THE WORLD OF HARRY POTTER

2. THE WORLD OF HARRY POTTER

3. Who/What is: Harry Potter Dumbledore Muggles Quidditch Dementors A Pensieve

4. What is ’Harry Potter’? • The books and • The films and • The fanware and • The games and • The websites and • Etc, etc, etc… • OR?

5. How to study Harry Potter 1. Analysing a novel, or series of novels 2. Analysing all forms of cultural text

6. Approaches • Analysing a novel, or series of novels Literary approaches (theory and methodology), for example formalist, reader-response, genre theory, feminist.

7. Approaches 2. Analysing all forms of cultural text Cultural approaches, theories and methods (cultural theory, sociolology, feminism)

8. Literary approaches

9. Harry Potter as a mosaic of genres • Pulp fiction • Series books • Mystery • detective fiction • Buildungsroman • School stories • Sports stories • Realism • Fantasy • Adventure tales • Quest romance and myth.

10. Harry Potter as a mosaic of genres Pulp fiction • popular or sensational writing (poor quality)

11. Harry Potter as a mosaic of genres Series books • titles: Harry Potter and… • The same group of characters • structure of plot repeated

12. Titles: Harry Potter and: • The Sorcerer’s Stone: fantasy, magic, myth • The Chambers of Secrets: mystery, thriller fiction, horror • The Prisoner of Azkaban: crime thriller, gothic tale • The Goblets of Fire: adventure, fantasy, mysticism • The Order of the Phoenix: thriller fiction, mysticism • The Half-blood Prince: fantasy, myth • The Deathly Hallows: crime thriller, mysticism, horror.

13. Harry Potter as a mosaic of genres Mystery • detective fiction • Main mystery: who is HP? Who is Voldemort? Why can V not kill H? • Specific mysteries in each book: Prisoner: the identity of Sirius Black

14. Harry Potter as a mosaic of genres Buildungsroman • Focus on physical, intellectual, moral and spiritual development of main character from childhood to adulthood • Main character goes through various situations and crises, which lead to maturity and recognition of his identity and place in the world. • Genre motifs such as: loss of father, conflict between past ideals and present struggle, the search for and discovery of love

15. Harry Potter as a mosaic of genres School stories • Sports stories • Hogwarts and its houses • “schooldays as they should be” (practical jokes, sports, studying). • Dumbledore as headmaster (kind, charismatic, powerful, knowledgable, high moral • McGonagall as role model teacher • Snape as anti-role model • (Quidditch) – to teach values as loyalty, courage, leadership, etc

16. Harry Potter as a mosaic of genres Realism • Takes place in the real world (England of today) • Realist aspects: students go to class, do homework, and have the same experiences as at any British public school

17. Harry Potter as a mosaic of genres Fantasy • Fantasy aspects: in the detail: owl post, live photographs, magical creatures • What they learn at Hogwarts: magic and the history of magic, etc • other fairy tale elements: dragons, unicorns, trolls, giants, and • settings such as castles, huts, towers, woods

18. Harry Potter as a mosaic of genres Fantasy and realism • Blending the familiar with the unexpected (for the reader comfort and excitement at the same time) • The wizard world has • its own financial system • its own political system • its own transportation system • its own educational system • its own candy.

19. Harry Potter as a mosaic of genres Adventure tales involves a quest • noble-natured hero forced to face dangers • with faithful companions • and helpers who know more than he does • The plot climaxes in the final battle against the main opponent

20. Harry Potter as a mosaic of genres Quest romance and myth Three stages of quest romance: agon (conflict) pathos (death-struggle) anagnorisis (discovery) Myth: forces of good and evil, mythical elements

21. Topics for project work (emnestudier) – literary approaches • Pick one or more genre(s) and examine what roles they play in one (or more) Harry Potter book(s) – for example for plot or character construction. • The Harry Potter books have been described as ”Kidlit” – what is that and is it important for how we, as ’literature scholars’ approach the books? Can we use the same literary methodologies we use for adult literature? • Pick a theme that you think is interesting and analyse one or more book(s) in the light of that (how is gender thematized, how are female characters constructed, how should we read Hermione’s character? What is her role for the plot? etc). • Compare Harry Potter (books or films) to other examples of fantasy (books or films) – for exampe The Chronicles of Narnia and analyse how they ’use’ the fantasy genre.

22. Cultural approaches HP as a consumer craze or fashion • Sales figures • The books: • Third on the all-time bestsellers list: • The Bible (2.5 billion copies sold) • The Thoughts of Chairman Mao (800 million) • HP (325 million copies, translated into 65 languages) (June 2007) • The Films: • The first five films: 4.4 billion USD, • total admissions 728 million (as of August 27, 2007) • DVD, video and broadcasting rights: 750 million USD (2004)

23. Cultural approaches HP as a consumer craze or fashion • The author: • J.K. Rowling the second richest woman in global entertainment (after Oprah Winfrey) • 13th richest woman in Britain in 2007 (richer than Queen Elizabeth II, who is only number 21!) • The HP brand: • estimated value 4 billion USD (as of July 2005) • Merchandise: ?

