Issues with Racism, Classism, and Ideology in Harry Potter Tiffany L
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Harry Potter, Lord Voldemort, and the Importance of Resilience by Emily
Harry Potter, Lord Voldemort, and the Importance of Resilience by Emily Anderson A thesis presented to the Honors College of Middle Tennessee State University in partial fulfillment of the requirements for graduation from the University Honors College Spring 2017 Harry Potter and the Importance of Resilience by Emily Anderson APPROVED: ____________________________ Dr. Martha Hixon, Department of English Dr. Maria Bachman, Chair, Department of English __________________________ Dr. Teresa Davis, Department of Psychology ___________________________ Dr. Philip E. Phillips, Associate Dean University Honors College ACKNOWLEDGEMENTS I would like to thank Dr. Hixon for her knowledge and endless support of this thesis even when finishing seemed impossible. I would also like to thank my family for the countless hours spent listening to the importance of resilience in Harry Potter and for always being there to edit, comment on, and support this thesis. i ABSTRACT Literature and psychology inadvertently go hand in hand. Authors create characters that are relatable and seem real. This thesis discusses the connection between psychology and literature in relation to the Harry Potter series. This thesis focuses on the importance of resilience or lack thereof in the protagonist, Harry, and the antagonist Voldemort. Specifically, it addresses resilience as a significant difference between the two. In order to support such claims, I will be using Erik Erikson’s Theory of Psycho-Social Development to analyze the struggles and outcomes of both Harry and Voldemort in relation to resilience and focus on the importance of strong, supportive relationships as a defining factor in the development of resilience. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………......i ABSTRACT……………………………………………………………………………….ii CHAPTER 1: INTRODUCTION ...................................................................................... -
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hn hk io il sy SY ek eh hn hk io il sy SY ek eh hn hk io il sy SY ek eh hn hk io il sy SY ek eh hn hk io il sy SY ek eh hn hk io il sy SY ek eh SCHOLASTIC INC. Copyright © 2016 by Ed Masessa All rights reserved. Published by Scholastic Press, an imprint of Scholastic Inc., hn hk io il sy SY ek eh Pub lishers since 1920. scholastic, scholastic press, and associated logos are trade- hn hk io il sy SY ek eh marks and/or registered trademarks of Scholastic Inc. hn hk io il sy SY ek eh The publisher does not have any control over and does not assume any responsibility hn hk io il sy SY ek for author or third- party websites or their content. hn hk io il sy SY ek eh No part of this publication may be reproduced, stored in a retrieval system, or hn hk io il sy SY ek eh transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or other wise, without written permission of the publisher. For information regarding permission, write to Scholastic Inc., Attention: Permissions Department, 557 Broadway, New York, NY 10012. This book is a work of fiction. Names, characters, places, and incidents are either the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental. Library of Congress Cataloging- in- Publication Data Names: Masessa, Ed, author. -
Fantastic Beasts and the Fear of Fascism
Fantastic Beasts and the Fear of Fascism Aalborg University 2019 Master’s Thesis -------------------------------------------------------------------------------------- Christina Dam Simonsen Supervisor: Mia Rendix Table of Contents Abstract ............................................................................................................................................................. 3 Introduction ....................................................................................................................................................... 4 Theory ................................................................................................................................................................ 5 Biography ....................................................................................................................................................... 5 Fascism .......................................................................................................................................................... 6 Speeches ...................................................................................................................................................... 16 Comparison.................................................................................................................................................. 20 Analysis ............................................................................................................................................................ 21 J.K. -
