Eucharistic Motifs in the Fantasies of CS Lewis
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Miscellaneous Findings in the Chronicles of Narnia a Trial to Find Correlations Between the Life and the Works of C
保健医療経営大学紀要 № 3 43 ~ 53(2011) <研究ノート(Research Note)> Miscellaneous Findings in The Chronicles of Narnia A trial to find correlations between the life and the works of C. S. Lewis 小手川巧光 * Introduction noticeable to think about his unique way of his works’ I have been trying to find the differences of the overlapping with his life. ways each author puts his/her philosophy into their Lewis wrote seven volumes of CN . I will introduce works, especially being interested in the authors in each subject along with the publishing order of The modern British literature like D. H. Lawrence, J. R. Chronicles except for The Magician’s Nephew (MN ) R. Tolkien and so forth. Though each author has because MN will be used for my next thesis as a something to do with Christianity because each of them central piece of material to correlate the miscellaneous is born and raised in Western Culture where Christian findings with each other. influence is thick enough to inevitably overshadow their lives, he/she has a unique way to develop the The Lion, The Witch and The Wardrobe (LWW) influence. When it comes to the influence on their works, it is even wonderful to see how much variety of How the Christian doctrines are woven into the story the appearance of such effects reflects. C. S. Lewis is one of the authors from modern Why did Lewis decide to weave together the British literature who had such interesting writing embedded doctrines in the story without using activities that you would like to look into how he had explicitly Christian terminology? Was it only for the been changing ways to put his thoughts into his works. -
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. -
Fantastical Worlds and the Act of Reading in Peter and Wendy, the Chronicles of Narnia, and Harry Potter
Bucknell University Bucknell Digital Commons Master’s Theses Student Theses Spring 2021 Fantastical Worlds and the Act of Reading in Peter and Wendy, The Chronicles of Narnia, and Harry Potter Grace Monroe Bucknell University, [email protected] Follow this and additional works at: https://digitalcommons.bucknell.edu/masters_theses Part of the Children's and Young Adult Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Monroe, Grace, "Fantastical Worlds and the Act of Reading in Peter and Wendy, The Chronicles of Narnia, and Harry Potter" (2021). Master’s Theses. 247. https://digitalcommons.bucknell.edu/masters_theses/247 This Masters Thesis is brought to you for free and open access by the Student Theses at Bucknell Digital Commons. It has been accepted for inclusion in Master’s Theses by an authorized administrator of Bucknell Digital Commons. For more information, please contact [email protected]. I, Grace Monroe, do grant permission for my thesis to be copied. FANTASTICAL WORLDS AND THE ACT OF READING IN PETER AND WENDY, THE CHRONICLES OF NARNIA, AND HARRY POTTER by Grace Rebecca Monroe (A Thesis) Presented to the Faculty of Bucknell University In Partial Fulfillments of the Requirements for the Degree of Master of Arts in English : Virginia Zimmerman : Anthony Stewart _____May 2021____________ (Date: month and Year) Next moment he was standing erect on the rock again, with that smile on his face and a drum beating within him. It was saying, “To die would be an awfully big adventure.” J.M. Barrie, Peter and Wendy Acknowledgements I would like to thank the many people who have been instrumental in my completion of this project. -
Leto As Mother: Representations of Leto with Apollo and Artemis in Attic Vase Painting of the Fifth Century B.C
