A Generic Analysis of the Lion, the Witch and the Wardrobe , the Subtle Knife , and Harry Potter and the Philosopher’S Stone

Total Page:16

File Type:pdf, Size:1020Kb

A Generic Analysis of the Lion, the Witch and the Wardrobe , the Subtle Knife , and Harry Potter and the Philosopher’S Stone WORLDS SUBVERTED: A GENERIC ANALYSIS OF THE LION, THE WITCH AND THE WARDROBE , THE SUBTLE KNIFE , AND HARRY POTTER AND THE PHILOSOPHER’S STONE A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY GÖKÇE TOKDEM 0R IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ART IN THE DEPARTMENT OF ENGLISH LITERATURE JULY 2008 Approval of the Graduate School of Social Sciences Prof. Dr. Sencer Ayata Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Arts. Prof. Dr. Wolf Konig Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Arts. Prof. Dr. Nursel 0çöz Supervisor Examining Committee Members Assist. Prof. Dr. Margaret Sönmez (METU, FLE) Prof. Dr. Nursel 0çöz (METU, FLE) Dr. Mine Özyurt K l ç (Bilkent Univ., ELIT) I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last Name : Gökçe Tokdemir Signature : iii ABSTRACT WORLDS SUBVERTED: A GENERIC ANALYSIS OF THE LION, THE WITCH AND THE WARDROBE , THE SUBTLE KNIFE , AND HARRY POTTER AND THE PHILOSOPHER’S STONE Tokdemir, Gökçe M.A. Department of English Literature Supervisor : Prof. Dr. Nursel 0çöz July 2008, 187 pages This dissertation aims to study three very important works in English children’s fiction: C. S. Lewis’s The Lion, the Witch and the Wardrobe , Philip Pullman’s The Subtle Knife , the second book of his trilogy His Dark Materials, and J. K. Rowling’s Harry Potter and the Philosopher’s Stone. The novels will be analyzed in terms of their approaches toward the conventions of fairy tale, fantasy and romance; to this end, the novels are to be evaluated in relation to their concept of chronotope , and the quest of good versus evil. While the secondary world or multiple worlds presented are going to be analyzed in terms of their perception of time and space along with the presentation of the supernatural elements, the characters will be evaluated in terms of the common classification good versus evil . The main argument of this study concentrates on the gradual estrangement from the crystal clear distinctions of the fairy tale genre to a more shadowy, pessimistic, and ambivalent vision of the fantastic in the children’s literature. Keywords: Children’s Fiction, Fairy Tale, The Fantastic, Romance, Good and Evil. iv ÖZ ÇARPITILAN DÜNYALAR: ASLAN, CADI VE DOLAP , KESK 0N BIÇAK VE HARRY POTTER VE FELSEFE TA 1I ROMANLARININ EDEB 0 TÜR AÇISINDAN 0NCELENMES 0 Tokdemir, Gökçe Yüksek Lisans, 0ngiliz Edebiyat Bölümü Tez Yöneticisi : Prof. Dr. Nursel 0çöz Temmuz 2008, 187 sayfa Bu tez 0ngiliz çocuk edebiyat n n üç önemli eseri olan C. S. Lewis’in Aslan, Cad ve Dolap, Philip Pullman’ n Karanl k Cevher üçlemesinin ikinci kitab olan Keskin B çak ve J. K. Rowling’in Harry Potter ve Felsefe Ta 2 romanlar n incelemeyi amaçlamaktad r. Romanlar masal, fantastik ve romans anlat m biçimi geleneklerine yakla 2 mlar çerçevesinde incelenmektedir; bu amaçla eserler yer ve zaman anlay 2lar ve iyi karakterlerin kötüye kar 2 giri 2tikleri mücadele aç lar ndan de /erlendirilmektedir. Yarat lan ikincil ya da çoklu dünyalar zaman, yer ve ola /anüstü varl klar n sunumu yönünden irdelenirken, karakterler yayg n iyi ve kötü tayf nda de /erlendirilmektedir. Bu de /erlendirmeler 2 / nda bu çal 2ma, çocuk edebiyat n n masal gelene /inin keskin siyah beyaz ayr m ndan zamanla uzakla 2arak fantasti /in gri, karamsar ve belirsiz imgelerine yöneldi /ini vurgulamaktad r. Anahtar Kelimeler: Çocuk Edebiyat , Masal, Fantastik, Romans, 0yi ve Kötü. v To My Dear Husband and Family vi ACKNOWLEDGEMENTS I would like to express my deepest gratitude to Professor Dr. Nursel 0çöz for all the encouragement, understanding, advice and insight she gave me throughout the entire process. Thanks to her support, working on this study was a real pleasure for me. I would like to take the opportunity to thank the members of the examining committee, Assistant Professor Margaret Sönmez and Dr. Mine Özyurt K l ç, for their suggestions and comments. My gratitude also goes to Assistant Professor Dr. J. Valerie Kennedy for always being there for me when I needed her advice. She has always been a true source of inspiration. I am also deeply indebted my dear friends Parama C. Deb and Lisa Ponzetti who introduced fascinating Philip Pullman to me; without them, I would not have been able to find a better novel to analyze. I also want to thank my family and my colleagues at for all their support. Special thanks to Burak for his encouragement as well as never-ending