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FROM LOGOS TO “MIDDLE-EARTH”: THE MUSICAL THEORY IN TOLKIENS SILMARILLION

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dc.date.accessioned 2021-12-31T07:13:49Z
dc.date.available 2021-12-31T07:13:49Z
dc.date.issued 2021
dc.identifier.uri http://hdl.handle.net/11547/9241
dc.description.abstract The creation process in various myths is one of the most fascinating of occurrences. The musical creation of The Silmarillion which constructs a preliminary sub creation of The Lord of the Rings will be the ‘Holy Bible’ of Middle-earth. J.R.R Tolkien designs his Middle-earth from the very beginning of everything as if he were implementing either the genesis part in the Holy Bible or the cosmogonic creation that is fantasized by Ovidius in his metamorphoses. In other words, Tolkien employs music as the primary element in The Silmarillion to explain how Middle-earth came to be. He employed music as the primary element of his creation, which requires close attention and a deeper examination of the process at work through this dissertation. This thesis examines the connection of the creation process of Middle earth through two philosophical theories: Heraclitus’ logos and Pythagoras’ theory of music. Logos is a term that can be associated with many different meanings, including law, contradictions, understanding, and wisdom. On the other hand, music represents the primary element in the formation of the universe in Middle-earth. At the beginning, the Ainur (Valars) are playing a harmonic melody to create Middle earth. Melkor, the antagonist, interrupts them with his harsh discord, which eventually leads to the link to Pythagoras and the music of the spheres. This link can be established because of the harmony that is being interrupted by Melkor. Harmony plays a major role in Pythagoras’ music of the spheres. In addition, it plays a major role in Heraclitus’ logos. For these reasons, the link between logos and the music of the spheres can be established. As a matter of fact, this thesis reports to make a connection among the musical creation, logos, and The Silmarillion, as well as a thoroughly comparison among the Ainur and the Greek gods to pinpoint Tolkien’s both inspiration and influence on the primary world and the sub creation and this comparison will be the last chapter of this thesis before the conclusion. tr_TR
dc.language.iso en tr_TR
dc.publisher ISTANBUL AYDIN UNİVERSİTY tr_TR
dc.title FROM LOGOS TO “MIDDLE-EARTH”: THE MUSICAL THEORY IN TOLKIENS SILMARILLION tr_TR
dc.type Thesis tr_TR


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