OUT of the SILENT PLANET by C.S. Lewis
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The Use of the Vertical Plane to Indicate Holiness in C.S. Lewis's Space Trilogy
Volume 34 Number 2 Article 3 4-15-2016 The Use of the Vertical Plane to Indicate Holiness in C.S. Lewis's Space Trilogy Sarah Eddings Northern Arizona University Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Eddings, Sarah (2016) "The Use of the Vertical Plane to Indicate Holiness in C.S. Lewis's Space Trilogy," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 34 : No. 2 , Article 3. Available at: https://dc.swosu.edu/mythlore/vol34/iss2/3 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 Examines the contrasting symbolism and imagery of perpendicular structures (mountains, trees, built structures, and so on) and waves in the Space Trilogy as a whole. Eddings finds more than simple gendered symbolism in these clusters of images; verticality indicates reaching for the heavens and waves show submission to the will of Maleldil. -
SHADOWLANDS Introduction
SHADOWLANDS Introduction ‘Shadowlands’ tells of the extraordinary love between C. S. Lewis, the famous writer and Christian academic and Joy Gresham, an American poet who came to know him first through his writing. She was to die shortly after their marriage. ‘Shadowlands’ was first a television and then a stage play and is now a film starring Anthony Hopkins and Debra Winger. This guide is for use before and after a viewing of Richard Attenborough’s film. It seeks to expand for class work the themes of love and bereavement, the risks of emotional involvement and the challenge to all faiths of pain and tragedy as well as discussing the way film tackles these difficult subjects. JACK AND JOY Olive Staples Lewis - known always as Jack - was born in 1898 in Belfast three years after the Lewis’s first son, Warren or “Warnie”. The brothers were very close, and spent much of their adult bachelor life living together near Oxford in a ramshackle house, The Kilns, known to their friends as The Midden (Old English for dung heap). What impressions do we first receive of the brothers? How does the film express briefly a little of their life “before” Joy? What do we learn during the course of the film of C. S. Lewis’s world? Apart from Joy, what other women do we “meet” in ‘Shadowlands’? How are they represented? Find out a little about Britain in the 1950s. Who was Prime Minister? When did rationing end? Why was Princess Margaret known as the “heartbreak princess”? As well as picture and library research, ask those who were alive at the time. -
Joy Davidman Lewis: Author, Editor and Collaborator
Volume 22 Number 2 Article 3 1998 Joy Davidman Lewis: Author, Editor and Collaborator Diana Pavlac Glyer Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Glyer, Diana Pavlac (1998) "Joy Davidman Lewis: Author, Editor and Collaborator," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 22 : No. 2 , Article 3. Available at: https://dc.swosu.edu/mythlore/vol22/iss2/3 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 Biography of Joy Davidman Lewis and her influence on C.S. Lewis. Additional Keywords Davidman, Joy—Biography; Davidman, Joy—Criticism and interpretation; Davidman, Joy—Influence on C.S. Lewis; Davidman, Joy—Religion; Davidman, Joy. Smoke on the Mountain; Lewis, C.S.—Influence of Joy Davidman (Lewis); Lewis, C.S. -
A CS Lewis Related Cumulative Index of <I>Mythlore</I>
Volume 22 Number 2 Article 10 1998 A C.S. Lewis Related Cumulative Index of Mythlore, Issues 1-84 Glen GoodKnight Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation GoodKnight, Glen (1998) "A C.S. Lewis Related Cumulative Index of Mythlore, Issues 1-84," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 22 : No. 2 , Article 10. Available at: https://dc.swosu.edu/mythlore/vol22/iss2/10 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 Author and subject index to articles, reviews, and letters in Mythlore 1–84. Additional Keywords Lewis, C.S.—Bibliography; Mythlore—Indexes This article is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol22/iss2/10 MYTHLORE I s s u e 8 4 Sum m er 1998 P a g e 5 9 A C.S. -
ABSTRACT C.S. Lewis and the Conversion of the Aeneas Story In
ABSTRACT C.S. Lewis and the Conversion of the Aeneas Story in the Ransom Trilogy Katherine Grace Hornell Directors: Phillip J. Donnelly, Ph.D. and Alan Jacobs, Ph.D. Many readers of C. S. Lewis’s writing consider his science fiction trilogy an odd divergence from his expected repertoire. Though Lewis’ "Ransom Trilogy" proves distinctive among his works, the books grow from the same deep roots in classical and medieval literary traditions that inform his other writings. Drawing from Virgil, Dante, and Arthurian legend to structure his narrative, Lewis unites ancient myth and modern fiction in order to illumine Classical stories with Christian faith. This thesis considers how Lewis’s science fiction draws on the features of secondary epic and its attendant meanings that appear in the Aeneid and in Arthurian stories. Ultimately, Lewis models how contemporary writers can make old stories live anew. APPROVED BY DIRECTOR OF HONORS THESIS: __________________________________________________ Dr. Phillip J. Donnelly, Department of Great Texts APPROVED BY THE HONORS PROGRAM: ________________________________________________ Dr. Elizabeth Corey, Director DATE: __________________ C.S. LEWIS AND THE CONVERSION OF THE AENEAS STORY IN THE RANSOM TRILOGY A Thesis Submitted to the Faculty of Baylor University In Partial Fulfillment of the Requirements for the Honors Program By Katherine Grace Hornell Waco, Texas August 2016 TABLE OF CONTENTS Acknowledgments………………………………………………………....…………..iii Introduction…………………………………………………………………………….1 Chapter One: Out of the Silent Planet………………………………………………….4 Chapter Two: Perelandra……………………………………………………………..22 Chapter Three: That Hideous Strength………………………………………………..43 Conclusion…………………………………………………………………………….62 Bibliography…………………………………………………………………………..65 ii ACKNOWLEDGEMENTS I wish to express my sincere thanks both to Dr. Alan Jacobs and to Dr. Phillip J. -
