A pesquisa aborda a representação do jornalismo na ficção de Harry Potter transmídia – sua função social e seu ethos profissional. A partir da análise de conteúdo, avaliamos os sete livros, os oito filmes e o site Pottermore que fazem parte da franquia, explorando a capacidade narrativa de cada plataforma. Definimos a série como narrativa transmídia com base em Jenkins (2009a) e, a partir de uma visão geral do enredo de Rowling, acionamos os conceitos de função social e ethos profissional que permeiam o jornalismo para pensar a representação da profissão na franquia. Mapeamos onze funções sociais da profissão no enredo de Rowling – informar; contextualizar, interpretar e explicar a realidade; motivar debate público; vigiar os poderes; orientar sobre como viver no mundo; organizar o tempo do leitor (ouvinte, espectador) na vida cotidiana; formar um presente social de referência; manter a sociedade unida; instruir e educar os leitores (ouvinte, espectador); conferir valor para pessoas, objetos e instituições; proporcionar entretenimento. Observamos também como se constrói o ethos profissional, identificando quatro perfis de jornalistas criados na história de Harry Potter – o inescrupuloso, o idealista, o profissional e o chapa-branca. As funções sociais ocupadas pela profissão variam de acordo com seu contexto na história e o ethos que cada jornalista incorpora determina como elas serão cumpridas e se serão cumpridas. As posições dos veículos e dos jornalistas se alteram com o desenrolar da história, registrando as mudanças sociais e se tornando parte delas. / This research addresses the representation of journalism in the transmedia fiction of Harry Potter - its social function and its professional ethos. Using content analysis, we evaluate the seven books, the eight films and the Pottermore site that compose the franchise, exploring the narrative capability of each platform. We define the series as a transmedia narrative as established by Jenkins (2009a) and, from an overview of Rowling's plot, applied the concepts of social function and professional ethos that permeate journalism to reflect about the representation of the profession in the franchise. We mapped eleven social functions of the profession in Rowling's story - report; contextualize, interpret and explain the reality; encourage public debate; watch the other powers; instruct people on how to live in the world; organize the reader's (listener, viewer) time in everyday life; form a social present of reference; keep society together; instruct and educate readers (listeners, spectator); lend credibility and prestige to people, objects and institutions; offer entertainment. We also observed how the professional ethos is built, mapping four journalist profiles created in the Harry Potter story – the unscrupulous, the idealist, the professional and the subdued to the government. The social functions fulfilled by journalism in the story vary according to its context in the narrative and the ethos that each journalist incorporates determines how this functions will be fulfilled and if they will be fulfilled. The positions of the vehicles and journalists change in the course of story, registering the social changes and becoming a part of them.

A pesquisa aborda a representação do jornalismo na ficção de Harry Potter transmídia – sua função social e seu ethos profissional. A partir da análise de conteúdo, avaliamos os sete livros, os oito filmes e o site Pottermore que fazem parte da franquia, explorando a capacidade narrativa de cada plataforma. Definimos a série como narrativa transmídia com base em Jenkins (2009a) e, a partir de uma visão geral do enredo de Rowling, acionamos os conceitos de função social e ethos profissional que permeiam o jornalismo para pensar a representação da profissão na franquia. Mapeamos onze funções sociais da profissão no enredo de Rowling – informar; contextualizar, interpretar e explicar a realidade; motivar debate público; vigiar os poderes; orientar sobre como viver no mundo; organizar o tempo do leitor (ouvinte, espectador) na vida cotidiana; formar um presente social de referência; manter a sociedade unida; instruir e educar os leitores (ouvinte, espectador); conferir valor para pessoas, objetos e instituições; proporcionar entretenimento. Observamos também como se constrói o ethos profissional, identificando quatro perfis de jornalistas criados na história de Harry Potter – o inescrupuloso, o idealista, o profissional e o chapa-branca. As funções sociais ocupadas pela profissão variam de acordo com seu contexto na história e o ethos que cada jornalista incorpora determina como elas serão cumpridas e se serão cumpridas. As posições dos veículos e dos jornalistas se alteram com o desenrolar da história, registrando as mudanças sociais e se tornando parte delas. / This research addresses the representation of journalism in the transmedia fiction of Harry Potter - its social function and its professional ethos. Using content analysis, we evaluate the seven books, the eight films and the Pottermore site that compose the franchise, exploring the narrative capability of each platform. We define the series as a transmedia narrative as established by Jenkins (2009a) and, from an overview of Rowling's plot, applied the concepts of social function and professional ethos that permeate journalism to reflect about the representation of the profession in the franchise. We mapped eleven social functions of the profession in Rowling's story - report; contextualize, interpret and explain the reality; encourage public debate; watch the other powers; instruct people on how to live in the world; organize the reader's (listener, viewer) time in everyday life; form a social present of reference; keep society together; instruct and educate readers (listeners, spectator); lend credibility and prestige to people, objects and institutions; offer entertainment. We also observed how the professional ethos is built, mapping four journalist profiles created in the Harry Potter story – the unscrupulous, the idealist, the professional and the subdued to the government. The social functions fulfilled by journalism in the story vary according to its context in the narrative and the ethos that each journalist incorporates determines how this functions will be fulfilled and if they will be fulfilled. The positions of the vehicles and journalists change in the course of story, registering the social changes and becoming a part of them.