patience and faith in me. vii TABLE OF CONTENTS PLAGIARISM..........................................................................................iii ABSTRACT ............................................................................................. iv ÖZ.............................................................................................................. v DEDICATION ......................................................................................... vi ACKNOWLEDGMENTS.......................................................................vii TABLE OF CONTENTS .......................................................................viii CHAPTER 1. INTRODUCTION........................................................................... 1 1.1 Aim of the Study .................................................................. 1 1.2 Background to the Writers ................................................... 2 2. THEORETHICAL BACKGROUND ........................................... 10 2.1 The Fairy Tale .................................................................... 10 2.1.1 Characteristics of the Fairy Tale........................ 12 2.2 Fantasy................................................................................ 19 2.2.1 Characteristics of Fantasy.................................. 21 2.2.2 Fantasy in England............................................ 30 2.3 Romance............................................................................. 32 2.3.1 Characteristics of Romance............................... 32 3. PRESENTATION OF THE ALTERNATIVE WORLDS.......... 37 3.1 The Lion, the Witch and the Wardrobe .............................. 39 3.1.1 Chronotope ........................................................ 39 3.1.2 Images of Narnia and the Supernatural ............. 47 viii 3.2 The Subtle Knife ................................................................. 56 3.2.1 Chronotope ........................................................ 56 3.2.2 Images of Lyra’s World and the Supernatural... 60 3.2.3 Images of Will’s World and Defamiliarization . 72 3.2.4 Images of Cittagazze and the Supernatural ...... 75 3.3 Harry Potter and the Philosopher’s Stone ......................... 80 3.3.1 Chronotope ........................................................ 80 3.3.2 Images of Harry’s Alternative World and the Supernatural....................................................... 83 4. FROM INTERDICTION TO REWARD: BATTLE OF GOOD AND EVIL .................................................................................. 91 4.1 The Lion, the Witch and the Wardrobe .............................. 93 4.1.1 Good……………………………………………93 4.1.1.1 Aslan ................................................. 93 4.1.1.2 The Pevensie Children...................... 96 4.1.2 Helpers of Good............................................... 106 4.1.2.1 The Professor .................................. 106 4.1.2.2 Mr. Tumnus..................................... 107 4.1.2.3 The Beavers..................................... 107 4.1.2.4 Father Christmas ............................. 108 4.1.3 Evil................................................................... 109 4.2 The Subtle Knife ............................................................... 112 4.2.1 Good ................................................................ 113 4.2.1.1 Lyra (Belacqua) Silvertongue ........... 113 ix 4.2.1.2 Will Parry .......................................... 124 4.2.2 Helpers of Good............................................... 131 4.2.2.1 The Gyptians .................................... 131 4.2.2.2 Lee Scoresby ..................................... 132 4.2.2.3 Serafina Pekkala................................ 134 4.2.2.4 Iorek Byrnison................................... 137 4.2.3 Evil................................................................... 138 4.2.3.1 Lord Asriel ........................................ 138 4.2.3.2 Mrs. Coulter....................................... 142 4.2.3.3 Sir Charles Latrom / Lord Carlo Boreal..............................144 4.3 Harry Potter and the Philosopher’s Stone ...................... 147 4.3.1 Good ................................................................ 147 4.3.2 Helpers of Good............................................... 157 4.3.2.1 Hagrid................................................ 157 4.3.2.2 Ron and Hermione............................. 160 4.3.2.3 Albus Dumbledore ............................ 166 4.3.2.4 Minerva McGonagall ........................ 168 4.3.2.5 Severus Snape.................................... 169 4.3.3 Evil..................................................................
