Journal articles on the topic 'Harry Potter series (Rowling, J. K.)'

One of the current issues in modern linguistics is the study of authorial neologisms, because language is considered to be a living dynamic system that is constantly evolving, changing, and the language of fiction is a rich source that serves as a basis for studying these changes. Our work is based on the definition proposed by O. O. Selivanova, according to which a neologism is a word or compound used by language in a certain period to denote a new or existing concept or in a new meaning and are perceived as such by native speakers. Neologisms belong to the passive vocabulary of the language, but over time they are assimilated by it and move to common vocabulary, losing their status as neologisms. Thus, the series of novels about Harry Potter is characterized by J. K. Rowling’s terminology, which is innovative and unique, which is a feature of the author's idiosyncrasy. The aim of the article is to reveal the thematic features of the use of author’s neologisms in J. K. Rowling’s novels about Harry Potter. Research methods are: theoretical general scientific methods (generalization, induction and deduction); empirical-theoretical methods (analysis, synthesis, modeling, system method and classification method); method of linguistic observation and description. The analysis showed that the most productive way to create authorial neologisms in J. K. Rowling’s novels about Harry Potter is word formation, because word formation is based on the principle of language economy. The themes of authorial neologisms in J. K. Rowling’s novels about Harry Potter are broad, as they are used to denote everyday realities: magical objects, food and drink, currency, the names of academic disciplines at Hogwarts, holidays and games, and more. Author’s neologisms are also words that denote ethnographic and mythological realities: ethnic and social communities and their representatives; deities, fairy-tale creatures. The author’s neologisms in J. K. Rowling’s novels about Harry Potter also include vocabulary that calls the realities of the world and nature: animals and plants, onomastic realities are anthroponyms: students, teachers, and toponyms: spells. Spells can be divided into two groups: spells in which Latin words are used; spells that use the magician's native language. Prospects for further research can be traced in the lexical-semantic and stylistic analysis of occasionalisms of the writer's works, both in individual works and in the implementation of a comprehensive analysis of the author's neologisms.

This article discusses the issue of politics and hegemony in Harry Potter, a fantasy series by British author J. K. Rowling. The work is apparently coded with class systems and hierarchy in its society, and how it can be seen as a reflection of real-life society. It explores how the ruling group tries to keep the power only on the hands of the few by inserting their views and ideologies to their people, and thus resulting into a certain status quo that the ruling group finds desirable. The seven novels of Harry Potter are analysed through Marxist perspective using Antonio Gramsci’s theory of Cultural Hegemony, in which the people in power impose and spread their ideas to those below them as a way to control them. It is concluded that the series also involves criticisms on class domination, corruption on power, and rebellion.

Abstract As J.K. Rowling continues to develop the fictional universe that has brought her fame, an already extensive gallery of female characters has been enriched with the portraits of some memorable and complex women. Her most recent heroines hold positions of power previously held only by men in the Harry Potter series or prove to be quite a match for their male counterparts. This paper proposes an analysis of the most important female characters in Harry Potter and the Cursed Child (July 2016) and Fantastic Beasts and Where to Find Them (November 2016).

J. K. Rowling has written seven novels in the Harry Potter series. This fiction series has also inspired the educationists and academicians and it has been introduced in different western colleges as part of their syllabi. Warner Brothers made the films based on all the novels of Harry Potter series. Harry Potter World, the studio where these movies were made, is a tourist spot in London and thousands of fans from all over the world visit it every week. The present study explores teaching of Harry Potter and The Philosophers Stone in the light of Barthes Narrative Codes with emphasis on hermeneutic codes and their roles in the building blocks of narrative structure of the novel. The result of the study shows the extensive use of enigma and delays in the series to make it captivating and interesting for the readers.

J. K. Rowling has written seven novels in the Harry Potter series. This fiction series has also inspired the educationists and academicians and it has been introduced in different western colleges as part of their syllabi. Warner Brothers made the films based on all the novels of Harry Potter series. Harry Potter World, the studio where these movies were made, is a tourist spot in London and thousands of fans from all over the world visit it every week. The present study explores teaching of Harry Potter and The Philosophers Stone in the light of Barthes Narrative Codes with emphasis on hermeneutic codes and their roles in the building blocks of narrative structure of the novel. The result of the study shows the extensive use of enigma and delays in the series to make it captivating and interesting for the readers.

Despite its phenomenal success, and in some cases because of it, J. K. Rowling's Harry Potter series has provoked unease in some readers on both aesthetic and ideological grounds. This essay seeks to supplement the important contribution of scholars like John Pennington, Suman Gupta, Elizabeth Teare, Jack Zipes, Elaine Ostry and Michael Ostling by foregrounding what I see as a still under-examined issue: Rowling's decision not to install her wizards and witches in a distinct secondary world. I argue for a systematic connection between this key narratological option and Rowling's conflicted ideological commitments across the seven books. The lack of a self-coherent fantasy realm, I suggest, leads Rowling into severe pragmatic confusion on several fronts, with a host of ideological as well as narrative anomalies arising symptomatically to trouble her text.

The aim of the paper is to answer the question what was the Andrzej Polkowski’s intent of using domestication and foreignisation strategies in indigenous Harry Potter series translation. Selected fragments of the novel are referring to the widely understood ‘food’ category and are compared in terms of language and culture. It is known that the Polish translator extends (but does he always domesticate?) the world presented in the novel to the reader’s country. However, it is really ambigious, how these extensions affect the interpretation of Polish recipient.

J. K. Rowling’s Harry Potter series follows the tradition offantasy works such as Tolkien’s The Lord of the Rings. Animportant difference from these, however, is that it showsthe contemporary mage looking for answers for fundamentalexistential questions of identity.

This essay examines the cultural maps of Eastern European nations drawn by Philip Pullman in His Dark Materials trilogy, Jonathan Stroud in The Bartimaeus Trilogy and J. K. Rowling in the Harry Potter series. I argue that each of those authors, in subtle and unintentional ways, perpetuates Western politico-cultural superiority in regard to Eastern Europeans. One reason for this may be that Pullman, Stroud and Rowling share a specifically British cultural attitude of regarding the continent as alien and incomprehensible. This perspective is part of a fuzzy cluster of notions, seemingly widespread across Europe, which comprise what Lawrence J. Sharpe calls ‘an East-West continuum of cultural one-upmanship’ (309). As the most westerly people on this continuum, so the explanation goes, the British tend to look down on everyone else to the East. My focus in this article is on how these attitudes are communicated in some of the most internationally popular British fantasy series of the recent years.