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.

Considérée comme une histoire pour enfants et adolescents, la saga Harry Potter, tout comme la saga Star Wars dans les années 1980, est devenue un véritable phénomène culturel et intergénérationnel. L'impact de ces livres d'abord, puis des films ensuite, se ressent toujours et ce, malgré leur conclusion en 2011. Beaucoup d'auteurs se sont principalement intéressés à la partie narrative de la saga Harry Potter en interprétant les différents sens politique, psychologique, social, etc., mais sans jamais s'attarder réellement sur la musique des films. 6Mon attention dans ce projet se portera sur la musique des deux derniers films de l'octalogie, composée par Alexandre Desplat. L'objectif de la thèse est de déterminer au moyen de diverses approches comment les thèmes narratifs principaux des deux derniers films de la saga Harry Potter (Les Reliques de la Mort, Parties I et II) sont illustrés par des marqueurs sonores. Nous nous intéresserons à l'illustration de la magie dans la Partie I en nous basant sur la théories critique de la musique de film de Claudia Gorbman en premier lieu, avant de discuter du rôle dramatique de Lily's Theme dans la Partie II en nous basant sur des études sur l'Éternel Féminin et certaines approches en musique et image de Lori Burns. Dans une dernière partie, nous montrerons comment les marqueurs sonores du Bien, de l'héroïsme et du Mal peuvent être compris en terme d'associations culturelles dans la scène du Duel Final de la Partie II avant d'analyser comment la musique agit en tant qu'agent narratif indépendant de l'image en nous basant sur les approches de Robert Hatten (marqué/non marqué) et de Steve Larson (attentes de l'auditeur). Ces approches nous permettent de montrer comment la musique participe à la création d'un univers audiovisuel cohérent et unifié avec l'image dans les deux derniers films de Harry Potter.

Představovat Harryho Pottera je vcelku zbytečné, neboť v dnešní době snad už neexistuje nikdo, kdo by o něm ještě nikdy neslyšel. Zcela mimořádný úspěch značky Harry Potter je na jedné straně bezpochyby primárně zásluhou kvalitního výrobku. Na druhé straně nutno přiznat, že bez dobré komunikace by i tento zajímavý, a zajisté kvalitní literární produkt, mohl zůstat v mase dětské literatury zcela nepovšimnut. Kladu si tedy za cíl pokusit se zmapovat prostředky, jakými je tak úspěšná značka komunikována, určit faktory, které hrály zásadní význam na cestě k jejímu celosvětovému úspěchu a následně odpovědět na otázku, zda je možné úspěch značky zopakovat, a pokud ano, tak za jakých předpokladů.Teoretickou část své práce uvádím charakteristikou přitažlivého příběhu, který stál na začátku. Dále popisuji narůstající úspěch jeho knižní podoby, a následně i jeho filmového zpracování. Obecnou definicí značky a komunikačních prostředků obracím pozornost na vznik značky Harry Potter a na prostředky (média), jimiž jsou komunikovány její dvě hlavní složky, knihy a filmy. Ostatní složky, jako hračky, oblečení, videohry, zábavní park aj., opomíjím, neboť jsou složkami okrajovými, ze značky profitujícími. V praktické části své práce se pokusím analyzovat jednotlivé komunikační prostředky používané při propagaci značky Harry Potter ve světě, především ve Velké Británii a Spojených státech, zemích z hlediska komunikační strategie značky určujících, s přihlédnutím ke komunikaci v České republice. Jelikož komunikace obou hlavních složek značky, knih a filmů, probíhá striktně odděleně, analyzuji použití jednotlivých komunikačních prostředků zvlášť u knih a zvlášť u filmů.

