DOCSLIB.ORG

Copyrighted Material

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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; as lumi- Archaic language, use of, 118, nous, 68; meaning of the 170 name, 49–50, 131; mice nib- Archenland, 48, 49 bling cords of, 166; mysteri- Archetypes, 34, 52, 59, 123 ous workings of, magic Aristocracy, 114 associated with, 121, 123; Aristotle, 126 nine names of, 171; as a Ark, defined, 171 numinous being, 65–68, 69; Arsheesh, 130, 136 orchestrating the end of Nar- Arthur, King, world of, 108, nia, 55; other name for 114, 152, 164 knowing, alluding to, 65, 80, Arthurian romance, 107, 115, 87; playing part of counselor, 117, 118, 119, 120 96–97; preparing to slay, Arthurian Torso, 117 141; presence of, many Asgard, 131 forms of, 70–72; prince Ashe, G., 45, 46 learning about, 6; reaching Askins, J., 17 country of, intention of, 47; Aslan: absence of, 40; aid of, 40; as redeemer, 75–80; renam- Calormene belief about, 51; ing a winged horse, 139; as comforter and guide, response to, meaning of, 80–82; commissioning a res- 94–95, 100; rewarding trust, cue, 52; and continuation of 104; sacrifice of, 77–78; the series, 39; as co-sufferer, singing his new song, 164; 74–75; as creator, 73–74; sound of the name, 137; and defining responsibilities, source of image for, 33; 114; and dismissal of idle speaking face to face with, curiosity, 102–103; experi- 160, 172; Stone Table of, 46; ence in the ways of, 123; first as supremely good, 68–69; sight of, 117; first to symbolic desecration of, 99; approach, 113; God por- two Signs of, 161; and the trayed in, 63, 86; hearing undragoning, 145; using the about and meeting, 66–67; name, as a synonym, 86–87; and the Holy Grail, 119; how and violence, 155–156; of, 168; imposter of, 54, 55, wanting to seek country of, bindex.qxd 2/22/08 8:32 PM Page 213 Index 213 remissness in, 113; weeping Belfry, defined, 171 over Caspian, 171; “Well Benjamin, 79 done” comment by, 165; as a Beowulf saga, 108, 141, 148 witness, 82 Bercilak, 134 Aslan (of Arabian Nights), 50 Bergson, H., 18 Astrolabe, defined, 169 Bern, 111 Astrology, 124–127 Berries like live coals in the Atheism: belief in, period of, mouth, allusion of, 170 10, 11–12, 23; moving away Betrayal of kindred, 92, 97 from, 17 Between Yesterday and Tomor- Atonement, 77, 78, 79 row, 61 Attics, from childhood, 3 Bevan, E., 67, 72 Augustine, 146 Beyond-World, 60–61 Austen, J., 161 Bible, the, portrayal of dreams Azaroth, 159 in, 81 Biblical elements. See specific B biblical elements Bacchus, 109, 166, 168 Biblical parallels/overtones, 64, Bad characters: depicting, 105; 71, 78 names of, sound of, 137. See Biblical passages, drawing from: also specific characters about creation, 73; about the Bad choices, making, 93, 94 end of times, 54–55 Badge/Badger, nickname of, Bickernocker, 129 129 Bios (physical life), 71 Bailey, G., 21 Bism, 135 Balder, 7, 47 Bivouac, defined, 171 Baptism, symbolic, 145 Black magic, 121 Barfield, L., 143 Blackwood,A., 59–61, 62 Barfield, M., 35 Blake,A., 159 Barfield, O., 16, 18, 22, 31, 35, Bleheris, 115–116 143, 157 Boarding schools, childhood Bastable children, the, 30, 57 years spent in, xv, 9–11, 20, Bastables, the, 163 56, 57, 92, 144, 156, 157 Baynes, P., 78 Bobaunce, defined, 171 BBC radio talks, series of, xiv, Boethius, 42, 108 22–23 Boxen tales, 4 Beaver, Mr., 66, 67, 89, 94 Boy/boyhood, connotation of, Beaver, Mrs., 67, 89, 94, 157 20, 92 bindex.qxd 2/22/08 8:32 PM Page 214 214 Index Bradley, F. H., 18 Carroll, L., 35 Bravery, 103, 105 Caspian, 46, 52, 90, 104, 111, Bree, 48, 49, 71, 95, 138 113–114, 122, 125, 138, Bricklethumb, 130 139, 171 Bridge Builder, 170 Castle, from childhood, 6. See Bridge of Beruna, 169 also Cair Paravel British Broadcasting Corpora- Cat image, 49, 72, 81 tion (BBC), “Broadcast Talks” Catholics and Protestants, ten- for, xiv, 22–23 sions between, 5 Bromios, Bassareus, the Ram, Celtic altar stone, 45 168 Celtic folklore, 167 Brontë, C., 164 Celtic language/names, 130, Brother of C. S. Lewis. See 166 Lewis,W.H. Celtic mythology, 52, 141 Bullies, 156 Centaurs, 124, 139 Bulwarks, defined, 170 Change, secret of, 145 Bunk (verb), defined, 164 Charitable fund, contribution Bush, D., 107 to, 23 Charlemagne, 114 