The Signum Scene

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Mythmoot V: 07 - Crossing Frontiers from the Home front to the Battlefront Jul 13, 2018

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The Bitter Watches of the Night: From Anne Elliot to Éowyn of Rohan—Crossing Frontiers from

the Home front to the Battlefront

Jennifer Ewing

J. R. R. Tolkien is often accused of either not having enough female characters, or that those present are not as fully realized as his male characters. However, Tolkien’s keen understanding of the emotional challenges women face is revealed when we consider the surprising parallelism between the life of Éowyn of Rohan in The Lord of the Rings and Anne Elliot of Jane Austen’s Persuasion. Anne’s conversation with Captain Harville about which sex is more constant in loving the other seems an odd passage to compare with the discussion that Aragorn, Éomer, and Gandalf have at Éowyn’s bedside in the Houses of Healing, but it is exactly this comparison that demonstrates how Tolkien crossed the boundary from high fantasy into topics important in women’s literature. Anne claims that women do not forget as quickly as men do because women remain at home, subject to their emotions, while men go out into the world to work, and that distraction aids forgetting. Likewise, Gandalf observes that Éomer had his horses and fields, while his sister, because she was a woman, stayed home caring for her infirm uncle, enduring emotional suffering and feelings of uselessness. Anne’s explanation that “We live at home, quiet, confined, and our feelings prey upon us” is eerily echoed by Gandalf: “Who knows what she spoke to the darkness, alone, in the bitter watches of the night, when all her life seemed shrinking, and the walls of her bower closing in about her?”

This presentation will discuss the nearly twenty commonalities found between the two women as they cross the frontier from the home front to the battlefront, including their paternal and sibling relationships, familial duties, appearances, choices of husbands, motifs of loneliness and death, and decisions about their futures. Even though they reside in two very different genres, by the end of their respective novels, these women become independent and resilient, knowing their own minds.

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Mythmoot V: 04 - The composite authorship of Andreas Jul 12, 2018

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The composite authorship of Andreas

David Maddock

The Old English poem “Andreas” has long been a source of controversy in the Anglo-Saxon scholarly community. Although it bears no runic signature, scholars have noted significant stylistic similarities between “Andreas” and the four signed poems of Cynewulf, suggesting that they may share a common author. Others have cited affinities with Beowulf or grammatical differences from Cynewulf to argue against Cynewulfian authorship. By correlating quantitative analysis of oral-formulaic language with the lexomics techniques of cluster analysis and moving ratios pioneered by Dr. Michael Drout, this paper demonstrates the existence of an older Beowulfian core around which a Cynewulfian poet built the received poem. Understanding the composite nature of “Andreas” can bring fresh data to a notorious scholarly controversy.

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Mythmoot V: 03 - The Postmodern Kaleidoscope of London Below in Neil Gaiman’s Neverwhere Jul 12, 2018

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The Postmodern Kaleidoscope of London Below in Neil Gaiman's Neverwhere

Chris Yokel

In Neil Gaiman’s first novel Neverwhere, an ordinary Londoner named Richard Mayhew is ushered into the fantastical underworld of London Below when he helps the mysterious injured vagrant girl, Door. After crossing paths with her and getting caught up in her story, Richard must traverse the shadowy and dangerous realms of the London underworld. In London Below, Neil Gaiman has crafted a postmodern kaleidoscope of a world that melds literary elements such as Greek mythology, Atlantis, Dante’s Inferno, Paradise Lost, Alice in Wonderland, Puss in Boots, and other stories through which Richard must travel as he undergoes his heroic journey. Gaiman crosses borders between these genres and stories as he relates Richard’s own border crossing from London Above to London Below.

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Mythmoot V: 02 - Tolkien’s Crossing of Revisionary Boundaries Jul 12, 2018

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Tolkien’s Crossing of Revisionary Boundaries

Chris Gavaler and Nathaniel Goldberg

Some novelists revise their stories by restarting them. Others revise by revealing new things about them. Still others revise simply by continuing them. All of these kinds of revisions are common, but J.R.R. Tolkien crossed revisionary boundaries by engaging in all three simultaneously.

In 1937 Tolkien published the first edition of The Hobbit, or There and Back Again. In 1951 he restarted the story by publishing the second edition; among other changes, Tolkien replaced the initial account of Bilbo’s encounter with Gollum (in Chapter 5, “Riddles in the Dark”) with a darker version. In 1954 in The Lord of the Rings (in the Prologue and in Book 2, Chapter 2, “The Council of Elrond”) Tolkien revealed that the initial account was a “lie” and the darker version was “the true account” of what had actually happened. Also in The Lord of the Rings, Tolkien continued the darker version from the 1951 edition of The Hobbit directly.

Using Tolkien as our exemplar, we identify these three kinds of revisions—restarts, revelations, and continuations—as reboots, retcons, and sequels, and determine the necessary and sufficient condition for each kind of revision. We conclude that the 1951 editions of The Hobbit and The Lord of the Rings stand in multiple revisionary relations to the 1937 edition. Tolkien crossed revisionary boundaries in his different works: sometimes even in the same ones.

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Mythmoot V: 01 - Welcome Jul 12, 2018

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Thesis Theatre with Franny Moore-Kyle and John Costello Jun 06, 2018

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Tom Shippey's "Laughing Shall I Die" Jun 05, 2018

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How to Present at Conferences Jun 05, 2018

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