Tesi sul tema "Harry Potter"

This is a study about adaptation, focusing on the first book in the series about Harry Potter and the movie version of the book. The study examines whether any of the characters change when the book is adapted to another type of medium. For example, are there any character traits that are revealed differently in the book versus the movie? The materials that have been used are works of reference, the first book about Harry Potter and also the film of the book. Some of the literature has already been read prior to the study but will still be needed as the study continues.By the end of the study there should be some results to be shown. The primary purpose of the study is to clarify the differences and similarities that can appear when a work is transferred, for example, from book to film.

Harry Potter och värdegrunden - Hur Harry Potter kan användas i arbetet om värdegrunden för skolans år 4-6, syftade till att undersöka vilken värdegrund som går att utläsa i Harry Potter och de vises sten. Undersökningen utgick från de tre kategorierna människans frihet och integritet, alla människors lika värde och jämställdhet mellan kvinnor och män. Vidare undersöktes huruvida den gestaltade värdegrunden förhåller sig till den svenska skolans värdegrund, Lgr 11. Studien utgick från en kvalitativ textanalys med ett hermeneutiskt förhållningssätt där händelser i boken citerades och analyserades ur ett värdegrundsperspektiv. Studien utgick främst från skolmiljön i boken om Harry Potter, där samspelet mellan elever sinsemellan och mellan elever och lärare för att lyfta fram beteenden som går emot den svenska skolans värdegrund. Dessa citat och analyser är tänkta att inspirera undervisningen för att tydligare förankra värdegrunden i undervisningen, och att eleverna med detta ska få en större förståelse för varandra oberoende av kön, etnicitet och klass.<br><p>Godkänt datum 2021-01-17</p>

The translation of a fantasy book is no easy task. Every fantasy author creates not only new characters but also new places, creatures and objects: J.K. Rowling invented a whole universe that lasted seven books and eight movies, and that has changed the lives of many children all over the world. The aim of this dissertation is to dig underneath Harry's adventures, to rediscover his origins and to analyse the choices operated by the Italian translators, who had the important task to make this universe accessible to families who could not read about it in English.

Thesis (MPhil)--Stellenbosch University, 2004.<br>ENGLISH ABSTRACT: The Harry Potter series is currently one of the most popular book series for children in the world. The original British books have been translated into more than three hundred languages - one of them being Afrikaans, for which the Afrikaans translator received two translation prizes. Yet closer investigation reveals that these translations are not written in idiomatic Afrikaans, mostly due to the phenomenon of 'interference'. This phenomenon entails an excessive influence of the linguistic structures of the source text on that of the target text. The influence of the English source text on the Afrikaans translator by means of interference was of such an extent that the texts have been written in unnatural language, called 'translationese'. In this study the influence of interference on the quality of the Afrikaans translations of Harry Potter is examined. The focus is on books 4 and 5 in the series, namely Harry Potter en die Beker vol Vuur and Harry Potter en die Orde van die Feniks. The basic premises of the functionalistic approach to translation are used to emphasise the importance of the translation skopos, the function that the translation has to fulfil in the target culture, a detailed translation brief as well as the translator's loyalty towards the various role players in the translation process. Descriptive translation studies is used to prove the apparent absence of knowledge of translation norms as well as translation decisions and strategies that had to be considered carefully during the production of the Afrikaans translations. The researcher hereby attempts to emphasise the importance of careful consideration and planning of translation strategies. Cognisance of the functionalistic and descriptive premises would have lead to a more natural translation that communicates optimally with the target readers in the target culture.<br>AFRIKAANSE OPSOMMING: Die Harry Potter-reeks is tans een van die mees gesogte kinderreeksboeke ter wêreld. Die oorspronklike Britse boeke is in meer as driehonderd tale vertaal - onder andere ook in Afrikaans, waarvoor die Afrikaanse vertaler reeds twee vertaalpryse ontvang het. Tog toon nadere ondersoek dat hierdie vertalings inderwaarheid nie in idiomatiese Afrikaans vertaal is nie, hoofsaaklik weens die verskynsel 'interferensie'. Hierdie verskynsel behels 'n oormatige invloed van die linguistiese strukture van die brontaal op die doeltaal. Die Engelse bronteks het sodanige invloed op die Afrikaanse vertaler gehad, dat die teks weens interferensie in onnatuurlike taal geskryf is, oftewel in 'translationese'. In hierdie studie word die invloed van interferensie op die kwaliteit van die Afrikaanse Harry Potter-vertalings, spesifiek boeke 4 en 5 in die reeks, naamlik Harry Potter en die Beker vol Vuur en Harry Potter en die Orde van die Feniks, ondersoek. Die basiese uitgangspunte van die funksionalistiese benadering tot vertaling word gebruik om die noodsaaklikheid van 'n vooropstelling van die vertaalskopos, die funksie wat die vertaling in die doelkultuur moet speel, die belangrikheid van 'n gedetailleerde vertaalopdrag asook lojaliteit van die vertaler aan die onderskeie rolspelers in die vertaalproses uit te lig. Deskriptiewe vertaalstudie word gebruik om die klaarblyklike afwesigheid van 'n kennis van vertaalnorme, asook van weldeurdagte besluite en vertaalstrategieë tydens die produksie van die Afrikaanse vertalings te bewys. Die navorser poog om hierdeur op die noodsaaklikheid van weldeurdagte en beplande vertaalstrategieë klem te lê. Kennis van die funksionalistiese en deskriptiewe uitgangspunte sou kon lei tot 'n natuurliker vertaling wat optimaal met die doellesers in die doelkultuur kommunikeer.

In the field of research within film studies which consider how aspects such as gender or race affect the portrayal of a character, the aspect of characters' body sizes are not always taken into account. By analysing the fat characters in the popular children's and young adult film series about Harry Potter, I bring attention to the fact that the use of stereotypes is significant in these characterisations, and further contributes to the marginalisation of this particular group of people. I looked specifically at what the characters had in common with each other, and if they adhered to already established stereotypes concerning fat people, and found that the one thing they all share is a lack of academic or intellectual skill to varying degrees, which is in line with the common stereotypes of fat people as dumb. I further analysed the differences between the fat men and fat women in the series, and found that fat men were a far more common occurrence than fat women, and that fat girls did not even exist in these stories. This is not surprising, as the exclusion of fat women and girls is abundant in mainstream culture.

Tässä tutkimuksessa käsitellään lastenkirjallisuutta, kirjallisuuden nimistöntutkimusta, Harry Potter -kirjasarjan henkilöhahmojen sukupuolisuutta sekä henkilönnimistön ilmentämää sukupuolisuutta. Tutkimuksen teoriaosuudessa käsitellään ensin mainittuja ja analyysiosio koostuu henkilönnimistön sukupuolisuuden tarkastelusta. Ensisijainen tutkimuskysymys on “Miten Harry Potter -sarjan henkilönnimistö ilmentää sukupuolisuutta?” ja toissijaiset ovat “Millaista on kirjallisuuden ja erityisesti lastenkirjallisuuden nimistöntutkimus?” ja “Millaisia sukupuolirepresentaatioita Harry Potter -kirjasarjassa esiintyy?” Tutkimuksen tarkoituksena on tutkia ja tulkita henkilönnimistön äännerakennetta, etymologiaa ja konnotaatioita sukupuolisuuden näkökulmasta. Tutkimuksen teoreettinen osio muodostuu siis kolmesta pääkappaleesta: Lastenkirjallisuudesta, nimistöntutkimuksesta ja sarjan sukupuolittuneisuuden tarkastelusta. Ensimmäinen, lastenkirjallisuutta käsittelevä kappale, toimii kattokappaleena kahdelle seuraavalle ja siinä käsitellään lyhyesti lastenkirjallisuuden määritelmää, tutkimusta, sukupuolisuutta sekä fantasiakirjallisuutta. Kappaleen tarkoituksena on konseptualisoida tutkimuksen asemaa tämän hetkisessä tutkimuskentässä. Toinen, nimistöntutkimusta käsittelevä kappale, kertoo ensin nimistöntutkimuksesta yleisesti siirtyen sitten kaunokirjallisuuden nimistöntutkimukseen, lastenkirjallisuuden nimistöntutkimukseen sekä nimien sukupuolisuuteen. Kolmannessa teoriaosiossa käsitellään Harry Potter -sarjan mies- ja naiskuvia yleisesti sekä sivu- ja päähenkilöiden ilmentämiä sukupuolirepresentaatioita. Tutkimus on teoreettinen ja tutkimuksen kohteena on Harry Potter -sarjan seitsemän kirjaa: Harry Potter and the Philosopher’s Stone, Harry Potter and the Chamber of Secrets, Harry Potter and the Prisoner of Azkaban, Harry Potter and the Goblet of Fire, Harry Potter and the Order of Phoenix, Harry Potter and the Half-Blood Prince sekä Harry Potter and the Deathly Hallows. Tutkimuksen analyysiosioon valikoitui näiden kirjojen henkilönnimistöstä tärkeimmät 17 nimeä, jotka on jaoteltu kategorioihin sen perusteella, miten niissä ilmenee sukupuolisuutta ilmeneviä piirteitä. Näiden piirteiden tueksi on otettu kirjallisuusviitteitä. Tärkeimpinä tuloksina voidaan mainita, että nimet muodostavat sukupuolisuutta ilmentävän skaalan, jolle ne sijoittuvat riippuen maskuliinisuuden tai feminiinisyyden ilmenemisestä. Naisten nimissä esiintyy luontoviitteisistä nimistä nimenomaan kukkien nimiä ja ovat muutoinkin etymologialtaan valkoisuuteen tai pyhyyteen viittaavia. Miesten nimissä luontoviitteisyyteen liittyy enemmän eläinaiheisia nimiä. Lisäksi on huomattava, ettei miesten nimien sijoittuminen skaalalle vastaa sukupuolisuutta käsittelevässä teorialuvussa tehtävää jakoa hegemonisen maskuliinisuuden ja ei-hegemonisen maskuliinisuuden välillä, ja että naisten nimien kohdalla feminiinisyyttä pyritään “vaimentamaan” käyttäen lempinimeä.

