Autant poster les remarques ici plutôt que sur l'ancienne version.

Cédric, tu nous demandais ce qu'on pensait du style JRRVF2. Pour ma part je le trouve un peu trop austère. Je préfère nettement le JRRVF tout court.

Voila voila

Pascal

Hello,<p>Ça y est, enfin, j'ai trouvé un remplaçant au forum...<br>Je ne veux pas faire cette migration par simple plaisir de migrer mais j'ai de plus en plus de crainte sur la robustesse du forum actuel et je n'aimerai pas perdre tous ses trésors.<br>Qui plus est, les hébergeurs qui permettent encore l'exécution de ce type de forum se font très rares et sont chers... D'ici à ce qu'une année, l'hébergeur açtuel décidé d'arrêter ce genre de prestation et nous ne pourrons pas accéder à notre contenu.<p>Comme nous avons un penchant certain pour l'efficacité et une certaine épuré dans notre style, il me fallait trouver un remplaçant dans la lignée... Charge aussi pour moi d'assurer une migration technique, "tout à la mano" pour copier les fuseaux sur la nouvelle mouture.<br>Je crois être arrivé à faire les deux, avec une contrainte, légère je pense, que je vous laisse lire sur le nouveau via le fuseau étiqueté en tête de la section webmaster.<p>Je n'ai en effet créé qu'une seule section pour permettre de tester en avance de phase avant que je ne passe trop de temps pour rien.<br>Seule la date du dernier message manque posté par chaque membre mais ce sera mis à jour avec votre premier message là-bas.<p>Voilà, je crois n'avoir rien oublié...<br>Ah si, l'adresse : <a href=https://www.jrrvf.com/fluxbb/>c'est ici</a><br>À votre écoute pour toute question ou remarque, démonstration d'enthousiasme ou rébellion en règle :-)<p>Cédric 

Bonjour à toutes et à tous,

Pour activer votre compte sur le nouveau forum, veuillez utiliser la fonction Mot de passe oublié accessible via le lien Identification.

A ce moment, veuillez donner l'adresse email utilisée lors de votre inscription sur "l'ancien forum". Pour peu que votre adresse email soit correctement renseignée et vous vous en souveniez, un nouveau mot de passe vous sera envoyé par mail à l'adresse indiquée.
Cliquer ensuite sur le lien présent dans le mail reçu et renseignez le nouveau mot de passe sur le nouveau forum. Ca y est, vous êtes connecté(e) !
Ensuite, vous pouvez librement en changer.

Si d'aventure vous ne receviez pas le mail, merci de m'en avertir en m'envoyant un message à webmaster@jrrvf.com ou de me laisser un message sur l'ancien forum ;-)

Merci !
Cédric

Déjà évoqué sur <A HREF="http://forum.tolkiendil.com/thread-6650-post-125976.html" target="_blank">Tolkiendil</A> depuis le mois de juillet dernier (2012), puis tout récemment sur le fuseau "<A HREF="http://www.jrrvf.com/forum/noncgi/Forum5/HTML/000899.html" target="_blank">Revue de presse IV</A>", le sujet mérite bien un fuseau particulier.<p>Comme annoncé par Vincent sur son site : <i>"voici que se profile la parution d’un inédit de J.R.R. Tolkien, <u>The Fall of Arthur</u> (en français : <u>La Chute d’Arthur</u>), prévu chez HarperCollins en mai 2013."</i> ;-)<p>On trouvera plus d'informations sur le sujet dans un article du site <A HREF="http://www.actualitte.com/les-maisons/la-chute-d-arthur-poeme-inedit-de-tolkien-pour-2013-37302.htm" target="_blank">ActuaLitté</A>, ainsi bien sûr que sur le <A HREF="http://www.pourtolkien.fr/spip.php?article134" target="_blank">site de Vincent</A>, où figure notamment la notice de Claire Jardillier - extraite du <i>Dictionnaire Tolkien</i> - consacrée à ce poème arthurien inédit de Tolkien.<p>Espérons, comme l'a suggéré Sosryko, que le texte sera proposé, en France, en édition bilingue. ;-)<p>Cordialement,<p>Hyarion.