Images of Spirit in the Fiction of Clive Staples Lewis
Volume 14 Number 2 Article 7 Winter 12-15-1987 Images of Spirit in the Fiction of Clive Staples Lewis Charlotte Spivak Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Spivak, Charlotte (1987) "Images of Spirit in the Fiction of Clive Staples Lewis," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 14 : No. 2 , Article 7. Available at: https://dc.swosu.edu/mythlore/vol14/iss2/7 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 Shows how Lewis, in his fiction, explor“ es the phenomenology of Spirit through his creation of several numinous figures who reflect medieval paradigms.” These figures reflect both medieval allegorical meanings and Jungian archetypes. Additional Keywords Lewis, C.S. Fiction—Representation of spirit; Spirit in Jung—Relation to C.S. -
Shadowlands-Digital-Playbill-V4.Pdf
Max McLean Founder & Artistic Director Presents SHADOWLANDS by William Nicholson Max McLean, Founder & Artistic Director Presents by William Nicholson Featuring Daniel Gerroll Robin Abramson John C. Vennema Sean Gormley Dan Kremer Stephanie Cozart Daryll Heysham Eddie Ray Martin Video Editor Original Music & Sound Design Voice & Dialect Casting Director Matthew Gurren John Gromada Claudia Hill-Sparks Carol Hanzel Technical Director Production Manager Sound Editor Casting Consultant Brandon Cheney Lew Mead Daniel Gonko Judy Henderson, C.S.A. Marketing General Management Assistant Director Company Manager Southside Entertainment Aruba Productions Dan DuPraw Tara Murphy Executive Producer Ken Denison Directed by Christa Scott-Reed This production made possible by arrangement with The Agency (London) Ltd. 24 Pottery Lane, London W11 4LZ, [email protected] CAST OF CHARACTERS (in order of appearance) C.S. Lewis ...................................................................................... Daniel Gerroll Dr. Maurice Oakley/Gregg/Clerk/Doctor/Priest/Waiter ......Daryll Heysham Christopher Riley ........................................................................Sean Gormley Rev. Harry Harrington ....................................................................Dan Kremer Major Warnie Lewis ............................................................ John C. Vennema Woman/Registrar/Nurse .................................................... Stephanie Cozart Joy Davidman .........................................................................Robin -
The Grand Miracle Daily Reflections for the Season of Advent
The Grand Miracle Daily reflections for the season of advent Based on the writings of C. S. Lewis ✷ J. R. R. Tolkien ✷ Dorothy L. Sayers George MacDonald ✷ G. K. Chesterton Charles Williams ✷ Owen Barfield ✷ Joy Davidman snowy landscape. A beaming lamppost. A world where it is always winter and never Christmas. The opening scenes of C. S. Lewis’s The Lion, the Witch, Aand the Wardrobe set the stage, and readers young and old await Aslan’s return to Narnia, bringing with him the joy of Christmas. While Lewis doesn’t mention the birth of Christ specifically, he writes out of a deep sense of wonder and joy at the Incarnation as a world-transforming event: the Word becoming flesh (John 1:18). In one famous essay Lewis called it “The Grand Miracle.” You may be entering this Advent season with a sense of inadequacy. Perhaps your life is filled with great difficulty, the deep grief of loss, discouragement, finan- cial concerns, addiction, depression, or even a sense that God is far from you. The good news is that you are actually in a wonderful place to begin a meaning- ful Advent journey. For this season isn’t about what we must accomplish, but rather about what God has already done in the miracle of the Incarnation. In fact all we need to do is invite God into the authentic reality of our messy, broken, complicated Front cover by Douglas Johnson based on Edward Burne-Jones’s The Adoration (1904) lives—to be transparently present to him in the midst of our weakness. -
Lehigh Preserve Institutional Repository
Lehigh Preserve Institutional Repository A Mythical Approach to Christian Orthodoxy: C. S. Lewis's Space Trilogy. Wilson, Sharon Lee 1977 Find more at https://preserve.lib.lehigh.edu/ This document is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. A Mythical Approach to Christian Orthodoxy: C. S. Lewis's Space Trilogy by Sharon Lee Wilson A Thesis Presented to the Graduate Committee of Lehigh University in Candidacy for the Degree of Master of Arts in English Lehigh University 1977 ProQuest Number: EP76550 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest EP76550 Published by ProQuest LLC (2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 This thesis is accepted and approved in partial fulfillment of the requirements for the degree of Master of Arts in English. December 6, 1977 (date) Cnairman of the Department 11 Table of Contents Page Abstract 1 I Myth: Lewis's Stronghold 3 II The Literary Qualities of Myth 9 III The Spiritual Implication of Myth 17 IV Lewis's Myth of "Deep Heaven" 24 v Out of .the Silent Planet: Ransom Steps Into The Myth 33 VI Perelandra: The Battle Begins 43 VII That Hideous Strength: A New Beginning 52 Bibliography 63 in A Mythical Approach to Christian Orthodoxy: C.S. -