Harry Potter and the Order of the Phoenix
FADE IN EXT. - LITTLE WHINGING - NIGHT It is sunset. We drift through the clouds, approaching NUMBER FOUR, PRIVET DRIVE. We sail over the roof of NUMBER FOUR and continue on past it into the street. We drift down into an abandoned playground. A lone figure sits on the only unbroken swing.. It is HARRY POTTER. He appears deep in thought. Had he been watching more carefully, he would have seen the old MRS. FIGG watching him from her front porch. MRS. FIGG adjusts her porch chair in order to watch Harry better. The sound of harsh laughter reaches Harry's ears. He looks up. Dudley and his gang of followers are walking down the street, telling crude jokes and laughing. They ignore Harry and continue on out of sight. Harry gets to his feet and follows them. EXT. STREET - NIGHT Harry rounds the corner, only to find himself surrounded by Dudley's gang. DUDLEY Oh, it's you. GANG THUG #1 What should we do with him, Big D? Harry laughs. HARRY Big D? Cool name, but to me, you'll always be Ikkle Duddicums. DUDLEY Shut up! One of Dudley's gang steps in as if to punch Harry. Harry glares at him. The gang member pauses, then steps back again. DUDLEY Ooo, tough guy. Not so tough in your bed, are you? 2. HARRY What? MRS. FIGG stands up and goes to the edge of her porch. MRS. FIGG You boys go home now, or I'll be calling your parents! They pause and edge away from Harry. -
Many Faces of Albus Dumbledore in the Setting of Fan Writing
MANY FACES OF ALBUS DUMBLEDORE IN THE SETTING OF FAN WRITING: THE TRANSFORMATION OF READERS INTO “READER-WRITERS” AND THE IMPLICATIONS OF THEIR PRESENCE IN THE AGE OF ONLINE FANDOM by Midori Fujita A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (Children’s Literature) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) October 2014 © Midori Fujita, 2014 ii Abstract This thesis examines the dynamic and changing nature of reader response in the time of online fandom by examining fan reception of, and response to, the character Dumbledore in J.K. Rowling’s Harry Potter series. Using the framework of reader reception theory established by Wolfgang Iser, in particular Iser’s conception of textual indeterminacies, to construct my critical framework, this work examines Professor Albus Dumbledore as a case study in order to illuminate and explore how both the text and readers may contribute to the identity formation of a single character. The research examines twenty-one selected Internet-based works of fan writing. These writings are both analytical and imaginative, and compose a selection that illuminates what aspect of Dumbledore’s characters inspired readers’ critical reflection and inspired their creative re-construction of the original story. This thesis further examines what the flourishing presence of Harry Potter fan community tells us about the role technological progress has played and is playing in reshaping the dynamics of reader response. Additionally, this research explores the blurring boundaries between authors and readers in light of the blooming culture of fan fiction writing. -
CLOSE ENOUGH a Thesis Presented to the Graduate Faculty of California State University, Hayward in Partial Fulfillment of the Re
CLOSE ENOUGH A Thesis Presented to the Graduate Faculty of California State University, Hayward In Partial Fulfillment of the Requirements for the Degree Master of Arts in Anthropology By Robert A. Blew May, 1992 Copyright © 1992 by Robert A. Blew ii CLOSE ENOUGH By Robert A. Blew Date: iii ACKNOWLEDGEMENTS It is impossible to thank everyone who helped with this paper, most of whom did not know they had done so. without their help and encouragement this paper would not have been possible: All those who attended the festivals sponsored by South Bay Circles and New Reformed Orthodox Order of the Golden Dawn (NROOGD), these past few years. Leigh Ann Hussey and D. Hudson Frew of the Covenant of the Goddess for their contributions to the original research. Carole Parker of South Bay Circles for technical editing. Carrie Wills and David Matsuda, fellow anthropology graduate students, for conducting the interviews and writing the essays that were the test of the hypothesis. Ellen Perlman, of the Pagan/Occult/Witchcraft Special Interest Group of Mensa, and Tom Johnson, of the Covenant of the Goddess, for being willing to be interviewed. Lastly, Valerie Voigt of the Pagan/Occult/Witchcraft Special Interest Group of Mensa, for laughing at something I said. iv Table of Contents I. Introduction.. .... .. .. 1 II. Fictional Narrative ................ 3 1. Communication............... 3 2. Projection .............. 8 3. Memory and Perception. 13 4. Rumor Theory .... ...• .. 16 5. Compounding and Elaboration .. ...•.. 22 6. Principle of Least Effort .. 24 III. Test of the Hypothesis ... .. 26 1. Collection Methodology .... .. 26 2. Context and Influences . .. 30 3. -