Merci Vincent pour la bienvenue ;-)<p>Merci également pour ton retour.<br>En fait, le travail comparatif peut-être réalisé, sans aucun doute, mais je demande pourquoi aucune des éditions (France, Anglaise, Etatsuniennes) n'a une table des illustrations ? Argghh ;-) <br>Cela aurait facilité le comparatif car les illustrations sont également placées de manière différente dans les deux éditions en ma possession. <p>A suivre...<br>

Hello,<p>Comme je vous le disais il y a peu, je fouille dans mes archives…<br>Je ne suis pas sûr d'avoir déjà proposé cette retranscription de l'interview que Tolkien a donnée en janvier 1971 à la BCC. La voici donc.<br>Si pas déjà vu et intéressant, et si l'un(e) d'entre vous se sent de se lancer dans une traduction pour un public plus habitué à Molière, je suis preneur ;-)<p><br><br><hr><br><br><br><em><strong>First broadcast in January 1971 on the BBC Radio 4 programme 'Now Read On ...'.<br></strong></em><em><strong>Interviewer : Dennis Gerrolt.</strong></em><p><em>T: ...long before I wrote </em>The Hobbit<em> and long before I wrote this I had constructed this world mythology.</em><p>G: So you had some sort of scheme on which it was possible to work?<br><span style="color: #3366ff;"><em>T: Immense sagas, yes ... it got sucked in as </em>The Hobbit</span><em><span style="color: #3366ff;"> did itself, the Hobbit was originally not part of it at all but as soon as it got moving out into the world it got moved into it's activities.</span><span style="color: #808080;"> </span></em><span style="color: #808080;"><em>[realistic BBC match striking sound effect]</em></span><p>G: So your characters and your story really took charge.<br><span style="color: #3366ff;"><em>T:</em></span><span style="color: #808080;"><em> [lights pipe]</em></span><p>G: I say took charge, I don't mean that you were completely under their spell or anything of this sort...<br><span style="color: #3366ff;"><em>T: Oh no no, I don't wander about dreaming at all, it isn't an obsession in any way. You have this sensation that at this point A, B, C, D only A or one of them is right and you've got to wait until you see. I had maps of course. If you're going to have a complicated story you </em><em>must</em><em> work to a map otherwise you can never make a map of it afterwards. The moons I think finally were the moons and sunset worked out according to what they were in this part of the world in 1942 actually</em></span><em><span style="color: #3366ff;">.</span> <span style="color: #808080;">[pipe goes out]</span></em><p>G: You began in '42 did you, to write it?<br><span style="color: #3366ff;"><em>T: Oh no, I began as soon as </em>The Hobbit <em>was out - in the '30s.</em></span><p>G: It was finally finished just before it was published...<br><span style="color: #3366ff;"><em>T: I wrote the last ... in about 1949 - I remember I actually wept at the denouement. But then of course there was a tremendous lot of revision. I typed the whole of that work out twice and lots of it many times, on a bed in an attic. I couldn't afford of course the typing. There's some mistakes too and also <span style="color: #808080;">[relights pipe]</span> it amuses me to say, as I suppose I'm in a position where it doesn't matter what people think of me now - there were some frightful mistakes in grammar, which from a Professor of English Language and Lit are rather shocking.</em></span><p>G: I hadn't noticed any.<br><span style="color: #3366ff;"><em>T: There was one where I used bestrode as the past participle of bestride!</em></span><span style="color: #808080;"><em> [laughs]</em></span><p>G: Do you feel any sense of guilt at all that as a philologist, as a Professor of English Language with which you were concerned with the factual sources of language, you devoted a large part of your life to a fictional thing?<br><span style="color: #3366ff;"><em>T: No. I'm sure its done the language a lot of good! There's quite a lot of linguistic wisdom in it. I don't feel any guilt complex about </em>The Lord of the Rings<em>.