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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. -
10 Grade English Summer Reading Assignments First Assignment
10th Grade English Summer Reading Assignments First Assignment - Due June 25 Read The Magician’s Nephew by C. S. Lewis. Although The Lion, the Witch, and the Wardrobe was the first of the Narnia series to be published, Lewis preferred that the series be read according to Narnian history, with The Magician’s Nephew first and The Last Battle last. This book opens the Chronicles of Narnia, a series renowned in its genre and full of spiritual insight. For each major character, write a detailed paragraph describing that character, not just physically, but in personality, virtue or vice, etc. Write a plot synopsis including the major plot events. This should require a minimum of one legible handwritten page. On an additional page, note any characters or occurrences in the story that remind you of people or events in the Bible. Second Assignment - Due August 6 Read The Hobbit by J. R. R. Tolkien. Like The Magician’s Nephew, Tolkien’s The Hobbit introduces an extensive fantasy world as well as one of the most famous of fantasy tales. The Lord of the Rings trilogy would follow. As above, for each major character, write a detailed paragraph describing that character, not just physically, but in personality, virtue or vice, etc. Write a plot synopsis including the major plot events. This should require a minimum of one legible handwritten page. On an additional page, explain how Tolkien deals with the nature of courage in the character Bilbo, not a traditional heroic type. Please be aware that the movie version (two films so far) only covers a portion of the story and deviates from the original a great deal. -
The Great War and Narnia: C.S. Lewis As Soldier and Creator
Volume 30 Number 1 Article 8 10-15-2011 The Great War and Narnia: C.S. Lewis as Soldier and Creator Brian Melton Liberty University in Lynchburg, VA Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Melton, Brian (2011) "The Great War and Narnia: C.S. Lewis as Soldier and Creator," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 30 : No. 1 , Article 8. Available at: https://dc.swosu.edu/mythlore/vol30/iss1/8 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Looks at influence of orldW War I in Lewis’s autobiography and on war in Narnia, correcting mistaken search by some critics for deep-seated war trauma in Lewis’s life. Reinforces that Lewis and Tolkien were not psychological twins, had differing personalities going into the war, and came out of it with different approaches to dealing with war in their fiction. -
The 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 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. -
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. -
Chronicles of Narnia Jump V.0.0.1
Chronicles of Narnia Jump v.0.0.1 Backgrounds: You show up with the same gender as your previous jump, or you can pay [50] to choose your age and gender. Drop-In [0] You've managed to stumble into a world of magic and wonder. Perhaps destiny has something special in store for you, or Narnian [0] You're from Narnia, born and raised. Depending on the era, the land might be primarily inhabited by humans, talking animals, or some cosmopolitan mixture of the two. Outlander [0] You might be from Calormen, the Underworld, the Lands beyond the Sea, or even another universe entirely. In addition to your background, choose a species. Human [0] You're a Son of Adam or a Daughter of Eve, with all the associated entitlements and responsibilities that come along with that. Starting age is 1d8+9 for Drop Ins, 1d8+13 for other backgrounds. Talking Animal [0] You're dangerously furry. Note that the smallest animals are scaled up somewhat, and the largest are scaled down. A talking mouse might stand more than two feet tall, a talking elephant eight or nine. Dwarf [0] You're short and stocky. You have a beard. C'mon, you know what a Dwarf is. Demihuman [0] You might be a faun, satyr, centaur, minotaur, or some stranger mixture of human and animal parts. There might even be some plant parts thrown in there for good measure. Marsh-Wiggle [0] A race of grumpy, web-toed, swamp-dwelling frog people. You might be short and very fat or tall and very thin, but few Marsh-Wiggles are anywhere in between. -
Chronicles of Narnia Jump V.0.4