Recommended publications
  • Robert Harron Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
    RoRbeRr RtR HaRnHçHTH” Rµ eRåR½RbR± eHTRäR½HTH” R ¸RåR½RbR± R² RèHçRtHaR½HT¡ The One with the https://bg.listvote.com/lists/film/movies/the-one-with-the-routine-50403300/actors Routine With Friends Like https://bg.listvote.com/lists/film/movies/with-friends-like-these...-5780664/actors These... If Lucy Fell https://bg.listvote.com/lists/film/movies/if-lucy-fell-1514643/actors A Girl Thing https://bg.listvote.com/lists/film/movies/a-girl-thing-2826031/actors The One with the https://bg.listvote.com/lists/film/movies/the-one-with-the-apothecary-table-7755097/actors Apothecary Table The One with https://bg.listvote.com/lists/film/movies/the-one-with-ross%27s-teeth-50403297/actors Ross's Teeth South Kensington https://bg.listvote.com/lists/film/movies/south-kensington-3965518/actors The One with https://bg.listvote.com/lists/film/movies/the-one-with-joey%27s-interview-22907466/actors Joey's Interview Sirens https://bg.listvote.com/lists/film/movies/sirens-1542458/actors The One Where https://bg.listvote.com/lists/film/movies/the-one-where-phoebe-runs-50403296/actors Phoebe Runs Jane Eyre https://bg.listvote.com/lists/film/movies/jane-eyre-1682593/actors The One Where https://bg.listvote.com/lists/film/movies/the-one-where-ross-got-high-50403298/actors Ross Got High https://bg.listvote.com/lists/film/movies/682262/actors Батман и https://bg.listvote.com/lists/film/movies/%D0%B1%D0%B0%D1%82%D0%BC%D0%B0%D0%BD-%D0%B8- Робин %D1%80%D0%BE%D0%B1%D0%B8%D0%BD-276523/actors ОглеР´Ð°Ð»Ð¾Ñ‚о е https://bg.listvote.com/lists/film/movies/%D0%BE%D0%B3%D0%BB%D0%B5%D0%B4%D0%B0%D0%BB%D0%BE%D1%82%D0%BE-
    [Show full text]
  • August 26, 2014 (Series 29: 1) D.W
    August 26, 2014 (Series 29: 1) D.W. Griffith, BROKEN BLOSSOMS, OR THE YELLOW MAN AND THE GIRL (1919, 90 minutes) Directed, written and produced by D.W. Griffith Based on a story by Thomas Burke Cinematography by G.W. Bitzer Film Editing by James Smith Lillian Gish ... Lucy - The Girl Richard Barthelmess ... The Yellow Man Donald Crisp ... Battling Burrows D.W. Griffith (director) (b. David Llewelyn Wark Griffith, January 22, 1875 in LaGrange, Kentucky—d. July 23, 1948 (age 73) in Hollywood, Los Angeles, California) won an Honorary Academy Award in 1936. He has 520 director credits, the first of which was a short, The Adventures of Dollie, in 1908, and the last of which was The Struggle in 1931. Some of his other films are 1930 Abraham Lincoln, 1929 Lady of the Pavements, 1928 The Battle of the Sexes, 1928 Drums of Love, 1926 The Sorrows