</em></span><p>G: Have you a particular fondness for these comfortable homely things of life that the Shire embodies: the home and pipe and fire and bed - the homely virtues?<br><span style="color: #3366ff;"><em>T: Haven't you?</em></span><p>G: Haven't you Professor Tolkien?<br><span style="color: #3366ff;"><em>T: Of course, yes.</em></span><p>G: You have a particular fondness then for Hobbits?<br><span style="color: #3366ff;"><em>T: That's why I feel at home... The Shire is very like the kind of world in which I first became aware of things, which was perhaps more poignant to me as I wasn't born here, I was born in Bloomsdale in South Africa. I was very young when I got back but at the same time it bites into your memory and imagination even if you don't think it has. If your first Christmas tree is a wilting eucalyptus and if you're normally troubled by heat and sand - then, to have just at the age when imagination is opening out, suddenly find yourself in a quiet Warwickshire village, I think it engenders a particular love of what you might call central Midlands English countryside, based on good water, stones and elm trees and small quiet rivers and so on, and of course rustic people about.</em></span><p>G: At what age did you come to England?<br><span style="color: #3366ff;"><em>T: I suppose I was about three and a half. Pretty poignant of course because one of the things why people say they don't remember is - it's like constantly photographing the same thing on the same plate. Slight changes simply make a blur. But if a child had a sudden break like that, it's conscious. What it tries to do is fit the new memories onto the old. I've got a perfectly clear vivid picture of a house that I now know is in fact a beautifully worked out pastiche of my own home in Bloomfontein and my grandmother's house in Birmingham. I can still remember going down the road in Birmingham and wondering what had happened to the big gallery, what happened to the balcony. Consequently I do remember things extremely well, I can remember bathing in the Indian Ocean when I was not quite two and I remember it very clearly.</em></span><p>G: Frodo accepts the burden of the Ring and he embodies as a character the virtues of long suffering and perseverance and by his actions one might almost say in the Buddhist sense he 'aquires merit'. He becomes in fact almost a Christ figure. Why did you choose a halfling, a hobbit for this role?<br><span style="color: #3366ff;"><em>T: I didn't. I didn't do much choosing, I wrote </em>The Hobbit <em>you see ... all I was trying to do was carry on from the point where </em>The Hobbit <em>left off. I'd got hobbits on my hands hadn't I.</em></span><p>G: Indeed, but there's nothing particularly Christ-like about Bilbo.<br><span style="color: #3366ff;"><em>T: No...</em></span><p>G: But in the face of the most appalling danger he struggles on and continues, and wins through.<br><span style="color: #3366ff;"><em>T: But that seems I suppose more like an allegory of the human race. I've always been impressed that we're here surviving because of the indomitable courage of quite small people against impossible odds: jungles, volcanoes, wild beasts... they struggle on, almost blindly in a way.</em></span><p>G: I thought that conceivably Midgard might be Middle-earth or have some connection?<br><span style="color: #3366ff;"><em>T: Oh yes, they're the same word. Most people have made this mistake of thinking Middle-earth is a particular kind of Earth or is another planet of the science fiction sort but it's just an old fashioned word for this world we live in, as imagined surrounded by the Ocean.</em></span><p>G: It seemed to me that Middle-earth was in a sense as you say this world we live in but at a different era.<br><span style="color: #3366ff;"><em>T: No ... at a different stage of imagination, yes.</em></span><p>G: Did you intend in <em>Lord of the Rings </em>that certain races should embody certain principles: the elves wisdom, the dwarves craftsmanship, men husbandry and battle and so forth?