\u3ci\u3eSong of Joy\u3c/i\u3e

Based around the Eagle\u27s song, from J.R.R. Tolkien\u27s The Return of the King

The Return of the King: The Unsavory Origins of Administrative Law

Philip Hamburger’s Is Administrative Law Unlawful? is a truly brilliant and important book. In a prodigious feat of scholarship, Professor Hamburger uncovers the British and civil law antecedents of modern American administrative law, showing that contemporary administrative law “is really just the most recent manifestation of a recurring problem.” That problem is the problem of power: its temptations, its dangers, and its tendency to corrupt. Administrative law, far from being a distinctive product of modernity, is thus the “contemporary expression of the old tendency toward absolute power – toward consolidated power outside and above the law.” It represents precisely the forms of governmental action that constitutionalism – both in general and as specifically manifested in the United States Constitution – was designed to prevent. Accordingly, virtually every aspect of modern administrative law directly challenges the Constitution. This extraordinary book will be immensely valuable to anyone interested in public law. My comments here concern two relatively minor points that call for more clarification. First, Professor Hamburger does not clearly identify what it means for administrative law to be “unlawful.” Does that mean “in violation of the written Constitution”? “In violation of unwritten constitutional norms?” In violation of natural law”? There is evidence that Professor Hamburger means something more than the former, but it is not clear what more is intended. In order to gauge the real status of administrative law, we must have a more direct conception of law than Professor Hamburger provides. Second, much of Professor Hamburger’s historical and constitutional analysis focuses on the subdelegation of legislative authority. While his discussion contains numerous profound insights, including some that require correction in my own prior scholarship on the subject, it does not discuss how to distinguish interpretation by judicial and executive actors from lawmaking by those actors. Presumably, the prohibition on subdelegation of legislative authority prohibits only the latter. Figuring out where interpretation ends and lawmaking begins is one of the most difficult questions in all of jurisprudence, and I am not convinced that Professor Hamburger can successfully perform an end-run around it. But these are modest nitpicks about a path-breaking work that should keep people of all different persuasions engaged and occupied for quite some time

ANALYSIS OF PRESUPPOSITION IN “THE LORD OF THE RING: THE RETURN OF THE KING” MOVIE

This research discusses the presupposition in The Lord of the Ring: The Return of the King movie based on the novel by J.R.R Tolkien. The purpose of this research is to find out the presupposition found in the utterances of the main characters in The Lord of the Ring: Return of the King movie they are are Gandalf, Frodo, Sam, Aragorn, Legolas, Gimli, Pippin, Merry, and Smeagol. These presuppositions are classified into each type according to the theory of Yule (1996). The source of data in this research are the utterances found in The Lord of the Ring: The Return of the King movie. The data were collected using the non-participant observation method with note-taking technique. After that, the data were analyzed using the identity method (pragmatic identity method). Then the data were analyzed using the theory of presupposition proposed by Yule (1996). The result of analysis shows that 31 utterances contain the presupposition, 7 existential presupposition, 7 lexical presupposition, 5 factive presupposition, 3 non-factive presupposition, 4 counterfactual presupposition and 5 structural presupposition. The most dominant types of presupposition in The Lord of the Ring: The Return of the King movie are existential and lexical presupposition. It happens because this movie is a high fantasy movie, which means this movie presents the existence of something that does not exist in the real world. The speakers need to convey the utterance that related to the existence of something. And the speakers often express the unstated meaning to the listener. Keywords: pragmatics, presupposition, types of presupposition, movi

Probing the No-Scale F{\cal F}-SU(5)SU(5) One-Parameter Model via Gluino Searches at the LHC2

In our recent paper entitled "The return of the King: No-Scale ${\cal F}$-$SU(5)$", we showed that the model space supporting the most favorable phenomenology should have been probed in 2016 at the LHC2, with an even further reach into this region of the model in 2017-18. This ideal realm of the one-parameter version of No-Scale ${\cal F}$-$SU(5)$ yields a 1.9-2.3 TeV gluino mass at the very same point where the light Higgs boson mass enters its rather narrow experimentally determined range of $m_h = 125.09 \pm 0.24$ GeV. Given the recent results reported at Moriond 2017 for 36 ${\rm fb}^{-1}$ of luminosity collected in 2016 at the 13 TeV LHC2, we now update the status of the No-Scale ${\cal F}$-$SU(5)$ model space in light of the gluino mass exclusion limits presented by the ATLAS and CMS Collaborations. We illustrate that a resolution could be reached soon as to whether supersymmetry lives in this most critical region of the model space.Comment: 4 pages, 2 figures, Physics Letters B versio

Ofermod and Aristocratic Chivalry in J.R.R. Tolkien\u27s The Lord of the Rings

This paper explores connections between J.R.R. Tolkien’s 1953 Essays and Studies publication The Homecoming of Beorhtnoth Beorhthelm’s Son and representations of ofermod and aristocratic “chivalry” in The Lord of the Rings. Focusing on the motivations and leadership-related decisions of Denethor and Faramir in The Lord of the Rings, this paper argues that Faramir\u27s behavior and motivations, despite Denethor’s implications to the contrary, cannot be described in terms of ofermod regardless of the risk that his choice to reject the Ring appears to pose to Gondor. By contrast, Denethor and his son Boromir represent the pride-motivated decision-making and rash heroics that Tolkien ties to ofermod and aristocratic “chivalry” in Homecoming. This becomes particularly apparent through close linguistic analysis of Denethor’s speeches to Faramir and Gandalf in The Return of the King. Ultimately, this paper argues that Denethor’s behavior leading up to and during the siege of Minas Tirith draws out a prominent danger of ofermod in Tolkien’s literature: the ability of the privileged leader to abandon hope on behalf of subordinates. By contrast, Tolkien’s protagonists represent the opposite impulse: they embrace hope on behalf of others, setting the stage for Tolkien’s eucatastrophic interventions