https://publications.dainst.org iDAI.publications ELEKTRONISCHE PUBLIKATIONEN DES DEUTSCHEN ARCHÄOLOGISCHEN INSTITUTS Dies ist ein digitaler Sonderdruck des Beitrags / This is a digital offprint of the article Lavinia Foukara Leto as Mother: Representations of Leto with Apollo and Artemis in Attic Vase Painting of the Fifth Century B.C. aus / from Archäologischer Anzeiger Ausgabe / Issue Seite / Page 63–83 https://publications.dainst.org/journals/aa/2027/6626 • urn:nbn:de:0048-journals.aa-2017-1-p63-83-v6626.5 Verantwortliche Redaktion / Publishing editor Redaktion der Zentrale | Deutsches Archäologisches Institut Weitere Informationen unter / For further information see https://publications.dainst.org/journals/aa ISSN der Online-Ausgabe / ISSN of the online edition 2510-4713 ISSN der gedruckten Ausgabe / ISSN of the printed edition Verlag / Publisher Ernst Wasmuth Verlag GmbH & Co. Tübingen ©2019 Deutsches Archäologisches Institut Deutsches Archäologisches Institut, Zentrale, Podbielskiallee 69–71, 14195 Berlin, Tel: +49 30 187711-0 Email: [email protected] / Web: dainst.org Nutzungsbedingungen: Mit dem Herunterladen erkennen Sie die Nutzungsbedingungen (https://publications.dainst.org/terms-of-use) von iDAI.publications an. Die Nutzung der Inhalte ist ausschließlich privaten Nutzerinnen / Nutzern für den eigenen wissenschaftlichen und sonstigen privaten Gebrauch gestattet. Sämtliche Texte, Bilder und sonstige Inhalte in diesem Dokument unterliegen dem Schutz des Urheberrechts gemäß dem Urheberrechtsgesetz der Bundesrepublik Deutschland. Die Inhalte können von Ihnen nur dann genutzt und vervielfältigt werden, wenn Ihnen dies im Einzelfall durch den Rechteinhaber oder die Schrankenregelungen des Urheberrechts gestattet ist. Jede Art der Nutzung zu gewerblichen Zwecken ist untersagt. Zu den Möglichkeiten einer Lizensierung von Nutzungsrechten wenden Sie sich bitte direkt an die verantwortlichen Herausgeberinnen/Herausgeber der entsprechenden Publikationsorgane oder an die Online-Redaktion des Deutschen Archäologischen Instituts ([email protected]). -
Download Scans
12e JAARGANG 1e KWARTAAL 1947 PHILOSOPHIA R·EFORMATA ORGA,AN VAN DE VEREENIGING VOOR CALVI NISTISCHE W!JSBEGEERTE ONDER REDACTIEVA~J DR J. BOHATEC DR J. H. DIEMER DR H. DO 0 YEW EERD DR H. G. STOKER DR C. VAN TIL DR D. H. TH. VOLLENHOVEN UITGAVE J.H. KOK N.V KAMPEN HOOFOREDACTEUR: Prof. Dr H. DOOYE"\VEERD, Or anje Nassaulaan 13, Al\iSTERDAl\I-ZUID REDACTIELEDEN: Dr J. BOf-IATEC, \VEENEN Dr J. H. DIEMER, GnO?\IXGE:\ Dr H. G. STOKER, POTCIIEFSTTIOO:\1 Dr C. V.A..l~ TIL, PHILADELPHIA - Dr D. H. TIl. 'VOLLENIIO\'EN, Al\ISTETIDAI\1 Secretariaat: Dr .1. P. A. Mekkes, Waalsdorperweg 245, 's Gravenhage INHOUDSOPGAVE pag. OXTWERP ENER AESTHETICA OP GROXDSLAG DER \VIJSBEGEERTE DER \VETSIDEE, II, door H. R. ROOK.l\lAAKER 1 OPVOEDI:"JG, ONDER\VIJS, SCI-lOOLVERBAKD, I, door DR K J. POPMA. .......... 36 CALYIXISME EN VOLKEKRECHT, door DR J R. STEL- LINGA •............ .. 42 ONTWERP ENER AESTHETICA OP GRONDSLAG DER WIJSBEGEERTE DER WETSIDEE DOOR H. R. ROOKMAAKER. § 10. Stijl en schoonheid aan niet-aesthetisch gequalificeerde structuren. Schoonheid aan natuurdingen is een stijlloze schoonheid 53), immers, deze schoonheid is gefundeerd in de leidende functie van het (in één van de natuurzijden gequalificeerde) ding en dus niet in de (historische) beheersende vorming. Aan alle structureel in de historische functie ge- fundeerde objectieve dingstructuren kunnen we echter stijl herkennen; het ding is immers tot stand gekomen in een menselijke vormingsarbeid.. Stijl is dus geen „privilege" voor kunstwerken, voor aesthetisch-gequa- lificeerde dingen. Zo merken we schoonheid, stijl op aan sociaal-ge- qualificeerde structuren als stoelen, glaswerk, wasbakken etc. -
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 ................................................................................. -
Artemis Und Der Weg Der Frauen Von Der Geburt Bis Zur Mutterschaft Am Beispiel Von Kulten Auf Der Peloponnes
ARTEMIS UND DER WEG DER FRAUEN VON DER GEBURT BIS ZUR MUTTERSCHAFT AM BEISPIEL VON KULTEN AUF DER PELOPONNES INAUGURAL-DISSERTATION ZUR ERLANGUNG DER DOKTORWÜRDE DER PHILOSOPHISCHEN FAKULTÄT I DER JULIUS-MAXIMILIANS-UNIVERSITÄT WÜRZBURG VORGELEGT VON MARIA GENNIMATA AUS THESSALONIKI (WÜRZBURG 2006) ERSTGUTACHTER: PROFESSOR DR. U. SINN ZWEITGUTACHTER: PROFESSORIN DR. R. LINDNER (†) TAG DES KOLLOQUIUMS: 18.07.2006 INHALT Vorwort ..................................................................................................................................... 7 Abkürzungsverzeichnis ........................................................................................................... 11 Einleitung – Forschungsstand ................................................................................................. 17 Methodischer Ansatz............................................................................................................... 33 I. BEISTAND DER ARTEMIS VON DER GEBURT BIS ZUR MUTTERSCHAFT: FUNKTIONS- EPIKLESEN JENSEITS DER PELOPONNES 1. GEBURT UND WOCHENBETT 1.1. Chitone, Kithone................................................................................................. 45 1.1.1. Literarische und epigraphische Belege ................................................... 45 1.1.2. Die rituelle Praxis der Kleiderweihe ....................................................... 47 1.2. Dynatera ............................................................................................................. 48 1.3. Eileithyia............................................................................................................ -
