Summary of themes in Literature Review
In summary, there are a variety of themes that come through in literature regarding
the Harry Potter series. As can be perceived from the previous statements of academic critics
further discussion of the subtexts of the books is required. There is much mention of moral
and spiritual messages that commentators feel influence those reading the series. As
mentioned, these viewpoints include that the novels promote occultism, that they are against
basic Christian beliefs, that they should be read only with parental guidance and that they
provide access to Christian beliefs which can be of benefit to all. There are interruptions of
the books as being modern-day morality plays (Granger, 2002), Harry Potter as a Christ
figure and the books as a modern day interpretation of the Gospels (Killinger, 2002), and that
the books are more an updated depiction of the Stoic moral system than of Christian beliefs
(Kern, 2003).
A large number of authors comment on the themes that are apparent in the novels
especially moral, social, political and spiritual themes. These include mention of solidarity,
empathy, self sacrifice, the nature of love, forgiveness, hope, faith, death, elitism, family, the
nature of inequality, injustice, prejudice, possibilities of transformation, ambiguity, making
choices, the nature of relationships/friendships, education, the nature of good and evil,
multiculturalism, the nature of authority and the exercise of political power. Different authors
provide opinions on the relevance of these themes to actions and events in the series (Cherrett, Eccleshare, Granger, Kern, Killinger, Neal, Plyming, et al.). Generally these
themes are seen as providing guidance in the religious instruction of our youth.
Many commentators and critics of the books make mention of the importance of the
names of the characters in the Harry Potter series and the names of places (Colbert, Nel,
2001, Killinger, Granger, Grimes, Schafer and Waters & Mithrandir). An example of this
importance is in the character of Professor Remus Lupin. If one knew that “Remus” was one
of the two brothers who was suckled by a she wolf in Roman mythology, that “Lupin” means
wolf-like in Latin and that the scientific name for the wolf is “Canis Lupus”, then a reader
may have worked out early in PoA that Professor Remus Lupin is a werewolf rather than the
announcement of his ailment over two thirds of the way through the book (Chp. 18). While
guide books often make reference to this, many of the more scholarly books also make
mention of the importance of names.
There are many articles and statements on what has been important in influencing the
creation of the Harry Potter series. Comments by critics provide information for the general
reader about aspects of the series that they may not be aware of. Many critics make mention
of the importance of archetypes, of the hero journey or monomyth in the creation of the
stories as well as the Arthurian legends and general mythical stories particularly those
featuring the clash of good and evil (Applebaum, Nikolajeva, Alton, De Rosa, Kornfeld &
Prothro, Nel, 2001, etc.). Many readers would be accepting of the series because they feel
comfortable with the literary genres that the series draws from. Critics assert that we have
become accepting of these types of stories because we come across them repeatedly whether
in books, films, television series or other mediums. This is important to understand as it
provides us with one of the reasons for the series’ popularity.
The importance of Charles Dickens, Roald Dahl and the Inkling writers, boarding
school stories, fairy tales, folk tales, magical tales and fantasy tales are also referred to (Granger, 2002, Alton, Elster, Lavoie, Park, McVeigh, Skulnick & Goodman, Zipes, Mills,
Beck, Black & Eisenwise, etc.). As with the hero journey, Rowling is drawing on literary
traditions that people identify with. These critics’ opinions make us reflect on the similarity
of Harry Potter to Cinderella, especially in their younger years, the depiction of characters in
the books, which are similar to those portrayed by both Dickens and Dahl. The critics’
assertions make us aware of the similarity of Harry to other wizardly characters such as Ged
from Ursula Le Guin’s The Earthsea trilogy (1979) or the students of Miss Cackle’s
Academy for Witches, from Jill Murphy’s book Adventures of the worst witch (1998)
(Cockrell, 2002, Pinsent, 2002).
