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NOTE TO USERS This reproduction is the best copy available. UMf University of Alberta Cultural Contexts and Cultural Change: The Werewolf in Classical, Medieval, and Modern Texts by Renee Michelle Ward A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Department of English and Film Studies ©Renee Michelle Ward Spring 2009 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. 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"Life is what happens to you while you're busy making other plans." -John Lennon, "Beautiful Boy (Darling Boy)" Abstract Cultural Contexts and Cultural Change: The Werewolf in Classical, Medieval, and Modern Texts makes original contributions both to werewolf studies and to Harry Potter criticism; its chapters support the overarching argument that lupine figures defy any single interpretation and must, therefore, be approached as sites of potentially varied meanings within their relevant historical and cultural contexts. Each wolf or werewolf is examined as an independent literary figure rather than as an example of a specific type or traditional category of lycanthropy based upon a human-beast dichotomy. The project's first two sections ("Antiquity" and "The Middle Ages") treat sources and analogues in which lupine figures articulate political commentary on transgressive or threatening social behaviours—especially those associated with specific groups or individuals who are responsible for the order and security of a nation—early theriomorphic belief systems and rituals, and creation and destruction myths (classical and medieval). It includes narratives such as the classical tales of the Arcadian king, Lycaon (for instance, Ovid's "Lycaon" in Metamorphoses), medieval tales of sympathetic werewolves (for instance, the alliterative William ofPalerne), and medieval Norse myths of the cataclysmic figure Fenriswolf. These discussions provide the foundations for the final section ("The Harry Potter Series"), which examines J. K. Rowling's werewolf figures, Remus Lupin and Fenrir Greyback. This section demonstrates the ingenuity of Rowling, her ability to take something familiar, something already invested with myriad meanings, and to reshape it in a new and meaningful manner. It demonstrates that, like her literary predecessors, Rowling negotiates, through the use of the werewolf figure, the concepts of identity and difference, particularly those connected to issues of violence and the boundaries between the human and the animal. More importantly, however, it concludes that Rowling uses her werewolf figures and narratives to effect change, to challenge accepted concepts of identity and difference and to challenge readers' expectations and understandings of the world around them. In short, it demonstrates that Rowling fulfills the role of the maker outlined by Alberto Manguel: she illuminates, "to constantly induce us, the readers, to redefine our beliefs, enlarge our definitions, and question our answers" (22). Acknowledgements There are many people to whom I owe thanks for the support they have given me throughout my graduate studies. While I cannot possibly thank everyone here, I would like to thank those who have had the biggest impact overall on my doctoral work. First and foremost, I thank my supervisor, Stephen Reimer, for his ongoing support, and for his extensive feedback and guidance. Steve has always pushed me to do more and to think more critically, but he has always done so with a positive, encouraging tone. I thank Steve, most of all, for his patience, compassion, and understanding over the past three years, which, for personal reasons, have been the most difficult part of the journey. His supervision has been a beacon throughout my doctoral work, and it goes without saying that any errors or oversights within this project are entirely my own. Likewise, I thank my committee members, Garrett Epp and Chris Gordon-Craig, for their support, feedback, and patience. Garrett also, in my first year, made me feel especially welcome; he made me feel as though the University of Alberta was the right place for me. Chris has continually provided me with new (and fun) items to read, for which I am grateful. I also thank my external examiner, Roderick McGillis (University of Calgary), and my internal examiner, Margaret Mackey (Information and Library Sciences), for their insightful questions and feedback during my defence. I owe a special thanks to James Weldon (Wilfrid Laurier University). I have known Jim in many capacities over the past seventeen years. I have been Jim's student (both undergraduate and graduate), his Research Assistant, and his Teaching Assistant; I have worked with Jim on the board for the Canadian Society of Medievalists, and I have known him through other medieval organizations, such as the Interdisciplinary Medieval Studies Group at Laurier. Most importantly, however, Jim has been an unwavering supporter and a good friend. He is the one who, when I was an undergraduate, introduced me to medieval literature and medieval studies, and he is the one who encouraged me to pursue further studies in this area. He also introduced me to the concept and importance of having a sharp weapon in one's office, and, I am pleased to say, while he has his sword, I now have both a sword and an axe. Jim has had a profound influence on me as a person and on my academic career. I am forever in his debt. I owe special thanks to Michael Fox (University of Alberta) and Andrea Schutz (St. Thomas University). Mike has been supportive and encouraging, and has given me much valuable advice over the course of my studies. He has also been a good friend, and I thank him especially for the support he gave in times of crisis. Likewise, Andrea has been both a friend and colleague. We share a passion for werewolves and for Harry Potter, and we have had many fruitful conversations on both topics. I also owe Andrew Wawn (University of Leeds) much thanks because he introduced me to the reality that academic work on the relationship between medieval literature and modern fantasy literature was viable. Quite literally, the title of the course I took with Andrew (Medieval to Modern) represents the type of research that I love, pursue, and teach. The members of my writing group—Sheila Christie and Elyssa Warkentin— deserve enormous thanks. They saw much of my work in its earliest (and most deplorable) stages, and have provided me with valuable feedback over the past several years. Truly, this community was what kept me sane during some of the most difficult writing stages. I also owe thanks to the team at Campus Recreation (Department of Physical Education and Recreation), with whom I have worked for the past seven years. Campus Recreation is like an extended family, and I especially thank the program coordinator, Jocelyn Chikinda, for all of the support and flexibility that she gives her instructors, including me. Likewise, I thank all of the members of The Nice Wantons, especially Lesley Peterson, Aimee Morrison, Claire Campbell, and Ernst Gerhardt, with whom I have shared many moments of release and laughter. I thank the administrative staff in the Department of English and Film Studies at the University of Alberta: Kris Calhoun, Kim Brown, Mary Marshall Durrell, Marcie Whitecotton-Carroll, Leona Erl, Carolyn Preshing, Elisabeth Kuiken, Shamim Datoo, Linda Thompson, Nicole Kent, Susan Henry, and Shari Kasinec.

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