Experiencing Gospel Truths in CS Lewis's Fiction Our Focus Will Be on the Chronicles of Narnia. B
Bruce W. Young, Associate Professor of English, BYU Finding Christ in Narnia: Experiencing Gospel Truths in C. S. Lewis’s Fiction Our focus will be on the Chronicles of Narnia. But Lewis wrote a number of other fictional works: The Screwtape Letters, The Great Divorce, a science-fiction trilogy (Out of the Silent Planet, Perelandra, That Hideous Strength), and “a myth retold,” Till We Have Faces. Main points in today’s session This session aims to demonstrate how the fiction of C. S. Lewis—especially in the Chronicles of Narnia—not only represents important gospel truths but helps us come to know and love the Savior more deeply. Lewis does this by showing us both what Christ does and who he is and by giving examples of characters who come to know Christ and as a result undergo a process of transformation, a process that starts them on the journey toward becoming like Christ. Lewis’s fiction teaches us about and helps lead us to Christ even more effectively than his non-fiction, first, by getting past our resistance and then by affecting our imaginations, emotions, and spirits and thus reaching deeper than our conscious minds. How the stories came about: See “What Lewis was doing in the Chronicles of Narnia” below. What Christ does and who he is: The Chronicles of Narnia represent what Christ does (the creation; the atonement; the defeat of the forces of death and evil; and personal mentoring of individuals) and who he is (powerful—“not a tame lion . but good”; in harmony with eternal law; wise; loving; holy). -
An Introduction to C. S. Lewis
An Introduction to C. S. Lewis Clive Staples Lewis—C. S. Lewis to many readers—was born in Belfast, Ireland, on November 29, 1898. His parents were Albert James Lewis, a solicitor, and Florence Augusta Lewis. Lewis had one brother, Warren Hamilton Lewis, with whom he remained close for all of his life. Lewis read widely as a child, but dearly enjoyed stories about animals and nature, a theme which resurfaced in his later work The Chronicles of Narnia. Lewis and his brother Warren even created an imaginary world called Boxen in which animals lived and talked together. Coupled with Lewis’ love of creating worlds filled with anthropomorphic animals and lively natural settings was his love for ancient literature, including the epic sagas of Iceland, Norse mythology, and Greek and Medieval literature. Readers familiar with his work will recognize how these these genres and themes influenced the trajectory of his life’s work. In his early years of education, Lewis attended several private preparatory schools in Britain, including Wynyard School in Hertfordshire (1908), Campbell College in Belfast (1910), and Cherbourg House at Malvern, Worcestershire (1911). Due to poor health, though, he never remained at these schools for long. It was during his time in Worcestershire that Lewis pronounced himself an atheist, a belief he held onto until 1929 when he became a theist and then a Christian. In December 1916, Lewis received a scholarship to study at University College, Oxford. His life of academic study took a tremendous turn, however, for in 1917 Lewis enlisted in the British Army. After training, Lewis attained the rank of Second Lieutenant with the Third Battalion of the Somerset Light Infantry. -
Religion and Literature: C. S. Lewis and Tolkien Syllabus
1 Religion 4600/6600: Religion and Literature: C. S. Lewis and Tolkien Carolyn Jones Medine, Professor of Religion and in the Institute for African American Studies Office: 19 Peabody Hall Telephone: 706-542-5356 (messages) E-Mail: [email protected] Office Hours: Monday and Wednesday 1:30-2:30 and by appointment Graduate Teaching Assistants: Noah Pollock, Jessica Couch, Eduardo Mendez I Course Description Religion and Literature’s goal is to examine the problematic of religion in the modern world and to explore basic human questions, such as those of identity, community, ethical action, and spirituality and how those have been expressed in literature. The language of such an exploration is sometimes specifically Christian; sometimes it interprets Christian language in new way, but often, the religious meanings are hybrid, using a number of traditions in syncretic ways. The first work in the field was on specifically Christian writers. We will, this semester, revisit that landscape. This course will examine the works of two of the group of writers who called themselves The Inklings: J. R. R. Tolkien and C. S. Lewis. Each was a Christian who expressed his faith through his art. We want to ask: Why do Christian writers—not just the Inklings, but also, for example, Walker Percy, Flannery O’Connor, Madeline L’Engle, and others—turn to fiction—in particular, to what Lewis and Tolkien called “the fairy story”—as a medium of expression of their ideas? What is gained or lost by such a choice? What is the relationship between art, imagination and belief? II Course Goals: In this course we will learn and come to: 1.