C Charn, 59, 74, 77, 97, 113, 142 Cain, mark of, 164 Charnel house, 142 Cair Paravel, 6, 40, 90, 104, Chartres cathedrals, 107 152, 166 Chatelaine, defined, 166 Call it Pax, defined, 164 Chaucer, G., 115, 135, 171 Calomene names, choosing, Cherbourg House, 10–11 based on sound, 136–137 Chervy, 136 Calormen, 48, 49, 50, 51, 136 Chesterton, G. K., 18, 154 Calormenes, 51, 54, 68, 84, Chicago Sunday Tribune, review 132, 133, 140, 155, 159 in, 161 Camelot, fragment on, 117 Child within, writing for the, Camillo, 130 xv, 163 Campbell College, 10 Child/childhood/childish, con- Canterbury cathedrals, 107 notation of, 6–7, 20, 92 Cantrips, defined, 168 Childlike qualities, xiii, xvi Capron, R., 9, 10, 57, 58, 165 Children’s literature, literary Carnegie Medal, 28 artistry applied to, 147–148, Carrack, defined, 169 150 bindex.qxd 2/22/08 8:32 PM Page 215 Index 215 Children’s names, significance success of, xiv, 147; period of, 142–146 spent writing, and publica- Chiron, 139 tion of, 1, 28–29; question- Chivalry, 114–120 ing political correctness of, Choices, moral, facing, 91, 93 153–160; reviews of, Choriambuses, 170 160–161; serving as faithful Chretién de Troyes, 119 guides, 90. See also specific Christ. See Jesus Christ books Christendom, 108 Chronoscope, defined, 169 Christian doctrines. See specific Church, male headship in, 157 doctrines Church of Ireland (Anglican), 2 Christian elements, continuity Churl, defined, 172 between: and classical ele- Circe, 34 ments, 110; and pagan ele- Cistern, defined, 164 ments, 108–109 Clapperton, C., 4 Christian era, 108, 109 Classical and medieval ele- Christian eschatology, 55 ments, discussion of, Christian faith: abandoning, 10, 107–127 11–12; embracing, 19; jour- Classical elements, continuity ney back to, 17–20, 23; between Christian elements saved by grace through, 83 and, 109–110 Christian ideas, one of the Classical era, 108 great, 119 Classical languages, names Christian, meaning of, in com- from, 135–136 mon usage, 109 Classical mythology, 139, 141 Christian morality, 83–84 Classical myths, 109–110 Christian worldview: express- Classics: academic background ing, means of, 30; informing in, 17; love of, 109 the chronicles, xv, 16 Climbing the wall, 165 Christianity: conversion to, 146; Clodsley Shovel, 134 early views on, 10, 12; lec- Cloudbirth, 139–140 turing on, xiv, 22; view of, Coalblack, 139 109; and view of the under- Cock-shies, defined, 171 world, 52 Cog, defined, 169 Chronicles of Narnia,The: Coiner, defined, 164 depth of, xvi–xvii; images Collected Letters, 166, 171, beginning, 63–64; ongoing 172 bindex.qxd 2/22/08 8:32 PM Page 216 216 Index Colney ‘Atch, 164 Curiosity, idle, dismissal of, Comfort and guidance,Aslan 102–103 providing, 80–82 Curvet, defined, 165 Commonplace names, using: for familiarity to young readers, D 143; warning against, 129 Dais, defined, 168 Compassion, 100 Daniel, 81 Consolation of Philosophy Dante, 92, 107 (Boethius), 42 Dark Ages, the, 108 Copernican model, 126 “Dark Island,The,” 154–155 Coriakin, 46, 113, 122, 125 “Dark Tower,The,” 41 Corin, 49 David, 165 1 Corinthians 10:4, 172 Davidman, J., 23–24, 87, 157 Cornelius, 122, 124, 125, 133, Dawn Treader (ship), 46, 47, 135 159 Day of Acknowledgment, 82 Cornelius Agrippa (Christian Day of Judgment, 82, 83 scholar), 133 Deep Magic, 77, 79, 121 Cosmic order/hierarchy, 112, Deeper Magic, 121 125 Democracy, view of, 111–112, Cosmologists, medieval, 125 114 Cosmos, the: different world- Desecration, symbolic, of Aslan, views of, 126–127; outer- 99 most sphere of, symbol for, Destrier, 139 125 Devil, the (Satan), 78, 79, 121, Co-sufferer,Aslan as, 74–75 165 Courage, moral, 103 Dickens, C., 134 Cowan, R., 158 Digory Kirke, 3, 36, 37, 39, 54, Creation story, 73 55, 56–57, 62, 74, 74–75, Creativity, idea of, and belief in 76, 77, 94, 97, 101, 113, an ultimate Source, 32–33 123, 144, 152, 157, 158 Creator, the: allowing for free Discarded Image,The, 21, 108, will, 74;Aslan as, 73–74; as 109, 125, 126, 171 beyond time and space, 42; Divine goodness, 69 as tragic, 74 Divine waters, 73 Creek, defined, 167 Doctor Faustus (Marlowe), 121 Criticism, 32, 78, 153, 157, 160 Doyle,A.
Recommended publications
  • The Lion, the Witch and the Wardrobe by C.S Lewis. Introduction

