Fictional world in the context of "Mordor"

In J. R. R. Tolkien's fictional continent of Middle-earth, Mordor (Quenya: [ˈmɔrdɔr]; Sindarin for 'Black Land', Quenya for 'Land of Shadow') is the realm of the Dark Lord Sauron. It lay to the east of Gondor and the great river Anduin, and to the south of Mirkwood. Mount Doom, a volcano in Mordor, was the goal of the Fellowship of the Ring in the quest to destroy the One Ring. Mordor was surrounded by three mountain ranges, to the north, the west, and the south. These both protected the land from invasion and kept those living in Mordor from escaping.

Commentators have noted that Mordor was influenced by Tolkien's own experiences in the industrial Black Country of the English Midlands, and by his time fighting in the trenches of the Western Front in the First World War. Tolkien was also familiar with the account of the monster Grendel's unearthly landscapes in the Old English poem Beowulf. Others have observed that Tolkien depicts Mordor as specifically evil, and as a vision of industrial environmental degradation, contrasted with either the homey Shire or the beautiful elvish forest of Lothlórien.

An artistic language, or artlang, is a constructed language designed for aesthetic and phonetic pleasure. Constructed languages can be artistic to the extent that artists use it as a source of creativity in art, poetry, calligraphy or as a metaphor to address themes such as cultural diversity and the vulnerability of the individual in a globalizing world. They can also be used to test linguistical theories, such as Linguistic relativity.

Unlike engineered languages or auxiliary languages, artistic languages often have irregular grammar systems, much like natural languages. Many are designed within the context of fictional worlds, such as J. R. R. Tolkien's Middle-earth. Others can represent fictional languages in a world not patently different from the real world, or have no particular fictional background attached.