Discovering Aslan in the Silver Chair –
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Feminism and Spiritual Heroism in C. S. Lewis's the Chronicles Of
Feminism and spiritual heroism in C. S. Lewis’s The Chronicles of Narnia Raita Markkanen University of Tampere School of Language, Translation and Literary Studies English language and literature Master’s thesis May 2016 Tampereen yliopisto Kieli-, käännös- ja kirjallisuustieteiden yksikkö Filosofian maisterin tutkinto MARKKANEN, RAITA: Feminism and spiritual heroism in C. S. Lewis’s The Chronicles of Narnia Pro gradu -tutkielma, 62 sivua + lähdeluettelo 2 sivua Toukokuu 2016 Tämä Pro gradu -tutkielma käsittelee aihetta feminismi ja henkinen sankaruus C. S. Lewisin kirjasarjassa Narnian tarinat . Tutkimuksen päätarkoitus on tutkia Lewisin kirjoissa esiintyvää naiskuvaa. Tutkimuskysymyksiä ovat: välittävätkö Narnian tarinat lukijalleen seksististä naiskuvaa vai voidaanko väittää, että Lewisin tarinat ovat feministisen ideologian mukaisia; onko naisten käyttäminen pahoina roolihahmoina seksististä; ilmentääkö Susanin jättäminen pois ”pelastettujen” joukosta Lewisin naisvihaa tai seksismiä; ja onko Narnian tarinoissa esiintyvä patriarkaalinen hierarkia todistus naisia alistavasta ideologiasta? Tarkastelen tutkimuksessa Narnian tarinoita feministisestä ja kristillisestä näkökulmasta. Feministinen näkökulma toisaalta osoittaa miksi Narnian tarinoita pidetään seksistisinä ja toisaalta selittää miksi esimerkiksi Susanin tuomitseminen ei ole seksististä, miksi tarinoissa suositaan näennäisesti epänaisellista naiskuvaa ja miksi muun muassa Susanin ja Lasaraleenin edustama, näennäisesti naisellisempi naiskuva torjutaan. Feministisen näkökulman -
The Magician's Nephew Is a Fictional Fantasy
CHAPTER 1 INTRODUCTION 1.1. Background of the Research The Chronicles of Narnia: the Magician’s Nephew is a fictional fantasy novel written by C. S. Lewis as the sixth book of the series. This novel was published in 1955 by HarperCollins. Even though it was published as the sixth book, chronically the story of the novel happened before The Lion the Witch and the Wardrobe, which makes this novel as the first book of the series. The Chronicles of Narnia consists of seven books; “The Magician’s Nephew”, “The Lion, The Witch and The Wardrobe”, “The Horse and His Boy”, “Prince Caspian”, “The Voyage of the Dawn Treader”, “The Silver Chair” and “The Last Battle”. The story of The Magician’s Nephew is about Digory Kirke and Polly Plummer, two children characters, which have to protect and save Narnia from Queen Jadis and Uncle Andrew, two adult characters that want to exploit and destroy it. There is an irony about how children grow up with a lesson that they have to save the nature, but the adults ruin it. Based on that fact, I believe that humans can be divided into two types of behavior seen from the way they are treating the nature, the protector and the destroyer. This novel describes that the serenity of nature is the important thing that becomes the reason of Digory and Polly to begin their journey. Based on that aspect, humans know nature is a thing that cannot be avoided in our life since humans grow up in nature and most of bedtime stories and fairytales take nature as its settings. -
The Great War and Narnia: C.S. Lewis As Soldier and Creator
Volume 30 Number 1 Article 8 10-15-2011 The Great War and Narnia: C.S. Lewis as Soldier and Creator Brian Melton Liberty University in Lynchburg, VA Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Melton, Brian (2011) "The Great War and Narnia: C.S. Lewis as Soldier and Creator," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 30 : No. 1 , Article 8. Available at: https://dc.swosu.edu/mythlore/vol30/iss1/8 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 Looks at influence of orldW War I in Lewis’s autobiography and on war in Narnia, correcting mistaken search by some critics for deep-seated war trauma in Lewis’s life. Reinforces that Lewis and Tolkien were not psychological twins, had differing personalities going into the war, and came out of it with different approaches to dealing with war in their fiction. -
The Horse and His Boy
