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J. K. Rowling's Harry Potter: 14 Ways of Looking at Genius

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J. K. Rowling's Harry Potter: 14 Ways of Looking at Genius J. K. Rowling: 14 Ways of Looking at Genius Item Type Book Authors Widdicombe, Toby Download date 30/09/2021 22:47:19 Link to Item http://hdl.handle.net/11122/12186 J. K. Rowling’s Harry Potter: 14 Ways of Looking at Genius Ed. Toby Widdicombe § Tobold Press § This is the book J. K. Rowling: 14 Ways of Looking at Genius. It was compiled and edited by Toby Widdicombe, Ph.D., Department of English, University of Alaska Anchorage in June and July 2021. This book is licensed under a Creative Commons by-nc-nd 4.0 license. See https://creativecommons.org/licenses/by-nc-nd/4.0/ for more and detailed information. The guidelines for this book are these: ✓ You may share the material in any medium or format as long as you give appropriate credit. ✓ You may not use the material for commercial purposes. ✓ If you remix or transform the material, you may not distribute the modified material. 2 Abbreviations CS Harry Potter and the Chamber of Secrets DH Harry Potter and the Deathly Hallows GF Harry Potter and the Goblet of Fire HBP Harry Potter and the Half-Blood Prince OP Harry Potter and the Order of the Phoenix PA Harry Potter and the Prisoner of Azkaban SS Harry Potter and the Sorcerer’s Stone 3 Contents Elsa Snodderly, “What Muggles and Magic Can Teach Us about Tolerance” 7 Roslyn White, “An Examination of Abuse in the Harry Potter Septet” 17 Jack Butto, “What Makes Harry Potter a Memorable Character?” 53 Mackenzie Lindeman, “The Production of a Functioning Society” 61 Charlene Ducut, “Sex, Sexuality, and Love in J. K. Rowling’s Septet” 71 Melanie Brice, “Good versus Evil” 81 Rosalie Makar, “Popularity of the Harry Potter Series” 89 Tobias Horton, “The Best of the Best and the Worst of the Best” 97 Stephanie Goens, “Colors of the Wizarding World” 105 Stephanie Goens, “The Guardian of the Wizarding World” 113 Heather Lee, “Muggles in a Wizard World” 121 Phillip Granath, “Creation, Cliché, and Omission: The Sins of J. K. Rowling” 129 Phillip Granath, “Azkaban and Alcatraz” 139 Ashley Cook, “Ron Weasley and the Perspective of the Privileged” 147 Works Cited 155 4 Preface The history of this collection of essays is a simple one. I taught a Harry Potter course at the University of Alaska Anchorage in Spring semester 2021. As part of that course, I required students to submit a portfolio of essays on J. K. Rowling’s famous septet of novels. They had to choose from nearly a score of possible prompts. I was impressed by the overall quality of the assignments just as I was puzzled by the absence of an OER collection of essays on J. K. Rowling—by students or, for that matter, professional scholars. It is my hope that this collection will go some way towards closing that gap in scholarship. In part because the cost of textbooks is, frankly, absurdly high. Someone’s making money (and it isn’t professors). What I have chosen to publish here are what I consider the best or most interesting approaches to Rowling’s work as presented by my students. As a percentage of the total portfolio work submitted in Spring semester 2021, this selection of essays represents less than 20 percent of what I read. The sequence of material in this collection is, frankly, not entirely arbitrary. As I recall, the sequence mirrors the order of grading, and that order followed the order of electronic submission to Blackboard. I hope you find these essays as interesting and helpful as I did. Toby Widdicombe, Ph. D. English Department University of Alaska Anchorage June 25, 2021 5 What Muggles and Magic Can Teach Us about Tolerance Elsa Snodderly Acceptance is a uniting force; intolerance is something that isolates a person or a group of people. The relationship between Muggles and magic is complicated in the Harry Potter series--as it is in the real world. Hopefully, one day we can all live in a world of tolerance. Magic or no. efore the age of eleven Harry Potter, also known as The Boy Who Lived, did not know what a Muggle was. In fact, before 1995 most people were B unfamiliar with the word. Some might have argued it was a piece of gibberish they heard their toddler say while rubbing oatmeal in their hair. Nonetheless, the word “Muggle” was not invented in 1995 as some might think. If one were to look up the definition in the Oxford English Dictionary, one would find “Muggle” has multiple definitions. The first definition says it comes from the Latin “mugil” and refers to something resembling a fish’s tail (Muggle n.1). The second defines it as originating from the Italian word “moglie” and seems to refer to a “young woman” or a “sweetheart” (Muggle n.2). The last identifies the word as American