harry potter

 

  • [108] By the time of the release of the fifth book, Harry Potter and the Order of the Phoenix, the books began to receive strong criticism from a number of literary scholars.

  • [59] Despite Rowling’s statement that she did not have any particular age group in mind when beginning to write the Harry Potter books, the publishers initially targeted children
    aged nine to eleven.

  • Harry also takes lessons with Dumbledore, viewing memories about the early life of Voldemort in a device called a Pensieve.

  • Plot Early years The Elephant House was one of the cafés in Edinburgh where Rowling wrote the first part of Harry Potter.

  • [90][91] Reception Commercial success See also: List of best-selling books Crowd outside a book store for the midnight release of Harry Potter and the Half-Blood Prince The
    popularity of the Harry Potter series has translated into substantial financial success for Rowling, her publishers, and other Harry Potter related license holders.

  • [7] The great demand for Harry Potter novels motivated The New York Times to create a separate best-seller list for children’s literature in 2000, just before the release
    of Harry Potter and the Goblet of Fire.

  • [74] Rowling herself has stated that the last chapter of the final book (in fact, the epilogue) was completed “in something like 1990”.

  • [73] The series has also gathered adult fans, leading to the release of two editions of each Harry Potter book, identical in text but with one edition’s cover artwork aimed
    at children and the other aimed at adults.

  • Rowling gives an account of the experience on her website saying:[55] I had been writing almost continuously since the age of six but I had never been so excited about an
    idea before.

  • [2][3] Since the release of the first novel, Harry Potter and the Philosopher’s Stone, on 26 June 1997, the books have found immense popularity, positive reviews, and commercial
    success worldwide.

  • The stories reach their climax in the summer term, near or just after final exams, when events escalate far beyond in-school squabbles and struggles, and Harry must confront
    either Voldemort or one of his followers, the Death Eaters, with the stakes a matter of life and death – a point underlined, as the series progresses, by characters being killed in each of the final four books.

  • [65] Scholastic feared that American readers would not associate the word “philosopher” with magic, and Rowling suggested the title Harry Potter and the Sorcerer’s Stone for
    the American market.

  • [29] Rowling stated that she did not reveal Harry Potter’s religious parallels in the beginning because doing so would have “give[n] too much away to fans who might then see
    the parallels”.

  • [60] On the eve of publishing, Rowling was asked by her publishers to adopt a more gender-neutral pen name in order to appeal to the male members of this age group, fearing
    that they would not be interested in reading a novel they knew to be written by a woman.

  • The success of the books and films has allowed the Harry Potter franchise to expand with numerous derivative works, a travelling exhibition that premiered in Chicago in 2009,
    a studio tour in London that opened in 2012, a digital platform on which J. K. Rowling updates the series with new information and insight, and a trilogy of spin-off films premiering in November 2016 with Fantastic Beasts and Where to Find
    Them, among many other developments.

  • The series follows the life of a boy named Harry Potter.

  • This is later revealed to be a future version of Harry, who traveled back in time with Hermione using a device called a Time Turner.

  • Soon after she started writing Philosopher’s Stone, her mother died; she said that “I really think from that moment on, death became a central, if not the central theme of
    the seven books”.

  • [10] In this sense they are “in a direct line of descent from Thomas Hughes’s Tom Brown’s School Days and other Victorian and Edwardian novels of British public school life”,
    though they are, as many note, more contemporary, grittier, darker, and more mature than the typical boarding school novel, addressing serious themes of death, love, loss, prejudice, coming-of-age, and the loss of innocence in a 1990s British
    setting.

  • Harry Potter and the Chamber of Secrets describes Harry’s second year at Hogwarts.

  • A series of many genres, including fantasy, drama, coming-of-age fiction, and the British school story (which includes elements of mystery, thriller, adventure, horror, and
    romance), the world of Harry Potter explores numerous themes and includes many cultural meanings and references.

  • The only exception to this school-centred setting is the final novel, Harry Potter and the Deathly Hallows, in which Harry and his friends spend most of their time away from
    Hogwarts, and only return there to face Voldemort at the dénouement.

  • The stories are told from a third person limited point of view with very few exceptions (such as the opening chapters of Philosopher’s Stone, Goblet of Fire and Deathly Hallows
    and the first two chapters of Half-Blood Prince).

  • The events, commonly featuring mock sorting, games, face painting, and other live entertainment have achieved popularity with Potter fans and have been highly successful in
    attracting fans and selling books with nearly nine million of the 10.8 million initial print copies of Harry Potter and the Half-Blood Prince sold in the first 24 hours.

  • The event made Harry famous among the community of wizards and witches.

  • Harry Potter and the Cursed Child is a play based on a story co-written by Rowling.

  • This success has made Rowling the first and thus far only billionaire author.

  • [94] The first novel in the series, Harry Potter and the Philosopher’s Stone, has sold in excess of 120 million copies, making it one of the bestselling books in history.

  • In the seventh novel, Harry speaks with and questions the deceased Dumbledore much like a person of faith would talk to and question God.