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2014.<br>Made available in DSpace on 2015-02-05T20:16:46Z (GMT). No. of bitstreams: 1 329589.pdf: 5094896 bytes, checksum: 796fca8d2e0a0e16e6563bd1fa6ed1a5 (MD5) Previous issue date: 2014<br>Este estudo abarca a intersecção dos Estudos da Tradução com a Literatura Infantojuvenil investigando, mais especificamente a tradução de gírias presentes em três dos sete volumes que compõe a série britânica Harry Potter (ROWLING, 1997, 2000, 2005) e como essas traduções impactaram no registro do texto. O arcabouço teórico adotado foi o dos Estudos Descritivos da Tradução e o arcabouço metodológico foi o dos Estudos da Tradução com base em Corpus. Para cumprir seus objetivos, esta pesquisa utiliza-se de um corpus paralelo bilíngue unidirecional inglês britânico-português brasileiro alinhado no nível de parágrafo processado com o programa Para Conc (BARLOW, 2001). A análise de dados levou em consideração a(s) técnica(s) de tradução usadas e como o uso dessas técnicas impactou no registro do texto de chegada em relação ao texto de partida a partir da observação dos seguintes subparâmetros do registro: personagem, campo, relações entre os participantes da interação e o modo. A partir da análise, constatou-se que em 42% dos casos analisados as gírias foram mantidas e em 58% as gírias foram padronizadas no texto de chegada. Nos casos em que a gíria foi mantida, os subparâmetros analisados do texto de partida e de chegada foram bastante semelhantes. É possível dizer, então, que o registro apresentou diferenças no texto de chegada em relação ao texto de partida, uma vez que houve a padronização das gírias em alguns casos e, portanto, o texto foi levado em direção a um maior nível de formalidade e houve a diminuição na coesão entre os membros de cada grupo de personagens. Uma possível conclusão é que a padronização parcial de gírias está relacionada às dificuldades em encontrar gírias na cultura de chegada com funções semelhantes às do texto original. Finalmente, é importante notar que a manutenção de gírias na tradução de Literatura Infantojuvenil é essencial devido ao fato de que esses elementos representam o discurso de uma faixa etária que ainda luta por um sentimento de pertença a uma determinada comunidade (isto é, "signo de grupo").<br>Abstract : This study investigates the intersection between Translation Studies and Children's Literature. More specifically, it investigates the practice of the Brazilian translator trough the observation of translation techniques regarding the translation of slang words in three of the seven volumes that are part of the Bristish series Harry Potter (ROWLING, 1997, 2000, 2005) and how these practices influence the text register. The theoretical framework of Descriptive Translation Studies and the methodological framework of Corpus-based Translation Studies were adopted. To fulfil its purposes this research uses a British English-Brazilian Portuguese unidirectional bilingual parallel corpus aligned at the paragraph level processed using ParaConc software (BARLOW, 2001). The data analysis included the analysis of translation techniques and how these techniques have influence translation shifts in the target text register in relation to the source text, taking into consideration the following subparameters of register: character, field, relations between the participants and mode. The data analysis has shown that from a total of 75 slang words, 42% of the instances analyzed were maintained in the target text and 58% was erased. In the cases in which slang was maintained the subparameters of the source and target text register analyzed were very similar. It is possible to say, thus, that the translated text register has shown differences in relation to the source text, since there was the standardization of slang words in some cases and, therefore, a greater level of formality and a decrease in the cohesiviness between the members of each group of characters. One possible conclusion is that the partial standardization of slang words is related to the difficulties in finding slang words in the target culture with similar functions to those of the source text. Finally, it is important to note that the maintance of slang words in the translation of Children's Literature is essential due to the fact that these elements represent the speech of an age group still struggling for a sense of belonging to a particular community (i.e. "signo de grupo" [group sign]).

Che cos’è e come nasce un brand culturale? Secondo quanto affermato da Douglas B. Holt esso non è altro che “un brand che cerca di accostare la sua identità a quella di un’icona culturale ”. Alla base di un brand culturale non vi sono strategie di branding tradizionali ma un Cultural brief, ovvero l’equivalente di un brand positioning statement, il quale spiega e ricorda il posizionamento della marca nella mente dei consumatori tramite una semplice frase. Gli elementi fondamentali che lo compongono, ovvero myth treatment, populist authenticity e charismatic aesthetic, portano all’identificazione del cosiddetto Populist world, elemento di base per la creazione del mito e luogo in cui le azioni delle persone sono guidate dai valori. Questo luogo è particolarmente attrattivo per le aziende che cercano di acquisire una certa riconoscibilità nel mercato ed una determinata tipologia di clienti poiché, in esso, non prevalgono le logiche del denaro, del potere o del marketing no-stop come soluzione universale, ma bensì assume il ruolo di guida solo quel brand che è abile nel capire le richieste sociali più profonde del suo pubblico e nel proporre soluzioni ottimali e significati condivisi in cui essi possano riconoscersi. Holt, nel suo libro, ha affermato che numerosi brand hanno inconsciamente seguito i passaggi evolutivi tipici di un brand iconico e hanno dimostrato di avere un’elevata capacità di comprendere i problemi ed il pensiero del pubblico in ogni momento di fermento culturale incontrato. Ma, allora, per essere definiti brand iconici è necessario essere personificati o associabili a qualcosa di reale? Holt stesso ci dice che ciò non è necessario. Egli infatti afferma che “cultural icons can be fictional characters as well as real people” quindi perché, se un’icona può essere un personaggio immaginario, esso non può essere a sua volta considerato un brand? Uno dei più recenti, conosciuti e redditizi business di tutti i tempi, che ha attraversato tutto il decennio scorso e che può essere analizzato sotto la lente del branding culturale, è la saga di Harry Potter. Questa saga letteraria, che racconta la storia e le avventure del “Ragazzo Che è Sopravvissuto”, è diventata fenomeno di massa con film, videogiochi, gadget, eventi, parchi a tema, forum, communities ed, addirittura, un linguaggio specifico che crea nei fans più appassionati un senso di appartenenza e di condivisione tipico di un Populist World. J. K. Rowling ha creato, con il solo utilizzo della sua penna e di molta immaginazione, un brand iconico che, in poco più di un decennio, ha costruito un impero ed una folta schiera di seguaci. Ciò che si vuole andare ad esplorare è, quindi, come questo fenomeno letterario globale sia riconducibile alle teorie di Holt in termini di iconicità di una marca e agli archetipi che caratterizzano un mito, introdotti da Carl Gustav Jung e rielaborati in chiave di marketing e di branding culturale da numerosi studiosi. Si indagherà anche sul futuro che attende questo mondo, data la prolificità del settore letterario e cinematografico nel creare nuovi miti e leggende e considerando il tempo intercorso dal termine della saga, con uno sguardo al passato e all’evoluzione di altri brand, miti ed icone. Inoltre, si proporrà una visione dei possibili scenari che si prospetteranno per questo brand e si cercherà di capire a quali risultati porteranno i tentativi di mantenere viva tale storia nella mente dei clienti e dei fan. Infine, si cercheranno di comprendere anche le dinamiche dietro la nascita del brand, quanto l’autrice sia stata determinante nella sua creazione e se questo business milionario fosse l’obiettivo iniziale o solo la conseguenza di iniziative di marketing estremamente ben riuscite.

