“Aslan's Own Land”: Pastoral
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An Introduction to Narnia - Part II: the Geography of the Chronicles
Volume 2 Number 3 Article 5 Winter 1-15-1971 An Introduction to Narnia - Part II: The Geography of the Chronicles J. R. Christopher Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Christopher, J. R. (1971) "An Introduction to Narnia - Part II: The Geography of the Chronicles," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 2 : No. 3 , Article 5. Available at: https://dc.swosu.edu/mythlore/vol2/iss3/5 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Part two is an overview of the geography of Narnia based on textual clues and maps. Speculates on the meaning of the geography in theological and metaphysical terms. Additional Keywords Lewis, C.S. Chronicles of Narnia—Geography This article is available in Mythlore: A Journal of J.R.R. -
Visions/Versions of the Medieval in C.S. Lewis's the Chronicles of Narnia
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Boise State University - ScholarWorks VISIONS/VERSIONS OF THE MEDIEVAL IN C.S. LEWIS’S THE CHRONICLES OF NARNIA by Heather Herrick Jennings A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English, Literature Boise State University Summer 2009 © 2009 Heather Herrick Jennings ALL RIGHTS RESERVED v TABLE OF CONTENTS LIST OF ABBREVIATIONS .................................................................................... vii CHAPTER ONE: INTRODUCTION ........................................................................ 1 Lewis and the Middle Ages ............................................................................ 6 The Discarded Image ...................................................................................... 8 A Medieval Atmosphere ................................................................................. 10 CHAPTER TWO: THE HEAVENS OF NARNIA .................................................... 13 The Stars above Narnia ................................................................................... 15 The Narnian Planets ........................................................................................ 18 The Influence of the Planets ........................................................................... 19 The Moon and Fortune in Narnia ................................................................... 22 An Inside-Out Universe ................................................................................. -
Not a Tame Lion: What This Does and Does Not Mean Raven Richardson Asbury College
Inklings Forever Volume 4 A Collection of Essays Presented at the Fourth Frances White Ewbank Colloquium on C.S. Article 22 Lewis & Friends 3-2004 Not a Tame Lion: What This Does and Does Not Mean Raven Richardson Asbury College Follow this and additional works at: https://pillars.taylor.edu/inklings_forever Part of the English Language and Literature Commons, History Commons, Philosophy Commons, and the Religion Commons Recommended Citation Richardson, Raven (2004) "Not a Tame Lion: What This Does and Does Not Mean," Inklings Forever: Vol. 4 , Article 22. Available at: https://pillars.taylor.edu/inklings_forever/vol4/iss1/22 This Essay is brought to you for free and open access by the Center for the Study of C.S. Lewis & Friends at Pillars at Taylor University. It has been accepted for inclusion in Inklings Forever by an authorized editor of Pillars at Taylor University. For more information, please contact [email protected]. Not a Tame Lion: What This Does and Does Not Mean Cover Page Footnote Undergraduate Student Essay Third Place Student Essay Winner This essay is available in Inklings Forever: https://pillars.taylor.edu/inklings_forever/vol4/iss1/22 INKLINGS FOREVER, Volume IV A Collection of Essays Presented at The Fourth FRANCES WHITE EWBANK COLLOQUIUM ON C.S. LEWIS & FRIENDS Taylor University 2004 Upland, Indiana Not a Tame Lion: What This Does and Does Not Mean Raven Richardson Richardson, Raven. “Not a Tame Lion: What This Does and Does Not Mean.” Inklings Forever 4 (2004) www.taylor.edu/cslewis THIRD PLACE STUDENT ESSAY Not a Tame Lion: What This Does and Does Not Mean Raven Richardson The Lion, the Witch, and the Wardrobe was unrestrained and independent of the whims of the written by C.S. -
