Chronicles of Narnia Jump V.0.0.2
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Following Narnia® Volume 1: the Lion's Song
Following Narnia® Volume 1: The Lion’s Song Writing Lessons in Structure and Style Student Book by Laura Bettis Third Edition, January 2016 Institute for Excellence in Writing, L.L.C. Narnia, The World of Narnia, The Lion, the Witch and the Wardrobe, and Narnia.com are trademarks of C.S. Lewis Pte. Ltd. The Chronicles of NarniaSample is a U.S. Registered Trademark of C.S. Lewis Pte. Ltd. These are Sample Pages for preview only. Copyrighted Material. Also by Laura Bettis Following Narnia® Volume 1: Writing Lessons in Structure and Style Teacher’s Manual The purchase of this book entitles its owner to a free downloadable copy of The Student Resource Notebook and the Following Narnia Volume 1: The Lion’s Song Reproducible Checklists e-book. (See the blue page for complete download instructions.) Copyright Policy Following Narnia® Volume 1: The Lion’s Song Writing Lessons in Structure and Style Third Edition, January 2016 Copyright © 2012, 2016 Laura Bettis. All rights reserved. ISBN: 978-1-62341-238-8 Our duplicating/copying policy for this Student Book: All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the author, except as provided by USA copyright law and the specific policy below: Home use: The purchaser may copy this Student Book for use by multiple children within his or her immediate family. Small group or co-op classes: Each participating student or family is required to purchase a Student Book. -
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. -
An Introduction to the Chronicles of Narnia
Table of Contents Introductory Material Meet the Author ............................................................................................................. 4 An Introduction to The Chronicles of Narnia .......................................................... 5 Using This Teacher’s Guide ..........................................................................................6 Creating a Journal ...........................................................................................................7 The Magician’s Nephew Introduction ..................................................................................................................10 Worksheets and Activities ..........................................................................................11 Final Test ........................................................................................................................38 The Lion, the Witch and the Wardrobe Introduction ..................................................................................................................39 Worksheets and Activities ..........................................................................................40 Final Test ........................................................................................................................67 The Horse and His Boy Introduction ..................................................................................................................68 Worksheets and Activities ..........................................................................................69 -
Feels Like Always Winter but Never Christmas at Your House?
Feels like always winter but never Christmas at your house? Then it’s time for you to follow the Red Robin through the woods to your very own… N ARNIAC FINA L EXA M F O R LITT LE O N E S 5)))))))))))))))%How to Take this Test 1. Miss Prizzle says: “Class, this exam covers all seven Chronicles. Sit up straight, think hard, and do not blub. You may, however, suck your paw.” 2. Dr. Cornelius says: “Do not write in this book for the simple reason that you or someone else might want to take the same test later. Instead, you should download a copy from RoarofNarnia.com. Or you could make a photocopy of these pages or simply write your answers on a separate sheet.” 3. Pattertwig says: “Look! Look! You can look in the books for help as you go! If you want!” 4. Glimfeather the Owl says, “Whoo, whoo, wh-when you’re done, find the correct answers starting on page 439. Then add up your total score and claim your honors (see end of this test)!” 5. Aslan says, “I love you, little one. Have fun!” Narniac Final Exam for Little Ones 317 Feels like always winter but never Christmas at your house? Then it’s time for you to follow the Red Robin through the woods to your very own… N ARNIAC FINA L EXA M F O R LITT LE O N E S 5)))))))))))))))%How to Take this Test 1. Miss Prizzle says: “Class, this exam covers all seven Chronicles. -