    The Lion, the Witch and the Wardrobe by C.S Lewis. Introduction

    The Lion, the Witch and the Wardrobe by C.S Lewis. Introduction Peter, Susan, Edmund, and Lucy Pevensie are four siblings sent to live in the country with the eccentric Professor Kirke during World War II. The children explore the house on a rainy day and Lucy, the youngest, finds an enormous wardrobe. Lucy steps inside and finds herself in a strange, snowy wood. Lucy encounters the Faun Tumnus, who is surprised to meet a human girl. Tumnus tells Lucy that she has entered Narnia, a different world. Tumnus invites Lucy to tea, and she accepts. Lucy and Tumnus have a wonderful tea, but the faun bursts into tears and confesses that he is a servant of the evil White Witch. The Witch has enchanted Narnia so that it is always winter and never Christmas. Tumnus explains that he has been enlisted to capture human beings. Lucy implores Tumnus to release her, and he agrees. Lucy exits Narnia and eagerly tells her siblings about her adventure in the wardrobe. They do not believe her, however. Lucy's siblings insist that Lucy was only gone for seconds and not for hours as she claims. When the Pevensie children look in the back of the wardrobe they see that it is an ordinary piece of furniture. Edmund teases Lucy mercilessly about her imaginary country until one day when he sees her vanishing into the wardrobe. Edmund follows Lucy and finds himself in Narnia as well. He does not see Lucy, and instead meets the White Witch that Tumnus told Lucy about. The Witch Witch introduces herself to Edmund as the Queen of Narnia.
  • Peter  Noble and Courageous  Saves Susan from a Wolf  Becomes King Peter the Magnificent

    Peter  Noble and Courageous  Saves Susan from a Wolf  Becomes King Peter the Magnificent