The article is concerned with the novel series about Harry Potter by J. K. Rowling in terms of its influencing the formation and development of a high school reader’s personality. The purpose of the article is to carry out a didactic interpretation of the novel series in order to determine the personality developing potential of the picture of the world and the concept of man, created by the writer; to determine the significance of the meanings found in the process of interpretation of the influence on the axiological sphere of a modern person; to comprehend the saga as a programme for a young person, training for the tasks and challenges of the modern world, related to the need for lifelong learning and development in order to harmonize individual and general existence. While carrying out the interdisciplinary research, humanitarian according to its formal and substantive features, we used general scientific theoretical methods of studying literary sources, description, analysis, synthesis, interpretation; pedagogical and methodological methods of Педагогіка – Education Science and Education, 2019, Issue 4 40 observation, as well as education and training by means of art; literary methods, in particular hermeneutic, cultural-historical, comparative-historical. The didactic interpretation of the article shows that life emerges in the space of the novel series about Harry Potter as a super-complex spiritual and intellectual riddle that can only be solved through the best efforts of the mind and heart, working tirelessly with all other people, each time taking on a new level of awareness of the tasks and the possibilities of solving them. That is, life requires constant personal development, and complete self-realization of a person, which introduces him or her into the space of history, leads to the harmonization of personal and general being. Only in the path of personal development and creative existence in the space of history can we build an algorithm of actions that can lead to a miracle - ordinary human happiness, which is based on love and therefore opens new horizons of being.

J. K. Rowling's popular Harry Potter series describes a magical world of witches and wizards that exists in the ordinary world. Captivating an entire generation, Harry Potter is a lore that can teach today's undergraduate social work students about the power of advocacy for social change and the pursuit of social justice. Activating Millennial motivation, this cultural phenomenon provides themes, characters, and magical environments exploring identity, human development, trauma, families, oppression, privilege, power structures, groups, and diversity. For instance, how does studying at Hogwarts School of Witchcraft and Wizardry illuminate the intersectionality of identities in our pluralistic society? How does Draco Malfoy's exploration of his pureblood privilege and prejudice reflect White guilt and racism? And most poignantly, what role does Harry Potter play as change agent? This article takes us into the Pensieve to describe the scaffolding development of the course titled The Spell Craft of Social Work: Harry Potter and Social Justice.

This article describes the core structure of one of the most important concepts in the series of novels by J. K. Rowling «Harry Potter», the concept «witch» and its corresponding concept in the Russian language, the concept «ведьма». Both of these concepts are extremely important for the majority of fantasy pieces of literature, they contribute to the authentic worldview. The model of the author’s concept «witch» is conveyed with the help of the analyses of verbalization of the concept in the original text. The invariant features of the concept are identified by comparing the models of traditional and author’s concepts, as well as the unique markers of the author’s concept. The most common transformations and techniques used by translators are highlighted through the comparative analyses of two variants of translation of the same novel. This also shows the ways that were used to verbalize the English concepts in Russian translation.

Literature is a significant part of any nation’s cultural heritage, its continuing existence depending on the values which are handed down from era to era, from generation to generation. Most traditional Thai literature follows the same conventions. The influence exerted by western literature helped to foster the development of contemporary Thai literature, but at the same time relegated traditional literature to the back burner, seemingly remote from contemporary Thai life. This can clearly be seen in contemporary children’s literature; for example, it is obvious that at the present time the books in The Adventures of Harry Potter series by J. K. Rowling are bestsellers that have captured the hearts of children all over the world. Witches and the magic of the western world are borrowed by authors of children’s literature and even play a role in some Thai children’s books as well. Nevertheless, there are a number of Thai writers who appreciate traditional Thai literary works and who have made an effort to revive some works of traditional Thai literature both in terms of content and style. They narrate new versions of classical literature in modern form and with more up-to-date content in a manner that appeals to young readers.

Because of the current fantasy trend to represent lycanthropy as a genetically inherited or inborn feature, with werewolves frequently belonging to werewolf families and/or packs, many contemporary narratives for children and young adults encourage readings of lycanthropy as a metaphor for racial or ethnic difference. Diverse representations of lycanthropy, from monstrous and sympathetic werewolves to benevolent and idealised werewolves, non-essentialist werewolves, and incommensurable werewolves thus suggest shifting conceptions of race and ethnicity. The divergent ideological implications of these distinctive werewolf schemata are analysed in a variety of contemporary children's and young adult fantasy texts, including Maggie Pearson's Owl Light ( 1996 ), Annette Curtis Klause's Blood and Chocolate ( 1997 ), Patrick Jennings's The Wolving Time ( 2003 ), J. K. Rowling's Harry Potter series (1997–2007), and Stephenie Meyer's Twilight series (2005–8).

The research focuses on fantasy literature peculiarities and points out the difficulties of translating the texts of such genre. The comparative analysis of folklore and mythical names translation is implemented as illustrated by two variants of translation of the literary work.

The purpose of this research is to gain a deep understanding: 1) The novel structure consisting of theme elements, plot, background, characterization and the message contained in J.K. Harry Potter novels Rowling. 2) The values of character education that include mindset, behavior, attitude, creativity and interest in J.K. Harry Potter's novels Rowling. And 3) The values of character education are viewed from the structural angle of hermeneutics contained in J.K. Harry Potter's novels. Rowling. This research uses qualitative approach with content analysis method, through hermeneutic study based on textual hermeneutic and cultural hermeneutic. The findings of the overall research values of character education in J.K. Harry Potter's novels Rowling's review of hermeneutic studies consisted of: the pattern of pikers amounted to 46 or 58.9%, attitudes amounted to 68 or 94.35% behavior 51 or 53.7%, interest amounted to 30 or 44.6%, and creativity amounted to 42 or 48, 5%. Based on the above data can be concluded from the three of Harry Potter's novels by J. K. Rowling the most is the attitude amounted to 68 or 94.35%. In the development of the story in J. K Rowling's Harry Potter novels emphasizes attitude. Meanwhile, the value of education as the least interest emerging amounted to 30 or 44.6%.