A FURTHER Divination GUIDE Company, 197 Tism
32 -Ologies & A FURTHER DIViNATION GUIDE Company, 197 tism. Take y< METOPOSCOI ination of thE NAUSCOPY. ing ships or DMITRI A. BORGMANN Dayton, Washington OMOPLATOS< blotched or c In the May 1982 issue of Word Ways, Paul Hellweg presented a ONE I ROSCOF list of 124 English words designating various forms of divination. All of the terms listed ended in the combining form -MANCY, which OOSCOPY. [ specifically means "divination." ORNISCOPY. A second, though considerably smaller, group of words denoting ORNlTHOSCC forms of divination ends in the combining form -SCOPY, meaning "observation, scruti ny I exami nation." Si nce this addi tiona I group PYROSCOPY. seems never to have been collected anywhere, I present a first SCATOSCOP) list of -SCOPY terms for divination here. Readers are invited to expand the list, as well as to compile lists of divination terms TERATOSCOI ending in still other suffixes or combining forms. BLETONISM, for All of the instance, is the faculty for discovering subterranean streams or either from springs through supernatural means, as by using a divining rod. Dictionary. 1 BRONTOSCOPY. Divination of the omen of a clap of thunder. Hellweg's lis graphical en CERAUNOSCOPY. The observance of thunder as an omen; alternativ ly as a vari ely, divination by means of lightning. term (see be DEUTEROSCOPY. Clairvoyance, second sight, or prophetic vision. wi th names E of the two s1= GELOSCOPY. An inferior form of the term GELOTOSCOPY. CHAOMANCY GELOTOSCOPY. Divination of someone I s character or future from the individual's way of laughing. COUNTERNEI HEPATOSCOPY. Divination by inspecting the livers of animals. -
Quidditch Rules and Regulations Purpose: Members of the Order Of
Quidditch Rules and Regulations Purpose: Members of the Order of DeMolay should be challenged to work as a team and develop strategies to achieve goals while maintaining physical fitness and having lots of fun. Additionally, fun activities should be updated to be relevant with current times and trends among the youth. As such, Quidditch, a fictional team game based off of the Harry Potter book series, provides an example of the adaptation to newer generations’ interests and experiences. Providing a fun, intuitive, team building game, chapters will be able to provide exciting experiences which could draw new members and challenge current ones to work together, while building friendships and good sportsmanship expected in the Order of DeMolay. Overview: Quidditch begins with two teams of six or more competing head to head to outscore the other team in a twenty minute match. Participants play while riding brooms (pool noodles) during all parts of the match on the Pitch (field). Teams work together to score by throwing the Quaffle (volleyball or soccer ball) through one of three goals on the opposing side of the game field. To aid in defense, selected team members may throw Bludgers (dodgeballs) at opposing players in an attempt to make them drop any ball they may be carrying and cause them return to one of their goal posts before returning to the game. Near the end of the match, teams can also score additional points by having a seventh player attempt to capture the Snitch (a flag or tail attached to a non- team participant). Direct physical contact should be avoided and may result in a penalty play for the opposing team or ejection from the game. -
Program Book, As Appropriate
GRIGNI Table of Contents From the Con Chair ........................................................ 1 Convention Staff ......................................................... 2 Harassment Policy ................................................. 2 Rules of the Convention ...................................................... 3 Photography Policy ....................................................... 4 Statement on Inclusion ............................................ 4 Hawaiian Shirt Friday (in Memorium) ............................. 4 Featured Guests ............................................................ 5 Guests’ Bios ................................................................. 6 Map of the Con Site .................................................... 20 Event Descriptions Friday .......................................................... 22 Saturday ......................................................... 28 Sunday ........................................................... 35 Dealer Room Hours & Exhibitor List ......................... 40 Signings Schedule .................................................. 40 From the Con Chair Welcome to ConGregate 5! First thing I want to do is thank everyone who came together to make this convention work; and by that I mean volunteers, dealers, guests, hotel staff… everyone! Next I’d like to call out one of the newest features we have at ConGregate this year… the ConGregate Cantina. The Kittinger Ballroom has been converted into a coffee shop, of sorts. In that room, you will find -