EXPLORING the CHRONICLES of NARNIA, HARRY POTTER, and HIS DARK MATERIALS Jamie Weston Southeastern University - Lakeland
Southeastern University FireScholars Selected Honors Theses Fall 11-2017 FINDING FAITH IN FANTASY: EXPLORING THE CHRONICLES OF NARNIA, HARRY POTTER, AND HIS DARK MATERIALS Jamie Weston Southeastern University - Lakeland Follow this and additional works at: https://firescholars.seu.edu/honors Part of the Comparative Literature Commons Recommended Citation Weston, Jamie, "FINDING FAITH IN FANTASY: EXPLORING THE CHRONICLES OF NARNIA, HARRY POTTER, AND HIS DARK MATERIALS" (2017). Selected Honors Theses. 77. https://firescholars.seu.edu/honors/77 This Thesis is brought to you for free and open access by FireScholars. It has been accepted for inclusion in Selected Honors Theses by an authorized administrator of FireScholars. For more information, please contact [email protected]. FINDING FAITH IN FANTASY: EXPLORING THE CHRONICLES OF NARNIA, HARRY POTTER, AND HIS DARK MATERIALS by Jamie Leahann Weston Submitted to the Honors Program Committee In partial fulfillment Of the requirements for University Honors Scholars Southeastern University 2017 ii Copyright by Jamie Leahann Weston 2017 iii ABSTRACT Fantasy is often a controversial topic within the Christian community, especially when magic is involved and religious ideals are tested. This controversy is explored and questioned through the advocating of the creative, intellectual, and spiritual qualities of Fantasy that are positive and encouraging for a Christian, and by analyzing the presence and value of these qualities within three famous fantasy series, The Chronicles of Narnia, Harry Potter, and His Dark Materials. KEY WORDS Fantasy, Fantasy Literature, Christianity, Magic, The Chronicles of Narnia, Harry Potter, His Dark Materials, C.S. Lewis, J.K. Rowling, Philip Pullman, J.R.R. Tolkien iv TABLE OF CONTENTS 1. -
F NARNIA by PHANIDA SUTHAMCHAI Bachelor of Arts Tham
THE FUSION OF CHRISTIAN AND FICTIONAL ELEMENTS IN C. S. LEWIS'S CHRONICLES ~F NARNIA By PHANIDA SUTHAMCHAI \ \' Bachelor of Arts Thammasat University Bangkok, Thailand . 1976 Master of Arts Northeast Missouri State University Kirksville, Missouri 1978 Submitted to the Faculty of the Gr~duate College of the.Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY December, 1985 I Thesis Approved: Thesis Adviser () sL~ ~~ - 0 - 12/Jl a c ~f(tf-n-- Dean of the Graduate College AC KN OWL EDGME~TS wish to express my deep appreciation to the members of my disser tation committee--Dr. David S. Berkeley, Dr. Paul Klemp, Dr. Sherry Southard, and Dr. Clyde B. Knight. In writing this dissertation, I am greatly indebted to Dr. David S. Berkeley, my major adviser and dissertation chairman, for not only pro viding indispensable and invaluable assistance and suggestions, but also for kindly lending me his collection of C. S. Lewis books, which benefit ed me tremendously. The inspiration of his scholastic encouragement, his endless generosity, and his patience will remain with me throughout my 1 i fe. would 1 ike to thank Dr. Paul Klemp, who took the trouble of read ing and giving me detailed comments. His insight has been an enormous help in improving my dissertation. wish to express my special thanks to Dr. Sherry Southard for giv ing me invaluable advice and for proofreading my dissertation. Her moral support, generosity, and friendship have always been of a great value to me. I also wish to acknowledge Dr. -
Voyage 13&14