Uppsatsen handlar om digitala visuella effekter och hur de används i fantasyfilmerna Harry Potter och de vises sten (2001) och Harry Potter och Dödsrelikerna: Del 2 (2011). Filmanalysen är avgränsad till scener som är viktiga för filmens narrativ. Scenerna utgör centrala delar av den klassiska dramaturgiska modellen. Syftet med uppsatsen är att undersöka om de visuella effekterna har någon narrativ betydelse och funktion inom de två Harry Potter-filmerna. I uppsatsen används litteraturen till att skapa ett analysverktyg som inkluderar en undersökning av effekternas form och syfte, samt en narrativ analys av de visuella effekterna. Uppsatsen avslutas med slutsatsen att båda Harry Potter-filmerna är beroende av visuella effekter, samt att effekterna har en avsevärd betydelse för filmernas narrativa förmåga och utveckling.

The purpose of this essay is to present the reader an analysis of Harry Potter as high fantasy and how Rowling has expanded on high fantasy norms which can be seen as a contributing factor to why the saga became such a global phenomenon.  This essay will show the ways in which Harry Potter elaborates on the high-fantasy norms by analyzing its narrative elements (setting, narrative structure, characters, and language). The first part will be a brief introduction to high-fantasy and its norms while the second part will be an analysis of the novels in terms of these norms.

This essay explores how in the Harry Potter series, J. K. Rowling's magical heroes function asparadigms whose roles reflect on issues of race, prejudice and racism. Those issues include goodand evil, socialism and aristocracy, purity and impurity, freedom and indebtedness. This essayfocuses on showing how those themes are reflected and confronted in the dipole between HarryPotter and Draco Malfoy. Additionally, the Critical Race Theory, a theory that examines howculture uses and assorts power and race in society, is implemented to show how race andprejudice are reflected in the magical world. By further analyzing Harry and Draco's upbringingand social milieus in relation to the theme of good vs. evil, the development of these characters ispresented in response to their contrasting surroundings. The paper concludes that thesecharacters evolve in the final novels and make conscious choices to achieve the common causeof defying evil, despite their opposing backgrounds.<br>Denna uppsats utforskar hur J. K. Rowlings magiska hjältar, i Harry Potter-serien, fungerar somen paradigm vars roller reflekterar frågor kring ras, fördomar och rasism. Dessa frågor inkluderargott och ont, socialism och aristokrati, renhet och orenhet, frihet och skuldsättning. Dennauppsats fokuserar på att visa hur dessa teman reflekteras och konfronteras i dipolen mellan HarryPotter och Draco Malfoy. Dessutom implementeras Critical Race Theory, en teori somundersöker hur kultur använder och sorterar makt och ras i samhället, för att visa hur ras ochfördomar återspeglas i den magiska världen. Genom att ytterligare analysera Harry och Dracosuppväxt och sociala miljöer i förhållande till temat ’gott mot ont’, presenteras dessa karaktärersutveckling som ett resultat av kontrasterande omgivning. Uppsatsen drar slutsatsen att dessakaraktärer utvecklas i de sista romanerna och gör medvetna val för att uppnå det gemensammamålet till att bekämpa det onda, trots deras motsatta bakgrunder.

This essay examines the ideology or value system implicit in Joanne Rowling's Harry Potter series. Many of the images in the series, despite being fantastic or empirically unprecedented, are minor transformations of popular books and of our very common physical and cultural reality. However, these imaginative transformations of mundane reality actually imitate, reiterate, and conserve common and contemporary secular values. On a third level the thesis will show that this conservation of contemporary secular values is undermined by a cynical and very subtle transformative element of satire, parody, and criticism. Depending on the theme explored by the particular chapter, a different level of meaning might be evident. Chapter One discusses Rowling's parody of popular secular values. Chapter Two focuses on her parody of Christianity. Chapter Three focuses on Rowling's representations of nature and technology and on her parodic reversal of their traditional representation in similar literature. Chapter Four discusses how Rowling has made a critical appropriation of popular culture's reliance on thoughtless and 'instant' solutions, and discusses how she has made a mockery of her own hero, Harry Potter. The conclusion discusses the value of literary devices that transform literal meanings and verbal images into new meanings and images, and concludes that Harry Potter should be read cautiously. A second conclusion is that the author's claim the series is incomplete is a hoax. This argument is defended with a demonstration that the existing four Harry Potter books form a complete unit, and with a reminder that an element of hoax pervades Rowling's entire series.

In this essay I have studied the Harry Potter series by J. K. Rowling from an ecocritical point of view. The main theorist is Timothy Morton and his concepts of the Mesh and Strange Strangers. The analysis shows that the books are anthropocentric, and that Culture has a higher status than Nature in the magic world. The analysis also shows that the witches and wizards of the books have a similar way of looking at nature as the real world has, which can be used to open up discussions about nature. The books are anthropocentric when it comes to animals and how they can be used. The analysis also focuses on coexisting, and how the magic world deals with Strange Strangers. The Strange Strangers that the analysis deals with are both humans and other entities.

J.K. Rowlings bok Harry Potter och de vises sten är en ungdomsbok som slagit igenom och fångat många barn, ungdomar och vuxna. I denna studie undersöks huvudkaraktären Harry Potters identitetsutveckling genom en didaktiskt inriktad litteraturanalys. Analysen utgår från psykologiska teorier om ungdomars identitetsutveckling, vilken kan delas in i fyra faser. De två första faserna visar sig vara de som var tydligast i Harrys identitetsutveckling. Den tredje fasen börjar att etablera sig i slutet av boken, medan Harry inte når den fjärde fasen. Genom att tillsammans med eleverna läsa boken om Harry Potter kan lärare i grundskolan stötta elever att utveckla sina identiteter. Elever skulle kunna relatera till händelser i boken som till exempel att möta nya människor som i sin tur kan bli vänner eller ovänner. De skulle också kunna lära sig att våga vara sig själva och få utveckla en större acceptans för sådant som inte tillhör normen.

Phénomène d’édition sans précédent dès la parution de son volet liminaire en 1997, le roman en sept épisodes de l’auteur britannique J. K. Rowling est profondément ancré dans un riche substrat littéraire, et, comme nombres d’ouvrages de jeunesse, s’inscrit notamment dans la tradition des contes merveilleux. Dans Harry Potter, l’auteur aborde une thématique récurrente dans la littérature d’enfance, avec pour thème central la quête existentielle : le roman fait en effet le récit de l’évolution et la maturation de son jeune héros éponyme (âgé de onze ans au début du récit, Harry vieillit d’une année à chaque épisode), chaque nouvel épisode représentant une étape transitoire dans le cheminement existentiel du personnage principal, étape durant laquelle il doit faire face à de nombreuses épreuves et rites initiatiques essentiels à sa progression. Dans le premier livre, le postulat de départ est clairement établi : il s’agit du Connais- toi toi-même socratique, une invitation à la quête et à la découverte de soi. Harry Potter peut ainsi se définir comme un roman d’apprentissage dans lequel le héros s’engage dans une quête existentielle et initiatique. L’objectif de cette recherche est donc d’analyser ce roman en tant qu’instrument dans la construction identitaire du lecteur, avec le héros comme vecteur de cette transformation. En d’autres termes, je tente d’expliquer dans quelle mesure Harry Potter participe d’une littérature d’initiation et de montrer sa spécificité, d’étudier les tenants et les aboutissants de cet apprentissage, et d’apprécier son impact sur le lecteur du XXI° siècle. Il sera ainsi intéressant de voir comment l’auteur se sert des différents genres littéraires -dont le merveilleux -pour mettre en oeuvre son projet, mais également d’examiner le phénomène du double lectorat à la lumière de cette analyse. La thèse s’articule donc autour de trois axes thématiques : dans la première partie, j’identifie et je délimite la tradition littéraire dans laquelle s’inscrit Harry Potter, et je donne une définition formelle du roman. La deuxième partie est centrée sur la quête identitaire et existentielle qui fonde le roman. Enfin, la troisième partie est consacrée à la réception et l’impact inattendus du roman, un succès qui abolit les frontières linguistiques, culturelles et générationnelles<br>The Harry Potter books are a series of seven novels written by English author J. K. ROWLING. Since the release of the first novel in 1997, Harry Potter and the Philosopher’s Stone, the books have gained immense popularity and commercial success worldwide. The series is deeply rooted in a rich literary and mythical substratum, and the narratives are filled with knowledgeable references to historical myths, legends and superstitions. The theme of the existential quest is predominant in the novel : as the narrative unfolds, the hero progresses through various initiatic experiences on his journey towards self-discovery (aged 11 at the beginning of the series, Harry grows one year older in each episode). In fact, the series is set on the Socratic “Know Thyself” postulate, and in many respects, Harry Potter can be defined as a novel of formation which traces the spiritual, moral and psychological growth of Harry from childhood to maturity. The subject of this research is thus to analyze the novel as an instrument in the construction of the reader’s identity, the hero being a vector of this transformation. In other words, I shall try and explain to what extent Harry Potter is a novel of initiation with its own specificity, I shall consider all the aspects of the hero’s formation and assess its impact on 21st century readers. It will also be interesting to study how the author makes use of and fits the various literary genres -among which fantasy literature -to her own purpose, and to examine the double-readership phenomenon in the light of this analysis. This thesis is structured round three main themes : first, I shall delineate and identify the literary genres which permeate Harry Potter, in order to give a formal definition of J. K. ROWLING’s novel. Then, I shall focus on the existential quest which underlies the series. Finally, I shall consider the phenomenon of double-readership, together with the universal and mythical dimension of the novel

