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In the present study, teaching guides to The Chronicles of Narnia by C. S Lewis are assessed and evaluated with the help from Ian McGrath’s Materials Evaluation and Design for Language Teaching. The study focuses on two complete teaching guides, one developed by an American language teacher and the other by the producers of the latest Narniamovie. Both of the guides were originally created for a native speaker context. However, in this dissertation ways of adapting these study guides to the goals expressed in the Swedish Curriculum (Lpo 94) and The National Syllabuses are explored. The result of my evaluation shows that both the selected guides are, with some adjustment, applicable to the education of English in Sweden. The conclusion is that the language-oriented parts of the teaching guides are valid to the Swedish curriculum and syllabuses of English, though they were developed for native speakers of English. The modules on moral education are also applicable, since value based education is fundamental in Swedish schools.

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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)

Thesis (MPhil)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: The Chronicles of Narnia by C.S. Lewis is internationally considered as one of the classics of children’s literature. The series consists of seven books, of which only the first four were translated into Afrikaans, namely Die Towenaar se Neef (The Magician’s Nephew), Die Leeu, die Heks en die Hangkas (The Lion, the Witch and the Wardrobe), Die Perd en sy Seun (The Horse and his Boy) and Prins Kaspian (Prince Caspian). According to the publisher, Human & Rousseau, they have no intention to translate the remainder of the series. The three books that have not been translated into Afrikaans are The Voyage of the Dawn Treader, The Silver Chair and The Last Battle. The main aim of this study is the practical translation of a selection of The Voyage of the Dawn Treader. The Functionalist approach of Vermeer and Nord, Toury and Chesterman’s translation norms from Descriptive Translation Studies, Venuti’s foreignisation and domestication and Klingberg’s cultural contex adaptation form the theoretical framework for both the discussion and analysis of the source text as well as the translation. The four types of translation problems as identified by Nord are used as the framework for the annotations of the translation. By doing a theoretically based translation, the connection between theory and practice is illustrated: the translator chooses a general approach and translation strategies and is consequently guided to make consistent translation choices on macro as well as micro levels. / AFRIKAANSE OPSOMMING: C.S. Lewis se Chronicles of Narnia beklee internasionaal ’n gevestigde plek in die kanon van kinder- en jeugliteratuur. Die reeks bestaan uit sewe boeke, waarvan slegs die eerste vier in Afrikaans vertaal is, naamlik Die Towenaar se Neef, Die Leeu, die Heks en die Hangkas, Die Perd en sy Seun en Prins Kaspian. Volgens die uitgewer, Human & Rousseau, word daar nie verdere vertalings van die reeks beoog nie. Die drie onvertaalde boeke in die reeks is The Voyage of the Dawn Treader, The Silver Chair en The Last Battle. Hierdie studie fokus hoofsaaklik op die praktiese vertaling van ’n gedeelte van The Voyage of the Dawn Treader. Vermeer en Nord se Funksionalisme, Toury en Chesterman se vertaalnorme uit Deskriptiewe Vertaalstudies, Venuti se vervreemding en domestikering en Klingberg se kulturele konteksaanpassing dien as teoretiese raamwerk vir sowel die bespreking en ontleding van die bronteks as die vertaling. Nord se vier tipes vertaalprobleme dien as raamwerk vir die annotasies tot die vertaling. Deur ’n teoreties gebaseerde vertaling te doen word geïllustreer hoe teorie en praktyk by mekaar aansluit: die vertaler kies ’n algemene benadering en vertaalstrategieë, en word sodoende begelei tot konsekwente vertaalbesluite op makro- en mikrovlak.

M.A. / Although a serious Christian apologist and academic writer, Clive Staples Lewis was also well known (and loved) for his fictional works. Lewis was of the opinion that one's faith and chosen profession cannot be separated and he thus aligned the two in his own writing (Schultz and West 1998: 120). Therefore, his writings reflect his Christian faith (after his conversion in 1931) and, although his Ransom (Cosmic) Trilogy (1938, 1943 and 1945), mythological work Till We Have Faces (1956) and The Chronicles of Narnia (1950-1956) are not openly theological, they all deal with figurative representations of both Christ and the Biblical devil. Many studies have explored Lewis's portrayal of Biblical truths in his fictional writing. As Christopher Mitchell pointed out in his essay entitled "Bearing the Weight of Glory," a few months before his death, Lewis stated that he was writing in order to bring about an encounter between the reader and Christ (Mills 1998: 5). While on the surface these novels are not emphatically about the battle between heaven and hell, underlying the stories is a broader message of rivalry between good and evil. A student of Lewis's, Harry Blamires, remembers Lewis saying that he went about the task of writing The Chronicles of Narnia much as he did the writing of his serious theological work, Mere Christianity (Mills 1998: 15). Much research has thus been conducted to explore Lewis's portrayal of God in his fiction, yet there has been very little research on his metaphysical perspective on Satan. His fictional novels — most notably The Chronicles of Namia — are largely allegorical and often subtly allude to the devil through the characters. It is this subtle allusion to evil, and specifically characteristics of the Biblical Satan in The Chronicles, that I would like to explore in this dissertation.