<em>The purpose of this study is to describe (1) the form of directive speech acts in JK Rowling's Harry Potter novels year 1 and 2, (2) the form of language politeness, (3) the relevance of the Harry Potter novelsyear 1 and 2 in Indonesian language learning to students in middle school. The data collection technique used in this study was purposive sampling and data analysis used an interactive analysis model. The results of this study indicate that the form of directive speech acts and compliance with the principles of politeness contained in the Harry Potter novels year 1 and 2 by J. Rowling are as follows: (1) speech acts; requests, questions, rules, prohibitions, granting permits, and directive forms of counseling which numbered 419 data; (2) compliance with the principles of teacher and student politeness during the learning process is found as many as 118 data; (3) Harry Potter novels year 1 and 2 by J. K. Rowling are related to literary learning in junior high schools.</em>

Si bien existen numerosos artistas que han cultivado obras literarias y plásticas en paralelo, poco se ha estudiado el modo en que sus producciones visuales se vinculan con la literaria y viceversa. En este artículo se analiza la relación entre los dibujos y la escritura de J. K. Rowling. Utilizamos elementos de la crítica genética y los estudios comparados para pensar lo que se dicen mutuamente las producciones visuales y literarias de esta autora sobre el universo ficcional de Harry Potter.

Any forecast of the pandemic dynamics has proven to be far away from what has really happened, particularly in South America. In most of our countries, we are still struggling with what has been called the first wave. The virus has impacted not only our health status but also every aspect of our lives, including our daily work. Spending less time in the operating room has a positive side that each one has experienced differently. It has provided the opportunity for more quality time with the family and an understanding of how vulnerable we all are, how complicated politics and economic decisions are, and how important the way we all communicate and share experiences is.Most of us have seen our workplaces becoming busy with an increasing number of patients, which has led us to cancel any elective surgery and stay home in isolation. This difficult time we are going through has allowed us to think about our purpose in life, especially as physicians. We have been forced to develop new ways of teaching medicine, researching, and even practicing medicine. Most importantly, difficult times require that we learn a new way of living.This has led us to reflect on the importance of research and on how important it is that all of us give our best for our patients. Treating patients well impels us to be informed, to be updated about new knowledge, and to practice our skills while continuously looking for answers. The virtuous circle to be a good doctor should always include clinical practice, medical education, and research.When I was asked to write this editorial, one thought immediately came to my mind: how easily some journalists and public figures get into trouble after making a comment, writing an editorial, or even after publishing a post on social media. A recent example is what happened to J. K. Rowling, the famous author of the Harry Potter series. Last December, she tweeted her support for Maya Forstater, who was fired for what were deemed “transphobic” tweets. Rowling has received accusations and threats from trans activists and many worldwide famous people. A single ‘like’ was deemed evidence of ‘wrongthink’, and a persistent level of harassment began. The world has definitely changed, and everyone’s comments and behaviors are completely public. We should not be afraid to speak up and express our opinion, we should not be stopped by the fear of having people against us. As physicians, we are all exposed by expressing our medical opinion every day in the office, in a meeting, or even in a remote setting. Every decision and opinion should be based on evidence, but they will inevitably include our personal background-which is a mix of knowledge and personal life experience. Hopefully, these opinions will always express our genuine interest in the patients and their families as our main focus.As I get older, I pay more attention to the basis of my daily practice, which begins with proper information provided by good sources of medical education such as this journal. However, acquiring reliable information is just the beginning of the path toward good medical practice. The remainder of the path-the most important part of it-must be trodden by a human being truly interested in doing the best for his/ her patients every day. It has always amazed me that everyone who I admire as a physician is, at the same time, a professor, a researcher, and an amazing human being. This journal is the result of the efforts of a group of people who are truly committed to learning, teaching, and investigating, thus producing friendly feedback and updated knowledge.

La presente investigación, tiene como objetivo la realización de un perfil psicológicode J.k Rowling y de Severus Snape, personaje de la heptalogía de libros de Harry Potter, de la autoría de Rowling. Este perfil se basa en la revisión del material cinematográfico, de la octología basada en los libros ya mencionados y en la película Magic Beyond Words,basada en la vida de J.K Rowling, además de la perspectiva de la psicología cognitiva-postracional. Dentro de los principales resultados encontrados, está el hecho que J.K. Rowling y Severus Snape tienen el mismo patrón de apego, pero no la misma organización de significado personal (OSP), debido a que Rowling es OSP obsesiva y Severus es OSP depresivo; sin embargo, por su configuración de apego evitante, sí son dos caras de la misma moneda.

Данная статья посвящена анализу особенностей перевода псевдореферентной лексики произведений современной британской писательницы Дж. К. Роулинг. Рассматриваются характеристики псевдореферентной лексики, подлежащие учету при переводе, а также эффективность переводческих позиций, использованных при ее передаче на русский язык. The article deals with the various features of pseudo-referent vocabulary that has been created by the modern British writer J. K. Rowling to describe a possible world. The main aim of the article is to analyse what translation strategies and techniques are to be used when rendering pseudo-referent vocabulary into Russian.

The article explores the extcnt to which the features of trivial literature appear in the Harry Potter series by J. K. Rowling.This is done in comparison with another popular children's series, The Famous Five by Enid Blyton, which was analysed by Igor Saksida. The main focus of the analysis is on the schematic representation of plot, characters and the exotic nature of the setting and time of the stories.