    Character Card: The Lion, the Witch and the Wardrobe Eldest of the 4 Pevensie children Brother of Susan, Edmund and Lucy Peter Noble and courageous Saves Susan from a wolf Becomes King Peter the Magnificent Second oldest of the 4 Penvensie children Sister of Peter, Edmund and Lucy Beautiful, sweet and kind Susan Becomes Queen Susan the Gentle Peter saves her from a ferocious wolf Father Christmas gives her a special horn to blow in case of trouble 3rd oldest of the Penvensie children Brother of Peter, Susan and Lucy A bit of a brat. Likes to tease Lucy. Makes fun of the Professor, defies Peter, talks back to Susan Edmund Loves Turkish Delight (a candy) Makes ‘friends’ with the White Witch and betrays his siblings Learns the error of his ways and returns to the good side. Becomes King Edmund the Just Youngest of the Penvensie children Sister of Peter, Susan, and Edmund Adventurous, curious, trusting, cheerful, kind and brave Discovers the magical land of Narnia by going Lucy through a wardrobe Makes friends with Mr. Tumnus in Narnia Father Christmas gives her a magic healing potion Becomes Queen Lucy the Valiant Owns the house that Peter, Susan, Edmund and Lucy stay at in the country Is rather eccentric Professor Kind, wise, open-minded Believes in Narnia Character Card: The Lion, the Witch and the Wardrobe A faun Lives in Narnia Kind, sensitive and caring Makes great tea! Becomes friends with Lucy and protects her (and Mr. Tumnus later her siblings) from the White Witch Is turned to stone by the White Witch for helping the humans The evil self-proclaimed ruler of Narnia Puts a spell on Narnia so that it is always winter (but never Christmas) The White Witch Lures Edmund into helping her trap his brother and sisters Aslan’s enemy Turns people and creatures to stone with her wand Servant of the White Witch, her Dwarf/Troll henchman and right-hand man.
  • Cider with Rosie the Lion, the Witch and the Wardrobe

    Cider with Rosie the Lion, the Witch and the Wardrobe

    ACTING ANTHOLOGY LEVEL ONE - SOLO 33 Cider with Rosie The Lion, the Witch and the Wardrobe Laurie Lee, known to his friends as LOLL, is sitting in school The land of Narnia is under the spell of the wicked WHITE waiting for the arrival of the new Headmistress, Miss Wardle. WITCH. Four children from London (Peter, Edmund, Lucy and As she enters, he sniffs and is immediately told to go outside Susan) find a gateway into Narnia, and they are soon caught and give his nose a good blow. up in a deadly struggle between good and evil, according to the mysterious laws of the land. Asian, the lion, represents good in LOLL: (Loll sniffs... he leaves the classroom area and sits on Narnia and he is all that stands in the way of The White Witch's the very edge of the stage.) Of course I don't really belong plan to plunge Narnia into an eternal winter. to that lot at all. I'm summat different to them. I'm a - I'm a - young king. Yes! Placed secretly here in order to mix with the THE WHITE WITCH: Come on, faster! Maugrim will soon bring commoners. (He sniffs.) There is clearly a mystery about my us news. Four thrones at Cair Parivel. Mmm, but if only birth. One day the secret will be told. One day, they'll see, a three were occupied the prophecy would not be fulfilled. He gold coach with footmen in uniform will turn up suddenly, just may not stay for long, and then we could attack the three at like that! outside our kitchen door, and our Mother will cry the castle.
  • 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

    ‘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.
  • Vocab for Playscript Based on 'The Lion, the Witch and the Wardrobe'

    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.
  • Kansas City Athenaeum Collection (SC160)

    Kansas City Athenaeum Collection (SC160)