slang for cannabis from the mid-1920s to the mid-1980s (Muggle n.3). After 1995, the word started to grow in popularity again, yet this time it had nothing to do with fish, sweethearts, or cannabis. This time around the word had been reinvented by J. K. Rowling in her first installment of the wildly successful children’s series about a young bespectacled wizard Muggles and Magic and Tolerance named Harry Potter and his adventures in the Wizarding world and struggle against the evil Lord Voldemort who despises both Harry and Muggles. But what is a Muggle? According to a friendly half-giant named Hagrid, “‘it’s what [witches and wizards] call nonmagic folk.’” (SS 53). In J. K. Rowling’s fantasy series, most Muggles unknowingly live alongside magic folk, but as the septet progresses so does the division between Muggles and magic. To put it bluntly, the relations between the magical world and the Muggle world are strained for many reasons. Despite the fact that some witches and wizards admire Muggles, others see them as pests to subjugate. On the other hand, not all Muggles aware of the Wizarding world are accepting; some even fear it and turn to a medieval ideology that separated the worlds in the first place. In examining the septet as a whole, especially the struggle between Muggles and magic folk, one observes how J. K. Rowling uses the addition of Muggles in her books to provide a place for her audience to exist in her magical world as well as a conflict in the series which offers multiple perspectives that illustrate the destructive nature of intolerance. The Wizarding world was not always hidden from Muggles. There was a time when wizards and Muggles lived together, but in the Middle Ages Muggles became fearful of the potential of magic, sending magic into hiding to protect itself from mobs, pitchforks, and burning pyres. At least that is what happened in the Harry Potter universe. Rowling’s decision to have the Wizarding world separated from the Muggle world gives the feeling of realism to the story. In the series, most Muggles live in blissful ignorance of the Wizarding world and those who do know about it are either 8 Muggles and Magic and Tolerance authority figures or closely affiliated with someone magical through a familial relationship or marriage. This secrecy is promoted and enforced by the Ministry of Magic under the International Statute of Secrecy (DH 318). To ensure their world is not discovered, the Minister of Magic corresponds with higher authorities in the Muggle government. For example, Cornelius Fudge explains the function of the Ministry of Magic to the Muggle Prime Minister as shown in Harry Potter and the Half-Blood Prince. Fudge mentions that the Ministry of Magic runs and conceals the Wizarding world from Muggles and only contacts the Muggle Prime Minister when necessary (5). This decision illustrates the divide between the two worlds and the kind of work required to keep witches and wizards safe from Muggles. For example, Professor Binns in Harry Potter and the Chamber of Secrets explains in a lecture that “‘Hogwarts was founded over a thousand years ago--the precise date is uncertain--by the four greatest witches and wizards of the age. They built this castle together far from Muggle eyes, for it was an age when magic was feared by most common people’” (150). Considering the series is set in the 1990s, the construction of Hogwarts would be dated to around 990 A. D. although, as Professor Binns notes, this is not an exact date. Adding historical details, such as the fear of magic in the early Middle Ages, as a reason for witches and wizards to go into hiding is an excellent way to make the story more realistic for the audience. This quality in turn makes the struggles in the world more real. Also, the fact Rowling makes a point early on in the series to emphasize the ancient struggle between magic and Muggles shows the importance it has as a plot point in the story. Its importance becomes more apparent with the introduction of blood purists or pure-blood 9 Muggles and Magic and Tolerance supremacists and their animosity towards Muggles and their occasional magical offspring. Pure-blood supremacists are witches and wizards in the magical world who believe magic should only be kept within magical bloodlines to avoid what they call Mudbloods. The word “Mudblood” is a vulgar slur in the Wizarding world that refers to the magical offspring of Muggle families (CS 115-116). The prejudice of pure-blood supremacists provides a perspective and representation of the illogical hate towards a group of people. Hermione Granger, a bright Muggle-born witch, is subjected to blood- purist prejudice in an encounter with Draco Malfoy in The Chamber of Secrets, “The smug look on Malfoy’s face flickered.
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