O objetivo deste trabalho é realizar uma crítica da tradução do livro Harry Potter e a Pedra Filosofal, de Lia Wyler, a partir do livro Harry Potter and the Philosopher's Stone, de J. K. Rowling. A metodologia dessa crítica terá seus fundamentos no projeto crítico delineado por Antoine Berman em sua obra Pour une critique des traductions: John Donne (1995). Para Berman (1995, p. 83), a análise da tradução deve ser realizada sobre uma obra em sua totalidade, o que justifica o âmbito deste trabalho girar em torno de um livro. Dessa forma, pretendemos realizar os passos estabelecidos por Berman na referida obra para realizar uma reflexão sobre o trabalho da tradutora em seu livro, sendo estes: leitura e releitura da tradução a fim de localizar zonas problemáticas e zonas de sucesso na tradução; leitura e releitura do original a fim de localizar trechos no qual ele se sintetiza; e, por fim, confrontação dos trechos da tradução e do original. Essas etapas guiarão nossa análise que, segundo Berman (1995, p. 16), será também um julgamento cuja base foge à subjetividade.

The present study aims at exploring the way in which English implicit demonstrative reference is rendered into Arabic through analyzing a number of sentences in the novel &ldquo;Harry Potter and the Prisoner of Azkaban,&rdquo; written by J. K. Rowling (2010), and its Arabic translated version by Ahmad Hassan Mohammed (2010). The scrutiny of the English implicit demonstrative reference shows that it can be translated into Arabic, whether implicitly or explicitly. This procedure is determined by the entailment of the demonstrative reference, whether it is clear and comprehensible, or unclear and incomprehensible. Also, the study has revealed that literal translation and formal equivalence present themselves as valid options in translating the English implicit demonstrative reference into Arabic. Recommendations of the study are stated at the end of the present research paper.

Neste texto, apresentamse posições enunciadas por educadores e analistas da cultura sobre a escola e examinase a sua configuração nas histórias de J. K. Rowling sobre Harry Potter. As análises inspiramse nos Estudos Culturais em sua articulação com a Educação, considerandose atuarem as histórias como pedagogias culturais. Destacamse seus efeitos produtivos no cinema, na web, na comercialização de produtos diversos e na academia e atentase para seu papel na configuração discursiva da escola e dos sujeitos que a frequentam. Tais efeitos ultrapassam a dimensão do entretenimento dos nem sempre jovens leitores/consumidores dos textos e artefatos delas originados ou seu sucesso mercadológico! A escola ganha centralidade nessas histórias que narram lutas entre personagens do bem e forças do mal e nelas (re)afirmase a sua importância, excelência e competência para a formação sistemática de jovens (em magia) e para a apropriação e o desenvolvimento dos saberes e tradições (bruxas).

Imagine a society with perfect economic equality. Then, one day, this egalitarian utopia is disturbed by an entrepreneur with an idea for a new product. Think of the entrepreneur as Steve Jobs as he develops the iPod, J. K. Rowling as she writes her Harry Potter books, or Steven Spielberg as he directs his blockbuster movies. The new product makes the entrepreneur much richer than everyone else. How should the entrepreneurial disturbance in this formerly egalitarian outcome alter public policy? Should public policy remain the same, because the situation was initially acceptable and the entrepreneur improved it for everyone? Or should government policymakers deplore the resulting inequality and use their powers to tax and transfer to spread the gains more equally? In my view, this thought experiment captures, in an extreme and stylized way, what has happened to US society over the past several decades. Since the 1970s, average incomes have grown, but the growth has not been uniform across the income distribution. The incomes at the top, especially in the top 1 percent, have grown much faster than average. These high earners have made significant economic contributions, but they have also reaped large gains. The question for public policy is what, if anything, to do about it.

“It’s not a book, it’s a play… ”: Harry Potter and the Cursed Child Read by the Users of Babelio, a Social Network for Book Readers. On the 31st of July 2016, Harry Potter and the Cursed Child, a play written by Jack Thorne in collaboration with J. K. Rowling and John Tiffany, was performed for the first time at the Palace Theatre in London. On the same day, the bookshops of Great Britain were literally invaded by the young wizard’s fans, whom were curious to know what happens next to their favorite heroes. Thereby, The Cursed Child is a play, not only to be performed, but also – and mostly – to be read. Whereas the Theater Studies, at least in France, consider the drama text mainly as a scenic performance element and thus, limits the drama text reading to text analysis, the reception of Thorne’s play allows to ask about the possibility of reading the drama text as a self-sufficient fictional text and invites us to investigate the specificities of this kind of reading. In order to do this, I have analyzed three hundred Cursed Child readers’ reviews, which are located on the babelio.com website, one of the biggest French social networks for book readers. It appears that the Cursed Child’s readers tend to read that drama text by comparing it to the seven Harry Potter novels. The main two differences perceived within the scope of this comparison (and which the readers often tend to attribute to the dramatic form specificities) are the so-called lack of descriptions and the rapid reading rhythm. However, these differences may receive a completely opposite evaluation, depending on the reader’s openness to the dramatic form. In this way, for the “reluctant” readers, it constitutes an obstacle which prevents the fictional immersion and therefore the pleasure of reading, whereas for the “enthusiastic” readers, it allows them to go through a new and pleasant experience. Moreover, it is not unusual to see that the reading of The Cursed Child markedly reduces the reader’s reluctance towards the dramatic form. In fact, the reader reviews analysis proves that The Cursed Child text activates the reader’s imagination, regardless of his reluctance. Consequently, the Thorne’s drama example demonstrates that a drama text can be considered as a self-sufficient fictional text which is able to arouse the pleasure of reading and we can therefore conclude that the reluctance or the pleasure is led by the reader’s own readiness to accept the alterity of the dramatic form.

AbstractThe politics of children’s literature and the actors surrounding it have never been more visible than they are now, in the digital age. As one of the first children’s series to gain widespread popularity concurrently with the spread of the internet, the Harry Potter septet arrived on the global stage at the perfect moment to develop an avid, connected fandom. But the fandom has laid bare the many conflicting ideologies of the fans themselves and of the actors surrounding the texts. This article examines the contentious issue of gender nonnormativity and its relation to the Harry Potter texts, the queer/trans reading practices and political resistance common to the fandom, and the ongoing disagreements over gender, made visible on social media, between Rowling and the fans of her series. The article discusses the Harry Potter novels’ varied and conflicting ideologies; queer/trans readings of the Potter septet, including both invitations and resistances to queer/trans reading by Rowling herself; how gender is queered and queried in and through fan fiction; and finally, the recent hostilities between Rowling and her fans. It concludes by discussing the worsening relationship between Rowling and her fans and highlighting how fans are using their collective power to undermine Rowling’s gender politics through fan fiction. By doing so, the article traces the complex politics of the reception of books for young people in the digital age, demonstrating that authors’ powerful voices continue to shape readers’ responses to texts long after their publication but showing, too, that readers often resist authors’ attempts to influence not only their textual interpretations but their politics.