Quick Card: The horse and his boy The Horse and His Boy, by C. S. Lewis. Reference ISBN: 9780007588541 Shasta, a Northerner enslaved to a Calormene fisherman, dreams of escape to the free North of Archenland. With the help of a talking horse named Bree, Shasta flees, meeting another pair of fugitives along the way: Plot Aravis and her talking horse Hwin. As they journey northwards, the four uncover a plot by Rabadash, the prince of Calormene, to conquer Archenland and threaten the peace of the northern lands. They race to warn the Archenlanders and rally the Narnians to their aid. This story is set during the Golden reign of the Pevensie children: Peter, Susan, Edmund, and Lucy. Calormene- A land South of Narnia, it is home to cruel, pagan slave lords: the Tarquins. Setting Narnia- Home of the four kings and queens of legend and kingdom of the lion Aslan, the Son of the King Beyond the Sea. Archenland- Borderland between Calormene and Narnia, populated by free people whose loyalty is to Narnia and Aslan. Shasta- The protagonist of the piece is a young boy, uneducated and neglected. Though he is immature, he has an inbred longing for freedom and justice and an indomitable hope to escape to the free North. Bree recognizes at once that he must be “of true Northern stock.” Bree- Pompous and self-important, the Narnian horse brags about his knowledge of the North and plays the courageous war-horse though he is really a coward at heart. Despite his boorish tone, he is a loyal friend. -
The Shifting Perils of the Strange and the Familiar’: Representations of the Orient in Children's Fantasy Literature
‘The shifting perils of the strange and the familiar’: representations of the Orient in children's fantasy literature by Farah Ismail Submitted in fulfilment of the requirements for the degree of Magister Artium (English) In the Faculty of Humanities University of Pretoria Pretoria 2010 Supervisor: Ms. Molly Brown © University of Pretoria Acknowledgments I would like to thank: Ms. Molly Brown, for her guidance and support My parents, Suliman and Faaiqa Ismail, for their support and encouragement Mrs Idette Noomé, for her help with the Afrikaans translation of the summary Yvette Samson, whose boundless enthusiasm has been an immense inspiration © University of Pretoria Summary This thesis investigates the function of representations of the Orient in fantasy literature for children with a focus on The Chronicles of Narnia as exemplifying its most problematic manifestation. According to Edward Said (2003:1-2), the Orient is one of Europe’s ‘deepest and most recurring images of the Other… [which]…has helped to define Europe (or the West) as its contrasting image, idea, personality, experience.’ However, values are grouped around otherness1 in fantasy literature as in no other genre, facilitating what J.R.R. Tolkien (2001:58) identifies as Recovery, the ‘regaining of a clear view… [in order that] the things seen clearly may be freed from the drab blur of triteness or familiarity.’ In Chapter One, it is argued that this gives the way the genre deals with spaces and identities characterized as Oriental, which in Western stories are themselves vested with qualities of strangeness, a peculiar significance. Specifically, new ways of perceiving the function of representations of the Other are explored in the genre of fantasy. -
Lesson 5 Doubt Turns to Belief Trust God for Everything
Lesson 5 Doubt Turns to Belief Trust God for Everything Lesson Overview Chronicles Summary Chapter 8 In Prince Caspian, Trumpkin was full of doubt. He truly doubted that the Horn would bring help. Although he had heard the stories of Aslan and the two sons of Adam and the two daughters of Eve, he really was not fully convinced they were real. And he certainly was not convinced any of them would come from the past to help them right now! Peter and the other children had to PROVE who they were before Trumpkin would believe. Video 24:32 – 25:17 Bible Story John 20:19-29 Thomas was also reluctant to believe Jesus had returned. He loved Jesus very much, but hadn’t he seen Him die on the cross? Hadn’t he seen them put Him in a tomb and seal it closed with a large stone? Lesson If we have faith, no matter how small, nothing is impossible. Application Trust God for everything Memory Verse “I tell you the truth, if you have faith as small as a mustard seed, you can say to this mountain, ‘Move from here to there’ and it will move. Nothing will be impossible for you.” Matthew 17:20 Teacher’s Prayer Dear Lord, Forgive me. I know I should believe, yet sometimes I need proof that You are there. Sometimes I let fear overcome me. The uncertainty of tomorrow is too overwhelming. The sadness of today is too much to bear. It is during these times I rely on the promises found in Your Word. -