of Satan, 1925 That Royle Girl, 1925 Sally of the Sawdust, 1924 Darkened Vales (Short), 1911 The Squaw's Love (Short), 1911 Isn't Life Wonderful, 1924 America, 1923 The White Rose, 1921 Bobby, the Coward (Short), 1911 The Primal Call (Short), 1911 Orphans of the Storm, 1920 Way Down East, 1920 The Love Enoch Arden: Part II (Short), and 1911 Enoch Arden: Part I Flower, 1920 The Idol Dancer, 1919 The Greatest Question, (Short). 1919 Scarlet Days, 1919 The Mother and the Law, 1919 The Fall In 1908, his first year as a director, he did 49 films, of Babylon, 1919 Broken Blossoms or The Yellow Man and the some of which were 1908 The Feud and the Turkey (Short), 1908 Girl, 1918 The Greatest Thing in Life, 1918 Hearts of the World, A Woman's Way (Short), 1908 The Ingrate (Short), 1908 The 1916 Intolerance: Love's Struggle Throughout the Ages, 1915 Taming of the Shrew (Short), 1908 The Call of the Wild (Short), The Birth of a Nation, 1914 The Escape, 1914 Home, Sweet 1908 Romance of a Jewess (Short), 1908 The Planter's Wife Home, 1914 The Massacre (Short), 1913 The Mistake (Short), (Short), 1908 The Vaquero's Vow (Short), 1908 Ingomar, the and 1912 Grannie.
    [Show full text]
  • Papéis Normativos E Práticas Sociais
    Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs.
    [Show full text]
  • “Above All Shadows Rides the Sun”: Resurrection and Redemption in J.R.R Tolkien's the Lord of the Rings and C.S. Lewis's
    “ABOVE ALL SHADOWS RIDES THE SUN”: RESURRECTION AND REDEMPTION IN J.R.R TOLKIEN’S THE LORD OF THE RINGS AND C.S. LEWIS’S THE CHRONICLES OF NARNIA by Jaye Dozier, B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of the Arts with a Major in Literature May 2016 Committee Members: Robert Tally, Chair Steven Beebe Nancy Grayson COPYRIGHT by Jaye Dozier 2016 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Jaye Dozier, refuse permission to copy in excess of the “Fair Use” exemption without my written permission. ACKNOWLEDGEMENTS I dedicate this to my family, friends, and all who have supported this endeavor and believed in the importance of fantasy as a revelation of deeper truths. To my committee members, Dr. Grayson and Dr. Beebe, who have stretched my mind and passion for literary studies from the Inklings to the Romantics, and to my chair Dr. Tally, who allowed a scatterbrained graduate student to explore the intersecting realms of fantasy and spirituality with enthusiasm and guidance. I am honored and blessed to know you all. The peculiar quality of the ”joy” in successful Fantasy can thus be explained as a sudden glimpse of the underlying reality or truth.