Particularly relevant is the critical comment that is made on the importance of
Rowling’s social, political and cultural background on the ideologies that are contained in the
Harry Potter books (Westman, Blake, Gupta and Lankshear & Knobel). As many of the
readers of the novels are not British these statements make readers reflect on parts of the
subtext, which they would previously have found difficult to comprehend. Critics make
mention of Rowling’s depiction of government and bureaucracy in the books as well as her
portrayal of the education system and the media. Critics offer insight into these depictions
and their connection with Rowling’s background as a welfare mother, her experience of the
authority and power in Great Britain and her perceived feelings on the British education
system and the British media (Elster, Nel, 2001, Hopkins, et al.). From these critics we are
able to have some increased understanding of current and past political practice in both Great
Britain and the wider world and their apparent influence on the series, especially in areas of
consumerism (Blake, Zipes, Turner-Vorbeck, Applebaum, et al.).
Concerns are raised by a number of critics about the influence the books will have on
supporting inequalities that occur in our societies. These include areas such as racial
prejudice and gender bias (Gallardo-C & Smith, Gupta, Lavoie, et al.). These critics help us to perceive the complexities in trying to understand Rowling’s depiction of gender based on
how one interprets her text. Is her portrayal of gender objectionable because she is
reinforcing traditional and unacceptable gender roles (Park, Zipes, Dresang, et al.), or is
Rowling portraying gender as it really is to help us reflect on what we still have to do to
achieve real gender equity (Gallardo-C & Smith)?
Critics also provide perspectives on other aspects of the texts. Harry’s moral
development is referred to and its relevance to the readers of the series (Nel, 2001, Whited &
Grimes, Knapp, et al.). These critics provide us with some insight into Harry’s choices and
how they provide material to assist children in their own moral development. Harry’s
influence on boys reading (Doughty, 2002) is commented on as well as the problems in
translating Harry Potter into other languages particularly its Americanisation (Nel, 2002 and
Jentsch).
Through the increasing critical opinions that have been published about the Harry
Potter series readers are offered new interpretations of the text. Through these critical
comments readers are given the opportunity to gain more from the text than they may be able
to attain unassisted.
In summary, there are a variety of themes that come through in literature regarding
the Harry Potter series. As can be perceived from the previous statements of academic critics
further discussion of the subtexts of the books is required. There is much mention of moral
and spiritual messages that commentators feel influence those reading the series. As
mentioned, these viewpoints include that the novels promote occultism, that they are against
basic Christian beliefs, that they should be read only with parental guidance and that they
provide access to Christian beliefs which can be of benefit to all. There are interruptions of
the books as being modern-day morality plays (Granger, 2002), Harry Potter as a Christ
figure and the books as a modern day interpretation of the Gospels (Killinger, 2002), and that
the books are more an updated depiction of the Stoic moral system than of Christian beliefs
(Kern, 2003).
A large number of authors comment on the themes that are apparent in the novels
especially moral, social, political and spiritual themes. These include mention of solidarity,
empathy, self sacrifice, the nature of love, forgiveness, hope, faith, death, elitism, family, the
nature of inequality, injustice, prejudice, possibilities of transformation, ambiguity, making
choices, the nature of relationships/friendships, education, the nature of good and evil,
multiculturalism, the nature of authority and the exercise of political power. Different authors
provide opinions on the relevance of these themes to actions and events in the series (Cherrett, Eccleshare, Granger, Kern, Killinger, Neal, Plyming, et al.). Generally these
themes are seen as providing guidance in the religious instruction of our youth.
Many commentators and critics of the books make mention of the importance of the
names of the characters in the Harry Potter series and the names of places (Colbert, Nel,
2001, Killinger, Granger, Grimes, Schafer and Waters & Mithrandir). An example of this
importance is in the character of Professor Remus Lupin. If one knew that “Remus” was one
of the two brothers who was suckled by a she wolf in Roman mythology, that “Lupin” means
wolf-like in Latin and that the scientific name for the wolf is “Canis Lupus”, then a reader
may have worked out early in PoA that Professor Remus Lupin is a werewolf rather than the
announcement of his ailment over two thirds of the way through the book (Chp. 18). While
guide books often make reference to this, many of the more scholarly books also make
mention of the importance of names.