J. K. Rowling´S Novels and Their Film Versions Romány J
Univerzita Hradec Králové Pedagogická fakulta Katedra anglického jazyka a literatury a oddělení francouzského jazyka J. K. Rowling´s Novels and their Film versions Romány J. K. Rowlingové a jejich filmové verze Bakalářská práce Autor: Lucie Olivová Studijní program: B7310 – Filologie Studijní obor: Cizí jazyky pro cestovní ruch - anglický jazyk Cizí jazyky pro cestovní ruch - francouzský jazyk Vedoucí práce: PhDr. Patricia Ráčková, Ph.D. Hradec Králové 2015 UNIVERZITA HRADEC KRÁLOVÉ Pedagogická fakulta Akademický rok: 2015/2016 ZÁDÁNÍ BAKALÁŘSKÉ PRÁCE Jméno a příjmení: Lucie Olivová Osobní číslo: P121327 Studijní program: B7310 Filologie Studijní obory: Cizí jazyky pro cestovní ruch - anglický jazyk Cizí jazyky pro cestovní ruch - francouzský jazyk Název tématu: Romány J. K. Rowlingové a jejich filmové verze Zadávající katedra: Katedra anglického jazyka a literatury Zásady pro vypracování: Práce se zaměří na dva texty J. K. Rowlingové, první díl série o Harry Potterovi, The Philosopher´s Stone, a poslední text, The Deathly Hallows. Věnuje se zejména aspektu postav a prostředí, poukáže na jejich specifika a vývoj. Dále se pokusí porovnat pojetí postav a prostředí v uvedených románech a jejich filmových verzích; rovněž si povšimne využití původního textu a dialogů v obou filmech. Rozsah grafických prací: Rozsah pracovní zprávy: Seznam odborné literatury: Vedoucí bakalářské práce: PhDr. Patricia Ráčková, Ph.D. Katedra anglického jazyka a literatury Datum zadání bakalářské práce: 10. prosince 2013 Termín odevzdání bakalářské práce: 5. června 2015 doc. PhDr. Pavel Vacek, Ph.D Mgr. Olga Vraštilová, M.A., Ph.D. děkan vedoucí katedry dne Prohlášení Prohlašuji, že jsem tuto bakalářskou práci vypracovala (pod vedením vedoucí bakalářské práce) samostatně a uvedla jsem všechny použité prameny a literaturu. -
Wands & Witches
Wands & Witches Version 0.42 by @Great_Chicken_Studio Guide by @Manfegor Wands & Witches v0.42 guide @Manfegor Guide Introduction ................................................................................................................................................................. 4 Prologue .................................................................................................................................................................................. 4 Interface ................................................................................................................................................................................... 5 Courses .................................................................................................................................................................................... 7 - Defend Against the Dark Arts lesson ............................................................................................................................... 8 - Potions lesson ..................................................................................................................................................................... 8 - Transfiguration lesson ........................................................................................................................................................ 8 - Charms lesson .................................................................................................................................................................... -
The Significant Other: a Literary History of Elves
1616796596 The Significant Other: a Literary History of Elves By Jenni Bergman Thesis submitted for the degree of Doctor of Philosophy Cardiff School of English, Communication and Philosophy Cardiff University 2011 UMI Number: U516593 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U516593 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DECLARATION This work has not previously been accepted in substance for any degree and is not concurrently submitted on candidature for any degree. Signed .(candidate) Date. STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. (candidate) Date. STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. Signed. (candidate) Date. 3/A W/ STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed (candidate) Date. STATEMENT 4 - BAR ON ACCESS APPROVED I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan after expiry of a bar on accessapproved bv the Graduate Development Committee.