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For over half a century, scholars have laboured to show that C. S. Lewis's famed but apparently disorganised Chronicles of Narnia have an underlying symbolic coherence, pointing to such possible unifying themes as the seven sacraments, the seven deadly sins, and the seven books of Spenser's Faerie Queene. None of these explanations has won general acceptance and the structure of Narnia's symbolism has remained a mystery. Michael Ward has finally solved the enigma. In Planet Narnia he demonstrates that medieval cosmology, a subject which fascinated Lewis throughout his life, provides the imaginative key to the seven novels. Drawing on the whole range of Lewis's writings (including previously unpublished drafts of the Chronicles), Ward reveals how the Narnia stories were designed to express the characteristics of the seven medieval planets - - Jupiter, Mars, Sol, Luna, Mercury, Venus, and Saturn - - planets which Lewis described as "spiritual symbols of permanent value" and "especially worthwhile in our own generation". Using these seven symbols, Lewis secretly constructed the Chronicles so that in each book the plot-line, the ornamental details, and, most important, the portrayal of the Christ-figure of Aslan, all serve to communicate the governing planetary personality. The cosmological theme of each Chronicle is what Lewis called 'the kappa element in romance', the atmospheric essence of a story, everywhere present but nowhere explicit. The reader inhabits this atmosphere and thus imaginatively gains connaître knowledge of the spiritual character which the tale was created to embody. Planet Narnia is a ground-breaking study that will provoke a major revaluation not only of the Chronicles, but of Lewis's whole literary and theological outlook. Ward uncovers a much subtler writer and thinker than has previously been recognized, whose central interests were hiddenness, immanence, and knowledge by acquaintance.
C S Lewis' Narnia books have delighted millions of readers with their captivating otherworld. In this compelling book, Lewis scholar Michael Ward reveals deeper layers of meaning encrypted in the Narnia series, drawing on medieval cosmology and symbolism. - Koorong The Narnia books are mysterious. Millions of people have been captivated by them, but are left with unanswered questions. Why are there seven books? Are they biblical allegories? If so, why do four of them seem to have no biblical basis? Why do they lack uniformity? Why does Father Christmas appear in them? In The Narnia Code Michael Ward attempts to answer this puzzle. Drawing on Lewis' love of Medieval astronomy, Ward breaks the Narnia 'code' and demonstrates the single theme that provides the link between all seven books. The author takes us through each of the seven Chronicles of Narnia and draws from the whole range of Lewis' other works to reveal the secret. Based on a groundbreaking scholarly work (Planet Narnia, OUP) that entered the Sunday Times best seller list, this fascinating book will cause the reader to understand Lewis in a whole new way. It has some important things to say about how we understand the universe and Christian faith today. Documentary DVD also available. # 313627
Former Archbishop of Canterbury Rowan Williams offers fascinating insight into The Chronicles of Narnia, the popular series of novels by one of the most influential Christian authors of the modern era, C. S. Lewis. Lewis once referred to certain kinds of book as a "mouthwash for the imagination." This is what he attempted to provide in the Narnia stories, argues Williams: an unfamiliar world in which we could rinse out what is stale in our thinking about Christianity--"which is almost everything," says Williams--and rediscover what it might mean to meet the holy. Indeed, Lewis's great achievement in the Narnia books is just that-he enables readers to encounter the Christian story "as if for the first time." How does Lewis makes fresh and strange the familiar themes of Christian doctrine? Williams points out that, for one, Narnia itself is a strange place: a parallel universe, if you like. There is no "church" in Narnia, no religion even. The interaction between Aslan as a "divine" figure and the inhabitants of this world is something that is worked out in the routines of life itself. Moreover, we are made to see humanity in a fresh perspective, the pride or arrogance of the human spirit is chastened by the revelation that, in Narnia, you may be on precisely the same spiritual level as a badger or a mouse. It is through these imaginative dislocations that Lewis is able to communicate--to a world that thinks it knows what faith is--the character, the feel, of a real experience of surrender in the face of absolute incarnate love. This lucid, learned, humane, and beautifully written book opens a new window onto Lewis's beloved stories, revealing the moral wisdom and passionate faith beneath their perennial appeal.
What happens when you return to the real world after being in a fantastical one like Narnia? This YA debut by Laura E. Weymouth is perfect for fans of Melissa Albert’s The Hazel Wood and Lev Grossman’s The Magicians. Six years ago, sisters Evelyn and Philippa Hapwell were swept away to a strange and beautiful kingdom called the Woodlands, where they lived for years. But ever since they returned to their lives in post-WWII England, they have struggled to adjust. Ev desperately wants to return to the Woodlands, and Philippa just wants to move on. When Ev goes missing, Philippa must confront the depth of her sister’s despair and the painful truths they’ve been running from. As the weeks unfold, Philippa wonders if Ev truly did find a way home, or if the weight of their worlds pulled her under. Walking the line between where fantasy and reality meet, this lyrical and magical novel is, above all else, an exploration of loss and healing, and what it means to find where you belong.
The Space Trilogy is a fantastic work of fantasy that demonstrates C.S.Lewis's incredible imagination. This new one-volume version commemorates the 75th anniversary of Out of the Silent Planet's first publication with an exclusive Foreword by J.R.R. Tolkien, who inspired the main character of Ransom.