This dissertation treats the theory and practice of C. S. Lewis's theological imagination, focussing upon the imaginative use he made of his professional expertise in medieval and renaissance literature. Its approach is principally expository rather than an evaluative. Chapter One outlines the centrality of the imagination to a proper understanding of Lewis's works. Chapter Two examines Lewis's own theory of imagination and surveys how he practised it as a literary critic. We compare and contrast Lewis's theory and practice of imagination with that of his friend, the theologian, Austin Faffer. Chapter Three looks in more detail at Lewis's imaginative practice, in particular his fascination with the images supplied by the seven planets of the Ptolemaic cosmos, which he termed 'spiritual symbols of permanent value'. We analyse what he meant by 'sprit' and 'symbol'. Chapter Four introduces the main argument of the dissertation namely that these seven spiritual symbols structure the works for which Lewis is best known, the seven 'Chronicles of Narnia'. We claim to have uncovered the governing imaginative blueprint of the septet. We address Lewis's capacity for and interest in secrecy and consider why this planetary theme has remained hitherto undetected. In Chapters Five to Eleven we take the seven planets in turn and trace the use Lewis made of them through out his writings. We analyse the planetary symbolism undergirding each Chronicle and conclude each chapter with an exegesis of the Christological message of each book so understood. Chapter Twelve examines factors which motivated Lewis to focus his imaginative energies upon Ptolemaic cosmology and suggests one particular occasioning factor behind the composition of the Chronicles. In addition, we consider theological and pedagogical reasons why he kept silent about the planetary theme. We conclude by indicating certain consequences that our argument has for future readings of these seven works.

The author of this study explored the works of C.S. Lewis as well as memoirs and scholarship concerning his work to illustrate his transformational leadership. Works reviewed included Lewis's fiction, such as his science fiction trilogy and his children's series, The Chronicles of Narnia, as well as his works of nonfiction, such as essays that addressed social issues. The secondary aim for the author of this study was to determine whether the transformational qualities Lewis exhibited also existed in his characters. Transformational leadership served as the conceptual framework for the descriptive explanatory qualitative design. Essentially the study analyzed the primary works of Lewis and subsequent scholarship through the lens of transformational leadership. Data collected included document review, interviews with Lewis scholars, and observations. Synthesis of the data revealed that Lewis possessed the 4 qualities of transformational leadership established by Bass (1985). Derived from a blended evaluation of scholarship, observational data, and interview responses, findings indicated that Lewis exhibited the 4 qualities of transformational leadership: Idealized influence, Inspirational Motivation, Intellectual Stimulation, and Individual Consideration. In addition, Lewis created a transformational leader in Aslan from The Chronicles of Narnia and depicted pseudotransformational leadership in both his science fiction trilogy and The Chronicles of Narnia. The author of this study explored a contextual and historical view of Lewis as a veteran of World War I and a voice of hope during World War II. During the period pseudotransformational leadership existed in the reality of Adolf Hitler and the Nazi regime and echoed in the literature of Lewis in the N.I.C.E. organization from the science fiction trilogy and Shift from The Chronicles of Narnia. Recommendations for further study encourage future scholars to expand the roster of transformational leaders to include artists and thinkers and to examine various aspects of Lewis yet needing research.

The thesis is focused on finding the philosophical dimension of a story, with respect to stories for children. It is also concerned with the variable possibilities how to use stories in the Philosophy for Children dialogue. Using the knowledge of literally science and using the articles about the role of story in Philosophy for Children, the thesis elaborates the definition of the philosophical dimension of story. Its further attempt is to suggest general method how to seize the philosophical dimension of every possible story for the purpose of philosophical dialogue with children. The suggested method is applied on the stories The Little prince by A. Saint-Exupery and The Lion, the Witch and the Wardrobe by C.S. Lewis in the last part of the thesis.