voyage of the dawn treader Chapter 13&14 RECAP Edmund & Lucy (LWW) and their cousin Eustace get sucked into Narnia through an old painting of a ship. They join King Caspian and Reepicheep on a voyage to reach the end of the world and rescue 7 banished Lords. On the Lone Islands, the groups escapes slavery and ind the irst lord (Bern) - make him Duke of the land. On the next stop (Dragon island), Eustace turns into a dragon and must be saved and made new by Aslan. It also appears that the second lord (Octesian) died on this island. At Deathwater Island the group narrowly escapes a pool that turns anything it touches into gold (Lord Restimar was not so fortunate). They then land on an island full of invisible dwarf monopods. Lucy eventually Iinds a spell that helps return them to visibility. She then meets Aslan who introduces her to the magician Coriakin. They then sail to the dark island where dreams come true. They rescue Lord Rhoop and are saved by Alsan in the form of an albatross. CHAPTER 13: THE THREE SLEEPERS * What are your 8irst reactions to this chapter? * Why did the 3 Lords of Telmarine 8ight? (One wanted to go back, one wanted to stay, one wanted to go on) Who was right? Dante’s Purgatorio (Inverted quest to reach heaven guided by the sun - Stars none has ever seen - towers thought to be giants. In the Purgatorio, each level Dante encounters deals with one of the 7 deadly sins.) Lust - Lone Islands (Bern) Gluttony - Ramandu’s Island (“Mustard”) Sloth - Ramandu’s Island (“Sit down and end our days”) Wrath - Ramandu’s Island (Knife) Greed/Avarice - Dragon Island (Octesian) Sadness (Envy) - Voices/Dark Island (Lucy & Rhoop) Vainglory - Deathwater Island (Restimar) * What is the table that the 3 Lords are sitting at called? * (Aslan’s Table) And what is on the table? (Food/Drinks & The Knife by Which He Died) Does this remind you of another similar kind of table? (The Lord’s table - where we have a meal and are nourished but also reminded of the death of our Savior. -
Copyrighted Material
bindex.qxd 2/22/08 8:32 PM Page 211 Index A Almighty One, 66 Abolition of Man,The, xiii, 91, Ancient Greece and Rome, 108 120, 123 Ancient philosophy, academic Absalom, 165 background in, 17 Absolute, the, 17–18 Andersen, H. C., 33, 160 Accidents versus substance, 126 Andrew Ketterley, 10, 58–59, Achilles, 139 62, 92, 95, 98, 99, 101, 123, Acknowledgment, Day of, 82 133, 157, 158, 165 Adam, 34, 38, 45, 74, 89, 112, Androcles and the lion, allusion 130 of, 169 Adept (noun), defined, 164 Anglo-Saxon language, 141 Advertisement, government by, Animal rationale, meaning of, 112 73 Aeschylus, 66 Animals from lumps of earth, Aesop’s fables, 55, 166 164 Alambil, 124 Anodos, 13, 32 Albatross image, 72, 81 Anradin, 51 Alcestis, 52 Anscombe, E., 30 Alice’s Adventures in Wonder- Antichrist, 55, 164 land (Carroll), 35 Anticipation, 109 Allah, 159 Apocalypse, 126 Allegories: biblical parallels ver- Apologizing, 94, 102, 105, sus, 71; supposals versus, 113 64–65, 70 Apothegms, defined, 167 AllegoryCOPYRIGHTED of Love,The, xiii, 16, Apple, MATERIAL temptation involving an, 20, 108 75, 76 Allusions, 15, 163, 164, 166, Applied science, 123 168, 169, 170, 172; names Aquinas,T., xvi, 108 as, 131–135. See also specific Arabian Nights’ Entertain- allusions ments, or The Thousand and 211 bindex.qxd 2/22/08 8:32 PM Page 212 212 Index One Nights (Lane, trans.), 69, 124, 140; as judge, 49–50, 51, 131, 159, 166 82–85; learning about true Arabs, 159 nature of, 49; loving, view- Aravis, 48–49, 101, 102, 155, point on, 85–86; Lucy called 160 by, in the night, 168; -
Christianity in Narnia
Christianity in Narnia Dominique Wilson Readers around the world, young and old, have enjoyed C S Lewis’ Narnia Chronicles since the first publication of The Lion, the Witch and the Wardrobe in 1950. Combining timeless elements of fairy tale, medievalism and Christian allegory, Lewis created a fantasy world, Narnia, which rivals J R R Tolkien’s Middle Earth and Ursula K Le Guin’s Earthsea.1 But Lewis’s series is more than a children’s fairy tale; its seven books contain a deeper meaning, introducing children to Christian morality and belief, and presenting numerous characters representing Christian believers of different types, at different stages of their journey towards a relationship with God. There can be no mistaking the theological undertone of the series, written