Sharing the Narnia Experience is a guide to help parents explore C. S. Lewis's classic fantasy hand-in-hand with their children.

Theologians, psychologists, academics, feminists, and fantasists offer humor, insight, and fresh perspectives on the enchanting and beloved Chronicles of Narnia series. Such contributors as fantasists Sarah Zettel and Lawrence Watt-Evans, children's literature scholar Naomi Wood, and C.S. Lewis scholars Colin Duriez and Joseph Pearce discuss topics such as J.R.R. Tolkien and Middle Earth's influence on the conception of Narnia, the relevance of allegory for both Christians and non-Christians, the idea of divine providence in Narnia, and Narnia's influence on modern-day witchcraft. Fans of the wildly popular series will revel in the examination of all aspects of C.S. Lewis and his magical Narnia.

This bibliography and resource consists of a chronological introduction to the development of Lewis's works, a copious bibliography and a guide to the study of Lewis, an introductory essay on Christology in Lewis, and a glossary for those unfamiliar with some of the background and terms to Lewis's understanding of revelation and the Christ. It will be an invaluable resource for all scholars of C. S. Lewis. The bibliography stands alone but it also serves to complement the three volumes of the series C. S. Lewis, Revelation, and the Christ.

In addition to being one of the best-loved books of all time, The Lion, the Witch and the Wardrobe is sure to set box-office records when it releases Christmas 2005. Distributed by Disney, with special effects by WETA Workshop (The Lord of the Rings), and backed by a $150MM budget, The Lion the Witch and the Wardrobe will draw millions of viewers, both Christian and non-Christian. In the same way that Christians walked away from viewing Mel Gibson's The Passion of the Christ with a hunger to share Christ with their neighbors, Christians will leave The Lion, the Witch and the Wardrobe wanting to share the Christ depicted by Aslan in the movie. Aslan, killed by the White Witch and raised to life three days later, is a shadow of the One who was crucified and raised to life for our sins. Using biblical parallels, this small, easy-to-read book will lead readers to an understanding of Christ and what He did for them by drawing lessons from The C.S. Lewis book and movie. Christians will want to buy this book in bulk as a non-threatening, warm-hearted evangelistic tool.

Imagination has long been regarded as central to C. S. Lewis's life and to his creative and critical works, but this is the first study to provide a thorough analysis of his theory of imagination, including the different ways he used the word and how those uses relate to each other. Peter Schakel begins by concentrating on the way reading or engaging with the other arts is an imaginative activity. He focuses on three books in which imagination is the central theme--Surprised by Joy, An Experiment in Criticism, and The Discarded Image--and shows the important role of imagination in Lewis's theory of education. He then examines imagination and reading in Lewis's fiction, concentrating specifically on the Chronicles of Narnia, the most imaginative of his works. He looks at how the imaginative experience of reading the Chronicles is affected by the physical texture of the books, the illustrations, revisions of the texts, the order in which the books are read, and their narrative "voice," the "storyteller" who becomes almost a character in the stories. Imagination and the Arts in C. S. Lewis also explores Lewis's ideas about imagination in the nonliterary arts. Although Lewis regarded engagement with the arts as essential to a well- rounded and satisfying life, critics of his work and even biographers have given little attention to this aspect of his life. Schakel reviews the place of music, dance, art, and architecture in Lewis's life, the ways in which he uses them as content in his poems and stories, and how he develops some of the deepest, most significant themes of his stories through them. Schakel concludes by analyzing the uses and abuses of imagination. He looks first at "moral imagination." Although Lewis did not use this term, Schakel shows how Lewis developed the concept in That Hideous Strength and The Abolition of Man long before it became popularized in the 1980s and 1990s. While readers often concentrate on the Christian dimension of Lewis's works, equally or more important to him was their moral dimension. Imagination and the Arts in C. S. Lewis will appeal to students and teachers of both children's literature and twentieth-century British writers. It will also be of value to readers who wish to compare Lewis's creations with more recent imaginative works such as the Harry Potter series.

The Chronicles of Narnia series has entertained millions of readers, both children and adults, since the appearance of the first book in 1950. Here, scholars turn the lens of philosophy on these timeless tales. Engagingly written for a lay audience, these essays consider a wealth of topics centered on the ethical, spiritual, mythic, and moral resonances in the adventures of Aslan, the Pevensie children, and the rest of the colorful cast. Do the spectacular events in Narnia give readers a simplistic view of human choice and decision making? Does Aslan offer a solution to the problem of evil? What does the character of Susan tell readers about Lewis’s view of gender? How does Lewis address the Nietzschean “master morality” embraced by most of the villains of the Chronicles? With these and a wide range of other questions, this provocative book takes a fresh view of the world of Narnia and expands readers’ experience of it.

Millions of users have taken up residence in virtual worlds, and in those worlds they find opportunities to revisit and rewrite their religious lives. Robert M. Geraci argues that virtual worlds and video games have become a locus for the satisfaction of religious needs, providing many users with devoted communities, opportunities for ethical reflection, a meaningful experience of history and human activity, and a sense of transcendence. Using interviews, surveys, and his own first-hand experience within the virtual worlds, Geraci shows how World of Warcraft and Second Life provide participants with the opportunity to rethink what it means to be religious in the contemporary world. Not all participants use virtual worlds for religious purposes, but many online residents use them to rearrange or replace religious practice as designers and users collaborate in the production of a new spiritual marketplace. Using World of Warcraft and Second Life as case studies, this book shows that many residents now use virtual worlds to re-imagine their traditions and work to restore them to "authentic" sanctity, or else replace religious institutions with virtual communities that provide meaning and purpose to human life. For some online residents, virtual worlds are even keys to a post-human future where technology can help us transcend mortal life. Geraci argues that World of Warcraft and Second Life are "virtually sacred" because they do religious work. They often do such work without regard for-and frequently in conflict with-traditional religious institutions and practices; ultimately they participate in our sacred landscape as outsiders, competitors, and collaborators.