    THE KANSAS CITY PUBLIC LIBRARY Kansas City Athenaeum Collection (SC160) Introduction Founded in 1894 through a collaboration of existing women’s clubs, the Kansas City Athenaeum is one of the oldest women’s organizations in the area. The Kansas City Athenaeum Collection contains minutes, yearbooks, scrapbooks, photographs, operational and financial records, clubhouse information and building plans, and ephemera documenting the history of the club. Descriptive Summary Creator: Kansas City Athenaeum Title: Kansas City Athenaeum Collection Dates: 1894-2012 Size: 124.25 linear feet, 230 boxes, 106 loose volumes, 1 map drawer Collection Number: SC160 Donor Information Gift, 2012, Kansas City Athenaeum. Citation Note Kansas City Athenaeum Collection (SC160), Missouri Valley Special Collections, Kansas City Public Library, Kansas City, Missouri. Administrative Information Additional Forms Available: Use copies are available for scrapbooks. Related Collections: Additional information concerning the Athenaeum may be found in SC7 Missouri Valley Historical Society Records, as well as the following Vertical Files: Clubs – Kansas City – Athenaeum; and Buildings – Athenaeum Club. Club yearbooks may be found under the call number MVSC 095.2 K16Y V.1895-1956. Other sources concerning the club, its members, and additional women’s organizations may be found by searching the Missouri Valley Special Collections local history collections and the main Library Catalog. Historical Sketch The Kansas City Athenaeum is one of the oldest women’s organizations in Kansas City. Established in the 1894, the initial goal of the Athenaeum was to combine the efforts of several existing women’s clubs into a single organization through which its members would more effectively promote and influence a variety of educational, civic, and philanthropic causes.
  • Liminal Periods in the Udmurt Ritual Year

    Liminal Periods in the Udmurt Ritual Year

    AADO LINTROP Estonian Folklore Archives, Tartu Liminal Periods in the Udmurt Ritual Year In our cultural space we usually imagine our lifetime as a journey. Wayfarer or pilgrim is common metaphor for us as travellers on the road of life. We have several stages or parts on our way and many mental milestones and turns for marking and separating them. Actually we can say that linear time of human life is also structured by the cyclic rhythms of year and day. These contain for us periods of different significance. Holy periods There are interim periods during a person’s lifetime as well as during the calendar year, which are characterised by a state of indefiniteness or being without borders due to lack of everyday boundaries. The times are open to both good and evil and are close to the supernatural. Mental boundaries and landmarks are part of our system of orientation. Without them, space would be homogeneous; there would be no difference between familiar and unfamiliar, good and evil, sacred and profane places. It is the same with time. The expressions good times, hard times, crazy times, fast times, holiday time, everyday time, childhood, youth, manhood etc. contain obvious judgements and defining of limits. Transitions from one time, one period of life, one status to another are kind of crossroads or fork in the road in time. As we well know from the mythologies of different peoples, crossroads are liminal places in space where homeless or restless spirits gather and miscellaneous magic will be done (Puhvel 1989). If liminality causes ordinary orientation to be unable to function, then usual behaviour will also turn out to be ineffective or unsuitable.
  • Test Your Faerie Knowledge

    Test Your Faerie Knowledge

    Spiderwick Tes t Your Activity Sheet Faerie Knowledge It wasn’t all that long ago that faeries were regarded as the substance of the imagination. Boggarts, Elves, Dragons, Ogres . mankind scoffed at the idea that such fantastical beings could exist at all, much less inhabit the world around us. Of course, that was before Simon & Schuster published Arthur Spiderwick’s Field Guide to the Fantastical World Around You. Now, we all know that faeries truly do exist. They’re out there, occasionally helping an unwary human, but more often causing mischief and playing tricks. How much do you know about the Invisible World? Have you studied up on your faerie facts? Put your faerie knowledge to the test and see how well you do in the following activities.When you’re finished, total up your score and see how much you really know. SCORING: 1-10 POINTS: Keep studying. In the meantime, you should probably steer clear of faeries of any kind. 11-20 POINTS: Pretty good! You might be able to trick a pixie, but you couldn’t fool a phooka. 21-30 POINTS: Wow, You’re almost ready to tangle with a troll! 31-39 POINTS: Impressive! You seem to know a lot about the faerie world —perhaps you’re a changeling... 40 POINTS: Arthur Spiderwick? Is that you? MY SCORE: REPRODUCIBLE SHEET Page 1 of 4 ILLUSTRATIONS © 2003, 2004, 2005 BY TONY DITERLIZZI Spiderwick Tes t Your Activity Sheet Faerie Knowledge part 1 At any moment, you could stumble across a fantastical creature of the faerie world.
  • Research Journal of English(RJOE) Vol-3,Issue-4,2018 an International Peer-Reviewed English Journal ISSN: 2456-2696