by an artist of immense talent and imagination, who also was ‘a Christian, dedicated to the purpose of making his faith both seen and heard’.2 The religious symbolism and motifs threaded through The Lion, the Witch and the Wardrobe series is extensive. The vast amount of scholarly and literary research completed on the series to date makes it clear that the religious interpretation of the Chronicles is only limited by the amount of time and effort one has to spend. Lewis uses the fantasy genre to convey his messages because the different beings within the fantasy realm – ‘giants and dwarfs and talking beasts’ – offer an ‘admirable hieroglyphic which conveys psychology, types of character, more briefly than novelistic presentation’.3 Like many fantasy writers, Lewis sets Narnia in a 1 Tolkien’s The Hobbit and The Lord of the Rings take place in the world of Middle Earth; Earthsea is the setting for Le Guin’s Earthsea quintet: A Wizard of Earthsea, The Tombs of Atuan, The Farthest Shore, Tehanu: the Last Book of Earthsea and The Other Wind. -
The Chronicles of Narnia</Em>, and How CS Lewis Created Christian
Linfield University DigitalCommons@Linfield Senior Theses 5-29-2015 The Chronicles of Narnia, and How C.S. Lewis Created Christian Fantasy Fiction Amanda Callow Linfield College - Online and Continuing ducationE Follow this and additional works at: https://digitalcommons.linfield.edu/dcestud_theses Part of the Literature in English, British Isles Commons, and the Modern Literature Commons Recommended Citation Callow, Amanda, "The Chronicles of Narnia, and How C.S. Lewis Created Christian Fantasy Fiction" (2015). Senior Theses. 3. https://digitalcommons.linfield.edu/dcestud_theses/3 This Thesis (Open Access) is protected by copyright and/or related rights. It is brought to you for free via open access, courtesy of DigitalCommons@Linfield, with permission from the rights-holder(s). Your use of this Thesis (Open Access) must comply with the Terms of Use for material posted in DigitalCommons@Linfield, or with other stated terms (such as a Creative Commons license) indicated in the record and/or on the work itself. For more information, or if you have questions about permitted uses, please contact [email protected]. The Chronicles of Narnia, and How C.S. Lewis Created Christian Fantasy Fiction By Amanda Callow Thesis submitted to the Department of Art and Humanities, Linfield College 05/27/2015 Signature redacted Signature redacted The Narnia series by C.S. Lewis is a shining example of twentieth-century childrens’ fiction. Many children (and adults) have fallen in love with the books, without ever knowing that it was not ultimately intended to solely be a work of fantasy. The genius of C.S. Lewis's The Chronicles of Narnia was to artfully combine traditional Christian themes and iconography, with symbols from other mythic traditions, and narrative elements of his own. -
Visions/Versions of the Medieval in C.S. Lewis's the Chronicles of Narnia
VISIONS/VERSIONS OF THE MEDIEVAL IN C.S. LEWIS’S THE CHRONICLES OF NARNIA by Heather Herrick Jennings A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English, Literature Boise State University Summer 2009 © 2009 Heather Herrick Jennings ALL RIGHTS RESERVED v TABLE OF CONTENTS LIST OF ABBREVIATIONS .................................................................................... vii CHAPTER ONE: INTRODUCTION ........................................................................ 1 Lewis and the Middle Ages ............................................................................ 6 The Discarded Image ...................................................................................... 8 A Medieval Atmosphere ................................................................................. 10 CHAPTER TWO: THE HEAVENS OF NARNIA .................................................... 13 The Stars above Narnia ................................................................................... 15 The Narnian Planets ........................................................................................ 18 The Influence of the Planets ........................................................................... 19 The Moon and Fortune in Narnia ................................................................... 22 An Inside-Out Universe .................................................................................. 24 CHAPTER THREE: THE LONGAEVI OF NARNIA .............................................. -