Vocab for Playscript Based on 'The Lion, the Witch and the Wardrobe'
Vocab for Playscript based on ‘The Lion, The Witch and the Wardrobe’ White Witch - confident, annoyed, furious, rage, anger, interrupts, screeches, jumps up, long pause, Edmund -unsure, nervous, frightened, scared, petrified, backs up, coward, jumps back in horror, uncomfortable chuckle. Ice castle - giant throne, glistening floor, cold air, gloomy, quiet. WAGOLL Scene 17 In the Witch’s House White witch music. A gloomy hall with a great throne. On the throne, lit by a single lamp, sits the WITCH. MAUGRIM escorts EDMUND towards her, past the statue of a little Faun, which EDMUND notices. EDMUND bows to the witch. EDMUND: (Eagerly.) I’ve come, your Majesty. WITCH: (In a terrible voice.) How dare you come alone? Did I not tell you to bring the other three along with you? MAUGRIM shakes EDMUND’s arm roughly. MAUGRIM: Answer the great Queen. EDMUND: Please, your majesty, I’ve done the best I can. They’re in Mr and Mrs. Beaver’s house. WITCH: (Smiling a slow, cruel smile.) Is this all your news, son of Adam? EDMUND: No, your Majesty. The Beaver says… (pausing for a few seconds) Aslan is on the move. WITCH: (Standing.) Aslan! EDMUND: They’re going to meet him at the Stone Table. WITCH: Aslan? Aslan! Is this true? If I find you have lied to me – EDMUND: No – that’s what the Beaver said. WITCH: We must make ready for a journey. MAUGRIM: Everything is prepared, your majesty. EDMUND: Please… your majesty, I didn’t have much lunch. Could I have some Turkish Delight? WITCH: Silence, fool! Challenge yourself: Answer the following questions: What kind of woman is the witch, use a word from the script in your answer. -
Doctor Cornelius Knows It's Important That Caspian Know His Own History
octor Cornelius knows it’s important that Caspian know his own history and the Dhistory of Narnia. Use the facts below to answer the questions on the activity page. NARNIA FACT FILE O When C.S. Lewis started writing his O In choosing the name, ‘Pevensie’, but the author of The Hobbit and The first story about Narnia, he began with C.S. Lewis may have been thinking of Lord of the Rings didn’t like the story the words: “This book is about four the village of Pevensey on the Sussex and Lewis almost didn’t write any children whose names were Ann, coast, which was the historic site of more. Martin, Rose, and Peter. But it is most an early Roman fort built to protect O It was C.S. Lewis’ good friend, about Peter who was the youngest.” England from invasion. It is also the writer Roger Lancelyn Green, who Peter was the only one of C S Lewis’ where Duke William the Bastard of encouraged the author to complete original names for the children to be Normandy came ashore for his the first book about Narnia and, later, used in the books and he was the invasion which culminated in the suggested giving the seven books the eldest not the youngest. Battle of Hastings. overall title, ‘The Chronicles of Narnia’. O C.S. Lewis probably chose the name O C.S. Lewis’ dedicated The Lion, O Although J.R.R. Tolkien didn’t really ‘Peter’ because it had been the name the Witch and the Wardrobe to his like C.S. -
The Lion, the Witch & the Wardrobe
THE LION, show time THE WITCH for & THE WARDROBE Teachers based on the novel by c.s.lewis Welcome to Show Time, a performance resource guide published for the CSB/SJU Fine Arts Education Series. This edition of Show Time is designed to be used before or after a perform- ance of The Lion,The Witch & The Wardrobe. Suggested activities in this issue include social studies and language arts connections designed to be adapted to your time and needs. Check out Show Time for Students, a one-page, student-ready 6+1 Trait writ- ing activity for independent or group learners. Please feel free to make copies of pages in this guide for student use. How May We Help You ? Story Synopsis 1 Meet the Characters 2 Social Studies 3 Turkish Delight 4 Language Arts 5 Show Time for Students 6 Bibliography 7 Presented by TheatreWorks/USA Theater Etiquette 8 1 1 STORY SYNOPSIS This musical production is based on the novel The Lion, the Witch, and the Wardrobe written by C.S. Lewis and published in 1950. Setting: England in World War II The Lion, the Witch, and the Wardrobe is a musical about four siblings; Peter, Susan, Edmund, and Lucy Pevensie who are sent to live musical-a play that tells in the country with their Uncle Digory its story using dialog during the bombing of London. and songs. Lucy discovers a magic ward- robe in her uncle’s home and upon wardrobe-a large cup- board style closet used stepping inside she finds herself in a to store clothing. -