THE GOTHICIZATION OF THE HARRY POTTER SERIES: THE PROGRESSIVE TRANSPOSITION OF THE GOTHIC INTO THE FILMS Abstract In this paper I shall argue that the Harry Potter cinematographic adaptations of J. K. Rowling's novels gradually enacts a transgeneric crossing of the Gothic into the genre of the fantastic. Specifically, by utilizing Robert Mighall's argument that the "Gothic is a process, not an essence; a rhetoric rather than a store of universal symbols", I shall argue that such a transposition is progressively achieved by means of the representation of an imagery clearly recalling Gothic settings, figures and atmospheres, and through the use of a series of thematic preoccupations that are usually present in Gothic texts. According to the critic Robert Mighall, "The Gothic is a process, not an essence; a rhetoric rather than a store of universal symbols; an attitude to the past and the present, not a free floating...

The Harry Potter (HP) Fan Fiction (FF) phenomenon offers an opportunity to explore the nature of fame and the work of fans (including the second author, a participant observer) in creating and circulating cultural products within fan communities. Matt Hills comments (xi) that “fandom is not simply a ‘thing’ that can be picked over analytically. It is also always performative; by which I mean that it is an identity which is (dis-)claimed, and which performs cultural work”. This paper explores the cultural work of fandom in relation to FF and fame. The global HP phenomenon – in which FF lists are a small part – has made creator J K Rowling richer than the Queen of England, according to the 2003 ‘Sunday Times Rich List’. The books (five so far) and the films (three) continue to accelerate the growth in Rowling’s fortune, which quadrupled from 2001-3: an incredible success for an author unknown before the publication of Harry Potter and the Philosopher’s Stone in 1997. Even the on-screen HP lead actor, Daniel Radcliffe, is now Britain’s second wealthiest teenager (after England’s Prince Harry). There are other globally successful books, such as the Lord of the Rings trilogy, and the Narnia collection, but neither of these series has experienced the momentum of the HP rise to fame. (See Endnote for an indication of the scale of fan involvement with HP FF, compared with Lord of the Rings.) Contemporary ‘Fame’ has been critically defined in relation to the western mass media’s requirement for ‘entertaining’ content, and the production and circulation of celebrity as opposed to ‘hard news’(Turner, Bonner and Marshall). The current perception is that an army of publicists and spin doctors are usually necessary, but not sufficient, to create and nurture global fame. Yet the HP phenomenon started out with no greater publicity investment than that garnered by any other promising first novelist: and given the status of HP as children’s publishing, it was probably less hyped than equivalent adult-audience publications. So are there particular characteristics of HP and his creator that predisposed the series and its author to become famous? And how does the fame status relate to fans’ incorporation of these cultural materials into their lives? Accepting that it is no more possible to predict the future fame of an author or (fictional) character than it is to predict the future financial success of a book, film or album, there is a range of features of the HP phenomenon that, in hindsight, helped accelerate the fame momentum, creating what has become in hindsight an unparalleled global media property. J K Rowling’s personal story – in the hands of her publicity machine – itself constituted a magical myth: the struggling single mother writing away (in longhand) in a Scottish café, snatching odd moments to construct the first book while her infant daughter slept. (Comparatively little attention was paid by the marketers to the author’s professional training and status as a teacher, or to Rowling’s own admission that the first book, and the outline for the series, took five years to write.) Rowling’s name itself, with no self-evident gender attribution, was also indicative of ambiguity and mystery. The back-story to HP, therefore, became one of a quintessentially romantic endeavour – the struggle to write against the odds. Publicity relating to the ‘starving in a garret’ background is not sufficient to explain the HP/Rowling grip on the popular imagination, however. Instead it is arguable that the growth of HP fame and fandom is directly related to the growth of the Internet and to the middle class readers’ Internet access. If the production of celebrity is a major project of the conventional mass media, the HP phenomenon is a harbinger of the hyper-fame that can be generated through the combined efforts of the mass media and online fan communities. The implication of this – evident in new online viral marketing techniques (Kirby), is that publicists need to pique cyber-interest as well as work with the mass media in the construction of celebrity. As the cheer-leaders for online viral marketing make the argument, the technique “provides the missing link between the [bottom-up] word-of-mouth approach and the top-down, advertainment approach”. Which is not to say that the initial HP success was a function of online viral marketing: rather, the marketers learned their trade by analysing the magnifier impact that the online fan communities had upon the exponential growth of the HP phenomenon. This cyber-impact is based both on enhanced connectivity – the bottom-up, word-of-mouth dynamic, and on the individual’s need to assume an identity (albeit fluid) to participate effectively in online community. Critiquing the notion that the computer is an identity machine, Streeter focuses upon (649) “identities that people have brought to computers from the culture at large”. He does not deal in any depth with FF, but suggests (651) that “what the Internet is and will come to be, then, is partly a matter of who we expect to be when we sit down to use it”. What happens when fans sit down to use the Internet, and is there a particular reason why the Internet should be of importance to the rise and rise of HP fame? From the point of view of one of us, HP was born at more or less the same time as she was. Eleven years old in the first book, published in 1997, Potter’s putative birth year might be set in 1986 – in line with many of the original HP readership, and the publisher’s target market. At the point that this cohort was first spellbound by Potter, 1998-9, they were also on the brink of discovering the Internet. In Australia and many western nations, over half of (two-parent) families with school-aged children were online by the end of 2000 (ABS). Potter would notionally have been 14: his fans a little younger but well primed for the ‘teeny-bopper’ years. Arguably, the only thing more famous than HP for that age-group, at that time, was the Internet itself. As knowledge of the Internet grew stories about it constituted both news and entertainment and circulated widely in the mass media: the uncertainty concerning new media, and their impact upon existing social structures, has – over time – precipitated a succession of moral panics … Established commercial media are not noted for their generosity to competitors, and it is unsurprising that many of the moral panics circulating about pornography on the Net, Internet