Inspiration and Τέχνη: Divination in Plato's
AARON LANDRY | 85 Inspiration INTRODUCTION and Τέχνη: In Plato’s Ion, inspiration functions in con- Divination in tradistinction to technē.1 Since Ion’s rhapso- dic expertise does not stand up to Socrates’ Plato’s Ion epistemological critique, his performances of Homer cannot stem from knowledge, but from elsewhere, from divine inspiration. The two are presented as a strict disjunction. Yet in both cases there is an appeal to divination. If rhapsody, and poetry by extension, cannot synthesize the two, why does Socrates seem 2 Aaron Landry to think that divination can? This puzzle has Humber College caused quite a bit of consternation about the 3 [email protected] value and subject matter of the dialogue. In particular, it is unclear what Socrates thinks about the nature of poetic and rhapsodic ins- piration. In this essay, I will argue that divi- nation constitutes an alternate, and improved, framework for Ion to model his expertise on. By clarifying the role and scope of divination in the Ion, I aim to show that Socrates’ disjunctive account – inspiration or technē – can actually be integrated. In so doing, I argue that there are in fact positive philosophical theses latent ABSTRACT in the dialogue. In part I, I rehearse the contrasting accoun- In Plato’s Ion, inspiration functions in ts of divination in the dialogue. In the first argumentative exchange, divination is refe- contradistinction to technē. Yet, paradoxically, in both cases, there is an appeal to divination. renced as a paradigmatic technē. The seer is I interrogate this in order to show how these best equipped to speak about the contrasting two disparate accounts can be accommodat- depictions of divination given by Homer and ed. -
The Chronicles of Narnia"
~~~--,-~-~"="~~~=-·~----"-~-~=~,·-~=--~~,~~-~~-~~-,-~~~-=~~==~=-·=1 I I CALIFORNIA STATE UNIVERSITY, NORTHRIDGE I C. S. LEWIS' "THE CHRONICLES OF NARNIA": TOWARDS A DEFINITION OF THE GENRE OF THE CHRISTIAN APOCALYPSE A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in English by Peter Wilhelmsson August 23, 1976 The thesis of Peter Wilhelmsson is approved: David M. Andersen Mahlon Gaumer III 1 Stephen ~eid California State University, Northridge l l~~~--~-·-·"~-·-~-~ ...~~~-~·--·~-~~~ .. -·~·~---~~~~--~~~~~·~-~· ~~-·~----~~~ -~---=~-~ ~---~·~ ACKNOWLEDGMENTS I give special thanks to Dr. David Andersen who patiently worked with me to see this work completed and to !all my friends who have been to Narnia: Lars, Don, Hal, Ricki, and Niqi. I L_~ ~·«---·-~~~=~-~-"--·,.---~ ~--~~-~~~ ·=~-----~ ·-,.~--~--~"~-~-~--~ ii TABLE OF CONTENTS Page ACKNOWLEDGMENT . ii ABSTRACT . iv CHAPTER I Myth and Allegory 1 I I CHAPTER II The Utopian Tradition: The City Of Man ..... 19 ICHAPTER III The Apocalyptic Tradition: The City Of God ..... 44 i l CHAPTER IV The Christian Apocalyptic Vision I 75 ' In "The Chronicles of Narnia" APPENDICES 1-7 . 126 BIBLIOGRAPHY . 144 iii ABSTRACT C. S. LEWIS 1 "THE CHRONICLES OF NARNIA": TOWARDS A DEFINITION OF THE GENRE OF THE CHRISTIAN APOCALYPTIC VISION BY Peter Wilhelmsson Master of Arts in English Most of us are familiar with the central theme of utopia in such works as The Republic, Utopia, Looking Backward, and Walden Two; but because the Christian apoca- lyptic tradition has not been defined previously, it is more difficult for the modern reader to see a common thread of prophecy and hope weaving together works such as the Old Testament, the New Testament, Paradise Lost, Pilgrim's Progress and the writings of C.S. -
Dedicated to Mary Clare Havard
