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Twisted Project Pt. II
A. Semantic Analysis
In “The Lion, the Witch and the Wardrobe,” Lewis employs language that is steeped in
symbolic imagery. The word “witch” refers to evil and corruption; when the White Witch casts
an eternal winter upon Narnia, the elements of death and stagnation are included. On the other
hand, we have the words connected with Aslan, such as 'lion' and 'spring', which mean rebirth,
power and promise of better things. In "Twisted," the connotations are even richer. Such
adjectives as 'dangerous' and 'alluring' define Julian Faraci as a man who is dangerous, alluring,
and exciting at the same time, which is a perspective that implies immorality (McIntire). In the
two works, the word ‘control’ undergoes a metamorphosis. In Lewis’s book, control is associated
with the White Witch’s authoritarianism – the denial of people’s agency. Control is polysemous
in “Twisted,” referring to power, choice, and sexuality, all indicative of the novel’s mature
content.
B. Register Levels
"The Lion, the Witch and the Wardrobe" primarily utilizes a formal to consultative
register, befitting a children's fantasy novel. The voice of this narrative retains some formality,
almost reminiscent of traditional storytelling: "Once there were four children whose names were
Peter, Susan, Edmund and Lucy (Lewis pg. 1)." This is what gives the story its timeless feel. The
dialogue is very consultative, especially when the children speak amongst themselves, although
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it remains proper, thereby making the characters relatable to the young reader. "Twisted" is
probably an adult retelling with a much more variable register (McIntire). The narration would
range from formal to informal, depending on how intense any one scene is. An intimate register
occurs a lot when describing what it is like between Yasmin and Julian. This will likely mean
more informal language, emotive adjectives, and some foul or profane words in describing their
fraught relationship.
C. Dialects
British English dialect strikes quite a prominent note in Lewis's work, showing his
background and place of narration. It found its expression in vocabulary choices—"wardrobe"
instead of "closet," idiomatic expressions—"Oh, come off it!", and sentence structures that
would sound a bit too formal for an American reader. This adds some more charm to the story,
showing a certain cultural context. "Twisted," as one could describe it as a modern retelling,
surely takes Contemporary American English for its base dialect. Given that it retells Aladdin,
though, there could be bits of Middle Eastern dialects or at least terminology in naming
conventions or specifically cultural references. Just like that, this potential mix of dialects would
aim to create the distinctive linguistic landscape by morphing the original tale's setting into the
sensibility of the modern day.
D. Stylistic Elements
In "The Lion, the Witch and the Wardrobe," Lewis's style is characterized by clear and
vivid descriptions of Narnia with similes and metaphors for a better conceptualization by
children. For instance, his description of Cair Paravel makes one feel amazed and spacious: "The
castle of Cair Paravel on its little hill towered up above them; before them were the sands, with
rocks and little pools of salt water. And long miles of bluish-green waves breaking for ever and
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ever on the beach (Lewis pg. 17)." His dialogue often describes in some concepts of the world of
Narnia, for example, Mr. Beaver's description of Aslan: "He's the King. But not often here, you
understand (Lewis pg.8)." On the other hand, probably because "Twisted" targets a more mature
audience, it would have internal monologue to add insight into the thoughts of the characters.
This would likely involve dense metaphors, sensual descriptions, stream-of-consciousness
passages; all of these would have varying sentence structures to express tension or introspection.
E. Standard vs. Non-standard Language Use
The structures of Lewis’s work use correct English syntax and grammar fitting the work’s
intended audience and publication date. Any variations with standard English are most probably
intentional with respect to characterization. For example, the manner of speaking of magical
creatures may be somewhat different compared to ordinary people as they are magical beings.
‘Twisted’ as a novel of the contemporary period may use more of the informal language
especially where conversations or inner reflections are depicted. This could really include
anything from popular phrases at the time to swear words that the character uses, depending on
the setting. The decision to employ non-standard English would help to develop more realistic
and imperfect characters as well as set the story in the contemporary world.
Thus, although both texts retell familiar stories, their stylistic profiles are acoustically
dissimilar owing to the intended audiences and subjects. Lewis’s works are written in such a way
that the young reader is left with a sense of wonder, and is given a clear moral compass.
McIntire’s novel, on the other hand, probably uses language to convey mature concepts, cross
ethical boundaries, and analyze psychological states. By comparing these four pieces, this
analysis shows how the choices of language, register, dialect, and stylistic features can radically
transform narratives built upon similar foundations.
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Works Cited
Lewis, C. S. “The Lion the Witch and the Wardrobe PDF: Unlocking the Magic | PDF Drive.”
Pdfdrive.com.co, 10 May 2024, pdfdrive.com.co/the-lion-the-witch-and-the-wardrobe-pdf/.
Accessed 22 June 2024.
McIntire, Emily. “Twisted (Never after #4) PDF Download.” D-Pdf.com, 2022,
d-pdf.com/book/5549/read. Accessed 22 June 2024.