In this paper, we analize through the lights of Gremasian semiotics, the book Harry Potter and the Sorcerers Stone, written by British writer J.K Rowling (2000) and translated to Brazilian Portuguese by Lia Wyler, taking it primarily as an object of meaning, which means to make evident its intradiscursive mechanisms of producing meaning. By doing so,we verify how the content plan of this text is structured, so that we obtain parameters to compare it to children fairy tales, considering the hipothesis that it echoes or uses recurring elements in these stories. Our analysis focused primarily on the narrative level, as it was proposed by the generative course of sense. In this context, Vladimir Propp, one of theprecursors of Gremasian semiotics, whose works about wonderful Russian folk tales have greatly contributed to the constitution of the narrative level, enabled us to make a more accurate comparison with traditional fairy tales through the thirty-one functions by himdefined. The achieved results reveal that, under the variability of the textual surface of J. K. Rowlings book, there are constants also found on the aforementioned tales, besides many of the Proppian functions. We therefore notice that Harry Potter and the Sorcerers Stone is not an isolated passage in the history of worlds children literature: it is only one of its chapters, with deep roots in traditional fairy tales. Finally, we approach, succinctly, some ideological issues and we discuss the empathy between the book and its public, through its constant and, at the same time, variant nature, that is, traditional and innovative, which webelieve helps us understand its success.<br>No presente trabalho, analisamos, à luz da semiótica greimasiana, o livro Harry Potter e a pedra filosofal, escrito pela inglesa J. K. Rowling (2000) e traduzido para o português do Brasil por Lia Wyler, tomando-o, portanto, primordialmente como um objeto de significação, o que implica explicitar seus mecanismos intradiscursivos de produção do sentido. Verificamos, dessa forma, como se estrutura o plano de conteúdo desse texto, de modo a obter parâmetros para compará-lo aos contos de fadas infantis, a partir da hipótese de que ele ecoaria ou atualizaria elementos recorrentes nessas histórias. Nossa análise enfocou, em especial, o nível narrativo, tal como foi proposto pelo percurso gerativo de sentido. Nesse contexto, Vladimir Propp, um dos precursores da semiótica greimasiana, cujos trabalhos sobre o conto maravilhoso russo muito contribuíram para a constituição do nível narrativo, possibilitou-nos uma comparação mais acurada com os contos de fadas tradicionais por meio das trinta e uma funções por ele elencadas. Os resultados obtidos revelam que, sob a variabilidade da superfície textual do livro de J. K. Rowling, encontram-se invariantes também presentes nos contos citados, além de muitas das funções proppianas. Assim, percebemos que Harry Potter e a pedra filosofal não é uma passagem isolada na história da literatura infanto-juvenil mundial, mas apenas mais um capítulo dela, possuindo profundas raízes nos contos de fadas mais tradicionais. Por fim, abordamos, de forma sucinta, algumas questões ideológicas e discutimos a relação de empatia entre a obra e o público-leitor, a partir do seu caráter, ao mesmo tempo, invariante e variante, ou seja, tradicional e renovador, o que, acreditamos, ajuda-nos a elucidar seu sucesso.

Detta arbete består av en tvådelad studie. Vi har dels tagit reda på huruvida lärare använder sig av Harry Potter-böckerna i engelskundervisningen på gymnasiet, dels gestaltat lärarinformanternas uppfattningar angående användandet av Harry Potter-böckerna i undervisningen. Vi har också undersökt om det är möjligt att använda sig av Harry Potter-böcker i engelskundervisningen och om det är möjligt att koppla dem till Lpf 94 (2008) och kursplaner för Engelska A, B och C (2000) på gymnasiet.      Undersökningens intervjuer genomfördes på två gymnasieskolor i mellersta Sverige och inkluderade tio informanter. I syfte att svara på undersökningens forskningsfrågor genomfördes dessutom en didaktisk läsning av tre Harry Potter-böcker. Den didaktiska läsningen visade att de tre Harry Potter-böckerna kan kopplas till både Lpf 94 (2008:59–76) och kursplanerna för kurserna Engelska A, B och C på gymnasiet. Det visade sig dessutom att det är möjligt att konstruera konkreta undervisningsmoment/uppgifter med utgångspunkt i Harry Potter-böckerna och styrdokumenten. Undersökningens intervjuer visade dock att åtta av tio informanter inte använder sig av Harry Potter-böcker i sin engelskundervisning på gymnasiet av olika anledningar men sex av tio informanter nämnde att de kan tänkas använda sig av Harry Potter-böcker i sin framtida engelskundervisning. Undersökningens intervjuer visade dessutom att informanterna hade olika förutsättningar för att använda sig av Harry Potter-böckerna och nämnde i detta sammanhang bland annat skolans budget för inköp av böcker. Dock kan slutsatsen dras att det är möjligt att konstruera undervisningsmoment som inte kräver klassuppsättningar av Harry Potter-böckerna

Uppsatsen analyserar tre karaktärer i J.K Rowlings bok Harry Potter och fången från Azkaban (2017) ur ett genusperspektiv och vänskapsperspektiv. Syftet med analysen är att se hur karaktärerna beskrivs utifrån könsroller och vad vänskapsrelationen har för betydelse för de tre karaktärerna och hur det kan kopplas till genus. Uppsatsen utgår från olika perspektiv kring genus och vänskap, bland annat Maria Nilsons (2010) tankar kring genus i barnlitteratur och William M. Bukowski (2001) som skriver om fyra olika vänskapsfunktioner. Analysen visar att alla tre karaktärerna har både manliga och kvinnliga egenskaper och därmed bryter mot traditionella könsroller till viss del. De tre karaktärernas egenskaper påverkar vänskapen på flera sätt då karaktärerna kompletterar varandra.