Chronicles of Narnia Jump v.0.4 A land of hope and wonder. A land of oppression and tyranny. A land of danger and adventure. A land of blatant Christian allegory. However you choose to see it, you will be spending the next ten years in the world of Narnia. You have 1000 character points to spend as you see fit. Backgrounds: You show up with the same gender as your previous jump, or you can pay [50] to choose your age and gender. Drop-In [0] You've managed to stumble into a world of magic and wonder. Perhaps destiny has something special in store for you. You have no pre-existing memories or personality from Narnia, though if you choose, you may have the memories of a transplanted earthling child. Narnian [0] You're from Narnia, born and raised. Depending on the era, the land might be primarily inhabited by humans, talking animals, or some cosmopolitan mixture of the two. Outlander [0] You might be from Calormen, the Underworld, the Lands beyond the Sea, or even another universe entirely. In addition to your background, choose a species. Human [0] You're a Son of Adam or a Daughter of Eve, with all the associated entitlements and responsibilities that come along with that. Starting age is 1d8+9 for Drop Ins, 1d8+15 for other backgrounds. Talking Animal [0] As an animal with the gift of speech, you're dangerously furry- sufficiently anthropomorphized to drink tea, wear a hat, and use your claws/wings/mouth/whatever as hands when necessary, but no more than that. -
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 ................................................................................. -
The Last Battle. (First Published 1956) by C.S
The Last Battle C. S. L e w i s Samizdat The Last Battle. (first published 1956) by C.S. Lewis (1895-1963) Edition used as base for this ebook: New York: Macmillan, 1956 Source: Project Gutenberg Canada, Ebook #1157 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. Table Of Contents CHAPTER I By Caldron Pool 1 CHAPTER II The Rashness of the King 8 CHAPTER III The Ape in Its Glory 15 CHAPTER IV What Happened that Night 22 CHAPTER V How Help Came to the King 28 CHAPTER VI A Good Night's Work 35 CHAPTER VII Mainly About Dwarfs 42 CHAPTER VIII What News the Eagle Brought 50 CHAPTER IX The Great Meeting on Stable Hill 57 The Last Battle iii CHAPTER X Who Will Go into the Stable? 64 CHAPTER XI The Pace Quickens 71 CHAPTER XII Through the Stable Door 78 CHAPTER XIII How the Dwarfs Refused to be Taken In 85 CHAPTER XIV Night Falls on Narnia 93 CHAPTER XV Further Up and Further In 100 CHAPTER XVI Farewell to Shadow-Lands 107 CHAPTER I By Caldron Pool n the last days of Narnia, far up to the west beyond Lantern Waste and close beside the great waterfall, there lived an Ape. -
The Last Battle
Quick Card: The Last Battle The Last Battle, by C. S. Lewis. Reference ISBN: 978-0060764883 Using an old lion’s skin as a disguise, Shift the monkey dupes Narnians into following a false Aslan, forsaking true Narnian ways and welcoming Plot Calormene domination. Aided by Eustace Scrubb and Jill Pole, King Tirian leads a band of true Narnians into battle against the invaders and their false gods. The story is set in Narnia during her last days. Foreigners threaten her Setting borders and, unlike the old days, some Narnians aid the foreigners in their attacks, betraying their own countrymen. King Tirian of Narnia- (protagonist) Still a young ruler, Tirian is impetuous and hotheaded, but well-meaning and earnest. Loyal to the end, he never falters in his efforts to protect Narnia and honor Aslan. Eustace Scrubb and Jill Pole- (protagonists) More than a year older than they were in The Silver Chair, they are still young enough to be sent into Narnia to help Tirian (unlike the Pevensie children who have outgrown their adventures there). Their age helps them to adapt easily to the changes in Narnia and accept their difficult task. They give Tirian the encouragement he needs to face the end of the world. Shift the monkey- (antagonist) An evil old beast, he manipulates simpler animals into serving him. He dresses in a lion’s skin for the express purpose of hoodwinking loyal Narnians. In so doing, he demonstrates an utter lack of faith or compunction, making a farce out of the Lord of Characters Narnia to further his own ends. -
Personality Development of Edmund Pevensie As Seen in Cs Lewis's The
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PERSONALITY DEVELOPMENT OF EDMUND PEVENSIE AS SEEN IN C.S LEWIS’S THE CHRONICLES OF NARNIA: THE LION, THE WITCH, AND THE WARDROBE A SARJANA PENDIDIKAN THESIS Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Antonia Rosa Gravita Student Number: 121214013 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2016 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PERSONALITY DEVELOPMENT OF EDMUND PEVENSIE AS SEEN IN C.S LEWIS’S THE CHRONICLES OF NARNIA: THE LION, THE WITCH, AND THE WARDROBE A SARJANA PENDIDIKAN THESIS Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Antonia Rosa Gravita Student Number: 121214013 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2016 i PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRACT Gravita, Antonia Rosa. 2016. Personality Development of Edmund Pevensie as Seen in C.S Lewis’s The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe. Yogyakarta: English Language Education Study Program, Department of Language and Arts Education, Faculty of Teachers Training and Education, Sanata Dharma University. The study concerned about the personality of Edmund Pevensie, one of the central characters in C.S Lewis’s novel entitled The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe.