tragic ending. Much like earlier Nordic peoples would proudly trace themselves back to Sigurd the Volsung, son of Odin, Middle High Germans could trace their history back to Siegfried as their heroic and magical cultural ancestor, and the 19 th Century German revolutionary movements found legitimacy within the narrative of Wagner's Ring Cycle.

"NOTE: A supplemental index file is offered here as our sub-heading formatting was lost in publication. Widely considered one of the leading experts on the works of J. R. R. Tolkien, Thomas Alan Shippey has informed and enlightened a generation of Tolkien scholars and fans. In this collection, former students and colleagues honor Shippey with 15 essays that reflect their mentor’s research interests, methods of literary criticism and attention to Tolkien’s shorter works. In a wide-ranging consideration of Tolkien’s oeuvre, the contributors explore the influence of 19th and 20th century book illustrations on Tolkien’s work; utopia and fantasy in Tolkien’s Middle-earth; the Silmarils, the Arkenstone, and the One Ring as thematic vehicles; the pattern of decline in Middle-earth as reflected in the diminishing power of language; Tolkien’s interest in medieval genres; the heroism of secondary characters, and numerous other topics. Also included are brief memoirs by Shippey’s colleagues and friends in academia and fandom, and a bibliography of Shippey’s work."

This article argues that eddic poetry, where females are described attending assemblies, swearing oaths, receiv-ing compensation, and taking revenge, can provide some insight into the real “ladies of law” of pre-Christian Scandinavia. In Christian times, when “law” was seen to emanate from the male God, considerable changes were introduced.

"[Egyptians were] the first to broach the opinion that the soul of man is immortal, and that, when the body dies, it enters into the form of an animal which is born at the moment, thence passing on from one animal into another, until it has circled through the forms of all the creatures which tenant the earth, the water, and the air, after which it enters again into a human frame and is born anew. [Greek writers borrowing from Egypt] put it forward as their own. " Herodotus (d. 425 BCE), Book II, Rawlinson, trans. PHOENICIAN ALPHABET (c. 1050 BCE)-THE CADMEAN LETTERS A Phoenician ancient Greece knew as Cadmus carried an alphabet out of Egypt. Associated with both writing and with secretive mystery traditions, Phoenicians eventually supplied the mythic pattern underlying Germanic runes.

Today, we have a 21st Century awareness of diversity in expression pertaining to a person’s gender, sexuality and place in the world. Yet we sometimes forget that these markers of human identity have always existed throughout our shared cultural past, and are articulated in various ways within ancient stories and mythologies. In this thesis, I will consider the way that gender identity and sexuality are evoked in Norse mythology, focusing on the figure of Loki. The sexuality and gender identity of Loki has not previously been surveyed. The starting point of this research comprises a close reading of Georges Dumézil’s system of understanding myth, followed by an analysis of Jerold C. Frakes’s attempt to explain the position of Loki in Norse mythology and religion. These scholars’ works are seminal to understanding the god Loki, and will guide my comparative study of the nature of Loki amongst the other gods and in other cultures. I will then draw on their theories to offer my own interpretation of Loki’s position in the pantheon. Following this, I will discuss the sexuality and gender-identity of Loki and how this reflects the social milieu of Viking-Age Norse society. My central thesis statement is therefore twofold: first, to fully grasp the role of Loki in Norse mythology we have to look at them through the lens of the Norse worldview; second, an awareness of Loki’s place in the pantheon gives us insights into Norse understandings of gender identity and sexuality.

An annotated, alphabetized bibliography of all primary and secondary scholarly sources on J.R.R. Tolkien's relationship with, and use of, Old English language and literature in his academic and popular works, of which I am aware. The list is current as of 2017.

written for Anthony Blake for DUversity; an introduction to correlating elder futhark runes and John G. Bennett's 24 'triads of the world of selves'

Vǫluspá and Baldrs draumar - Translation and Commentary, book draft.

Chapter published in Neomedievalism in the media : essays on film, television, and electronic games /​ edited by Carol L. Robinson and Pamela Clements ; with a preface by Richard Utz. Lewiston : The Edwin Mellen Press, 2012.

The after-effects of the rise of Teutonic identification rather than a Celtic one in Victorian English society, has led to the Norse myths being instantly recognisable and so more commonly used in media, either it being literature or film. Readers, writers and viewers are more likely to identify Odin, or Thor’s hammer than they are to a Celtic hero, such as Cúchulainn or, relics such as Dagda’s cauldron. Norse and Anglo-Saxon motifs and mythology can be found in countless modern fantasy works and Teutonicism persisted in the English psyche. One of the most recognisable of these heroic figures is Thor. This Norse thunder God has been used from marvel comics, film to music and even alcohol. ‘Teutonicity’ in this case taken from the term ‘Celticity’ is the relationship between the author, novel and the Norse and Anglo Saxon elements, as well as their significance -- be it the 19th century Teutonic identity, Neo pagan 20th century identity, and medieval texts of those collectively named, Norse, Icelandic or Anglo-Saxon. This paper aims to examine the ‘Teutonicity’ of a number of authors (specifically Kevin Hearne and the image of Thor) in regards to the Celtic and Teutonic debate that backdropped one of the most influential of fantasy works of all time: The Lord of the Rings. This essay will see if this conflict of Celtic and Germanic/Norse is still being waged in modern fantasy or, because of Tolkien’s blending of the two, there is very little friction between the Norse and Celtic influences and perhaps we are back to a 1700s idea, were there was little difference between the two.

The carvings do not only render a desired heroic course of life, death and afterlife, it also delivers a calendar programme including the four seasons, the months of the year and the days of the week by referring to two pagan trinities as mentioned by Tacitus and Caesar. The topic, we may say, is “Death and Rebirth”, illustrated by the scene on the Lid, with the (now missing) Sun in its centre. Runes, numbers and values support the magic formulas of the emblematic images.

This long review considers the changes made by Tolkien to the legends of Sigurd and Gudrun, the Nibelungs and the Volsungs, relating them to his own attitudes to Gothic history, a subject in which he took great interest.

Primarily known as an Oxford professor and philologist, Tolkien was far more than just the writer of two fantasy books (The Hobbit and The Lord of the Rings) and few academic essays as one can normally expect: Tolkien became a landmark of English literature and a critical point for the spread of the literary genre of fantasy.

ABSTRACT. The current article aims to explore the similarities between the concept of the Creation imaginations in the mythical beliefs of two geographically and culturally very remote cultures, namely the Mayan K’iche’ tribe (Span.: Quiché) and XIII century medieval Scandinavians (Swed., Norw., Dan.: skandinaver). The text predominantly indicates common features of Creation without outlining the other numerous differences. The article advocates the global statement, concerning the similar phenomena in different mythologies. It is a specific comparative investigation, concentrated on two perceptions apropos the Creation. This article manifests major comparative characteristics between Scandinavian and Mayan mythologies. The emphasis is placed on eleven similarities in Creation myths of Scandinavian and Mayan cultures. The eleven similarities are as follows: 1. A written mythological source; 2. A polytheistic religious system; 3. Creation is a collective deed; 4. Anthropocentric cosmogony; 5. Vulnerability of the gods; 6. Water as a primeval element of Creation; 7. The Creation act carried out in darkness; 8. The usage of a plant to create man; 9. Four-dimensional structure of the Universe; 10. Cruel nature of the underworld; 11. The need for continuous maintenance of the Creation.

Translation and commentary of the Old Icelandic poem Hrafnagaldur Óðins. Draft book.

... JRR Tolkien: A Descriptive Bibliography. ... Dark Tower, and The Notion Club Papers: Tolkien and Lewis's Time Travel Triad." In Tolkien's Legendarium: Essays ... as a Category Problem." In The Shadow-walkers: Jacob Grimm's Mythology of the Monstrous, edited by Tom Shippey. ...