<br><span style="color: #3366ff;"><em>T: I didn't intend it but when you've got these people on your hands you've got to make them different haven't you. Well of course as we all know ultimately we've only got humanity to work with, it's only clay we've got. We should all - or at least a large part of the human race - would like to have greater power of mind, greater power of art by which I mean that the gap between the conception and the power of execution should be shortened, and we should like a longer if not indefinite time in which to go on knowing more and making more.<br></em><em>Therefore the Elves are immortal in a sense. I had to use immortal, I didn't mean that they were eternally immortal, merely that they are very longeval and their longevity probably lasts as long as the inhabitability of the Earth.<br></em><em>The dwarves of course are quite obviously - wouldn't you say that in many ways they remind you of the Jews? Their words are Semitic obviously, constructed to be Semitic. Hobbits are just rustic English people, made small in size because it reflects (in general) the small reach of their imagination - not the small reach of their courage or latent power.</em></span><p>G: This seems to be one of the great strengths of the book, this enormous conglomeration of names - one doesn't get lost, at least after the second reading.<br><span style="color: #3366ff;"><em>T: I'm very glad you told me that because I took a great deal of trouble. Also it gives me great pleasure, a good name. I always in writing start with a name. Give me a name and it produces a story, not the other way about normally.</em></span><p>G: Of the languages you know which were the greatest help to you in writing <em>The Lord of the Rings</em>?<br><span style="color: #3366ff;"><em>T: Oh lor ... of modern languages I should have said Welsh has always attracted me by it's style and sound more than any other, ever though I first only saw it on coal trucks, I always wanted to know what it was about.</em></span><p>G: It seems to me that the music of Welsh comes through in the names you've chosen for mountains and for places in general.<br><span style="color: #3366ff;"><em>T: Very much. But a much rarer, very potent influence on myself has been Finnish.</em></span><p>G: Is the book to be considered as an allegory?<br><span style="color: #3366ff;"><em>T: No. I dislike allegory whenever I smell it.</em></span><p>G: Do you consider the world declining as the Third Age declines in your book and do you see a Fourth Age for the world at the moment, our world?<br><span style="color: #3366ff;"><em>T: At my age I'm exactly the kind of person who has lived through one of the most quickly changing periods known to history. Surely there could never be in seventy years so much change.</em></span><p>G: There's an autumnal quality throughout the whole of <em>The Lord of the Rings</em>, in one case a character says the story continues but I seem to have dropped out of it ... however everything is declining, fading, at least towards the end of the Third Age every choice tends to the upsetting of some tradition. Now this seems to me to be somewhat like Tennyson's "the old order changeth, yielding place to new, and God fulfills himself in many ways". Where is God in <em>The Lord of the Rings</em>?<br><span style="color: #3366ff;"><em>T: He's mentioned once or twice.</em></span><p>G: Is he the One?...<br><span style="color: #3366ff;"><em>T: The One, yes.</em></span><p>G: Are you a theist?<br><span style="color: #3366ff;"><em>T: Oh, I'm a Roman Catholic. Devout Roman Catholic.</em></span><p>G: Do you wish to be remembered chiefly by your writings on philology and other matters or by <em>The Lord of the Rings</em> and <em>The Hobbit</em>?<br><span style="color: #3366ff;"><em>T: I shouldn't have thought there was much choice in the matter - if I'm remembered at all it will be by </em>The Lord of the Rings <em>I take it. Won't it be rather like the case of Longfellow, people remember Longfellow wrote Hiawatha, quite forget he was a Professor of Modern Languages!</em></span>