The Magician's Nephew
THE MAGICIAN’S NEPHEW BY C. S. LEWIS Chapter 1. The Wrong Door 2 Chapter 2. Digory and His Uncle 10 Chapter 3. The Wood Between the Worlds 18 Chapter 4. The Bell and the Hammer 25 Chapter 5. The Deplorable Word 32 Chapter 6. The Beginning of Uncle Andrew's Troubles 39 Chapter 7. What Happened at the Front Door 47 Chapter 8. The Fight at the Lamp-Post 54 Chapter 9. The Founding of Narnia 61 Chapter 10. The First Joke and Other Matters 69 Chapter 11. Digory and His Uncle Are Both in Trouble 76 Chapter 12. Strawberry's Adventure 83 Chapter 13. An Unexpected Meeting 91 Chapter 14. The Planting of the Tree 98 Chapter 15. The End of This Story and the Beginning of All the Others 104 1 CHAPTER ONE THE WRONG DOOR This is a story about something that happened long ago when your grandfather was a child. It is a very important story because it shows how all the comings and goings between our own world and the land of Narnia first began. In those days Mr Sherlock Holmes was still living in Baker Street and the Bastables were looking for treasure in the Lewisham Road. In those days, if you were a boy you had to wear a stiff Eton collar every day, and schools were usually nastier than now. But meals were nicer; and as for sweets, I won’t tell you how cheap and good they were, because it would only make your mouth water in vain. And in those days there lived in London a girl called Polly Plummer. -
The Magician's Nephew
The Chronicles of Narnia C. S. LEWIS BOOK ONE The Magician’s Nephew ILLUSTRATED IN COLOR BY PAULINE BAYNES TO THE KILMER FAMILY Contents Cover Title Page Dedication ONE: THE WRONG DOOR TWO: DIGORY AND HIS UNCLE THREE: THE WOOD BETWEEN THE WORLDS FOUR: THE BELL AND THE HAMMER FIVE: THE DEPLORABLE WORD SIX: THE BEGINNING OF UNCLE ANDREW’S TROUBLES SEVEN: WHAT HAPPENED AT THE FRONT DOOR EIGHT: THE FIGHT AT THE LAMP-POST NINE: THE FOUNDING OF NARNIA TEN: THE FIRST JOKE AND OTHER MATTERS ELEVEN: DIGORY AND HIS UNCLE ARE BOTH IN TROUBLE TWELVE: STRAWBERRY’S ADVENTURE THIRTEEN: AN UNEXPECTED MEETING FOURTEEN: THE PLANTING OF THE TREE FIFTEEN: THE END OF THIS STORY AND THE BEGINNING OF ALL THE OTHERS The Chronicles of Narnia Copyright About the publisher ONE THE WRONG DOOR THIS IS A STORY ABOUT SOMETHING that happened long ago when your grandfather was a child. It is a very important story because it shows how all the comings and goings between our own world and the land of Narnia first began. In those days Mr. Sherlock Holmes was still living in Baker Street and the Bastables were looking for treasure in the Lewisham Road. In those days, if you were a boy you had to wear a stiff Eton collar every day, and schools were usually nastier than now. But meals were nicer; and as for sweets, I won’t tell you how cheap and good they were, because it would only make your mouth water in vain. And in those days there lived in London a girl called Polly Plummer. -
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. -
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. -
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. -
The Magician's Nephew. (First Published 1955) by C.S
The Magician's Nephew C. S. L e w i s The Chronicles of Narnia Samizdat The Magician's Nephew. (first published 1955) by C.S. Lewis (1895- 1963). Edition used as base for this ebook: New York: Macmillan, 1966 [eighth printing] Illustration by Léa Paquet – 2018 (Lou Illustration), all rights reserved. Source: Project Gutenberg Canada, Ebook #1151 Ebook text was produced by Al Haines Warning : this document is for free distribution only. Ebook Samizdat 2017 (public domain under Canadian copyright law) Disclaimer This eBook is for the use of anyone anywhere at no cost. Copyright laws in your country also govern what you can do with this work. Copyright laws in most countries are in a constant state of flux. If you are outside Canada, check the laws of your country before down- loading, copying, displaying, performing, distributing or creating derivative works based on this Samizdat Ebook. Samizdat makes no claims regarding