When Michael Ward's Planet Narnia emerged a decade ago, myriad things were pulled into its orbit: The immense gravitational force altered the field of C.S. Lewis studies, to be sure, but the discovery's scope stretched far into the worlds of literary criticism, Christian apologetics, and the arts. Only now, after ten years under its influence, have we begun to consider the magnitude of Planet Narnia's effects, and perhaps it is best to begin such an index by cultivating a jovial atmosphere of appreciation. Thus we curated this issue to celebrate both Dr. Ward and his stellar work. Photography: Lancia E. Smith Illustrations: Virginia de la Lastra Artwork: Ryan Grube. Contributors: Adam L. Brackin: "Quarantine," a short story. Annie Crawford: "The Cure Has Begun." Brenton Dickieson: "(Re)Considering the Planet Narnia Thesis," a challenging essay to the thesis. Ryan Grube: "For Your Contemplation" Malcolm Guite: "Planet Narnia as Creative Inspiration," an essay; "The Daily Planet," a poem; "The Circle Dance", a poem. Marshall Liszt: "Gravitational Pull," a reflection. Louis Markos: "Why We Love to Visit Narnia." Jason Monroe: "The Voyage of the Dawn Treader and the Rehabilitation of Practical Reason." Holly Ordway: "A Seven-Day's Journey through the Heavens," a poem Jahdiel Perez: "Where Paradoxes Play," Michael Ward on Christian Orthodoxy. Josiah Peterson: "A Defense of Planet Narnia." John Mark Reynolds: "An Unexpected Journey: Imaginative Apologetics and the Ward Moment," A personal reflection from Dr. John Mark Reynolds on the origins of the apologetics program at Houston Baptist University. Michael Ward: "Seven Questions," an interview with Dr. Michael Ward and An Unexpected Journal, and "Return to Planet Narnia" with additional support for the planetary thesis. Donald T. Williams: "C.S. Lewis, A Life," a poem. Kyoko Yuasa: "Table Narnia: Fugue to Evangelical Adventure," an essay on the symbolism of the table throughout the Chronicles.
The academy has not been kind to Malachi. Indeed, some of the most influential and seminal studies on the book denigrate its style, message, and overall artistry. This negative assessment proves extensive in the history of scholarship. Furthermore, the studies demonstrating a more positive assessment of Malachi do so without offering serious challenges to these long-standing denigrations. Complicating the matter is the observation that critical study has proffered numerous suggestions for what Malachi contains while failing to provide a viable model of what Malachi actually is. A Message from the Great King presents serious challenges to the guild’s prior assessments and conclusions about the book. Through an interdisciplinary approach that synthesizes insights from literary theory, thorough historical reconstruction, and a close reading of the biblical text, R. Michael Fox makes a formidable case that a root messenger metaphor pervades the entire text of Malachi. Viewed and read through this new lens, Malachi’s artistry becomes more readily apparent and its theological message more intense and demanding. A Message from the Great King provides serious reassessment of the academy’s long-standing denigrations of the book and a compelling answer to what Malachi actually is. Accompanying these insights into Malachi are new methodological procedures and exercises that merit further attention and reflection.
As bearers of the divine image, all of us are storytellers and artists. However, few people today believe in truth that is not empirically knowable or verifiable, the sort of truth often trafficked through direct forms of communication. Drawing on the works of Soren Kierkegaard, Benson P. Fraser challenges this penchant for direct forms of knowledge by introducing the indirect approach, which he argues conveys more than mere knowledge, but the capability to live out what one takes to be true. Dr. Fraser suggests that stories aimed at the heart are powerful instruments for personal and social change because they are not focused directly on the individual listener; rather, they give the individual room or distance to reconsider old meanings or ways of understanding. Indirect communication fosters human transformation by awaking an individual to attend to images or words that carry deep symbolic force and that modify or replace one's present ways of knowing, and ultimately make one capable of embodying what he or she believes. Through an examination of the indirect approach in Kierkegaard, Jesus, C. S. Lewis, and Flannery O'Connor, Fraser makes a strong case for the recovery of indirect strategies for communicating truth in our time.
Sehnsucht: The C. S. Lewis Journal, established by the Arizona C. S. Lewis Society in 2007, is the only peer-reviewed journal devoted to the study of C. S. Lewis and his writings published anywhere in the world. It exists to promote literary, theological, historical, biographical, philosophical, bibliographical and cultural interest (broadly defined) in Lewis and his writings. The journal includes articles, review essays, book reviews, film reviews and play reviews, bibliographical material, poetry, interviews, editorials, and announcements of Lewis-related conferences, events and publications. Its readership is aimed at academic scholars from a wide variety of disciplines, as well as learned non-scholars and Lewis enthusiasts. At this time, Sehnsucht is published once a year.
This book introduces Jonahre-a Biblically-based, Prophetic Imagination cinematic genre. Jonahre can be implemented by following a three phase, interdisciplinary process that allows production teams to submit their content, intent, style and format to reflect a Biblical pattern of storytelling and establish an alternative consciousness with the audience. When implemented, this process creates a powerful tool for transforming culture by combining communication theory and theology into a mold for communicating Spirit-filled messages via moving-image media. The first in a trilogy of Jonahre films will be released November 2009.