On aimera... ou pas : <a href="http://www.journalgraphic.com/2012/09/17/lotr-vitraux/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+LeJournalDuGeek+%28le+Journal+du+Geek%29">LOTR a ses vitraux</a>.<p>A voir si sur ma baie vitrée ça pourrait le faire ;-)<p>Cédric

Hello,<p>Je parcours mes archives en ce moment et j'ai retrouvé certaines pages. Il s'agit d'une des toutes premières versions du site de Vincent donc. Pour le fun donc : <br><a href="http://www.jrrvf.com/pourtolkien">pourtolkien</a>.<p>Cela dit, j'ai trouvé d'autres matériaux intéressants voire inédits. Je poursuis mon arché/spélé-ologie ;-)<p><br>Cédric<br>

<p>http://www.youtube.com/watch?v=6m0l3Yr1B50&feature=related<p><br>une adaptation trop naïve et infantilisante, voir ridicule, mais le contexte de l'époque lui vaut de l'indulgence

La parution de l'ouvrage étant imminente (11 octobre 2012), je me permets d'ouvrir un nouveau fuseau faisant suite au <b>précédent</b>.<p><img src="http://web.archive.org/web/20231107111853if_/http://ecx.images-amazon.com/images/I/41LYXAIkFCL._SL500_.jpg"><p><br>Vincent vient de publier sur son <A HREF="http://www.pourtolkien.fr/spip.php?article126" target="_blank"><b>site</b></A> une liste des notices du <i>Dictionnaire Tolkien</i> par domaines, liste que je me permets de reproduire ci-dessous.<p>*******<p><b>Arda et la Terre du Milieu (lieux, époques)</b><p>Age, Premier<br>Age, Deuxième<br>Age, Troisième<br>Age, Quatrième<br>Aman<br>Arda<br>Arnor<br>Astres<br>Barad-dûr<br>(Le) Beleriand<br>Cavernes et mondes souterrains<br>(La) Comté<br>Cosmologie<br>(Le) Doriath<br>Est<br>Fleuves et rivières<br>Forêts<br>Forteresses et châteaux<br>Géographie imaginaire<br>Gondolin<br>Gondor<br>Grande Vague<br>Havres Gris<br>Isengard<br>Lothlórien<br>Lumière<br>Marrissement<br>Mer<br>Minas Morgul<br>Marais des Morts<br>Montagnes<br>(La) Montagne du Destin<br>Mordor<br>Moria<br>Númenor<br>Ouest<br>Rohan<br>Soleil et lune<br>Terre du Milieu<br>Thangorodrim<br>(Le) Vide<br>Villes et villages en TdMilieu<br>Voie Droite<p><b>Personnages et créatures</b><p>Aelfwine, Eriol<br>Ainur, Valar et Maiar<br>Animaux<br>Anneau - porteurs de l’<br>Anneau - Spectres de l’<br>Arachne<br>Aragorn<br>Arwen<br>Balrog<br>Beorn<br>Beren<br>Bombadil, Tom<br>Boromir<br>Brandebouc, Meriadoc (Merry)<br>Dragons<br>Eärendil<br>Elendil<br>Elfes<br>Elrond<br>Ents<br>Éomer<br>Éowyn<br>Eru, Dieu<br>Faramir<br>Fëanor<br>(Les) femmes dans l’œuvre<br>Galadriel<br>Gamegie, Sam<br>Gandalf<br>Géants<br>Gil-galad<br>Gimli<br>Gollum<br>Gríma Langue de Serpent<br>Hobbits<br>Hommes en Terre du Milieu<br>Húrin<br>Legolas<br>Lúthien<br>Mages, Istari<br>Maggotte, Père<br>Mandos<br>Monstres<br>Morgoth, Melkor<br>Mûmak(il)<br>Nains<br>Orques<br>Rohirrim, Eorlingas<br>Sacquet, Bilbo<br>Sacquet, Frodo<br>Saruman<br>Sauron<br>Semi-Elfes<br>Théoden<br>Thorin Ecu-de-chêne<br>Touque, Peregrin (Pippin)<br>Tuor<br>Túrin<br>Valar<br>Wargs<p><b>Objets, choses</b><p>Anneaux du Pouvoir<br>Anneau Unique<br>Arbres et