Displays

Rios, Jeremy M.
Mythlore, 2023-09, Vol.42 (1(143)), p.269-270

Provides an in-depth exploration of Lewis’s influential work, unpacking its arguments on morality, education, and the essence of human nature. This guide contextualizes The Abolition of Man within Lewis’s broader thought, examining its warnings about moral relativism and the dangers of dehumanization in a technologically advanced society. Perfect for scholars and newcomers alike, it illuminates the enduring relevance of Lewis’s critique in contemporary discussions about ethics and human dignity.

Barkman, Adam
Sehnsucht, 2009, Vol.3 (1)

While some might be tempted to think that C. S. Lewis wrote more on aesthetic themes than on anything else they would be mistaken. For aesthetics has to do with broad, theoretical questions concerning beauty and art, while Lewis’ writings on literary history, literary criticism, and, to a lesser degree, literary theory tend to be more specific. In addition, although people might point to Lewis’ vast outpourings on myth as evidence of his intense interest in aesthetics, they would only be partly correct.

Brazier, P. H.
Heythrop journal, 2015-03, Vol.56 (2), p.285-305


What did C. S. Lewis write about atonement? Can we read a doctrine of atonement from his disparate works of theology and apologetics, philosophy, literature, and autobiography? In speaking of atonement we assert the reconciliation the churches should represent. At the centre of salvation is atonement; if atonement is defined by the Incarnation-Cross-Resurrection, then are we correct in asking how this works? How did C. S. Lewis consider atonement to have worked? How does Lewis's understanding of atonement compare with the various theories different church and theological traditions have produced as to how Christ's sacrifice redeems us in contradiction to original sin? The aim of this paper is to identify and analyse Lewis's doctrine of atonement in the context of Church history.

Edyta Szczurek-Maksymiuk
Classica Cracoviensia, 2016-10, Vol.19

Circe, Lamia or Erinya - The Image of the Witch in the Chronicles of Narnia by C.S. Lewis The aim of this article is to present a variety of inspirations and reception of ancient myths that affected the shaping of the Witches in ‘The Chronicles of Narnia’ by C.S. Lewis. Lewis purposefully mingled different traditions, believing that the most important classical myths carry a faint shadow of divine truth falling on human imagination. The most famous witches created by him: The White Witch and the Lady of the Green Kirtle, have a great deal of sources in the literature, but they derive above all from ancient patterns, combining the features of, among others, Venus, Ishtar, Erinyes, Lamia and Circe. A comparative analysis of the mythological witches and those created by Lewis will demonstrate not only the complexity of their characters, but also the manner of his reception of antiquity.

Shober, Dianne
Literator, 2019, Vol.40 (1), p.e1-e7

Throughout the centuries, lion images have figured prominently in literature, art, heraldry and statuary. In Chinese art, for instance, lions appear more predominantly than dragons as guardians of buildings and temples, whereas across Europe, warriors surged across continents conquering under the image of the roaring lion emblazoned on their monarchs’ flags. Furthermore, numerous cultures and religious traditions symbolically embody their rulers, both divine and temporal, using leonine imagery. Through an investigation of this imagic representation, this article will explore the selection of the lion, Aslan, as the spiritual depiction of the Christ-figure in C.S. Lewis’ series The Chronicles of Narnia.

Sarot, Marcel
Hervormde teologiese studies, 2019, Vol.75 (4), p.1-7

In this article, I analyse C.S. Lewis’s attitude towards the theology and the theologians of his time. Lewis often emphasised that he was not a theologian. Sometimes he does so out of modesty, to excuse minor errors that a specialist in the field would not have made. More often than not, however, something else plays a role: Lewis’s dislike of the theology and the theologians of his time.