24. Cultural effects • The appearance of innumerable similar children’s books (including two by Rowlings herself (using pseudonym)) • Children’s books have changed from short, realist tales (until the mid 1990s) • Increase in children’s literacy • Emergence of Potter communities on the internet (blogs, fansites, fanfiction and fanart, discussion boards, etc) • Official and unofficial cultural events (in particular in connection to the release of Deathly Hallows) • New words are now part of the vernacular (quidditch,, Gryffindor, Hogwarts). “Muggle” entered the Oxford English Dictionary in 2003. • National Health glasses back in fashion • Owls are increasingly popular as household pets • HP as Britain’s biggest cultural export since the Beatles and James Bond.

25. Cultural effects • Entry printed from Oxford English Dictionary Online • Copyright © Oxford University Press 2007 • Muggle, n.4 • DRAFT ENTRY Mar. 2003   • Brit. /mgl/, U.S. /mgl/  Also with lower-case initial. [< MUGn.6 + -LE 1, invented by J. K. (Joanne Kathleen) Rowling (b. 1965), British author of children's fantasy fiction (see quot. 1997).]  •     In the fiction of J. K. Rowling: a person who possesses no magical powers. Hence in allusive and extended uses: a person who lacks a particular skill or skills, or who is regarded as inferior in some way. • 1997 J. K. ROWLING Harry Potter & Philosopher's Stone i. 10 Rejoice, for You-Know-Who has gone at last! Even Muggles like yourself should be celebrating, this happy, happy day! 1999Computer Weekly (Nexis) 2 Sept. 2 Our new senior DBA starts on Monday. She's a muggle. No IT background, understanding or aptitude at all. 2000News Tribune (Nexis) 17 July C1 Thus fielding a team of muggles in a league of wizards, the Storm opened the season with four losses.

26. Cultural effects • Harry Potter Works Magic: Getting Kids to Read • By STEVEN MCELROY . Published: July 25, 2006. New York Times. • "The Kids and Family Reading Report," released jointly by Yankelovich, a consumer research company, and Scholastic: • 51 percent of "Harry Potter"readers ages 5 to 17 said they did not read for fun before discovering Harry, and that • 65 percent said they have done better in school ever since. • Parents were even more exuberant, with 76 percent saying their children were performing better in school.

27. Cultural consumption of HP • Reading the books • Watching the films • Buying the merchandise http://harrypotter.wbshop.com/?referral_id=WBWIZSHOP (official HP shop) • Belonging to a Harry Potter internet community • Writing fanfiction/ producing fanart • Writing Fan mail (two anthologies are published: We Love Harry Potter!(Moore, 2001) and Kids’ Letters to Harry Potter (Adler 2001) • Participating in HP events and conferences (i.e. Sectus 2007 http://www.sectus.org/ ) • Staging the stories unofficially as school plays • Playing the music from the films • Going to HP theme parties.

28. HP as an internet phenomenon • Official websites • J.K. Rowling’s official site: http://www.jkrowling.com/ • Rowling’s British publisher:www.bloomsbury.com/harrypotter • Rowling’s American publisher: www.scholastic.com/harrypotter/home/asp • Harry Potter films: http://harrypotter.warnerbros.com/index.html • http://harrypotter.dk.warnerbros.com/site/index.html • Well-established unofficial tribute websites and fansites: • www.the-leaky-cauldron.org • www.harrypotterfanzone.com • www.mugglenet.com • www.hpana.com • www.immeritus.org • www.hp-lexicon.org • www.harrypotterfanfiction.com • www.fanfiction.net

29. Consumer research • In June 2007, 51% of persons age 12+ in the US knew that Deathly Hallows would be released in July • 28% of persons age 12+ in the US had read one or more HP books (2007) • 15% had read all six novels(2007) • 50% of all UK households own at least one HP novel (2002)

30. Consumer research An analysis of message-board postings on the web showed: • 2/3 of Potter posters are under the age of 18 (most between 12-16) • Of those between 12 and 16, 2/3 are female, though male participation is much greater in film-related message boards.

31. What will end the HP as a consumer craze /What challenges the HPbrand? • When it becomes too familiar? • When everybody has it? • When there is too much ‘here-we-go-again’ marketing?

32. Topics for project work (emnestudier) – cultural approaches • What is about the HP books that has made them so popular? • What is it about our culture that embraces the HP books and have turned HP into such a phenomenon? • Look at the reception of HP – why has HP been banned (for examples by groups in the US)? • Examine the concept of ‘fanfiction’ and look at some HP stories – for example focusing on how and what genres they rely on and emphasize • Examine some of the tribute websites • Examine the target audience of the books/films – do they grow up with Harry?

33. Topics for project work (emnestudier) –other approaches • Examine the develment in children’s books since 1995 – can the development been seen as a consequence of HP, or is HP itself part of a general change with children’s books? • Discuss the translations of HP into another language in the light of translation theory.