The essay discusses the world of Narnia from a psychological point of view. It argues that for Lucy, visiting Narnia takes the form of a psychological journey that represents the realisation of her repressed desires. It is through this realisation that Lucy develops as a character.

This dissertation examines the theology of C.S. Lewis in light of the writings of Athanasius, Augustine, and Anselm. Specifically, it looks at the role that justice and mercy play in each of these theologian’s understanding of the atonement. It proceeds on the basis that Lewis does in fact have a specific, robust, and coherent understanding of the atonement, and that his theological anthropology and his understanding of sanctification are an outworking of his understanding of the atonement. Chapter 1 lays out Lewis’ theological orientation and his method. Chapter 2 engages with Athanasius, Augustine, and Anselm on the atonement, and it lays out the particular concepts that were crucial in their understanding of the atonement, namely the justice and mercy of God. It outlines the fundamental concepts that we find in seedling form in Athanasius and Augustine and that were brought to full fruition in Anselm. It also argues that Anselm’s satisfaction theory is best understood as grounded in the nature of God, rather than in Anselm’s feudal, Medieval context. Chapter 3 examines Lewis on the atonement, and it traces the concepts that Lewis uses to describe and explain Christ’s death and resurrection. While Lewis does not adhere to any one doctrine or understanding of the atonement, there is a common thread that unites the various pictures that he takes to be true representations of the atonement. Fundamentally, for Lewis, the atonement is about the restitution of proper order that was disrupted in the Fall. Chapter 3 examines which theories of the atonement Lewis accepts and which he rejects. It also traces his understanding of the atonement to his understanding of the nature of God, relying on the concept of justitia defined as proper order, which has its source in the nature of God himself. In so doing, it aims to show that Lewis’ later understanding of the atonement is fundamentally Anselmian. Chapter 4 engages with Lewis’ theological anthropology and his understanding of sanctification, focusing on the process of “good infection” and how Lewis envisions the spread of the new life made available after Christ’s act of atonement. Sanctification, for Lewis, like the atonement, is also fundamentally about proper order. This plays out in his theological anthropology largely in terms of humility and obedience to God. Finally, chapter 5 addresses Narnia specifically and traces the concepts of justitia and proper order throughout the series and aims to show that, by focusing on proper order, we can see how the series hangs together as a whole theologically as an outworking of Lewis’ understanding of the atonement. / Thesis / Doctor of Philosophy (PhD)

nÃo hà / O LeÃo, a Feiticeira e o Guarda-Roupa (1950), de C. S. Lewis, à uma tÃpica narrativa de fantasia. Assim, apresenta caracterÃsticas de forma e conteÃdo que tÃm sido tradicionalmente empregadas pelo gÃnero, entre elas o apelo a uma atmosfera medieval. A histÃria foi adaptada para o cinema de Hollywood em 2005 por Andrew Adamson, com tÃtulo homÃnimo. O objetivo principal desta dissertaÃÃo à discutir as estratÃgias utilizadas pelo diretor para produzir um blockbuster de aÃÃo no formato da clÃssica narrativa hollywoodiana, explorando os elementos fantÃsticos e medievais da obra. Parte-se da ideia de que a adaptaÃÃo, embora oriunda de um texto que ocupa um espaÃo perifÃrico no sistema literÃrio britÃnico, consegue se destacar no sistema cinematogrÃfico de Hollywood. A pesquisa tem carÃter descritivo, com abordagem qualitativa, que consiste na leitura da obra literÃria e do filme para analisar como a fantasia e o medievalismo sÃo configurados nessas narrativas. A anÃlise levou-nos a concluir que a adaptaÃÃo foi capaz de ressignificar os elementos da obra literÃria responsÃveis por sua marginalizaÃÃo. Como base teÃrica, apoia-se nos princÃpios dos estudos descritivos de traduÃÃo, sobretudo no conceito de reescritura, de Lefevere (2007), e nos pressupostos da teoria dos polissistemas, de Even-Zohar (1990). Os referenciais teÃricos ainda incluem Todorov (2010, 2006) e Propp (2006), para caracterizar a obra como uma narrativa de fantasia; Cecire (2009) e Hobsbawm (1997), para abordar a questÃo do medievalismo; Compagnon (1999) e Wellek e Warren (2003), para discutir o cÃnone literÃrio; e Bordwell (1985), para delimitar as propriedades do padrÃo narrativo clÃssico de Hollywood. / The Lion, the Witch and the Wardrobe (1950), by C. S. Lewis, is a typical fantasy narrative. Thus, its form and contents are shaped by characteristics which have traditionally marked the genre, such as the appeal to a medieval atmosphere. The story was adapted to the Hollywood cinema by Andrew Adamson in 2005 keeping the same title. The main goal of this dissertation is to discuss the strategies employed by the director to produce an action blockbuster in the format of the classical Hollywood narrative through the exploration of the fantastic and medieval elements of the novel. It starts from the idea that the film adaptation, although it comes from a text which occupies a peripheral position in the British literary system, manages to stand out in the Hollywood cinematographic system. This research is descriptive and has a qualitative approach, which consists of the reading of both the novel and the film to analyse how fantasy and medievalism are configured in these narratives. The analysis led us to conclude that the adaptation was able to resignify the elements of the novel which are responsible for its marginalization. The theoretical bases for this work are the principles of the descriptive translation studies, especially the concept of rewriting, by Lefevere (2007), and the premises of the polysystem theory, by Even-Zohar (1990). Theoretical references still include Todorov (2010, 2006) and Propp (2006), to characterize the novel as a fantasy narrative; Cecire (2009) and Hobsbawm (1997), to approach the matter of medievalism; Compagnon (1999) and Wellek and Warren (2003), to discuss the literary canon; and Bordwell (1985), to delimitate the properties of the classical Hollywood narration pattern.