stalking, Web addiction, hate sites etc are promulgated in the older media. (Green xxvii) Although the mass media may have successfully scared the impressionable, the Internet was not solely constructed as a site of moral panic. Prior to the general pervasiveness of the Internet in domestic space, P. David Marshall discusses multiple constructions of the computer – seen by parents as an educational tool which could help future-proof their children; but which their children were more like to conceptualise as a games machine, or (this was the greater fear) use for hacking. As the computer was to become a site for the battle ground between education, entertainment and power, so too the Internet was poised to be colonised by teenagers for a variety of purposes their parents would have preferred to prevent: chat, pornography, game-playing (among others). Fan communities thrive on the power of the individual fan to project themselves and their fan identity as part of an ongoing conversation. Further, in constructing the reasons behind what has happened in the HP narrative, and in speculating what is to come, fans are presenting themselves as identities with whom others might agree (positive affirmation) or disagree (offering the chance for engagement through exchange). The genuinely insightful fans, who apparently predict the plots before they’re published, may even be credited in their communities with inspiring J K Rowling’s muse. (The FF mythology is that J K Rowling dare not look at the FF sites in case she finds herself influenced.) Nancy Baym, commenting on a soap opera fan Usenet group (Usenet was an early 1990s precursor to discussion groups) notes that: The viewers’ relationship with characters, the viewers’ understanding of socioemotional experience, and soap opera’s narrative structure, in which moments of maximal suspense are always followed by temporal gaps, work together to ensure that fans will use the gaps during and between shows to discuss with one another possible outcomes and possible interpretations of what has been seen. (143) In HP terms the The Philosopher’s Stone constructed a fan knowledge that J K Rowling’s project entailed at least seven books (one for each year at Hogwarts School) and this offered plentiful opportunities to speculate upon the future direction and evolution of the HP characters. With each speculation, each posting, the individual fan can refine and extend their identity as a member of the FF community. The temporal gaps between the books and the films – coupled with the expanding possibilities of Internet communication – mean that fans can feel both creative and connected while circulating the cultural materials derived from their engagement with the HP ‘canon’. Canon is used to describe the HP oeuvre as approved by Rowling, her publishers, and her copyright assignees (for example, Warner Bros). In contrast, ‘fanon’ is the name used by fans to refer the body of work that results from their creative/subversive interactions with the core texts, such as “slash” (homo-erotic/romance) fiction. Differentiation between the two terms acknowledges the likelihood that J K Rowling or her assignees might not approve of fanon. The constructed identities of fans who deal solely with canon differ significantly from those who are engaged in fanon. The implicit (romantic) or explicit (full-action descriptions) sexualisation of HP FF is part of a complex identity play on behalf of both the writers and readers of FF. Further, given that the online communities are often nurtured and enriched by offline face to face exchanges with other participants, what an individual is prepared to read or not to read, or write or not write, says as much about that person’s public persona as does another’s overt consumption of pornography; or diet of art house films, in contrast to someone else’s enthusiasm for Friends. Hearn, Mandeville and Anthony argue that a “central assertion of postmodern views of consumption is that social identity can be interpreted as a function of consumption” (106), and few would disagree with them: herein lies the power of the brand. Noting that consumer culture centrally focuses upon harnessing ‘the desire to desire’, Streeter’s work (654, on the opening up of Internet connectivity) suggests a continuum from ‘desire provoked’; through anticipation, ‘excitement based on what people imagined would happen’; to a sense of ‘possibility’. All this was made more tantalising in terms of the ‘unpredictability’ of how cyberspace would eventually resolve itself (657). Thus a progression is posited from desire through to the thrill of comparing future possibilities with eventual outcomes. These forces clearly influence the HP FF phenomenon, where a section of HP fans have become impatient with the pace of the ‘official’/canon HP text. J K Rowling’s writing has slowed down to the point that Harry’s initial readership has overtaken him by several years. He’s about to enter his sixth year (of seven) at secondary school – his erstwhile-contemporaries have already left school or are about to graduate to University. HP is yet to have ‘a relationship’: his fans are engaged in some well-informed speculation as to a range of sexual possibilities which would likely take J K Rowling some light years from her marketers’ core readership. So the story is progressing more slowly than many fans would choose and with less spice than many would like (from the evidence of the web, at least). As indicated in the Endnote, the productivity of the fans, as they ‘fill in the gaps’ while waiting for the official narrative to resume, is prodigious. It may be that as the fans outstrip HP in their own social and emotional development they find his reactions in later books increasingly unbelievable, and/or out of character with the HP they felt they knew. Thus they develop an alternative ‘Harry’ in fanon. Some FF authors identify in advance which books they accept as canon, and which they have decided to ignore. For example, popular FF author Midnight Blue gives the setting of her evolving FF The Mirror of Maybe as “after Harry Potter and the Goblet of Fire and as an alternative to the events detailed in Harry Potter and the Order of the Phoenix, [this] is a Slash story involving Harry Potter and Severus Snape”. Some fans, tired of waiting for Rowling to get Harry grown up, ‘are doin’ it for themselves’. Alternatively, it may be that as they get older the first groups of HP fans are unwilling to relinquish their investment in the HP phenomenon, but are equally unwilling to align themselves uncritically with the anodyne story of the canon. Harry Potter, as Warner Bros licensed him, may be OK for pre-teens, but less cool for the older adolescent. The range of identities that can be constructed using the many online HP FF genres, however, permits wide scope for FF members to identify with dissident constructions of the HP narrative and helps to add to the momentum with which his fame increases. Latterly there is evidence that custodians of canon may be making subtle overtures to creators of fanon. Here, the viral marketers have a particular challenge – to embrace the huge market represented by fanon, while not disturbing those whose HP fandom is based upon the purity of canon. Some elements of fanon feel their discourses have been recognised within the evolving approved narrative . This sense within the