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Vi vuxna känner igen en hel del schablonbilder i Harry Potter-böckerna; vi har stött på namnen och företeelserna förut i myter, religion och i symbolvärlden. Men de yngre läsarna med föga eller ingen tidigare läsvana, som troligtvis aldrig har stött på ”de gamla litterära motiven” tidigare, attraheras ändå av böckerna. Frågan jag därför ställer är om de unga läsarna enbart fascineras av äventyren, spänningen och humorn i böckerna. Eller om det finns något i människans inre som tilltalas av den dolda innebörden i texterna, som förmedlas av symbolerna och myterna i berättelserna. Finns det sålunda något i vårt gemensamma undermedvetna, i enlighet med Jungs teorier och tankemodeller om bl.a. det kollektivt undermedvetna, som tillfredsställs och som därmed kan förklara varför Harry Potter-böckerna gjort sådan succé? Mitt syfte är alltså att försöka upptäcka om det finns något i Jungs sätt att beskriva det mänskliga psyket som kan appliceras på Harry Potter-böckerna och som kan klargöra varför dessa tilltalar så många. Jag kommer fram till att det tydligt framgår hur C. G. Jungs förklaringsmodeller kan tillämpas i analys av Rowlings verk. Jag finner att de arketypiska strukturerna föreligger som grundmönster i romanernas komposition och struktur. De arketypiska tolkningarna bidrar till en ökad förståelse och en fördjupad upplevelse av berättelserna om Harry Potter. Det som från början verkade vara ren underhållning för barn visade sig ha ett psykologiskt djup som har rötter till mytologi, sagor och religion. Jag ställer mig därför tveksam till om Harry Potter-böckerna i själva verket är tänkta som barn och ungdomsböcker, strukturen verkar alltför komplicerad för att så vara fallet. Jag har upptäckt att det finns likheter och samband mellan Rowlings romaner och ett flertal mytologiska och religiösa motiv. Till stor del har alltså Jungs teorier visat sig vara tillämpliga på litteratur som utkommit mycket länge efter hans död, vilket kan bekräfta hans teorier.

Made available in DSpace on 2016-04-28T19:58:48Z (GMT). No. of bitstreams: 1 Diego Nunes Bezerra.pdf: 716313 bytes, checksum: 8c1f43f81a2010014c09e091f8da98dc (MD5) Previous issue date: 2012-11-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The best-seller Harry Potter s series, written by the British author J. K. Rowling, and stared by the character Harry Potter have been studied by the contemporaneous Criticism while the image spectacular society s concepts. Among these concepts there are the saga, and the Greek hero, as structures of the myth, and both are restructured by media mechanism action in favor of the fabled contamination. In this study, the saga occupies the center of a heroic circular action that remodels the hero concept, and also gives us the updated decadent hero while image integrated to the mass society system. In a ludic point of view, the series Harry Potter (seven books) are about sharing the hero s (Harry Potter) qualities in counterpoint to the anti-hero Voldemort, who brings us the construction of the intrigue, the effects of the dual decadent nature game: bad vs. good, once humanized by the marvelous multimidia contemporaneous element. In this way, the marvelous becomes the support roll in the adventures of this hero in the gaps created by him through the remodeling saga. Under the communicative perspective of the fanfiction, the potternian fiction corroborates to the decadent heroic structure, by using a mixture of mass reading, and mass writing into the classic saga, extended to the author-mass, and to the readermass, creating the parenthood of the modern saga. This communicative link of the reprogrammed saga made by way of magic and witchcraft element shave lead up us to the study of this central theme, in three stages: the fiction and fanfiction intertextuality in Harry Potter s series; the architext in construction: Harry Potter s series; the fiction in intertextuality: the reading of magic enunciations / Os best-sellers da Série Harry Potter, da autora britânica J. K. Rowling, protagonizados pela personagem Harry Potter, têm sido estudados pela crítica contemporânea sob o suporte de conceitos dados pela sociedade da imagem espetacular. Entre estes conceitos figuram: a saga e o herói grego, como estruturas do mito, ambos em reestruturação pela ação dos dispositivos midiáticos em trabalho de contaminação fabular. Neste estudo, a saga ocupa o centro de um círculo de ações heroicas que, ao mesmo tempo em que modelam o conceito de heroicidade, atualizam o arquétipo do herói decadente enquanto imagem, integrado ao sistema da sociedade de massa. Em operação lúdica, a Série Harry Potter (7 Livros) concentra-se na partilha das qualidades do herói Harry Potter em contraponto com o anti-herói Voldemort, assimilando, na composição da intriga, os efeitos do jogo bem vs. mal em sua natureza dual decadente, uma vez humanizada pelo elemento maravilhoso multimidiático contemporâneo. Para tanto, o maravilhoso passa a ser o coadjuvante das aventuras desse herói, nas fissuras por ele geradas pela via da remodelação da saga. Sob a perspectiva comunicacional da fanfiction, a ficção potterniana corrobora com a estruturação do herói decadente, por meio da mixagem leitura e escrita de massa à saga clássica, extensiva ao autor-massa e leitor-massa, compondo a parentela da saga moderna degenerada. Esse nexo comunicacional da saga reprogramada pela magia e feitiçaria nos propiciou o estudo da temática central em três momentos: A intertextualidade fiction e fanfiction na Série Harry Potter de J. K. Rowling; O arquitexto em construção: a Série Harry Potter; O ficcional na rede intertextual: a leitura das enunciações mágicas