BONES ! the Last Battle by C.S
BOOK BONES ! The Last Battle by C.S. Lewis ! Key Insights • The planetary influence in this novel is Saturn, a planet associated with age, weakness, decay, darkness, and death. Saturn exerts a bitter influence on the Earth, and tends to evoke two drastically different responses (“for bane or blessing”): 1) to abandon faith and hope in a Goodness beyond the evils of this world (the “Tash response”), or 2) to persevere and believe in spite of all evidence to the contrary (the “Aslan response”). • The influence of Saturn on the earth should lead good people to contemplate what is really true and really important; Saturn’s bitter wisdom should deepen their faith not destroy it. This points to the Christological significance of Saturn and the central theme of The Last Battle: the presence of Christ in human loneliness and suffering (“hope when all other lights have gone out”). • Ginger is an example of the first kind of response to Saturn, the response that loses faith in Aslan. Greeted with the idea that Aslan is “nothing more” than Tash, Ginger abandons his faith in anything divine and becomes a ringleader in the “Tashlan conspiracy.” King Tirian exemplifies the obedient response to Saturn: though he has temporary doubts about Aslan’s goodness, he perseveres in hope and acts as a good and faithful king of Narnia—even though there is very little evidence that Aslan cares about the plight of his people. • This novel differs from the others in many ways: an adult protagonist (makes the book older and more mature, like Saturn himself), no clear quest/objective, several narrow misses (“if only”); situation for the company gets continually worse, every hope frustrated by some unfortunate, unforeseen circumstance; far more characters die in this novel as well—every major character tastes death before the novel ends. -
Research Journal of English(RJOE) Vol-3,Issue-4,2018 an International Peer-Reviewed English Journal ISSN: 2456-2696
Oray’s Publications Research Journal Of English(RJOE) Vol-3,Issue-4,2018 www.rjoe.co.in An International Peer-Reviewed English Journal ISSN: 2456-2696 Archetypal Approach Spins around C.S.Lewis’s the Chronicles of Narnia Dr.J.Sripadmadevi Assistant Professor Department of English (SF) Nirmala College for Women Coimbatore,Tamilnadu,India Abstract As archetypes are recurrent patterns in literature, they shine exuberantly in the genre of high fantasy, which derives much of its power from the archetypal models it incorporates with the subject matter; and The Chronicles of Narnia series is of no exception in this regard. They are finely embedded with the archetypal images such as light and darkness, sibling rivalry, tyrannical bullies, quest motif and character types. Albeit, the series has hooked up with various archetypal characteristics such as the theme of virtue conquers vice, it is the archetypal patterns in characters which have left a sturdy imprint to execute the thematic design of good versus evil in the entire plot structure. The intrinsic study of the series illustrates the infinite variety of experience of the dominant characters; wherein it reveals certain archetypal traits. Hence, the present paper explores on the variety of Archetypes in C.S.Lewis‟s The Chronicles of Narnia. Key Words: Archetypes, Types of Archetypes, Child archetypes Research Journal Of English (RJOE) Copyright Oray’s Publication Page 173 Oray’s Publications Research Journal Of English(RJOE) Vol-3,Issue-4,2018 www.rjoe.co.in An International Peer-Reviewed English Journal ISSN: 2456-2696 As Children‟s literature has provided with numerous archetypes, the eminence of series lies more on archetypal figures and images which it shares with other texts in the huge gamut of stories ranging from oral roots of tales to the latest fantasy narratives. -
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.