  • [83] For reasons of secrecy, translation on a given book could only start after it had been released in English, leading to a lag of several months before the translations
    were available.

  • [36][37] Other characters in Harry’s life die; he even faces his own death in Harry Potter and the Deathly Hallows.

  • On publication, the first book, Harry Potter and the Philosopher’s Stone, attracted attention from the Scottish newspapers, such as The Scotsman, which said it had “all the
    makings of a classic”,[108] and The Glasgow Herald, which called it “Magic stuff”.

  • [53] Rowling has stated that the books comprise “a prolonged argument for tolerance, a prolonged plea for an end to bigotry” and that they also pass on a message to “question
    authority and… not assume that the establishment or the press tells you all of the truth”.

  • [43] While Harry Potter can be viewed as a story about good vs. evil, its moral divisions are not absolute.

  • Upon returning to Hogwarts, it is revealed that a Death Eater, Barty Crouch, Jr, in disguise as the new Defence Against the Dark Arts professor, Alastor “Mad-Eye” Moody, engineered
    Harry’s entry into the tournament, secretly helped him, and had him teleported to Voldemort.

  • [102] Fans of the series were so eager for the latest instalment that bookstores around the world began holding events to coincide with the midnight release of the books,
    beginning with the 2000 publication of Harry Potter and the Goblet of Fire.

  • [87] Due to the appeal of the books among an adult audience, Bloomsbury commissioned a second line of editions in an ‘adult’ style.

  • [63] It was released in the United States on 1 September 1998 by Scholastic – the American publisher of the books – as Harry Potter and the Sorcerer’s Stone,[64] after the
    American rights sold for US$105,000 – a record amount for a children’s book by an unknown author.

  • This led to more and more copies of the English editions being sold to impatient fans in non-English speaking countries; for example, such was the clamour to read Harry Potter
    and the Order of the Phoenix that its English language edition became the first English-language book ever to top the best-seller list in France.

  • [18][20] Each of the seven books is set over the course of one school year.

  • [13] Her narrative features two worlds: a contemporary world inhabited by non-magical people called Muggles, and another featuring wizards.

  • [95][96] The films have in turn spawned eight video games and have led to the licensing of more than 400 additional Harry Potter products.

  • [42] Rowling has described Harry as “the prism through which I view death”, and further stated that “all of my characters are defined by their attitude to death and the possibility
    of death”.

  • [28] According to Maria Nikolajeva, Christian imagery is particularly strong in the final scenes of the series: Harry dies in self-sacrifice and Voldemort delivers an “ecce
    homo” speech, after which Harry is resurrected and defeats his enemy.

  • An epilogue titled “Nineteen Years Later” describes the lives of the surviving characters and the impact of Voldemort’s death.

  • Harry learns from a drunken Slughorn that he used to teach Tom Riddle, and that Voldemort divided his soul into pieces, creating a series of Horcruxes.

  • [103][104] The final book in the series, Harry Potter and the Deathly Hallows became the fastest selling book in history, moving 11 million units in the first twenty-four
    hours of release.

  • The main story arc concerns Harry’s conflict with Lord Voldemort, a dark wizard who intends to become immortal, overthrow the wizard governing body known as the Ministry of
    Magic, and subjugate all wizards and Muggles (non-magical people).

  • [88][89] For a later American release, Kazu Kibuishi created covers in a somewhat anime-influenced style.

  • [24] Hogwarts resembles a medieval university-cum-castle with several professors who belong to an Order of Merlin; Old Professor Binns still lectures about the International
    Warlock Convention of 1289; and a real historical person, a 14th-century scribe, Sir Nicolas Flamel, is described as a holder of the Philosopher’s Stone.

  • [54] Development history In 1990, Rowling was on a crowded train from Manchester to London when the idea for Harry suddenly “fell into” her head.

  • [69] Harry Potter and the Order of the Phoenix is the longest book in the series, at 766 pages in the UK version and 870 pages in the US version.

  • [52] Similarly, the theme of making one’s way through adolescence and “going over one’s most harrowing ordeals – and thus coming to terms with them” has also been considered.

  • These initially used black-and-white photographic art for the covers showing objects from the books (including a very American Hogwarts Express) without depicting people,
    but later shifted to partial colourisation with a picture of Slytherin’s locket on the cover of the final book.

  • The series can be considered part of the British children’s boarding school genre, which includes Rudyard Kipling’s Stalky & Co., Enid Blyton’s Malory Towers, St. Clare’s
    and the Naughtiest Girl series, and Frank Richards’s Billy Bunter novels: the Harry Potter books are predominantly set in Hogwarts, a fictional British boarding school for wizards, where the curriculum includes the use of magic.

  • [14] Paintings move and talk; books bite readers; letters shout messages; and maps show live journeys, making the wizarding world both exotic and familiar.

  • In the fourth book, Dumbledore speaks of a “choice between what is right and what is easy”; Rowling views this as a key theme, “because that … is how tyranny is started,
    with people being apathetic and taking the easy route and suddenly finding themselves in deep trouble”.