À l'aube du XXIe siècle, la littérature merveilleuse connaît un regain de popularité, particulièrement avec la venue de phénomènes éditoriaux tels que la série Harry Potter. Les sept romans de Joanne Kathleen Rowling, publiés entre 1997 et 2007, sont l'objet d'une popularité toujours croissante à chaque nouvelle publication. L'intérêt pour la littérature merveilleuse n'est cependant pas nouveau, particulièrement en Grande-Bretagne; en effet, ce point du globe a été le berceau d'une vague d'engouement pour la littérature merveilleuse tout aussi forte environ 150 ans plus tôt, avec la publication du roman Alice’s Adventures in Wonderland. La liste des auteurs qui ont été inspirés par Carroll, ou du moins qui ont contribué à faire gonfler la vague, est passablement longue. Dans ces sociétés où l'enfant possède une importance capitale, que ce soit la société victorienne ou la nôtre, il n'est pas si étonnant que les ouvrages qui le concernent captent autant l'intérêt du public. Cependant, ce ne sont pas tous les romans qui parlent des enfants qui connaissent le même succès; comment expliquer que le choix des lecteurs s'arrête sur telle œuvre plutôt que sur telle autre? Nous postulons que la popularité de certains ouvrages réside principalement dans le processus de lecture qui prévaut dans chacun d'eux. L'acte de lecture est une activité complexe; certains textes demandent à être lus un peu de la façon dont on participe à un jeu, soit en étant confronté à des indéterminations et en résolvant des énigmes, mais surtout en se laissant prendre au jeu du « let's pretend ». Dans les œuvres qui retiennent notre attention pour cette étude, soit les deux romans de Carroll mettant en scène le personnage d'Alice ainsi que les sept romans de la série Harry Potter, de nombreux effets de lecture nous permettent de démontrer ce postulat. Dans le premier chapitre, nous procédons à un court compte-rendu des connaissances concernant les genres littéraires auxquels se rattachent les œuvres de notre corpus, c'est-à-dire le merveilleux et la fantasy, ainsi que les éléments caractéristiques de ceux-ci. Nous présentons ensuite différents outils provenant des théories de la lecture qui nous permettront de mieux saisir les mécanismes du texte contribuant à provoquer un fort phénomène d'adhésion chez le lectorat, tels que la théorie des mondes possibles (Eco) ou celle des univers fictionnels (Pavel), les concepts d'indétermination (Iser) et de préconstruit (Thérien), les régies de lecture (Gervais) ainsi que des théories présentant la lecture comme un jeu (Calinescu et Picard). Dans le deuxième chapitre, nous montrons comment les œuvres de notre corpus, en s'inscrivant dans le genre merveilleux et en parlant de l'enfant, suggèrent un cadre de lecture ludique. Les nombreuses allusions au jeu qui les parsèment, que ce soit le jeu d'échec, de Quidditch, ou encore celui du « faire-semblant », ainsi que les stratégies textuelles qui s'y trouvent conduisent le lecteur à procéder à une construction mentale des univers qui lui sont présentés de la même façon qu'il résoudrait des énigmes. Les blancs laissés dans le texte contribuent à stimuler son imagination et les effets de surprise, largement présents dans ces textes, augmentent le plaisir ressenti lors de la lecture. Toujours dans le deuxième chapitre, nous démontrons que les auteurs utilisent des procédés semblables en ce qui concerne l'organisation spatiale de leurs univers; ils utilisent des frontières instables et perméables qui font hésiter le lecteur quant aux propriétés du monde dans lequel il pénètre et qui le désorientent. Enfin, dans le troisième chapitre, nous voyons comment l'identité des personnages se construit autour d'un noyau fixe, constitué par le nom du personnage, ainsi que d'une partie mobile et morcelée, soumise aux transformations. La quête identitaire qui fait l'objet des œuvres de notre corpus contribue à renforcer l'identification au personnage, puisque ces œuvres s'organisent autour d'une construction en miroir, qui fait en sorte que le monde de la fiction reflète le monde réel connu du lecteur. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : merveilleux, fantasy, lecture, mondes possibles, univers fictionnels, indéterminations, préconstruits, jeu, enfance, identité, miroir, Lewis Carroll, J.K. Rowling, Alice’s Adventures in Wonderland, Through the Looking-Glass, Harry Potter.