plantes<br>Armes et armures<br>Epées<br>Herbe à pipe<br>Joyaux et bijoux<br>Livre Rouge de la Marche de l’Ouest<br>Machine, Machines<br>Mazarbul, livre de<br>Palantíri<br>Silmarils<p><b>Œuvres, textes de Tolkien</b><p>A Middle English Vocabulary<br>Ancrene Wisse<br>« (L’)anglais et le gallois »<br>L’Anneau de Morgoth<br>Appendices<br>(Les) Aventures de Tom Bombadil…<br>« Beowulf : Les monstres et les critiques »<br>(La) Chute d’Arthur<br>(La) Chute de Gondolin<br>(La) Chute de Númenor<br>Contes et légendes inachevés<br>(La) Défaite de Sauron<br>« Discours d’adieu… »<br>Du conte de fées<br>(Les) Enfants de Húrin<br>Enregistrements sonores<br>Essays Presented to Charles Williams<br>Exodus<br>Faërie et autres textes<br>(Le) Fermier Gilles de Ham<br>Feuille, de Niggle<br>Finn and Hengest<br>(La) Formation de la Terre du Milieu<br>(La) Guerre de l’Anneau<br>(La) Guerre des Joyaux<br>Histoire de la Terre du Milieu<br>(The) History of the Hobbit<br>[Bilbo] (le) Hobbit<br>Imram<br>Jonas<br>(Le) Lai d’Aotrou et Itroun<br>(Les) Lais du Beleriand<br>Legendarium<br>(La) Légende de Sigurd et Gudrún<br>Lettres<br>Lettres du Père Noël<br>(Le) Livre des Contes Perdus<br>M. Merveille<br>Manuscrits et textes inédits<br>« Mythopoéia »<br>Nomenclature…<br>Oxford English Dictionary<br>Pearl<br>(Les) peuples de la Terre du Milieu<br>Poèmes de Tolkien<br>(Le) Retour de Beorhtnoth…<br>(Le) Retour de l’Ombre<br>(La) Route Perdue<br>(La) Route se poursuit…<br>Roverandom<br>(Le) Seigneur des Anneaux<br>(Le) Silmarillion<br>Sire Gauvain et le chevalier vert<br>« Sire Gauvain et le chevalier vert »<br>Sir Orfeo<br>Smith de Grand Wootton<br>« Traduire Beowulf »<br>(La) Trahison d’Isengard<br>Un Vice Secret<p><b>Notices biographiques</b><p>Angleterre, Tolkien et l’<br>Angleterre - une mythologie pour l’<br>Barfield, Owen<br>Coalbiters<br>Eagle and Child<br>Inklings<br>Leeds<br>Lewis, C.S.<br>Morgan, Père Francis<br>Orange, Etat libre d’<br>Oxford<br>Religion<br>TCBS<br>Tolkien Estate, Tolkien Trust<br>Tolkien illustrateur<br>Tolkien, Adam<br>Tolkien, Arthur Reuel<br>Tolkien, Baillie<br>Tolkien, Christopher Reuel<br>Tolkien, Edith<br>Tolkien, Hilary<br>Tolkien, John<br>Tolkien, J.R.R., carrière & travaux universitaires<br>Tolkien, J.R.R., Enfance et jeunesse<br>Tolkien, Mabel<br>Tolkien, Michael,<br>Tolkien, Priscilla<br>Unwin, Allen &<br>Unwin, Rayner<br>Unwin, Sir Stanley<br>Waldman Milton<br>Williams, Charles<br>Wright, Joseph<p><b>Postérité, Réception</b><p>Adaptations cinématographiques<br>Adaptations ludiques<br>Adaptations radio<br>Allemagne, réception en<br>Culture populaire<br>Etats-Unis, réception aux<br>Fans<br>France, réception de l’œuvre<br>Howe, John<br>Illustrateurs<br>Jackson, Peter<br>Jeux de rôles (sur table)<br>Jeux de rôles Grandeur Nature<br>Jeux vidéo<br>Lectures critiques & interprétations<br>(féministes, psychanalytiques, politiques,<br>écocritiques, chrétiennes, contemporaines)<br>Lee, Alan<br>Réception de l’œuvre<br>Successeurs et imitateurs<p><b>Autres auteurs, sources et œuvres</b><p>(La) Bataille de Maldon<br>Beowulf<br>(La) Bible<br>Carter, Lin<br>Celtiques, légendes<br>Dunsany, Lord<br>Eddas<br>Eddison, E.V.