    [Show full text]
  • Lillian Gish
    Lillian Gish Lived: October 14, 1893 - February 27, 1993 Worked as: director, film actress, screenwriter Worked In: United States by Mark Garrett Cooper In 1920, Lillian Gish both delivered a landmark performance in D.W. Griffith’s Way Down East and directed her sister Dorothy in Remodelling Her Husband. This was her sole director credit in a career as a screen actor that began with An Unseen Enemy in 1912 and ended with The Whales of August in 1987. Personal correspondence examined by biographer Charles Affron shows that Gish lobbied Griffith for the opportunity to direct and approached the task with enthusiasm. In 1920, in Motion Picture Magazine, however, Gish offered the following assessment of her experience: “There are people born to rule and there are people born to be subservient. I am of the latter order. I just love to be subservient, to be told what to do” (102). One might imagine that she discovered a merely personal kink. In a Photoplay interview that same year, however, she extended her opinion to encompass all women and in doing so slighted Lois Weber, one of Hollywood’s most productive directors. “I am not strong enough” to direct, Gish told Photoplay, “I doubt if any woman is. I understand now why Lois Weber was always ill after a picture” (29). What should historical criticism do with such evidence? By far the most common approach has been to argue that Gish did not really mean what the press quotes her as saying. Alley Acker, for instance, urges us not to be fooled by Gish’s “Victorian modesty” and goes on to provide evidence of her authority on the set (62).
    [Show full text]
  • Abstract J.K. Rowling's Harry Potter Series and C.S. Lewis' The
    Abstract J.K. Rowling’s Harry Potter series and C.S. Lewis’ The Chronicles of Narnia reveal numerous truths about the human condition, and although fantasy fiction is often overlooked, exploring it helps readers grasp reality and increase their understanding of the world. Amongst the central ideas found in both series are hope, voluntary sacrifice, and resilience in the face of evil, all of which are virtues espoused in the Bible. Furthermore, both authors contrast “reality” and the “secondary world.” Protagonists travel from the “primary world” to the “secondary world” where they become empowered, finding within themselves previously unrealized potential and agency; for although imperfect, the “secondary world,” offers solutions and consolations. Moreover, the similarities between repressive regimes in our world and the political and social turmoil found in the stories can enable readers to gain insight into what it is like to live under an authoritarian government. Additionally, through symbols like the serpent and prophecies involving infant boys, the two stories clearly allude to the Bible, particularly to the story of Jesus. Characters in both narratives exhibit Christocentric attributes such as pacifism and a Christ-like sacrificial nature. Notably, Harry and Aslan embody the Christian Messiah through death and resurrection, whilst the main antagonists flesh out the figure of Satan in creative ways. Unlike Lewis’ clear picture of Jesus in Aslan, Rowling’s “Christ”— i.e., Harry— represents flawed humanity through the mix of good intentions and egocentric actions. However, Rowling’s villain, Voldemort, derives directly from notions of evil in the Bible, making him flat and archetypical. Lewis’ theological beliefs are plain, especially regarding evil, as he frequently incorporates common Biblical motifs in his stories.
    [Show full text]
  • Christian Messages in the Lion, the Witch and the Wardrobe
    Li Xiaobin EN2302 Level III English, Fall 2010 School of Teacher Education Kristianstad University Jane Mattisson Christian Messages in The Lion, the Witch and the Wardrobe This essay discusses the presence of Christian messages in The Lion, the Witch and the Wardrobe (hereafter referred to as The Lion). It demonstrates that although The Lion, carries with Christian messages and values, the messages have been successfully conveyed by C.S. Lewis in a more palatable and accessible way to the child readers. Focusing on Aslan, the lion as a Christ-like figure, the White Witch as a satanic character, and Mr. Tumnus, the Faun, a charming, talking animal with a strong personality, the essay explores the Christian messages of self-sacrifice, resurrection and redemption in The Lion. Self-sacrifice means an offering of self-interests or life given to God. In the Old Testament God commanded the people to pay for their sins by sacrificing the blood of cattle, lambs, goats, doves or pigeons. “These sacrifices were [are] pictures of Jesus’ coming as a once-for-all sacrifice for sinners” (The Holy Bible, 722).1 This essay will focus on the self- sacrifice of talking animals: Aslan, the lion, and Mr. Tumnus, the faun, showing that the one not capable of sacrificing is the opposite of good, the White Witch. Resurrection refers to “the act of coming back to life after being dead” (The Holy Bible, 722). In The Lion, the resurrection occurs both at a living creature – Aslan and in a place – Narnia, but not at the White Witch. Redemption means to “free from evil by paying a price” (The Holy Bible, 722).
