Here are the questions for weeks 1 - 3. Please use the comments section to post your answers. Do not make a new blog:
1. What genres do the following texts belong to?
Voluspa, Volsunga Saga, Beowulf, The Hobbit and Lord of the Rings.
Give some examples from these texts that support your identification (for example: "Voluspa is an example of the _____ genre, as the following references to gods from the poem illustrate: "Hear my words / you holy gods' (l.1) "By Odin's Will I'll speak the ancient lore" (l.3), etc).
2. What are some possible features of residual (or "secondary") orality preserved in Voluspa, according to the criteria Ong (1982) advances?
3. Identify a central incident that happens in at least four of the above texts, and discuss how it is both similar and different in each example (remember to site from the original texts).
4. How did Tolkien draw on the Old Norse and Old English texts in his Hobbit and Lord of the Rings fantasy novels? Provide some concrete examples.
5. Discuss how Tolkien's use of "tradition" (e.g. older literary sources) differs from the techniques and agendas of modernism (see Week 7 in your Reader).
6. What place do the old myths have in the modern world?
7. How does the film Beowulf and Grendel "problematise" the hero-myth of Beowulf ?
8. Discuss what you think any of these texts desire (in the sense of their intention, how they wish to be received, what pleasures they offer).
Voluspa, Volsunga Saga, Beowulf, The Hobbit and Lord of the Rings.
Give some examples from these texts that support your identification (for example: "Voluspa is an example of the _____ genre, as the following references to gods from the poem illustrate: "Hear my words / you holy gods' (l.1) "By Odin's Will I'll speak the ancient lore" (l.3), etc).
2. What are some possible features of residual (or "secondary") orality preserved in Voluspa, according to the criteria Ong (1982) advances?
3. Identify a central incident that happens in at least four of the above texts, and discuss how it is both similar and different in each example (remember to site from the original texts).
4. How did Tolkien draw on the Old Norse and Old English texts in his Hobbit and Lord of the Rings fantasy novels? Provide some concrete examples.
5. Discuss how Tolkien's use of "tradition" (e.g. older literary sources) differs from the techniques and agendas of modernism (see Week 7 in your Reader).
6. What place do the old myths have in the modern world?
7. How does the film Beowulf and Grendel "problematise" the hero-myth of Beowulf ?
8. Discuss what you think any of these texts desire (in the sense of their intention, how they wish to be received, what pleasures they offer).
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ReplyDeleteWhat's happening here?No life? No comment in sight?
ReplyDeleteJust finishing mine off !
DeleteLooks like it finished you off, Tayor!
DeleteQuestion: How does the film Beowulf and Grendel ‘problematise’ the hero-myth of Beowulf?
ReplyDeleteWhen we read the original epic poem we are given a clear view of a stereotypical villain, first seen as a monster and then a dragon. However the cinematic adaption breaks out of the ‘good vs evil’ mold.
For me personally when we first watched the opening scene I instantly sympathized with Grendal. Having no prior knowledge of who he was or what he was to become, this was an easy to do. The opening scene confuses the viewer by humanizing our villain. Rather than introducing him with what he has become, we are shown why he became that. We as the viewer are unsure what to think, on one hand we want to pick up this poor boy and give him a hug, after what he’s just witnessed but on the other hand judging by his appearance we are weary of him.
For the viewer it later gets complicated to choose a side, usually the difference between the ‘good vs evil’ or ‘hero vs villain’ is very clear. However Beowulf who is the hero helps us to question Grendel’s supposed villain status.
The relationship between Grendel and Beowulf has a lot more depth to it that than we would normally see in a typical ‘hero vs villain’ story. We see Beowulf trying to understand why and how Grendel came to be who he is. And his doubts over the Dane’s beliefs about him and his people.
Sorry forgot to add referencing.
DeleteCowan, M.L. & Gunnarsson, S. (2005). Beowulf and Grendel. [Motion Picture]. Canada: Starz & Anchor Bay.
Excellent answer, Isabella. further to what you say, the film introduces a 'political' element, showing Grendel displaced from his traditional homeland by invaders who want to grab the land. This brings in a kind of 'post colonial discourse' into the picture. Grendel is a member of an oppressed minority!
DeleteQuestion 1. What genres do the following texts belong to? Voluspa, Volsunga Saga, Beowulf, The Hobbit and the Lord of the Rings?
ReplyDeleteEach of the texts, Voluspa, Volsunga Saga, The Hobbit and The Lord of the rings, had different genres, but also shared a common genre overall. Voluspa and Beowulf fall under the genre of epic heroic poetry which is a narrative poem, about events related to a nation or a culture and or of heroic deeds. Voluspa tells of the creation of the world, “Nothing was there when time began” (extract 1.a, line 9), “Earth was not yet, nor the high heavens” (extract 1a, line 11) and the coming end, “…until the world goes down, only hatred in the hearts of men.” (Extract 2, line 11-12), “but the human race no longer has a home” (extract 3, line 4), which is an event related to a nation or a culture, thus, its genre of an epic heroic poetry.
Beowulf is considered an epic poem because it is a tale of the protagonist, Beowulf, who is a hero who travels far and wide in search of proving his strength, even as the extract from the poem, which refers to him as a hero, illustrates: “Beowulf was given bad news… [And]...It threw the hero into deep anguish” [2321-54].
The Volsunga Saga falls under its own little genre called the legendary saga. The legendary saga shares similarities with the epic poem but can be defined as stories about ancient Nordic and Germanic history, and of early Viking Voyages in those times.