fan community – that the holders of the canon have complimented them through an intertextual reference – is much prized and builds the momentum of the fame engagement (as has been demonstrated by Watson, with respect to the band ‘phish’). Specifically, Harry/Draco slash fans have delighted in the hint of a blown kiss from Draco Malfoy to Harry (as Draco sends Harry an origami bird/graffiti message in a Defence against the Dark Arts Class in Harry Potter and the Prisoner of Azkaban) as an acknowledgement of their cultural contribution to the development of the HP phenomenon. Streeter credits Raymond’s essay ‘The Cathedral and the Bazaar’ as offering a model for the incorporation of voluntary labour into the marketplace. Although Streeter’s example concerns the Open Source movement, derived from hacker culture, it has parallels with the prodigious creativity (and productivity) of the HP FF communities. Discussing the decision by Netscape to throw open the source code of its software in 1998, allowing those who use it to modify and improve it, Streeter comments that (659) “the core trope is to portray Linux-style software development like a bazaar, a real-life competitive marketplace”. The bazaar features a world of competing, yet complementary, small traders each displaying their skills and their wares for evaluation in terms of the product on offer. In contrast, “Microsoft-style software production is portrayed as hierarchical and centralised – and thus inefficient – like a cathedral”. Raymond identifies “ego satisfaction and reputation among other [peers]” as a specific socio-emotional benefit for volunteer participants (in Open Source development), going on to note: “Voluntary cultures that work this way are not actually uncommon [… for example] science fiction fandom, which unlike hackerdom has long explicitly recognized ‘egoboo’ (ego-boosting, or the enhancement of one’s reputation among other fans) as the basic drive behind volunteer activity”. This may also be a prime mover for FF engagement. Where fans have outgrown the anodyne canon they get added value through using the raw materials of the HP stories to construct fanon: establishing and building individual identities and communities through HP consumption practices in parallel with, but different from, those deemed acceptable for younger, more innocent, fans. The fame implicit in HP fandom is not only that of HP, the HP lead actor Daniel Radcliffe and HP’s creator J K Rowling; for some fans the famed ‘state or quality of being widely honoured and acclaimed’ can be realised through their participation in online fan culture – fans become famous and recognised within their own community for the quality of their work and the generosity of their sharing with others. The cultural capital circulated on the FF sites is both canon and fanon, a matter of some anxiety for the corporations that typically buy into and foster these mega-media products. As Jim Ward, Vice-President of Marketing for Lucasfilm comments about Star Wars fans (cited in Murray 11): “We love our fans. We want them to have fun. But if in fact someone is using our characters to create a story unto itself, that’s not in the spirit of what we think fandom is about. Fandom is about celebrating the story the way it is.” Slash fans would beg to differ, and for many FF readers and writers, the joy of engagement, and a significant engine for the growth of HP fame, is partly located in the creativity offered for readers and writers to fill in the gaps. Endnote HP FF ranges from posts on general FF sites (such as fanfiction.net >> books, where HP has 147,067 stories [on 4,490 pages of hotlinks] posted, compared with its nearest ‘rival’ Lord of the rings: with 33,189 FF stories). General FF sites exclude adult content, much of which is corralled into 18+ FF sites, such as Restrictedsection.org, set up when core material was expelled from general sites. As an example of one adult site, the Potter Slash Archive is selective (unlike fanfiction.net, for example) which means that only stories liked by the site team are displayed. Authors submitting work are asked to abide by a list of ‘compulsory parameters’, but ‘warnings’ fall under the category of ‘optional parameters’: “Please put a warning if your story contains content that may be offensive to some authors [sic], such as m/m sex, graphic sex or violence, violent sex, character death, major angst, BDSM, non-con (rape) etc”. Adult-content FF readers/writers embrace a range of unexpected genres – such as Twincest (incest within either of the two sets of twin characters in HP) and Weasleycest (incest within the Weasley clan) – in addition to mainstream romance/homo-erotica pairings, such as that between Harry Potter and Draco Malfoy. (NB: within the time frame 16 August – 4 October, Harry Potter FF writers had posted an additional 9,196 stories on the fanfiction.net site alone.) References ABS. 8147.0 Use of the Internet by Householders, Australia. http://www.abs.gov.au/ausstats/abs@.nsf/ e8ae5488b598839cca25682000131612/ ae8e67619446db22ca2568a9001393f8!OpenDocument, 2001, 2001>. Baym, Nancy. “The Emergence of Community in Computer-Mediated Communication.” CyberSociety: Computer-Mediated Communication and Community. Ed. S. Jones. Thousand Oaks, CA: Sage, 1995. 138-63. Blue, Midnight. “The Mirror of Maybe.” http://www.greyblue.net/MidnightBlue/Mirror/default.htm>. Coates, Laura. “Muggle Kids Battle for Domain Name Rights. Irish Computer. http://www.irishcomputer.com/domaingame2.html>. Fanfiction.net. “Category: Books” http://www.fanfiction.net/cat/202/>. Green, Lelia. Technoculture: From Alphabet to Cybersex. Sydney: Allen & Unwin. Hearn, Greg, Tom Mandeville and David Anthony. The Communication Superhighway: Social and Economic Change in the Digital Age. Sydney: Allen & Unwin, 1997. Hills, Matt. Fan Cultures. London: Routledge, 2002. Houghton Mifflin. “Potlatch.” Encyclopedia of North American Indians. http://college.hmco.com/history/readerscomp/naind/html/ na_030900_potlatch.htm>. Kirby, Justin. “Brand Papers: Getting the Bug.” Brand Strategy July-August 2004. http://www.dmc.co.uk/pdf/BrandStrategy07-0804.pdf>. Marshall, P. David. “Technophobia: Video Games, Computer Hacks and Cybernetics.” Media International Australia 85 (Nov. 1997): 70-8. Murray, Simone. “Celebrating the Story the Way It Is: Cultural Studies, Corporate Media and the Contested Utility of Fandom.” Continuum 18.1 (2004): 7-25. Raymond, Eric S. The Cathedral and the Bazaar. 2000. http://www.catb.org/~esr/writings/cathedral-bazaar/cathedral-bazaar/ar01s11.html>. Streeter, Thomas. The Romantic Self and the Politics of Internet Commercialization. Cultural Studies 17.5 (2003): 648-68. Turner, Graeme, Frances Bonner, and P. David Marshall. Fame Games: The Production of Celebrity in Australia. Melbourne: Cambridge UP. Watson, Nessim. “Why We Argue about Virtual Community: A Case Study of the Phish.net Fan Community.” Virtual Culture: Identity and Communication in Cybersociety. Ed. Steven G. Jones. London: Sage, 1997. 102-32. Citation reference for this article MLA Style Green, Lelia, and Carmen Guinery. "Harry Potter and the Fan Fiction Phenomenon." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/14-green.php>. APA Style Green, L., and C. Guinery. (Nov. 2004) "Harry Potter and the Fan Fiction Phenomenon," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/14-green.php>.