    [Show full text]
  • Lillian Diana Gish
    Adrian Paul Botta ([email protected]) Lillian Diana Gish Lillian Diana Gish[1] (October 14, 1893 – February 27, 1993) was an American actress of the screen and stage,[2] as well as a director and writer whose film acting career spanned 75 years, from 1912 in silent film shorts to 1987. Gish was called the First Lady of American Cinema, and she is credited with pio - neering fundamental film performing techniques. Gish was a prominent film star of the 1910s and 1920s, partic - ularly associated with the films of director D. W. Griffith, includ - ing her leading role in the highest-grossing film of the silent era, Griffith's seminal The Birth of a Nation (1915). At the dawn of the sound era, she returned to the stage and appeared in film infrequently, including well-known roles in the controversial western Duel in the Sun (1946) and the offbeat thriller The Night of the Hunter (1955). She also did considerable television work from the early 1950s into the 1980s and closed her career playing, for the first time, oppo - site Bette Davis in the 1987 film The Whales of August (which would prove to be one of Davis's last on-screen appearances). In her later years Adrian Paul Botta ([email protected]) In her later years Gish became a dedicated advocate for the appreciation and preservation of silent film. Gish is widely consid - ered to be the great - est actress of the silent era, and one of the greatest ac - tresses in cinema history. Despite being better known for her film work, Gish was also an accom - plished stage ac - tress, and she was inducted into the American Theatre Hall of Fame in 1972.
    [Show full text]
  • The Chronicles of Narnia and Paradise Lost
    The Chronicles of Narnia and Paradise Lost: “That by knowing me here for a little, you may know me better there” Mariëlle van Eldik s1115251 [email protected] Thesis Supervisor: Dr. J.F. van Dijkhuizen Second Reader: Dr. M.S. Newton Literary Studies: English Literature and Culture Leiden University 15 June 2018 MA Thesis V a n E l d i k | 2 Acknowledgments I would like to take this opportunity to extend my warmest gratitude to Dr. Jan Frans van Dijkhuizen for his unwavering faith in my capabilities and his steady conviction that I could in fact write a good thesis. I hope I have done you proud. I also want to thank my husband and son, Jeroen and Jesse, for putting up with my grumbles and continuously supporting my studies. Without you, I could not have done this. V a n E l d i k | 3 Table of Contents Introduction 4 Chapter 1 8 The Intertextual Relationship between Paradise Lost and The Chronicles of Narnia 1.1 Quotations 8 1.2 Creation and the Garden of Eden 13 1.3 Characters 17 1.4 Conclusion 29 Chapter 2 31 Gender Hierarchy 2.1 Introduction and Theory 31 2.2 Paradise Lost and Gender Hierarchy 33 2.3 The Chronicles of Narnia and Gender Hierarchy 39 2.4 Conclusion 47 Conclusion 48 Works Cited 50 V a n E l d i k | 4 Introduction In November 2017 it became known that the filming of the fourth movie in the The Chronicles of Narnia-series would commence this year, 2018 (Anderton).
    [Show full text]
  • C.S. Lewis the Chronicles of Narnia
    C.S. Lewis The Chronicles Of Narnia THE LION, THE WITCH AND THE WARDROBE BY C.S.LEWIS CHAPTER ONE LUCY LOOKS INTO A WARDROBE ONCE there were four children whose names were Peter, Susan, Edmund and Lucy. This story is about something that happened to them when they were sent away from London during the war because of the air-raids. They were sent to the house of an old Professor who lived in the heart of the country, ten miles from the nearest railway station and two miles from the nearest post office. He had no wife and he lived in a very large house with a housekeeper called Mrs Macready and three servants. (Their names were Ivy, Margaret and Betty, but they do not come into the story much.) He himself was a very old man with shaggy white hair which grew over most of his face as well as on his head, and they liked him almost at once; but on the first evening when he came out to meet them at the front door he was so odd-looking that Lucy (who was the youngest) was a little afraid of him, and Edmund (who was the next youngest) wanted to laugh and had to keep on pretending he was blowing his nose to hide it. As soon as they had said good night to the Professor and gone upstairs on the first night, the boys came into the girls' room and they all talked it over. "We've fallen on our feet and no mistake," said Peter.