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Syftet med detta arbete är att undersöka hur Harry Potter-böckerna kan användas för att främja undervisning om källkritik och kritiskt tänkande inom ramen för svenskundervisningen. Detta görs genom att fyra textexempel, två ur Harry Potter och Den flammande bägaren och två ur Harry Potter och Fenixorden, analyseras utifrån läroplanerna Lgr11 och Gy11 och källkritiska principer samt fantasyspecifika teorier. Arbetet avslutas med en diskussion om de fördelar böckerna har i en klassrumskontext och i samband med undervisning om källkritik och kritiskt tänkande. Slutsatsen blir att böckerna, åtminstone i teorin, fungerar väl för detta syfte. / The purpose of this essay is to examine how the Harry Potter books may be used to support teaching about source criticism and critical thinking in terms of the teaching of Swedish. This is done through four textual examples, two from Harry Potter and the Goblet of Fire and two from Harry Potter and the Order of the Phoenix, being analysed in relation to the Lgr11 and Gy11 curricula and source-critical principles as well as fantasy-specific theories. The essay concludes with a discussion about the advantages the novels have in a classroom context and in connection to teaching about source criticism and critical thinking. The conclusion is that the novels, at least in theory, work well in this context.

I den här uppsatsen står den tredje boken om Harry Potter, The Prisoner of Azkaban, i fokus. Analysen fokuserar på vilka exempel på det kusliga som förekommer i boken och vilken funktion dessa element får i boken. Detta undersöks främst utifrån Freuds teori om det kusliga (unheimlich). Exempel på det kusliga återfinns både i miljöerna, animerade objekt, magiska varelser och några av karaktärerna. De kusligaste elementen i boken hämtar främst sin kuslighet från nära kopplingar till döden eller de dödas återkomst, bland annat både Dementorerna och Sirius Black, men även osäkerhet spelar en viktig roll i uppbyggnaden av kusliga element. Däremot blir de magiska objekten aldrig kusliga i samma omfattning i och med att deras oväntade beteende blir en viktig del i förmedlandet av en magisk miljö. / This essay focuses on the uncanny in the third Harry Potter book, The Prisoner of Azkaban, and the effects of such elements. Freud’s theory of the uncanny (unheimlich) is used throughout the essay to establish the uncanny elements in the book and their effect. Examples of the uncanny can be found in the environment, animated objects, magical beings and some of the characters. The elements with a high uncanniness are foremost related to death or the return of the dead, this includes both the Dementors and Sirius Black, but the element of uncertainty also plays an important role in creating an uncanny feeling. The magical objects do not reach the same level of uncanniness, mostly because they play an important part in the creation of the magical world.

This essay will exlopre the character of one of our times most beloved fictional characters, Harry Potter. The purpose of this esay is to investigate Harry's character in J.K. Rowling's first novel and to show that it is his his character that is one of the chief reasons for the popularity of the book, and indeed, of the entire series. The various different passages in Harry's role are well-illustrated by close reading of the significant passages in different parts of the novel.

This thesis compares J. K. Rowling’s contemporary Harry Potter series (1997-2007) with Thomas Hughes’s Victorian school story, Tom Brown’s School Days (1857), in order to identify how Rowling and Hughes use British public school literature as a means for the widespread dissemination of moral pedagogy. Given the disparate time frames and political outlooks, Rowling and Hughes teach dissimilar ideologies in different socio-historical contexts. However, both stories reveal the necessity of the schoolmaster’s teaching methods to form morally responsible school leaders, demonstrate the titular character ‘chosen’ as a moral leader, and exemplify the use of organized sports as a method of moral and social instruction. In sum, my thesis presents a comparison of the narratives by Rowling and Hughes as an acknowledgement of the continuing influence of Hughes’s work on modern literature and the employment of children’s literature for the advancement of moral and socio-ideological themes.