There are many articles and statements on what has been important in influencing the
creation of the Harry Potter series. Comments by critics provide information for the general
reader about aspects of the series that they may not be aware of. Many critics make mention
of the importance of archetypes, of the hero journey or monomyth in the creation of the
stories as well as the Arthurian legends and general mythical stories particularly those
featuring the clash of good and evil (Applebaum, Nikolajeva, Alton, De Rosa, Kornfeld &
Prothro, Nel, 2001, etc.). Many readers would be accepting of the series because they feel
comfortable with the literary genres that the series draws from. Critics assert that we have
become accepting of these types of stories because we come across them repeatedly whether
in books, films, television series or other mediums. This is important to understand as it
provides us with one of the reasons for the series’ popularity.
The importance of Charles Dickens, Roald Dahl and the Inkling writers, boarding
school stories, fairy tales, folk tales, magical tales and fantasy tales are also referred to (Granger, 2002, Alton, Elster, Lavoie, Park, McVeigh, Skulnick & Goodman, Zipes, Mills,
Beck, Black & Eisenwise, etc.). As with the hero journey, Rowling is drawing on literary
traditions that people identify with. These critics’ opinions make us reflect on the similarity
of Harry Potter to Cinderella, especially in their younger years, the depiction of characters in
the books, which are similar to those portrayed by both Dickens and Dahl. The critics’
assertions make us aware of the similarity of Harry to other wizardly characters such as Ged
from Ursula Le Guin’s The Earthsea trilogy (1979) or the students of Miss Cackle’s
Academy for Witches, from Jill Murphy’s book Adventures of the worst witch (1998)
(Cockrell, 2002, Pinsent, 2002).
Particularly relevant is the critical comment that is made on the importance of
Rowling’s social, political and cultural background on the ideologies that are contained in the
Harry Potter books (Westman, Blake, Gupta and Lankshear & Knobel). As many of the
readers of the novels are not British these statements make readers reflect on parts of the
subtext, which they would previously have found difficult to comprehend. Critics make
mention of Rowling’s depiction of government and bureaucracy in the books as well as her
portrayal of the education system and the media. Critics offer insight into these depictions
and their connection with Rowling’s background as a welfare mother, her experience of the
authority and power in Great Britain and her perceived feelings on the British education
system and the British media (Elster, Nel, 2001, Hopkins, et al.). From these critics we are
able to have some increased understanding of current and past political practice in both Great
Britain and the wider world and their apparent influence on the series, especially in areas of
consumerism (Blake, Zipes, Turner-Vorbeck, Applebaum, et al.).
Concerns are raised by a number of critics about the influence the books will have on
supporting inequalities that occur in our societies. These include areas such as racial
prejudice and gender bias (Gallardo-C & Smith, Gupta, Lavoie, et al.). These critics help us to perceive the complexities in trying to understand Rowling’s depiction of gender based on
how one interprets her text. Is her portrayal of gender objectionable because she is
reinforcing traditional and unacceptable gender roles (Park, Zipes, Dresang, et al.), or is
Rowling portraying gender as it really is to help us reflect on what we still have to do to
achieve real gender equity (Gallardo-C & Smith)?
Critics also provide perspectives on other aspects of the texts. Harry’s moral
development is referred to and its relevance to the readers of the series (Nel, 2001, Whited &
Grimes, Knapp, et al.). These critics provide us with some insight into Harry’s choices and
how they provide material to assist children in their own moral development. Harry’s
influence on boys reading (Doughty, 2002) is commented on as well as the problems in
translating Harry Potter into other languages particularly its Americanisation (Nel, 2002 and
Jentsch).
Through the increasing critical opinions that have been published about the Harry
Potter series readers are offered new interpretations of the text. Through these critical
comments readers are given the opportunity to gain more from the text than they may be able
to attain unassisted.
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