Religious Thought, Theology and Philosophy of Religion Commons^™

Enchantment: A Teleology, Nathanael S. Toth

Senior Honors Theses

Despite the highly developed nature of his fictional world, Middle-earth, Tolkien never formally laid out a tabulated magic system for his fantasy creation. Nevertheless, unlike many stories by others in the fantasy genre, the magic he does include is far from just a shallow, world-building mechanism. Instead, it encapsulates the core theme of his fiction and the purposes which Ilúvatar (the God of Middle-earth) has given to the story’s many characters.

This paper will examine the nature and function of this magic from many angles: the identification of good magic with art and evil magic with domination; the delineation between …

Theology And Poetry: Literary Aesthetics In The Writing Of Ann Voskamp, Erin Peters

Masters Theses

Because of her work as an author, speaker, blogger, and Compassion International advocate, Christianity Today cited Ann Voskamp as one of the 50 most influential women in shaping the North American evangelical church. Through her poetic, spiritual memoirs, Voskamp has challenged and inspired Christian women in their walk with God while simultaneously raising an important question for Christian literature: What roles does the poetic imagination play in communicating theology? To be sure however, Voskamp’s unique blend of poetic lyricism and personally applied theology has incited significant criticism regarding her loosely constructed language and narrative interpretation of Scripture. This thesis evaluates …

Imagination As A Response To Naturalism: C.S. Lewis’S The Chronicles Of Narnia In Light Of The Anscombe Affair, Allison P. Reichenbach

Senior Honors Theses

In this paper I suggest The Chronicles of Narnia were occasioned by Elizabeth Anscombe’s critique of chapter three of Miracles. Instead of a retreat from debate, The Chronicles show that the Supernatural is not something to be contemplated, but instead experienced. In the stories, the children’s dominant naturalism and ignorance of Supernaturalism personally encounter the highest Supernatural being. When transitioning from Miracles to The Chronicles of Narnia, Lewis’s writing altered from operating under the Argument from Reason to the experience of imagination in order for the reader to personally experience – not contemplate – Supernaturalism. Fairytale, romance, and …

One Big Thing: Suffering As The Path To New Life In Crime And Punishment, Kelly M. Kramer

Montview Journal of Research & Scholarship

After spending a whole semester reading and thinking about Dostoevsky, the main thing that has struck me about him is his treatment of the theme of suffering. Despite, and even through, his extremely complicated characters and events, he nevertheless focuses his novels, particularly Crime and Punishment, on presenting a nuanced yet unified picture of suffering. After a brief analysis of several of the relevant characters and plot points, his thoughts on what suffering does to and for the individual will be presented. In contrast to our culture’s almost idolization of suffering as an experience which gives one instant respect, …

Scientism, Satire, And Sacrificial Ceremony In Dostoevsky's "Notes From Underground" And C.S. Lewis's "That Hideous Strength", Jonathan Smalt

Masters Theses

Though the nineteenth-century Victorian belief that science alone could provide utopia for man weakened in the epistemological uncertainty of the postmodern era, this belief still continues today. In order to understand our current scientific milieu--and the dangers of propagating scientism--we must first trace the rise of scientism in the nineteenth-century. Though removed, Fyodor Dostoevsky, in Notes From Underground (1864), and C.S. Lewis, in That Hideous Strength (1965), are united in their critiques of scientism as a conceptual framework for human residency. For Dostoevsky, the Crystal Palace of London's Great Exhibition (1862) embodied the nineteenth-century goal to found utopia through the …

Don't Take Orpheus Without The Lyre: The Intricacies Of Using Pagan Myths For Christian Purposes In The Divine Comedy And Paradise Lost, Rebekah J. Waltmann

Masters Theses

Because of their universal and artistic nature, the classical myths lend themselves well to use in literature, especially poetry. When used properly, as by Dante and Milton, the myths have the ability to enhance the work; when used poorly, they become gaudy ornamentation. It was, and is, this ability to enhance both the artistry and function of literature that pulled so many poets to the myths, despite the difficulties that could arise when the pagan myths did not quite match the Christian setting. My purpose in this thesis is not to explicate every use of myth within The Divine Comedy …

A Hierarchy Of Love: Myth In C.S. Lewis's Perelandra, Joseph Walls

Masters Theses

In C.S. Lewis's Perelandra, the transposed creature is drawn up into its "kindly stede" as a sacramental symbol of Christ through that fictional planet's unbroken relationship between meaning and form. Although Perelandra's "wheels-within-wheels" hierarchy may at first seem reminiscent of Catholicism's teachings on symbol, as a Protestant, Lewis believes that human beings cannot be truly sacramental symbols until the return of Christ. Lewis's optimistic depiction of a cosmic hierarchy is one of perfect love: superiors rule their subordinates with agape, and creatures who discover their submissive roles reciprocate with eros or adoring love. Every created being in Perelandra is part …

And Then, He Folds His Patterned Rug: Repressive Reality And The Eternal Soul In Vladimir Nabokov, Elizabeth Cook

Masters Theses

While Vladimir Nabokov has deservedly earned fame as a stylist of the strange, most critics who study his novels approach his absurd and beautiful characters as little more than fractured victims of a wholly subjective reality. Compounding the misunderstanding is the tired debate over whether or not Lolita is literary, pornographic, or some cruel game of cat-and-mouse in which Nabokov seizes control of his readers' sense of morality. However, critics who read Nabokov as nothing more than a manipulative stylist neglect to realize that his characters suffer such absurd distortions of spirit and mind because their environment--the "average" reality of …