In American society, it is assumed that a person who identifies as nonreligious does not participate in activities often associated with religion. In my thesis I will argue that this assumption is false. Over the last 30 years the number of Americans who identify as nonreligious has increased by 200 percent. Yet at the same time, there have appeared numerous new “spiritual technologies” that nonreligious people can participate in, without having to engage in an established religious tradition. The podcast Harry Potter and the Sacred Text exemplifies this phenomenon by asking, “what if we read the books we love as if they were sacred texts?” I will argue that the podcast treats the Harry Potter series as a sacred text primarily by appropriating religious practices from Christianity and Judaism into “spiritual technologies.” An exploration of American Protestantism’s influence on American culture will situation the podcast within its general cultural context. Using comparative analysis, this thesis will explore how the podcast turns traditional religious practices into nonreligious spiritual technologies.

nÃo hÃ<br>Com repercussÃo inegÃvel, os livros de Harry Potter foram publicados entre os anos de 1997 e 2007, somando sete tÃtulos. Embora um dos maiores fenÃmenos literÃrios do inÃcio do sÃculo XXI, a sÃrie nÃo tem sido amplamente contemplada pela comunidade acadÃmica por se tratar de um best-seller direcionado ao pÃblico infanto-juvenil. Mesmo assim, poucas questÃes acadÃmicas vÃo surgindo timidamente, como os problemas tradutÃrios, uma vez que a obra conta com um lÃxico diferenciado, uma histÃria complexa e possui uma extensÃo nada comum aos livros do gÃnero. Os estudos de nomes prÃprios, conhecido como OnomÃstica, configuram um grupo especÃfico, pois em muitos deles a autora utiliza-se de jogos de palavras e significados implÃcitos que podem vir a passar despercebidos dependendo do procedimento tradutÃrio. Por conta de todo o sucesso e nÃmeros expressivos, a obra representa um epicentro em um emaranhado de traduÃÃes. Entre tantas versÃes, o primeiro tÃtulo, Harry Potter and the Philosopherâs Stone (1997), foi traduzido para o grego antigo em 2004 pelo professor britÃnico de estudos clÃssicos Andrew Wilson. O objetivo do presente trabalho à comparar e analisar a traduÃÃo dos nomes prÃprios da referida traduÃÃo a partir da montagem de uma lista com os nomes prÃprios em inglÃs e em grego antigo, dividindo-os em categorias, observando o procedimento tradutÃrio, os caminhos escolhidos pelo tradutor. Sendo assim, caracteriza-se em uma pesquisa descritiva, baseada no mÃtodo de Lambert e Van Gorp (1985). A hipÃtese inicial à que muitos desses nomes, principalmente os criados pela autora, foram apenas transliterados, por conta da facilitaÃÃo em apenas transpor do alfabeto latino para o grego. Para a montagem da lista, a obra em inglÃs, considerada neste trabalho como texto fonte, foi lida destacando todos os nomes por ordem dos capÃtulos. Ao final da primeira etapa, o mesmo processo foi feito com a ediÃÃo em grego antigo. Com a lista finalizada, foram escolhidas categorias dos nomes, como personagens, lugares, objetos, entre outros. A segunda etapa do trabalho consistiu em compilar os procedimentos tradutÃrios. Com tudo considerado, a anÃlise pÃde ser iniciada, mostrando resultados como quais procedimentos tinham sido mais utilizados pelo tradutor. Conclui-se, entÃo, que o tradutor tomou caminhos que aproximavam o texto do leitor, como a aproximaÃÃo acÃstica, refutando a hipÃtese inicial do uso da transliteraÃÃo. Desta forma, ele mostrou demasiada criatividade nas suas escolhas, tornando o texto fluido.<br>Com repercussÃo inegÃvel, os livros de Harry Potter foram publicados entre os anos de 1997 e 2007, somando sete tÃtulos. Embora um dos maiores fenÃmenos literÃrios do inÃcio do sÃculo XXI, a sÃrie nÃo tem sido amplamente contemplada pela comunidade acadÃmica por se tratar de um best-seller direcionado ao pÃblico infanto-juvenil. Mesmo assim, poucas questÃes acadÃmicas vÃo surgindo timidamente, como os problemas tradutÃrios, uma vez que a obra conta com um lÃxico diferenciado, uma histÃria complexa e possui uma extensÃo nada comum aos livros do gÃnero. Os estudos de nomes prÃprios, conhecido como OnomÃstica, configuram um grupo especÃfico, pois em muitos deles a autora utiliza-se de jogos de palavras e significados implÃcitos que podem vir a passar despercebidos dependendo do procedimento tradutÃrio. Por conta de todo o sucesso e nÃmeros expressivos, a obra representa um epicentro em um emaranhado de traduÃÃes. Entre tantas versÃes, o primeiro tÃtulo, Harry Potter and the Philosopherâs Stone (1997), foi traduzido para o grego antigo em 2004 pelo professor britÃnico de estudos clÃssicos Andrew Wilson. O objetivo do presente trabalho à comparar e analisar a traduÃÃo dos nomes prÃprios da referida traduÃÃo a partir da montagem de uma lista com os nomes prÃprios em inglÃs e em grego antigo, dividindo-os em categorias, observando o procedimento tradutÃrio, os caminhos escolhidos pelo tradutor. Sendo assim, caracteriza-se em uma pesquisa descritiva, baseada no mÃtodo de Lambert e Van Gorp (1985). A hipÃtese inicial à que muitos desses nomes, principalmente os criados pela autora, foram apenas transliterados, por conta da facilitaÃÃo em apenas transpor do alfabeto latino para o grego. Para a montagem da lista, a obra em inglÃs, considerada neste trabalho como texto fonte, foi lida destacando todos os nomes por ordem dos capÃtulos. Ao final da primeira etapa, o mesmo processo foi feito com a ediÃÃo em grego antigo. Com a lista finalizada, foram escolhidas categorias dos nomes, como personagens, lugares, objetos, entre outros. A segunda etapa do trabalho consistiu em compilar os procedimentos tradutÃrios. Com tudo considerado, a anÃlise pÃde ser iniciada, mostrando resultados como quais procedimentos tinham sido mais utilizados pelo tradutor. Conclui-se, entÃo, que o tradutor tomou caminhos que aproximavam o texto do leitor, como a aproximaÃÃo acÃstica, refutando a hipÃtese inicial do uso da transliteraÃÃo. Desta forma, ele mostrou demasiada criatividade nas suas escolhas, tornando o texto fluido.<br>With undeniable repercussion, the Harry Potter books were published between the years of 1997 and 2007, totaling seven titles. Although one of the largest literary phenomenon in the beginning of the XXI century, the series tend not to be given proper look by the academic community because it is a best-seller classified as childrenâs literature. Even though, few academic questions rise timidly, such as translation issues, since the books have different lexicon, complex plot, and not common extension for this genre. The study of proper names, known as Onomastics, are part of a specific group, once many of them are puns or have implicit meaning which may go underway depending on the translation procedure. Due to success and expressive numbers, the books are the epicentre in a web of translations. Among so many versions, the first book, Harry Potter and the Philosopherâs Stone (1997), was translated into Ancient Greek in 2004 by British Classical Studies Professor Andrew Wilson. Therefore, the goal in this present study is to compare and analyze the translation of proper names on the mentioned translation through the creation of a list of proper names in English and Ancient Greek, splitting them into categories, observing the translation procedures, the paths chosen by the translator. This way, it is characterized as a descriptive study, based upon Lambertâs and Van Gorpâs method (1985). Initial hypothesis is that these names, especially the ones created by the author, were just transliterated, because it seems easier just to go from the Latin alphabet to the Greek one. To set the list, the book in English, seen here as source text, was read highlighting all proper names by chapter order. By the end of the first stage, the same process was made with the Ancient Greek edition. With the list set, categories of names had to be chosen, such as characters, places, objects, among others. The second stage consisted on setting the translational procedures. With all considered, analysis could be initiated, showing results like which procedures had been used most by the translator. It is concluded then that the translator chose paths like approximating the text to the reader, such as using acoustic approximation, disproving initial hypothesis about the use of transliteration. This way, he showed undue creativity by his choices by making a flowing text.<br>With undeniable repercussion, the Harry Potter books were published between the years of 1997 and 2007, totaling seven titles. Although one of the largest literary phenomenon in the beginning of the XXI century, the series tend not to be given proper look by the academic community because it is a best-seller classified as childrenâs literature. Even though, few academic questions rise timidly, such as translation issues, since the books have different lexicon, complex plot, and not common extension for this genre. The study of proper names, known as Onomastics, are part of a specific group, once many of them are puns or have implicit meaning which may go underway depending on the translation procedure. Due to success and expressive numbers, the books are the epicentre in a web of translations. Among so many versions, the first book, Harry Potter and the Philosopherâs Stone (1997), was translated into Ancient Greek in 2004 by British Classical Studies Professor Andrew Wilson. Therefore, the goal in this present study is to compare and analyze the translation of proper names on the mentioned translation through the creation of a list of proper names in English and Ancient Greek, splitting them into categories, observing the translation procedures, the paths chosen by the translator. This way, it is characterized as a descriptive study, based upon Lambertâs and Van Gorpâs method (1985). Initial hypothesis is that these names, especially the ones created by the author, were just transliterated, because it seems easier just to go from the Latin alphabet to the Greek one. To set the list, the book in English, seen here as source text, was read highlighting all proper names by chapter order. By the end of the first stage, the same process was made with the Ancient Greek edition. With the list set, categories of names had to be chosen, such as characters, places, objects, among others. The second stage consisted on setting the translational procedures. With all considered, analysis could be initiated, showing results like which procedures had been used most by the translator. It is concluded then that the translator chose paths like approximating the text to the reader, such as using acoustic approximation, disproving initial hypothesis about the use of transliteration. This way, he showed undue creativity by his choices by making a flowing text.

