"Disenchantment" (Entzauberung), literally meaning "eliminating magic (Zabuer)," involves the spiritual crisis of modernity. To put it in a nutshell, disenchantment means that the world is no longer seen as a meaningful cosmos. Instead, moderns live in a mechanistics, meaningless universe. Disenchantment is commonly described as the eclipse of wonder in the modern world. Examining the link between thaumazein ("Platonic wonder"), contemplation (theoria), and seeing, this dissertation argues that wonder is essentially linked to the human experience of or yearning for the transcendent. I propose to understand wonder as a way of seeing, "contemplative seeing," the loss of which lies at the heart of the disenchantment of modernity. C. S. Lewis was deeply concerned with addressing and confronting challenges posed by disenchantment. Lewis strongly opposed the reductionist or subjectivist accounts of human meanings that are consequent upon disenchantment, and sought to recover the sense of the world as a locus of meaning. This dissertation demonstrates that Lewis's vision of re-enchantment is anchored in a Platonist, sacramental ontology, a metaphysics of participation, the demise of which, in modernity, is regarded by many as pivotal to the process of disenchantment. Central to Lewis's sacramental view of reality is his spirituality of wonder. I propose that his conversion can be understood as his coming to recognize the ontological significance of his experiences of wonder ("Joy")--an "original conversion," which radically transformed his approach to reality. Linking "Joy," a central motif of Lewis's life and works, to "desiderium naturale" I argue that his "argument from desire" betrays a metaphysical vision that is profoundly sacramental: the natural is innately oriented to the supernatural. This dissertation demonstrates how The Chronicles of Narnia embodies Lewis's vision of re-enchantment. Narnia, the magical world, is an imaginary "sacramental universe" in which all things are alive with transcendent meanings. I read the Narnian scenes of dancing as betraying Lewis's notion of "fullness" as a participation in an enchanted cosmos ("the great dance") and the divine life (the Trinitarian Dance), and Lucy, as a practitioner of "contemplative seeing," which Lewis believed is need for re-enchantment.