Racebending fan work has the potential to be a productive site of postcolonial critique. In a close analysis of two racebending young adult literature texts—the titular hero of J. K. Rowling's Harry Potter series (1997–2007) and major character Ronan Lynch from Maggie Stiefvater's Raven Cycle (2012–16)—fans' racebending of the primary characters permits postcolonial revision by challenging the predominantly white worlds they depict as well as recuperating the erasure of diaspora by other fans who insist Britishness and Irishness equate to whiteness. Racebending Harry and Ronan fan works center around queer romances: Harry with school rival Draco Malfoy and Ronan with his in-series boyfriend, Adam Parrish. Racebent Harry fan work, particularly work incorporating a queer romance with Draco, creates a space for fans to imagine alternative possibilities for the series beyond the heteronormative, hegemonic conclusion represented in Rowling's epilogue. Similarly, racebending Ronan offers a depiction of soft black masculinity and loving queer romance that subverts the common association of blackness with anger and aggression. By depicting two characters of color at the center of these queer schoolboy romances, fans disrupt the white homoeroticism and imperialism of the school story genre upon which both series draw.

Literature is rightfully regarded as an art, but when translation enters the fray, it can require a somewhat scientific approach. Throw in a little bit of “Harry Potter” magic, and it can really become tricky. Translation is challenging, as it requires us to look not only at problems such as equivalence and the use of names, but also culture itself. Linguistic factors are also an issue, as a certain type of word might be abundant in the source language, but not very common in the target language. The role of the translator is therefore to distinguish what in a text is potentially translatable from what is fundamentally not. From there, one must walk the thin line between the art of translation – our personal hunches – and the science of translation – which is often too literal. In the case of J.K. Rowling, author of the Harry Potter book series, another difficulty arises. She has revealed herself as a wordsmith, not only with her writing skills, but also through her ability to coin and construct original words. Whether using terms from ancient mythologies, extinct languages or everyday life, her writing is known for an abundance of puns, linguistic jokes and other allusions that are mixed to create a brand new lexicon. Some examples include Harry Potter’s school, Hogwarts, the magical sport, Quidditch, as well as an array of supernatural creatures such as Thestrals and Jobberknolls. This may be the reason why her books have caught the interest of the linguistics and translation studies communities; their richness and diversity make the possibilities nearly endless. Each name or word created comes with a baggage of undertones and veiled references that translators must track and recognize before they attempt to translate them. As an additional complication, the Harry Potter books were first thought to be children’s literature, and only later attracted an older audience more prone to read between the lines and detect the hidden meanings of words. As a result, the series is known for its ambivalence, since children and adults alike can enjoy it for different reasons. Keeping these facts in mind, this research aims at using today’s linguistic theories and looking at word creation in both English and French in order to establish patterns of translation, and suggest possible equivalents for some of J. K. Rowling’s inventions.

When fans rewrite characters, how do they engage that character's identity and the social constructions around it? Fan fiction writers resist, replicate, and create oppressive social systems by changing characters between published and fan texts. As such, fan studies scholars have long been interested in how fans construct characters, an interest that has often been paired with readings of race, gender, and sexuality. Digital humanities can help confirm and nuance extant fan studies scholarship around specific characters popular in fan fiction. We used Word2Vec software to mine the text of 450 pieces of fan fiction based on J. K. Rowling's Harry Potter series. By focusing on the depiction of Hermione Granger in both Rowling's novels and Harry Potter fan fiction, we tested how text mining character names can reveal properties closely tied to a specific character through the relationships between the target name and other characters. Analysis via Word2Vec found that "Hermione" is used grammatically and contextually differently in the books (in which she is most like Harry and Ron) than in our fan fiction corpus (in which she is most like other girls/women). This difference suggests that these fans have a specific reading of Hermione that is communally understood even if Rowling's diction offers a different reading.

Rowling, J. K. Harry Potter and the Half-Blood Prince. Vancouver: Raincoast Books, 2005. Print.[Spoiler Alert!]I liked the part where Harry Potter used magic on Snape because it was cool and because Snape was trying to kill Harry Potter. I liked the part where Snape killed Dumbledor because Harry Potter saw it and had proof that it was Snape who was the half-blood prince. I didn’t like the part where Harry Potter was using an umbrella to spray the cabin because it was a boring waste of 2 pages of Harry Potter and Hagrid talking. I would recommend this book to family and friends and also to teachers.[Recommended: 3 out of 5 stars]Reviewer: ColemonHi I’m Colemon. I’m 11 years old. I like to read books and skateboard. My favourite trick is a 360 flip and my favourite book is Harry Potter or the BFG.

Rowling, J K. Harry Potter and the Goblet of Fire. Vancouver: Raincoast Books, 2000. Print.[Spoiler Alert!]This book is about a boy named Harry Potter who is a wizard who attends Hogwarts School of witch craft and wizardry. This year at Hogwarts there's a tournament of 3 schools there's 3 tasks Harry Potter is one of the contenders. On the final task Harry's rival dies to Voldemort Harry has to dual Voldemort and survives. I liked reading about the tournament events. I liked the dual between Voldemort and Harry. I didn't like the first chapter it was boring. I didn't like that Cedric Diggory died. I rate it 4 stars.Highly Recommended: 4 out of 5 starsReviewer: DraydenMy name is Drayden my favorite [book] is Harry Potter and the Goblet of Fire. My favorite place to read is on a couch any couch.