Dedicated to Mary Clare Havard The second in the series, written in late 1949 Published in 1951 Like the others, illustrated by Pauline Baynes The initial setting is England in 1941, fourteen months after they first went to Narnia. In Narnia, it is 1,300 years after The Lion, the Witch and the Wardrobe , year 2303 in Narnian time. The topic according to Lewis: “restoration of the true religion after a corruption” When the children travel from England to Narnia, they almost never leave from their home. By never depicting the children at home, Lewis is able to evoke a longing for home, for a true home. See “The Weight of Glory,” where Lewis claims that we all have a desire for “our own far off country.” The four children are drawn by Susan’s horn (which had been left behind) into Narnia, as the story begins in medias res (the plot does not advance until chapter 8). They discover a ruined Cair Paravel, although they do not realize it at the time. They rescue the dwarf Trumpkin, who tells of Miraz, the Telmarines, and the Narnians driven underground. Caspian, nephew; an heir is born to Miraz; at the urging of his tutor Doctor Cornelius Caspian rides away on his horse Destrier and begins to gather an army around him. The four children make a long and arduous journey with Trumpkin to Aslan’s How. On the way Lucy sees Aslan, but the others don’t believe her. Sub-plot: Lucy’s faith vs. Trumpkin’s skepticism. “But she [Lucy] forgot them [i.e. -
The Remains of Hesiod the Arcraean, Including the Shield of Hercules
i'iii»iiiiii^iiii,tii^^^ '^THE REMAINS OF HESIOD THE ASCRiEAN INCLUDING €fjc M)icili of l^erailf^, TRASSLATED INTO ENGLISH RHYME AND BLANK-VERSE; WITH A DISSERTATION ON THE LIFE AND iERA, THE POEMS AND MYTHOLOGY, OF HESIOD, AND COPIOUS NOTES. \ ^ THE SECOND EDITION, ^ BEVISED AND ENLARGED ^ BY CHARLES ABRAHAM ELTON, AOrnOR OF SPECIMENS OF THE CLASSIC POETS FHOM HOMES TO TRTPtHODORUS. 'O wpsV^uf xfl9apotv yivtrdf^iva; "KiBa^mv.—AAKAIOI, LONDON: PUINTED FOR BALDWIN, CRADOCBk, AND JOY, 47 PATERNOSTER.ROW. 1815. pfi UOIO C. Halriwin, Punter, Nffw Briilac'-sircet. London. l:l PREFACE. J. HE remains of Hesiod are not alone interesting to the antiquary, as tracing a picture of the rude arts and manners of the ancient Greeks. His sublime viewa of a retri- philosophic allegories ; his elevated butive Providence and the romantic or ; elegance, daring grandeur, with which he has invested the legends of his mytholog}', offer more solid reasons than the accident of coeval existence for the tradi- tional association of his name with that of Homer. Hesiod has been translated in Latin hexameters by Nicolaus Valla, and by Bernardo Zamagna. A French translation by Jacques le Gras bears date 1586. The earliest essay on his poems by our owni " countrymen appears in the old racy version of Tlie Works and Days," by George Chapman, the trans- lator of Homer, published in 1618. It is so scarce that " " Warton in The History of English Poetry doubts SI 2 IV PREFACE. its existence. Some specimens of a work equally curi- ous fioni its rareness, and interesting as an example of our ancient poetry, are appended to this translation. -
HOME LEARNING the LION, the WITCH and the WARDROBE Subject: ENGLISH YEAR 8 – MRS NORTH Time: 50 Minutes
HOME LEARNING THE LION, THE WITCH AND THE WARDROBE Subject: ENGLISH YEAR 8 – MRS NORTH Time: 50 minutes. Learning Objective: I can describe an event. I can read and understand the text. Task 1: CHAPTER 12: PETER’S FIRST BATTLE Watch Peter’s first battle using the link below. https://www.youtube.com/watch?v=QLtNZgWK32A What happens? Can you describe this in your own words? Task 2: READ THE SUMMARY OF CHAPTER 14: THE TRIUMPTH OVER THE WITCH AND 15: DEEPER MAGIC BEFORE THE DAWN OF TIME No one asks Aslan about the terms of his agreement with the White Witch, but he announces that they must set up camp for the evening in another location: at the Fords of Beruna. While they travel, Aslan tells Peter about the military plan that he has in mind: one battle against the Witch and her followers in the woods, and a second assault on her castle. Aslan then tells Peter that he cannot promise that he will be there to help. Peter is unnerved by Aslan's statement: the lion is clearly preoccupied and sad. That night, Susan and Lucy have trouble sleeping. They have the same horrible feeling that something dreadful is about to happen to Aslan, or that he is about to do something horrible. They begin to wonder whether he is stealing away from the camp at that moment, and go outside to look for him just in time to see the lion leaving the camp. They follow him, and realize that he is making the journey back to the Stone Table.