the copyright status of any work in any country outside Canada. To the Kilmer family Table Of Contents CHAPTER ONE The Wrong Door 1 CHAPTER TWO Digory and His Uncle 9 CHAPTER THREE The Wood Between the Worlds 16 CHAPTER FOUR The Bell and the Hammer 24 CHAPTER FIVE The Deplorable Word 32 CHAPTER SIX The Beginning of Uncle Andrew's Troubles 39 CHAPTER SEVEN What Happened at the Front Door 47 CHAPTER EIGHT The Fight at the Lamp-Post 55 CHAPTER NINE The Founding of Narnia 62 The Magician's Nephew iii CHAPTER TEN The First Joke and Other Matters 70 CHAPTER ELEVEN Digory and His Uncle are Both in Trouble 77 CHAPTER TWELVE Strawberry's Adventure 84 CHAPTER THIRTEEN An Unexpected Meeting 92 CHAPTER FOURTEEN The Planting of the Tree 99 CHAPTER FIFTEEN The End of This Story and the Beginning of All the Others 105 CHAPTER ONE The Wrong Door his is a story about something that happened long ago when your grandfather was a child. -
The Good Guys and the Bad Guys: Teachable Moments in the Chronicles of Narnia
THE GOOD GUYS AND THE BAD GUYS: TEACHABLE MOMENTS IN THE CHRONICLES OF NARNIA Though I enjoy, now and then, visiting the local Cineplex with my wife and two children, I really much prefer to screen films in the privacy of our family room. Liberated from the “tyranny of silence” that must (understandably) prevail in a crowded theater, we are left free to intersperse our viewing with an on-going dialogue about the film. As the only teacher in the family (and an English one at that!) I invariably do most of the talking: now guiding the children through the twists and turns of the plot, now highlighting the strengths and flaws of the main characters, now elaborating on the theme or moral of the film. Usually, the kids are eager to join in the dialogue and will often assault me with a barrage of questions. Their questions range from the simple to the complex, the sublime to the ridiculous, but no matter the movie and no matter the mood they are in, there is one question that they always, always ask: “Who are the good guys, and who are the bad guys?” Now if I were a good modern relativist, I would tell them that words like “good” and “bad” are not fixed terms with a universal, timeless meaning but labels that shift from age to age and culture to culture. If I were a good postmodern multiculturalist, I might add that these labels are not “innocent,” but are imposed by powerful, dominant races, classes, and genders, on other races, classes, and genders that they perceive as weaker, less rational, or less civilized. -
'Further up and Further
‘Further Up and Further In’ Biblical Themes and Imagery in C.S. Lewis’ The Chronicles of Narnia Name: James Hannan BA. ID No: 0811181 University: Mary Immaculate College. Award: Master of Arts by Research and Dissertation. Supervisor: Dr. Jessie Rogers. Internal Examiner: Dr. Eamonn Conway. External Examiner: Dr. Michael Howlett. Word Count: 59,358. Submitted to the University of Limerick, September 2013 0 ABSTRACT Clive Staples Lewis is one of the most popular and renowned authors and lay theologians of the twentieth century. Lewis is best known for The Chronicles of Narnia series, which has sold more than 100 million copies worldwide. As a committed Anglican who was well versed in the Bible, Lewis wrote extensively on the subject of Christianity. Lewis’ thoughts on the subject were not confined to just his academic writings; his fictional work which also includes The Screwtape Letters and The Space Trilogy has biblical allusions permeating the narratives. This dissertation comprehensively explores biblical themes in The Chronicles of Narnia. I have identified the allusions throughout the Narnian heptalogy and have catalogued and analyzed them within the overarching themes of Christology, Creationism, the Trinity and Eschatology. This literary study has been enhanced by researching authorial intention in that I have also corroborated Lewis’ theological stance as expressed within his academic writings. In light of the patterns discerned in Lewis’ use of the Bible, I conclude that Lewis uses a Christocentric reading of both Old and New Testaments and that he follows a Christian reading of the canonical biblical metanarrative. Although biblical allusion is pervasive, the primary reason for it is to fill out the figure of Aslan and establish him as the Christ figure in Narnia.