<br>Enigmes<br>Folklore et sources<br>Gordon, E.V.<br>Indo-européen (l’héritage)<br>(Le) Kalevala<br>Lang, Andrew<br>Légendes, Mythes, mythologie<br>Morris, William<br>Nordiques, légendes et littératures<br>Peake, Mervyn<br>Shakespeare<br>Sources<br>Wagner<p><b>Langues</b><p>Alphabets inventés<br>Anglais comme langue maternelle, l’<br>Anglo-saxon<br>Elfiques, langues<br>Langues inventées par Tolkien<br>Moyen anglais<br>Philologie<br>Vieil anglais<p><b>Notices transversales</b><p>Allégorie et applicabilité<br>Amour<br>Amour courtois, courtoisie<br>Bien et mal<br>Boisson et sociabilité<br>Calendriers<br>Cartes<br>Comique<br>Conservatisme<br>Copyright<br>Corps et apparence<br>Création<br>Cycle<br>Destin<br>Devoir<br>Diable<br>Don<br>Echec<br>Economie<br>Epopée, épique<br>Eucatastrophe<br>Evasion, une littérature d’ ?<br>Faërie<br>Fantasy<br>Généalogies<br>Grâce<br>Guerre<br>Héroïsme<br>Liberté<br>Libre arbitre<br>Littérature de jeunesse<br>Magie et enchantements<br>Mal<br>Médecine<br>Modernité, Tolkien et la<br>Mortalité, mort<br>Moyen Âge, Tolkien et le<br>Musique dans l’œuvre de Tolkien<br>Musique, Tolkien et la musique moderne<br>Nature, représentation de la<br>Noms, onomastique et nomenclature<br>Objets, matérialité<br>Orgueil<br>Paradis<br>Parodies<br>Pitié<br>Politique<br>Pouvoir<br>Première Guerre mondiale, Tolkien et la<br>Providence<br>Racisme<br>Récit, art du<br>Récits, ensemble des<br>Rédemption<br>Religion dans l’œuvre de Tolkien<br>Rétribution<br>Roi, royauté<br>Romance<br>Sacré<br>Sacrifice<br>Seconde Guerre mondiale, Tolkien et la<br>Sexualité<br>Subcréation<br>Temps, temporalité<br>Ténèbres et obscurité<br>Tentation<br>Verbe et parole<br>Vêtements<p>*******<p>La liste des auteurs (chacun ayant rédigé entre 1 et 15 notices) est connue depuis longtemps :<p>Laurent Alibert, Hervé Aubron, Damien Bador, Gil Bartholeyns, Anne Besson, Annie Birks, Alain Bonet, Daniel Bonvoisin, Mélanie Bost-Fiévet, Grégory Bouak, Chrystel Bourgeois, Angela Braito, Aurélie Brémont, Fabienne Claire Caland, Leo Carruthers, Marc Chémali, Antoine Dauphragne, Charles Delattre, Clément Delesalle, Emilie Denard, Marine Dérobert, Michaël Devaux, Véronique Favéro, Vincent Ferré, Eric Flieller, David Giraudeau, Sébastien Hoët, Thomas Honegger, Claire Jardillier, Gabrielle Lafitte, Anne Larue, David Ledanois, Nicolas Liau, Julien Mansencal, Sébastien Marlair, Laura Martin-Gomez, Romain Meilhon, Patrick Moran, Emeric Moriau, Marguerite Mouton, Anca Muntean, Valérie Naudet, Piotr Nowik, Isabelle Pantin, Benjamin Perrot, Emmanuele Poulain, Maxime Priou, Sandra Provini, Jean-Philippe Qadri, Charles Ridoux, Anne Rochebouet, Anne Salamon, Estelle Salleron, Tatjana Silec, Vivien Stocker, Yvan Strelzyk, Viara Timtcheva, Jean-Rodolphe Turlin, Mirella Vadean, Myriam White Le Goff, Didier Willis.<p>*******<p>Cordialement,<p>Hyarion.