Just as memory pervades our everyday lives, it pervades the lives of the characters and readers of J.K. Rowling's Harry Potter series and Philip Pullman's His Dark Materials trilogy. Acts of recall or recollection occur in almost every chapter as the characters in these novels devote much of the present to keeping in touch with some aspect of the past. Memory is integral to Harry Potter and His Dark Materials, highlighting the following problematic questions: Who are we and how do we relate to the past? How is what we wish for the future grounded in the past and the present? Memory is at the core of constructivism, the active construction of reality by the individual through the use of mental activity. In this thesis I maintain that the central protagonists in Harry Potter and His Dark Materials, Harry Potter and Lyra Belacqua, actively construct their "selves" from memories and narratives – their own and those of others – just as the novels' readers negotiate their own identities in the world outside of the novels. The constant recalling of the past to confirm and amply one's present creates a complex web of remembering and forgetting, assimilating and discarding, which we attempt to explicate through the use of culturally appropriate metaphors. The thesis comprises three chapters that correlate memory with genre, narrative, and technology respectively. I commence the thesis by exploring the idea of genre as collective memory. I position Harry Potter and His Dark Materials within the genre of heroic fantasy and examine how the monomyth provides readers with the memory triggers they require to decode the structure of these texts. The novels conform to and yet manipulate the preconceived patterns present in the heroic or "high" fantasy genre, where narrative, memory and identity are all linked by the desires of the stories' participants. Chapter Two applies Freud's concept of Nachtraglichkeit, which supposes the process of memory is one of incessant reconsideration or "retranslation", the reworking of memory traces in the light of later knowledge and experience. This conceptualisation of memory is compared to the common, but less productive, tendency to describe memory through objectifying metaphors, such as the idea that memory works analogously to a photograph. Chapter Three addresses how knowledge and experience in Harry Potter and His Dark Materials are furnished by prosthetic memory devices, such as photographs, the Pensieve, the alethiometer and the Amber Spyglass, “that permit us to transcend "raw" biological limits – for example, the limits on memory capacity or limits on our auditory range” (Bruner, Acts of Meaning 34). The novel's protagonists are then armed with these devices in trying to make sense of the landscapes they inhabit. Ultimately, we are all story-tellers (for better or for worse), weaving our self-narratives from material gleaned from the collective memories and prosthetic memory devices of the society we belong to, our own experiences, and the tales of others, trying to achieve the uniformity of consciousness and an awareness of the connection between the actions and events of the past, and the experience of the present, which are fundamental to a sense of individual identity.

Thesis (MA (Visual Studies))--University of Pretoria, 2008. / Includes bibliographical references.

Made available in DSpace on 2018-07-27T18:26:11Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-08-07. Added 1 bitstream(s) on 2018-07-27T18:30:31Z : No. of bitstreams: 1 000869205.pdf: 1067197 bytes, checksum: dfb8b7697516bf4587ba49259e23cb65 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / In order to describe and verify the most common resources used in the creation of Harry Potter fanfictions in Brazil, this study presents the movement of consumers towards a more participative culture in the last two decades, its implications to debates on intellectual property and the impact of technological evolution on the production and circulation of media content. The work also examines the history of fanfiction and the existent mechanisms of reinterpretation of original narratives, as well as the expressive numbers that represent the success of J.K. Rowling's books both as an editorial phenomenon and fandom on the internet. Given the significant production inspired in the Harry Potter series by Brazilian fans, three representative fanfictions are analyzed, in the light of the specific ways the original is rewritten. Alternative universe, focus on secondary characters, slash and timeline expansion, which were found to be the most recurrent procedures in the rewritings, evince partiality for personal creation on the part of authors and readers

This essay will examine the youth novel Harry Potter and the Philosopher’s Stone by J.K. Rowling. The aim of this essay is to find tendencies of how the novel favours non-stereotypical male behaviour and characteristics. Using gender criticism, the novel and its most central male characters are analysed to highlight their gender characteristics. Symbols and metaphors constitute a part of the analysis for a more comprehensive examination. The results of this essay show that the male characters are divided into two factions, the good side and the evil side. It is evident that the male characters on the evil side are characterised by stereotypical male gender behaviour and the male characters on the good side tend to show a lack of stereotypical masculine traits. The Fantasy genre, which dictates a strong good versus evil storyline, extends this polarisation. The stereotypical male gender roles are therefore opposed and non-stereotypical male behaviour is promoted in the narration by favouring male vulnerability and ridiculing stereotypical masculine traits.

How can a character from a children’s book become so divisive that he causes arguments amongst adults? This essay uses transactional reader response theory to explain the reason why the character Severus Snape from the Harry Potter book series by J.K. Rowling is so controversial. Applying notions from reader response theorists such as Rosenblatt and Iser together with earlier research on Snape will show how the reader’s opinion is affected by both the text itself and their own personal experience. A poll was created and posted on Facebook with over a thousand replies. This data is analysed and used to apply the theory on real examples. The conclusion of the essay is that Snape is both good and bad. He acts heroically but is also vindictive and petty. Snape is perhaps the most human of all Rowling’s characters and each reader recognises a little of themselves in him that they can relate to. Because of ongoing arguments regarding Snape readers have to constantly defend their opinion. As the opinion is re-evaluated it is also strengthened each time readers reconsider the story of Snape and, like Snape himself once asked Professor Quirrell to do, decide where their loyalties lie.