    [Show full text]
  • “C.S. Lewis: New Twentieth Century Christian Writer”
    UNIVERSIDAD DE CUENCA FACULTAD DE FILOSOFÍA, LETRAS Y CIENCIAS DE LA EDUCACIÓN CARRERA DE LENGUA Y LITERATURA INGLESA “C.S. LEWIS: NEW TWENTIETH CENTURY CHRISTIAN WRITER” Trabajo investigativo previo a la obtención del título de Licenciado en Ciencias de la Educación en la Especialización de Lengua y Literatura Inglesa. Autores: Diego Fernando Patiño Juela Javier Santiago Pacho Pesantez Directora: Magíster Sandra Leonor Cabrera Moreno Cuenca – Ecuador 2015 Autores: Diego Fernando Patiño Juela Javier Santiago Pacho Pesantez 1 UNIVERSIDAD DE CUENCA RESUMEN Esta monografía intenta reflejar la realidad sobre la religión y diferencias sobre el Cristianismo y Catolicismo basándose en las maneras en que Católicos y Cristianos son enseñados para adorar a Dios desde el punto de vista de C.S. Lewis y una de sus más grandes obras titulada Las Cartas del Diablo a su sobrino y Las Crónicas de Narnia. Para este objetivo es necesario analizar las escenas y personajes que representarían algunos pasajes de la Sagrada Biblia. Screwtape, Wornwood, y Aslan resultan parte de la vida del autor los cuales son expuestos en algunos capítulos especialmente en Las Crónicas de Narnia. Este trabajo podría ser considerado como punto de partida para conocer a cerca de lo que se refiere a literatura Cristiana y su autor, debido a la exposición de las partes más relevantes de las Sagradas Escrituras a través de metáforas que revelan los errores del ser humano y como Dios se dirige a sus hijos según las obras las cuales fueron realizadas en la tierra. En el caso de Las Cartas del Diablo a su Sobrino el mantiene la doctrina del pecado mortal asumiendo sus creencias en el sistema Católico de pecado y penitencia.
    [Show full text]
  • Youthesource Bible Study
    youthESource Bible Study A Visit to Narnia by Matt Behrens About This Study In C. S. Lewis’ classic children’s book, The Lion, The Witch, and The Wardrobe, World War II is raging, and London is oppressed by air-raids. Peter, Susan, Edmund, and Lucy Pevensie are sent to the country for safety, to the home of an old professor who has more rooms than people to fill them. One day while exploring the house, Lucy, the youngest Pevensie, discovers a room with a large wardrobe in it. She steps inside it to see what secrets it might hold and discovers the greatest secret of all. The wardrobe is a door to another world, Narnia, where animals talk and live side-by-side with fairy tale creatures like fauns, centaurs, nymphs, and dryads (as well as other, more horrible, creatures). But Narnia has been under the rule of the evil White Witch for a hundred years, and she has made it so that it is always winter but never Christmas. The Pevensies’ arrival in Narnia is the answer to an old prophecy that states that when two sons of Adam and two daughters of Eve sit on the Narnian throne, the time of evil will end. Peter, Susan, Edmund, and Lucy aren’t the only ones to arrive in Narnia at this time. Aslan, the great Lion, the King, the Lord of the whole wood, who has been absent from Narnia for longer than anyone can remember, has returned to Narnia, and means to set things right. In this story, we are confronted with issues of good and evil, and with characters who remind us of ourselves in so many ways.
    [Show full text]