The Lord of the Rings : The return of the king

A review of the third Lord of the Rings filmD

GAYA NARATIF DALAM NOVEL “THE LORD OF THE RINGS: THE RETURN OF THE KING” KARYA J.R.R TOLKIEN (Penelitian Analisis Isi)

Tujuan dalam penelitian ini adalah untuk memperoleh pemahaman tentang gaya naratif dalam novel the lord of the rings: the return of the king karya J.R.R Tolkien dari aspek waktu, aspek karakterisasi dan aspek fokalisasi. Penelitian ini menggunakan pendekatan kualitatif dengan metode analisis isi. Data yang dikumpulkan melalui membaca novel secara berulang dan mendalam. Selanjutnya, dilakukan pencatatan, pengkodean, pengindentifikasian, dan pengklasifikasian. Data dianalisis dan diinterpetasi melalui pemahaman dan abstraksi terhadap gaya naratif dari aspek waktu, karakterisasi dan fokalisasi. Hasil dalam penelitian menunjukan bahwa gaya naratif dalam novel the lord of the rings: the return of the king dari aspek waktu terdiri atas durasi teks 373 halaman, durasi plot 2 tahun 6 bulan 12 hari, dan durasi cerita 80 tahun, dan berbentuk elipsis, akselerasi, adegan, deselerasi, dan jeda. Aspek waktu dari kategori urutan peristiwa dalam novel berdasarkan kategori arah berbentuk prolepsis dan analepsis, jarak berbentuk prolepsis internal, serta jangkauan berbentuk prolepsis tepat waktu. Aspek waktu kategori frekuensi berbentuk singulatif sederhana dan repetisi, aspek karakterisasi berbentuk langsung dan tidak langsung, dan aspek fokalisasi berdasarkan posisi fokalizer berbentuk fokalisasi internal orang ketiga serba tahu. Berdasarkan stabilitas yaitu fokalisasi tetap dan fokalisasi variabel. Fokalisasi internal orang ketiga serba tahu ditandai dengan penggunaan kata ganti orang ketiga.************The purpose of this research is to get a deep understanding about the narrative style of novel the lord of the rings: the return of the king authored by J.R.R Tolkien. The study was carried out by a qualitative approach to content analysis method. The researcher used library research to collect the data. The source of the data was the texts of novel the lord of the rings: the return of the king. The data of the research were narrative style in the forms of time, characterization and focalization which were available in the text of novel the lord of the rings: the return of the king. The results of the narrative style research in the novel are reviewed from, aspect of time consists of: the text duration of 373 pages, plot duration with 2 year 6 months 12 days, and the story duration was 80 years and the duration forms were ellipsis, acceleration, scene, deceleration, and pause. The time aspect of the event sequence category in the novel is based on the prolepsis and analepsis shaped direction categories, the internal prolepsis shaped distance, and the timely prolepsis shaped range. The frequency category was simple singulatif and repetition, aspect of characterization form direct characterization, indirect characterization and the focalization aspect based on the position of the focalized is in the form of a knowledgeable third person internal focalization. Based on the stability, namely fixed focalization and variable focalization. The all round knowledge of internal third person focalization is indicated by the use of third person pronouns

Navigating Tolkien’s Spatial Allegory

Tolkien’s vast and detailed legendarium has helped pave the way for the fantasy genre as we know it today. His wide variety of characters, detailed maps, and the rich history3 of Middle Earth have all undoubtedly provided inspiration to many modern writers, and continue to hold the interest of both new and old fans of his works. Within his world of Middle Earth, Tolkien has written about thousands of years’ worth of history, and has created for each of his imagined races its own culture and language. However, despite the unique differences of Middle Earth when compared to our own world, many of Tolkien’s key beliefs, such as his close ties to Christianity, have clearly manifested within his legendarium. While the inhabitants of Middle Earth operate under a divine system more like the Greek or Norse pantheon, there are clear Christian elements to his world. Even the physical landscape of Middle Earth, both in the early years of the First Age, and later on in the Third Age, seem to reflect the duality of the Christian concepts of good and evil. Tolkien seems to have set up a world in which intrinsically good things are closer to Heaven, and therefore closer to the Christian concept of God, whereas bad things often dwell underground, closer to the Christian ideas of Satan and Hell. Within the expanse of this spatial allegory that Tolkien has created, the residents of Middle Earth are able to move about in unique ways, and there seems to be a direct relationship between one’s physical elevation and their moral standing at that point in the story. This paper will seek to establish and analyze the allegory created within Tolkien’s legendarium, including its relationship to several key Christian elements, as well as observe a few specific instances of how character morality is directly reflected in their movement. By looking at character movements, and even the physical topography of Middle Earth, with Tolkien’s Christian beliefs in mind, readers can gain a greater understanding of the different ways Tolkien illustrates good and evil within his legendarium, as well as detect similarities between the ultimate fates of morally good and bad characters in the legendarium and keep figures in the Bible