Christianity in Narnia
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals... Christianity in Narnia Dominique Wilson Readers around the world, young and old, have enjoyed C S Lewis’ Narnia Chronicles since the first publication of The Lion, the Witch and the Wardrobe in 1950. Combining timeless elements of fairy tale, medievalism and Christian allegory, Lewis created a fantasy world, Narnia, which rivals J R R Tolkien’s Middle Earth and Ursula K Le Guin’s Earthsea.1 But Lewis’s series is more than a children’s fairy tale; its seven books contain a deeper meaning, introducing children to Christian morality and belief, and presenting numerous characters representing Christian believers of different types, at different stages of their journey towards a relationship with God. There can be no mistaking the theological undertone of the series, written by an artist of immense talent and imagination, who also was ‘a Christian, dedicated to the purpose of making his faith both seen and heard’.2 The religious symbolism and motifs threaded through The Lion, the Witch and the Wardrobe series is extensive. The vast amount of scholarly and literary research completed on the series to date makes it clear that the religious interpretation of the Chronicles is only limited by the amount of time and effort one has to spend. Lewis uses the fantasy genre to convey his messages because the different beings within the fantasy realm – ‘giants and dwarfs and talking beasts’ – offer an ‘admirable hieroglyphic which conveys psychology, types of character, more briefly than novelistic presentation’.3 Like many fantasy writers, Lewis sets Narnia in a 1 Tolkien’s The Hobbit and The Lord of the Rings take place in the world of Middle Earth; Earthsea is the setting for Le Guin’s Earthsea quintet: A Wizard of Earthsea, The Tombs of Atuan, The Farthest Shore, Tehanu: the Last Book of Earthsea and The Other Wind. -
Full Issue 2004 (Volume IV)
Inklings Forever Volume 4 A Collection of Essays Presented at the Fourth Frances White Ewbank Colloquium on C.S. Article 1 Lewis & Friends 3-2004 Full Issue 2004 (Volume IV) Follow this and additional works at: https://pillars.taylor.edu/inklings_forever Part of the English Language and Literature Commons, History Commons, Philosophy Commons, and the Religion Commons Recommended Citation (2004) "Full Issue 2004 (Volume IV)," Inklings Forever: Vol. 4 , Article 1. Available at: https://pillars.taylor.edu/inklings_forever/vol4/iss1/1 This Full Issue is brought to you for free and open access by the Center for the Study of C.S. Lewis & Friends at Pillars at Taylor University. It has been accepted for inclusion in Inklings Forever by an authorized editor of Pillars at Taylor University. For more information, please contact [email protected]. Full Issue 2004 (Volume IV) Cover Page Footnote This file is not paginated the same as the print journal. Contact [email protected] if you need additional pagination information. This full issue is available in Inklings Forever: https://pillars.taylor.edu/inklings_forever/vol4/iss1/1 INKLINGS FOREVER Volume IV A Collection of Essays Presented at the Fourth FRANCES WHITE EWBANK COLLOQUIUM on C. S. Lewzs Ana FRzenos TayLoR UnzveRSlTJ March 12-14, 2004 Upland, Indiana INKLINGS FOREVER Volutne IV 2004 INKLINGS FOREVER Volume IV - A Collection of Essays Presented at the Fourth FRANCES WHITE EWBANK COLLOQUIUM on C. S. Lewzs And FRzenos TayLoR UnzveRSzty March I 2-I 4, 2004 Upland, Indiana This volume is dedicated to Jay Kesler President Emeritus of Taylor University author, scholar, educator, and man after C.S.