    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

    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.
  • Meet Beverley's New Narnia Carvings! Aslan the Lion Farsight the Eagle

    Meet Beverley's New Narnia Carvings! Aslan the Lion Farsight the Eagle

    Meet Beverley’s new Narnia carvings! 14 characters from The Chronicles of Narnia by CS Lewis are being carved in stone for St Mary’s Church. Over the summer you can see them up close before they are put high on the church walls. Every time you see a carving in the display, it will have a code word and symbol next to it. Copy those onto this sheet. Return the sheet to us to get a certificate and a badge, and you’ll also be entered into a lucky draw to win a prize! Your name: ______________________________________________________________ What is the code for each Narnia character? Younger quizzers can copy the symbol, older quizzers can copy the word. Aslan the lion Farsight the eagle Fledge the winged horse Ginger the cat Glenstorm the centaur Glimfeather the owl Jewel the unicorn Maugrim the wolf Mr Tumnus the faun Reepicheep the mouse Shift the ape Slinkey the fox The White Witch Trufflehunter the badger The carvings will be displayed in groups, changing every two weeks during the school holidays: • Display 1 6pm Friday 17th July – 4pm Thursday 30th July • Display 2 11am Friday 31st July – 4pm Thursday 13th August • Display 3 11am Friday 14th August – 4pm Thursday 27th August • Display 4 11am Friday 28th August – 4pm Thursday 10th September When you have seen them all you can: • put your completed sheet through the letterbox at the display (Streamers shop) • post it to St Mary’s Narnia Quiz, 2 Wheatsheaf Lane, Beverley, HU17 0HH, or • scan it and email it to: [email protected] Name of parent/guardian: _______________________________________________________ Phone no or email address: ______________________________________________________ Optional bonus activity We would love to see and exhibit your own artwork inspired by our Narnia carvings.
  • Trncfjanti NG THT I MAG I NATION

    Trncfjanti NG THT I MAG I NATION

    trNCFJANTING THT IMAG I NATION ln TheLion, TheWitch and the Wardrobe,the first book writerJ.R.R.Tolkien; the two men began Lewiswrote aboutNarnia, four British children aresent a writing-and-discussiongroup called to live with an old professorduring the bombings the Inklings. Tolkien and other Inklings of London in World War II. Each of the children is a played alargerole in helpingLewis came little like all of us: Lucy has a childlike trust and the face-to-facewith the claimsof the Gospel wonder of innocence,Edmund carriesthe resentment ofJesusChrist. As a Christianapologist, and one-upmanshipof ordinary selfishness,Susan Lewis wrote some of the 20th century's representsthe skepticismof the almost-grown,and Peter most important books on faith (The showsthe impartialityand valor to which eachof us Screw tape Letter s, MereChristianity, longs to be called. SutyrisedbyJoy, The Great Divorce) as c.s. tEwls ATHts DESK StorySummary THE LEWISFAMILY WARDROBE well as the sevenNarnia Chronicles. While exploringthe house,Lucy the youngest,climbs through a magicwardrobe Why Did Lewis Write the Chronicles? into Narnia,a land of talking animalsand m;,thicalcreatures who areunder the Lewis himselfstated that the taleswere not allegoriesand thereforeshould not evil White Witch'sspell of endlesswinter. When Lucy returns,her brothersand be "decoded."He preferredto think of them as "supposals,"as he explainedin 'supposing sisterdont believeher tale.Edmund entersNarnia a few dayslater and meetsthe this letter to a young woman namedAnne: "I askedmyself, that White Witch, who feedshim TurkishDelight and promisesto makehim a prince therereally was a world like Narnia and supposingit had (like our world) gone of Narnia if he will bring his siblingsto her.