BEZERRA, João Alfredo Ramos.Hareios Poter: um estudo descritivo sobre a tradução dos nomes próprios de Harry Potter and the Philosopher’s Stone para o grego antigo. 2017. 108f. - Dissertação (Mestrado) - Universidade Federal do Ceará, Programa de Pós-graduação em Estudos da Tradução, Fortaleza (CE), 2017.<br>Submitted by Programa de Pós-graduação em Estudos da Tradução (poet@ufc.br) on 2017-11-16T13:59:50Z No. of bitstreams: 1 2017_dis_jarbezerra.pdf: 1536898 bytes, checksum: 8415736b3f9ed7d25e7fdf5ac3bbea31 (MD5)<br>Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-11-20T17:31:58Z (GMT) No. of bitstreams: 1 2017_dis_jarbezerra.pdf: 1536898 bytes, checksum: 8415736b3f9ed7d25e7fdf5ac3bbea31 (MD5)<br>Made available in DSpace on 2017-11-20T17:31:58Z (GMT). No. of bitstreams: 1 2017_dis_jarbezerra.pdf: 1536898 bytes, checksum: 8415736b3f9ed7d25e7fdf5ac3bbea31 (MD5) Previous issue date: 2017<br>With undeniable repercussion, the Harry Potter books were published between the years of 1997 and 2007, totaling seven titles. Although one of the largest literary phenomenon in the beginning of the XXI century, the series tend not to be given proper look by the academic community because it is a best-seller classified as children’s literature. Even though, few academic questions rise timidly, such as translation issues, since the books have different lexicon, complex plot, and not common extension for this genre. The study of proper names, known as Onomastics, are part of a specific group, once many of them are puns or have implicit meaning which may go underway depending on the translation procedure. Due to success and expressive numbers, the books are the epicentre in a web of translations. Among so many versions, the first book, Harry Potter and the Philosopher’s Stone (1997), was translated into Ancient Greek in 2004 by British Classical Studies Professor Andrew Wilson. Therefore, the goal in this present study is to compare and analyze the translation of proper names on the mentioned translation through the creation of a list of proper names in English and Ancient Greek, splitting them into categories, observing the translation procedures, the paths chosen by the translator. This way, it is characterized as a descriptive study, based upon Lambert’s and Van Gorp’s method (1985). Initial hypothesis is that these names, especially the ones created by the author, were just transliterated, because it seems easier just to go from the Latin alphabet to the Greek one. To set the list, the book in English, seen here as source text, was read highlighting all proper names by chapter order. By the end of the first stage, the same process was made with the Ancient Greek edition. With the list set, categories of names had to be chosen, such as characters, places, objects, among others. The second stage consisted on setting the translational procedures. With all considered, analysis could be initiated, showing results like which procedures had been used most by the translator. It is concluded then that the translator chose paths like approximating the text to the reader, such as using acoustic approximation, disproving initial hypothesis about the use of transliteration. This way, he showed undue creativity by his choices by making a flowing text.<br>Com repercussão inegável, os livros de Harry Potter foram publicados entre os anos de 1997 e 2007, somando sete títulos. Embora um dos maiores fenômenos literários do início do século XXI, a série não tem sido amplamente contemplada pela comunidade acadêmica por se tratar de um best-seller direcionado ao público infanto-juvenil. Mesmo assim, poucas questões acadêmicas vão surgindo timidamente, como os problemas tradutórios, uma vez que a obra conta com um léxico diferenciado, uma história complexa e possui uma extensão nada comum aos livros do gênero. Os estudos de nomes próprios, conhecido como Onomástica, configuram um grupo específico, pois em muitos deles a autora utiliza-se de jogos de palavras e significados implícitos que podem vir a passar despercebidos dependendo do procedimento tradutório. Por conta de todo o sucesso e números expressivos, a obra representa um epicentro em um emaranhado de traduções. Entre tantas versões, o primeiro título, Harry Potter and the Philosopher’s Stone (1997), foi traduzido para o grego antigo em 2004 pelo professor britânico de estudos clássicos Andrew Wilson. O objetivo do presente trabalho é comparar e analisar a tradução dos nomes próprios da referida tradução a partir da montagem de uma lista com os nomes próprios em inglês e em grego antigo, dividindo-os em categorias, observando o procedimento tradutório, os caminhos escolhidos pelo tradutor. Sendo assim, caracteriza-se em uma pesquisa descritiva, baseada no método de Lambert e Van Gorp (1985). A hipótese inicial é que muitos desses nomes, principalmente os criados pela autora, foram apenas transliterados, por conta da facilitação em apenas transpor do alfabeto latino para o grego. Para a montagem da lista, a obra em inglês, considerada neste trabalho como texto fonte, foi lida destacando todos os nomes por ordem dos capítulos. Ao final da primeira etapa, o mesmo processo foi feito com a edição em grego antigo. Com a lista finalizada, foram escolhidas categorias dos nomes, como personagens, lugares, objetos, entre outros. A segunda etapa do trabalho consistiu em compilar os procedimentos tradutórios. Com tudo considerado, a análise pôde ser iniciada, mostrando resultados como quais procedimentos tinham sido mais utilizados pelo tradutor. Conclui-se, então, que o tradutor tomou caminhos que aproximavam o texto do leitor, como a aproximação acústica, refutando a hipótese inicial do uso da transliteração. Desta forma, ele mostrou demasiada criatividade nas suas escolhas, tornando o texto fluido.

In this essay, the Harry Potter series will be analyzed in three different sections. I will use African American criticism and Critical Race Theory (CRT) in the discussion of ‘race’ and segregation that occurs between three different groups. This section will explain along what lines the world of Harry Potter is segregated and to what extent. Further, it will contain a case-study of house-elves through the lens of postcolonial criticism, that shows how certain groups are relegated to the status of “subaltern”, what form their oppression take and how they respond to it. I have chosen the elves, who are at the very bottom of the social ladder, because the extent of their oppression has been cut out from movie adaptions, and Rowling herself has liquidated the house-elf plot from the last novels. They provide the clearest example of differentiation between the groups of magical creatures, even though as a group they do not play an important part the series. The main concepts that will be used in this section are the issues of subaltern, mimicry and anticolonialist resistance. Finally, I will look at the novels through a multicultural perspective to see how Rowling has portrayed contemporary multicultural England and how it connects to the racial divisions in the magical world.

Os aspectos próprios aos processos de formação pessoal acontecem, também, em âmbito escolar, entretanto, são mobilizados por instâncias que extrapolam as práticas educativas institucionalizadas. Fundamentados em uma reflexão filosófica sobre as distintas concepções pedagógicas que se articulam em torno de diferentes compreensões da condição humana, procuramos, dessa maneira, articular a função da arte na formulação de conhecimentos aos saberes adquiridos por meio da experimentação do mito. Para tanto, valemo-nos de uma abordagem antropológica do imaginário e seus processos criativos, inspirada no pensamento de Gilbert Durand, cuja configuração nos apresenta os símbolos como uma estrutura sintética, intermediadora das pulsões subjetivas e intimações cósmico sociais, operantes na apreensão criativa de uma determinada realidade, revelando o desenrolar dos trajetos formativos enraizados nos campos da cultura e evidenciando o potencial pedagógico das narrativas ficcionais. Dessa maneira, focalizando os elementos sensíveis envolvidos na prática da educação, concebida em sua realização estética, como propõe Duarte Júnior, elaboramos uma leitura mitohermenêutica de Harry Potter, isto é, uma interpretação dos símbolos dinamizados pela trama mitológica. Este método de leitura foi adotado a fim de darmos forma ao imaginário constituído em torno da saga, delinear uma de suas possíveis significações simbólicas e apontar, junto ao percurso do herói, as transformações existenciais que acompanham a passagem da vivência egocentrada à experiência comunitária.<br>The typical aspects of a personal make-up in progress also occur in the school setting, however, are mobilized by instances that go beyond the institutionalized educational practices. Grounded in a philosophical reflection on the different pedagogical concepts that are articulated around different understandings of the human condition, we seek in this way to articulate the role of art in the formulation of knowledge to wisdom acquired through experimentation myth. For this, we make use of an anthropological approach to the creative imagination and their creative processes, inspired by the thought of Gilbert Durand, whose configuration presents the symbols as a synthetic carrier, mediator of subjective social instincts and cosmic orders, operative in the apprehension of a reality, revealing the development of formative paths rooted in the fields of culture and highlighting the pedagogical potential of fictional narratives. Thus, focusing on the sensitive elements involved in the practice of education, conceived in its aesthetic accomplishment, as proposed by Duarte, Jr., developed a mitohermenêutica reading on Harry Potter, that is, an interpretation of the mythological symbols streamlined plot. This reading method was adopted in order to give way to the imaginary constituted around the exploit, an outline of their possible symbolic meanings and pointing along the path of the hero, the existential transformations that accompany the transition from self-centered to community living experience.