The Lord of the Rings being a sequel to the hobbit, the two texts take place in a similar setting and the same background. The Lord of the Rings and the hobbit also share a common genre, adventure. Both texts being about each of the protagonists traveling across lands, encountering different problems and losses along the way to achieve their purposes. The differences in the two texts, though, would have to be the difference in their main purpose of adventure. In the hobbit, the protagonist and his group have the purpose of finding great fortune among the treasure that lies within the walls of the mountain in which the dragon sleeps; "...a dread of water where the dragon lay. He would never again return to his golden bed,"(p. 241), the "golden bed" referring to the gold and treasure that the dragon possessed before his death. The purpose of the protagonist's travel in the Lord of the rings was to take the ring, which was passed down to him by the protagonist in the hobbit, to a safer place, and the story revolves around this plot: "..far away they gazed to the edge of sight, and hope and fear bore their thoughts.....Where now was the Ring-bearer?"(p.18)
Amongst the five texts, I have identified a common genre, which was mythology. In all the texts, there were mentioning’s of mythological creatures such as dragons, “There comes a dark dragon flying” (Voluspa, extract 3, line 24), “The dragon began to belch out flames” (Beowulf, 2287-320), and elves “….and some are of Elfin kin..” (Volsunga Saga). Also the genre of heroism was popular among the texts. Although all five texts all fall into different genres, the genres that they fall into, share similarities such as the epic heroic poetry and the legendary saga.
Reference:
DeleteHeany, S. (Trans). (1999). Beowulf: a new translation. London: Penguin, pp 70-80.
Morris, W. & Magnussun, E. (Trans.). (1888). The Story of the Volsungs (Volsunga Saga). London: Walter Scott Press, pp. 58-62.
Tolkien, J.R.R. (1997; 1937). The Hobbit, London: HarperCollins.
Tolkien, J.R.R. (1993; 1954). The Lord of the Rings: The Two Towers, London, HarperCollins.
Excellent, full reply Mickey. You struggle a little with LOTR and The Hobbit, both of which can be described as high fantasy.
ReplyDeleteQ6. What place do old myths have in the modern world?
ReplyDeleteIn today’s scoiety old myths still have a very significant standing as they are still utilized in many ways. Throughout the years myths of the past have been used to teach lessons, instill values and to help individuals make sense of the world they live in (Ollhoff, 2011). Before moving forward, it is essential to understand the definition of what a myth is (Ollhoff, 2011). An old myth can simply be defined as what individuals of one faith call another’s religon. This can be exemplified by a Christian who believes in Jeusus and the Bible, openly stating that a Muslim’s faith is purely a myth.
In addition to this, myths are stories that are passed on from generations to offer inspiration to listeners and readers while creating people whom they can aspire to be like (Reference). Myths of Beowulf who often depicts all the characteristics and traits of a traditional perfect hero. Throughout his journey he is portrayed as being brave and courages, seen through various feats such as his battles with Grendel and his mother. Beowulf also expresses his loyalty and respect when advocating the rightful heir to the throne, Hygelac’s son, rather than rushing into it for himself as most would expect of a man of his power and authority. Lastly, in his battle with the dragon he embodies the meaning of man that it is selfless. He unselfishly gives his life to protect his people (Heaney, 1999). Each of these traits shown by Beowulf are emphasized in details so that readers and listeners in the future can be inspired and strive to portray each of these in their own life at one time or another.
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ReplyDelete7. How does the film Beowulf and Grendel "problematize" the hero-myth of Beowulf?
ReplyDeleteQa) Beowulf in the poem differs from the onscreen insight. The hero-myth is defined as a hero who carries strength, courage, honour and loyalty to his people. Assets such as these are portrayed in the film but and ultimately Beowulf is weakened by the temptations which led him a stray. It is shown through his action Temptations such as the mermaid like siren abuse his heroic values and distract him from his attributes. In spite of trials and tribulations he still embodies the importance of devotion, self-sacrifice and allegiance to his comrades, his king and kings men.
Grendel is the antagonist in the film whom Beowulf eventually seeks out to kill as repayment to the king of Heorot. This distinguishes the balance between good and evil obviously with Beowulf as the Hero and Grendel as the Villian. Grendel is depicted as a demonic monster or a so call half man half demon making the audience feel a strange way about him. Grendel’s motives result in his hatred for the humans denying him any sort of purpose such as being loyal to a cause. It is possible to say that like Grendel, Beowulf could also be feared because of his unheard of strength and power to defeat creatures no one ever imagined.
When Beowulf battles Grendel there are no weapons prepared as it was an unexpected attack. With no weapons and no men at his aid this is proof of his greatness and efforts to save the people from a great terror. This links back to the myth of the hero always conquering over the wicked. In the film there is no entire decription as to why he feels such anger towards to kingdom, but ultimately its remained unclear which brings a more mystical and bizarre characteristic to the film.
The battle with Grendel in the Hall is the first time the people see Beowulf in combat. Judgment was passed quickly on the hero after telling the story of great sea monsters whom he fought yet slaughtered. It is a typical pattern as a part of the hero’s journey.
There are 12 stages of the Hero’s journey simply pointing out the step by step actions, decision and consequences in which hero like Beowulf must undertake. His purpose is defined by the situation of the people of Heorot causing disturbance either from external pressures or from something much more deep in the storyline, therefore the hero must face the beginnings of change. Grendel is the villain and ultimately the kingdom wants him dead, and so Beowulf is ‘Called to Adventure’.
To conclude this post, Beowulf lived a heroic life and did not die in vain. His story was always passed and remembered for many years. He served his people and served them with pride and dignity. Though at times he boasted about his past victories and battles he still lived to defend Good over evil. This film Beowulf 'problematized' the hero-myth of Beowulf because it emphasized values that were important to a warrior/hero. Courage, loyalty to ones king, and comrades, and honour for those who fought and died bravely are all aspects in which Beowulf in the film consisted.