Submitted by Marta Toyoda (1144061@mackenzie.br) on 2017-03-24T18:41:20Z No. of bitstreams: 2 Júlia Pacheco Rinaldi.pdf: 6457579 bytes, checksum: 0f1df227c364d3043a9422f039021e28 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2017-03-30T15:06:34Z (GMT) No. of bitstreams: 2 Júlia Pacheco Rinaldi.pdf: 6457579 bytes, checksum: 0f1df227c364d3043a9422f039021e28 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Made available in DSpace on 2017-03-30T15:06:34Z (GMT). No. of bitstreams: 2 Júlia Pacheco Rinaldi.pdf: 6457579 bytes, checksum: 0f1df227c364d3043a9422f039021e28 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-02-23<br>This development work focused on the research areas Language, Literature and Society: speech communication, religious discourse, pedagogical discourse, political discourse; has as its object of study the literary and cinematographic work Harry Potter and the Order of the Phoenix, the fifth volume of the narrative initialized by the British author J. K. Rowling from the 1990s and adapted for the cinema from the 2000s. To the research, it was selected a piece from the literary work, this specifically in the fifth volume of the series, entitled Harry Potter and the Order of the Phoenix, where the young Harry Potter has fight against your main enemy inside your own body. This passage makes it possible to understand that the character goes through an identity crisis: Harry Potter received when baby some magical powers from his enemy when he tried to kill him, and he suddenly lives with a mixture of good feelings (love, friendship, courage) and bad feelings (anger, fear, insecurity) that oscillates fast, and he believes that Voldemort, somehow, exerts control over them. Harry Potter believes he is leaning toward evil, as well as with your enemy, but knows he must fight to defeat Voldemort and the Death Eaters and restore peace in the wizarding world. In this way, it will be addressed also this point in the film (entitled by the same name) trying to understand how the essence of the literary fragment was transposed into the visual language, using as the main theoretical basis, the translation Intersemiotic by Julio Plaza.<br>O presente trabalho, centrado na área de pesquisa Língua, literatura e sociedade: discurso na comunicação, discurso religioso, discurso pedagógico, discurso político; tem como objeto de estudo a obra literária e a obra cinematográfica Harry Potter e a Ordem da Fênix, quinto volume da narrativa inicializada pela autora inglesa J.K. Rowling a partir da década de 1990 e que foi adaptada para o cinema a partir dos anos 2000. Para a realização da pesquisa foi selecionado um fragmento da obra literária, presente especificadamente no quinto volume da série, intitulado Harry Potter e a Ordem da Fênix, em que o jovem Harry tem que duelar contra o seu principal inimigo dentro de seu próprio corpo. Esta passagem possibilita compreender que a personagem passa por uma crise de identidade: Harry Potter recebeu quando bebê alguns poderes mágicos de seu inimigo quando este tentou matá-lo, e ao passar a conviver repentinamente com uma mistura de sentimentos bons (amor, amizade, coragem) e ruins (raiva, medo, insegurança) que oscilam rapidamente, acredita que Voldemort exerce de algum modo um controle sobre si. Harry Potter acredita que está pendendo para o mal, assim como aconteceu com seu inimigo, mas sabe que deve lutar para derrotar Voldemort e os Comensais da Morte e reestabelecer a paz no mundo bruxo. Desta forma, abordar-se-á também este momento no filme (intitulado pelo mesmo nome) buscando entender como a essência do fragmento literário foi transposta para linguagem audiovisual, utilizando, como base teórica principal, a Tradução Intersemiótica de Julio Plaza.

This thesis analyzes the mother-child relationship in the Harry Potter novels by using Melanie Klein’s object-relation based theory. I argue the mothers and their relationship with their offspring represent fragments of a whole complicated psyche. The characters are not analyzed as individuals, but instead as pieces, sometimes multiple pieces, of a whole psyche. When these characters and novels are taken together, a whole, multi-faceted person comes into view. Rowling depicts both good and bad mothers, and children who characterize different positions according to Klein. These positions are the paranoid-schizoid position with Harry Potter and the depressive position with Sirius Black and Rubeus Hagrid. Although the series suggests a developmental arc or a coming of age story within fantasy literature, there is no linear progression; instead, there are disruptive positions without development.

The practice of secondary world building, the creation of a fantasy realm with its own unique laws and systems has long been a tradition within the genre of fantasy writing. In many notable cases, such as those publications by J.R.R. Tolkien and H.P. Lovecraft, folklore exhibited in the world of the reader has been specifically used not only to construct these fantasy realms, but to add depth and believability to their presentation. The universe of J.K. Rowling’s Harry Potter series demonstrates this same practice of folklore-as-world-building, yet her construction does much more than just create a fantasy realm. By using both folklore which predates her writing as well as created elements which while unique to her secondary world specifically reflect the world of the reader, Rowling is able to create a fantasy realm which is highly political, complex and multivocal, yet still accessible to young readers through its familiarity. Specifically through her use of cryptids, belief representation, and folk narratives both invented and recontextualized, Rowling is able to juxtapose her fantasy universe to the real-world of the reader, in effect inventing a believable secondary world but also demonstrating to young readers the ways in which her writing should be interpreted.

Harry Potter-serien har kommit att bli en väldigt populär serie både hos barn och vuxna över hela världen. I både böckernas originalform och de adapterade filmerna har människor förälskat sig i berättelserna om Harry Potter och hans magiska värld. Det har gjorts flertalet studier om Harry Potter, där olika perspektiv behandlas utefter böckerna och/eller filmerna. I denna studie är syftet att jämföra den tredje boken respektive filmen i serien, Harry Potter och fången från Azkaban (2001; 2004), för att se vilka likheter och skillnader som finns mellan boken och den adapterade filmen.Studien tar hjälp av två analysmetoder: narrativanalys och komparativ analys. Med hjälp av dessa analysmetoder har en resumé skrivits som behandlar både boken och filmen i sin helhet. Analysmetoderna har även använts till att redogöra för och jämföra bokens respektive filmens uppbyggnad och genre, men också tre av de viktigare karaktärerna i de olika medierna.Analysen visar att karaktärernas viktigare egenskaper inte påverkas i adaptionen, detsamma gäller för berättelsens handling och genre. Vissa händelser och egenskaper som finns med i boken finns inte med i den adapterade filmen, vilket kan förklaras av att filmskaparna var tvungna att göra flera val i produceringen av filmen för att behålla kärnan i berättelsen.Uppbyggnaden påverkas i adaptionen genom att de olika medierna för berättelsen vidare genom skilda sätt, men berättelsens kärna hålls intakt. I undervisningssyfte går det att dra slutsatsen att denna berättelse, både som bok och film, går att arbeta med i undervisningen i årskurs 1-3.

Millions of adolescents across the globe eagerly await and read each new Harry Potter fictional novel. As a series, the novels can be assumed to participate influentially in the production of adolescent literacies and subjectivities. Situated in politically conservative times, however, the texts may support readings in simple accord with culturally pervasive conservative views which favour conventionally masculinist, martial views of the individual and of society. Such readings potentially confirm ancient prejudices built out of differences which themselves may be associated with the socio-cultural reproduction of violent conflicts. Nevertheless, contemporary conditions such as planetary climate change and globalised political fear demand resolutions based not in conflict but in unprecedented degrees of global and local co-operation. This thesis, then, explores ways in which the Harry Potter texts may be approached from a critical literacy perspective to support readers to contest conservatively-aligned readings and to question the role of the texts in preparing students for a world of peace and cooperation.

Syftet med denna uppsats är att undersöka hur Harry Potter som karaktär framställs i boken Harry Potter och Hemligheternas Kammare i jämförelse med filmadaptionen med samma namn. Genom en semiotisk analys på två nivåer granskas karaktären för att se på vilka sätt karaktären Harry Potters personliga egenskaper och tankar har översatts och ändrats i förflyttningen från bok till film. I slutdiskussionen visas att Harry Potter har förändrats något i adaptionen, men hans personlighet framställs i slutändan mycket som densamma. Att karaktären innehar samma personlighet och påvisar samma egenskaper är viktigt för att adaptionen ska fungera och gör att själva berättelsen i adaptionen inte måste vara fullt trogen till originalet för att ge samma bild.

<p>The paper's aim is to show the fight of the church against the Potter book series of Joanne K. Rowling and the actual situation which is presented in the books. This fight is based on the acrimonious claims and heated-up discussions which were made by some church members who sued the books as "being evil" and a "seduction to the bad side" for children as well as "having a satanic content" etc. At the same time, positive comments of several church leaders and the author's declared opinion are stated. Finally, book four "Harry Potter and the Goblet of Fire" is interpreted regarding the claims of the church and a neutral observation of the story.</p>

Harry Potter-series are widely popular fantasy-novels that have influenced young readers all over the world on various issues, one being gender. Many arguments have been proposed to explain how the Harry Potter-series has a gender-biased attitude. Although previous research has covered a wide variety of claims, this essay will focus on examining the language and word choices made to describe the male and female characters of Harry Potter and the Philosopher’s Stone and Harry Potter and the Goblet of Fire. The word choices consist of both traditionally masculine adjectives and verbs as well as adjectives and verbs with negative connotations. To obtain a comprehensive view of the gender-biased tone of the two novels, the essay will not only examine the language, but also investigate if there is a gender-biased way of portraying the characters based on how their behaviour is described. These observations will be combined with previous research which includes Sara Mills’ investigation of sexist language and indirect sexism, Heilman and Donaldson’s critical perspective on the Harry Potter-novels, and Turner-Bowker’s study of stereotyping in young readers’ literature. These studies support my arguments and show that that there is a gender-bias in the way the characters are described, both through language and in the way that the character’s act in Harry Potter and the Philosopher’s Stone and Harry Potter and the Goblet of Fire.

According to Nielsen BookScan, an independent book trade monitoring service, 2,652,656 copies of the final book in the Harry Potter series, Harry Potter and the Deathly Hallows (Rowling, 2007), were sold across the United Kingdom within the first 24 hours of sales. The book thus became the fastest selling in history, in doing so overtaking the sales record of its predecessor, Harry Potter and the Half-Blood Prince (Rowling, 2005), which sold 2,009,574 copies in the UK in the first 24 hours. With yearly releases beginning in 1997, at one point Harry Potter novels occupied the top four spots on The New York Times Bestseller List, prompting the addition of a children’s bestseller list so popular literary fiction intended for adults might be represented. Considering this scenario, questions that arise for literary educators are as follows: What forces were at play behind this literary phenomenon and what are the implications for literacy and literary education? This thesis examines the success of Harry Potter as a literary and commercial phenomenon, considering in particular the literary features of the novels that might have contributed to their success, the marketing of the texts and the rise of the Harry Potter "brand," the timing of the emergence of the series alongside the rise of social media, and the implications of all of this for the future of literary reading and literary education.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2017.<br>Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-05-18T19:44:00Z No. of bitstreams: 1 2017_LeonardoFreitasdeSouzaMartins.pdf: 1859181 bytes, checksum: fa9fe0ee6f3e9edc30527b97da031ab2 (MD5)<br>Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-05-26T18:02:40Z (GMT) No. of bitstreams: 1 2017_LeonardoFreitasdeSouzaMartins.pdf: 1859181 bytes, checksum: fa9fe0ee6f3e9edc30527b97da031ab2 (MD5)<br>Made available in DSpace on 2017-05-26T18:02:40Z (GMT). No. of bitstreams: 1 2017_LeonardoFreitasdeSouzaMartins.pdf: 1859181 bytes, checksum: fa9fe0ee6f3e9edc30527b97da031ab2 (MD5) Previous issue date: 2017-05-26<br>No Brasil, livros originalmente escritos por autores estrangeiros estão no topo da lista de livros mais vendidos. Entretanto, tradutores não são tão conhecidos quanto os livros que ajudam a trazer a nosso mercado editorial. Uma exceção é a tradutora da série Harry Potter no Brasil que se fez conhecida por suas escolhas de tradução. Essa dissertação tem por objetivo elaborar uma crítica de tradução das edições brasileiras da mencionada série com ênfase nas estratégias usadas pela tradutora em relação aos neologismos criados pela autora. Como base para uma crítica de tradução geral, aplicarei o método esboçado por Antoine Berman em seu livro Pour une critique des traductions: John Donne (BERMAN, 1995). A questão mais específica dos neologismos dentro da tradução para o português do Brasil será abordada com a utilização do conceito de neologismo de Newmark (1988) e seu sistema de classificação. Usando seu conceito, identificarei os neologismos contidos na série e os classificarei conforme seu sistema. Então as traduções correspondentes também serão classificadas quando aplicável. O objetivo geral desse estudo é demonstrar a divergência na correspondência da edição em português do Brasil com o original em termos tanto gerais quanto do tratamento dado aos neologismos pela tradutora.<br>In Brazil, books originally written by foreign writers are on top of best-selling books. Translators, however, are not so well-known as the books they help bring to the Brazilian editorial Market. An exception is the translator of the Harry Potter series in Brazil who became known by her translation choices. This dissertation aims to elaborate a translation criticism of the Brazilian edition of the aforementioned series focusing on the strategies used by the translator on the neologisms created by the author. As a fundament of the general translation criticism, I will use the method drawn by Antoine Berman on his book Pour une critique des traductions: John Donne (BERMAN, 1995). I will cover the more specific issue of the neologisms in the translation to Brazilian Portuguese with use of the concept of neologism by Newmark (1988) and his category system. I will use his system to categorize and classify the neologisms found in the original series. Then I will categorize the corresponding terms in Brazilian Portuguese when applicable. The general objective of this study is to show the divergence in the correspondence between the Brazilian and the original editions, both in general terms as regarding the treatment givent to neologisms by the translator.

Orientador: Alvaro Luiz Hattnher<br>Banca: Márcio Roberto do Prado<br>Banca: Nilce Maria Pereira<br>Resumo: O objetivo desta pesquisa será o de analisar fanfictions - em tradução literal "ficção de fã" - da saga Harry Potter em todas as suas especificidades - formato, definições, caraterísticas, postagem e público. Este último, por sua vez, trata-se de um público único e bastante presente em nosso objeto de pesquisa: o fã. Com a evolução tecnológica pelo qual nossa sociedade atual tem passado, novos gêneros literários vão desenvolvendo-se e ganhando cada vez mais espaço na internet. Uma das razões para que isso ocorra é também o aumento significativo da cultura de massa, termo definido por Kellner (2001) e de grandes lançamentos de best sellers que acumulam uma legião de seguidores, como é o caso de Harry Potter, líder das fanfictions acessadas no website fonte desta pesquisa. Dentre as mais de 800 mil fanfictions de Harry Potter as quais tivemos acesso, selecionamos cinco, todas elas pertencentes à classificação específica de universo alternativo, cuja definição é uma releitura e/ou adaptação da obra original para um novo contexto, distanciando-se, assim, do que foi estabelecido no texto original. A questão que move esta pesquisa é: uma vez que o fã da obra original de Harry Potter foi atraído para a série, considerando-se, especialmente, a existência de ferramentas literárias, como modalidade de narrador e verossimilhança, utilizadas para criar uma realidade paralela à nossa realidade e convencer seu leitor a aceitá-la sem questionamentos, o que faz com que ele continue...<br>Abstract: The purpose of this research is to analyze Harry Potter saga fanfictions in all its specificities ─ format, definitions, characteristics, posting and audience. The latter, in turn, is a unique audience and very present in our research objective: the fan. Considering the technological evolution that our current society has gone through, new literary genres have been developed and gained more space on the internet. One of the reasons for this to occur is also the significant increase of mass culture, a term defined by Kellner (2001), and big best sellers releases that accumulate a legion of followers, such as Harry Potter, leader of the fanfictions accessed on the website used as a source for this research. Among more than 800,000 Harry Potter fanfictions that we had access to, we selected five, all of them belonging to the specific alternative universe classification, whose definition is a rereading and/or adaptation of the original work to a new context, destiny or personality of the characters, thus, distancing itself from what it was established in the original text. The question that moves this research is: since the fan of the original Harry Potter work was attracted to the series, especially considering the existence of literary tools, such as narrator modality and verisimilitude, used to create a reality parallel to our reality and to convince its readers to accept it without question, what keeps readers interested and assiduously following the texts of alternative ...<br>Mestre