  • [25] Many of the motifs of the Potter stories, such as the hero’s quest invoking objects that confer invisibility, magical animals and trees, a forest full of danger and the
    recognition of a character based upon scars, are drawn from medieval French Arthurian romances.

  • [106] Literary criticism Early in its history, Harry Potter received positive reviews.

  • [108] Soon the English newspapers joined in, with The Sunday Times comparing it to Roald Dahl’s work (“comparisons to Dahl are, this time, justified”),[108] while The Guardian
    called it “a richly textured novel given lift-off by an inventive wit”.

  • [56] The second agent she tried, Christopher Little, offered to represent her and sent the manuscript to several publishers.

  • [38] The series has an existential perspective – Harry must grow mature enough to accept death.

  • In the fifth book, Harry Potter and the Order of the Phoenix, the Ministry of Magic refuses to believe that Voldemort has returned.

  • [84] The United States editions were adapted into American English to make them more understandable to a young American audience.

  • [86] The first releases of the successive books in the series followed in the same style but somewhat more realistic, illustrating scenes from the books.

  • She elected to use J. K. Rowling (Joanne Kathleen Rowling), using her grandmother’s name as her second name because she has no middle name.

  • A prophecy concerning Harry and Voldemort is revealed: one must die at the hands of the other.

  • In many respects, they are also examples of the bildungsroman, or coming of age novel,[8] and contain elements of mystery, adventure, horror, thriller, and romance.

  • Rowling completed Harry Potter and the Philosopher’s Stone in 1995 and the manuscript was sent off to several prospective agents.

  • I simply sat and thought, for four (delayed train) hours, and all the details bubbled up in my brain, and this scrawny, black-haired, bespectacled boy who did not know he
    was a wizard became more and more real to me.

  • [25] Like C. S. Lewis’s The Chronicles of Narnia, Harry Potter also contains Christian symbolism and allegory.

  • [92] The books have sold more than 600 million copies worldwide and have also given rise to the popular film adaptations produced by Warner Bros. Pictures, all of which have
    been highly successful in their own right.

 

Works Cited

[‘Sources that refer to the many genres, cultural meanings and references of the series include:
 Fry, Stephen (10 December 2005). “Living with Harry Potter”. BBC Radio 4. Archived from the original on 21 October 2014. Retrieved 10 December 2005.
 Jensen,
Jeff (7 September 2000). “Why J.K. Rowling waited to read Harry Potter to her daughter”. Entertainment Weekly. Archived from the original on 5 September 2015. Retrieved 19 August 2015.
 Nancy Carpentier Brown (2007). “The Last Chapter” (PDF).
Our Sunday Visitor. Archived from the original (PDF) on 13 October 2007. Retrieved 28 April 2009.
 J. K. Rowling. “J. K. Rowling at the Edinburgh Book Festival”. Archived from the original on 20 August 2006. Retrieved 10 October 2006.
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o Gallardo, Ximena; Smith, C. Jason (2003). “Cinderfella: J. K. Rowling’s wily web of gender”. In Anatol, Giselle Liza (ed.).
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6. ^ Jump up to:a b c “Scholastic Marks 25 Year Anniversary of The Publication of J.K. Rowling’s Harry Potter and the Sorcerer’s
Stone” (Press release). New York, New York: Scholastic. 6 February 2023. Archived from the original on 13 March 2023. Retrieved 6 February 2023.
7. ^ Jump up to:a b Meyer, Katie (6 April 2016). “Harry Potter’s $25 Billion Magic Spell”. Money. Archived
from the original on 14 May 2021. Retrieved 4 November 2016.
8. ^ Anne Le Lievre, Kerrie (2003). “Wizards and wainscots: generic structures and genre themes in the Harry Potter series”. CNET Networks. Retrieved 1 September 2008.[dead link]
9. ^
Jump up to:a b King, Stephen (23 July 2000). “Wild About Harry”. The New York Times. Archived from the original on 17 April 2009. Retrieved 9 August 2010. …the Harry Potter books are, at heart, satisfyingly shrewd mystery tales.
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makes boarding fashionable”. BBC News. 13 December 1999. Archived from the original on 28 December 2008. Retrieved 1 September 2008.
11. ^ Ellen Jones, Leslie (2003). JRR Tolkien: A Biography. Greenwood Press. p. 16. ISBN 978-0-313-32340-9.
12. ^
A Whited, Lana (2004). The Ivory Tower and Harry Potter: Perspectives on a Literary Phenomenon. University of Missouri Press. p. 28. ISBN 978-0-8262-1549-9.
13. ^ Jump up to:a b Natov 2002, p. 129.
14. ^ Butler 2012, pp. 233–34.
15. ^ Butler
2012, p. 234.
16. ^ Park 2003, p. 183.
17. ^ Natov 2002, p. 130.
18. ^ Jump up to:a b Nikolajeva 2008, p. 233.
19. ^ Ostry 2003, p. 97.
20. ^ Ostry 2003, pp. 90, 97–98.
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Last Adventure”. Time. Archived from the original on 27 August 2008. Retrieved 1 September 2008.
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1 September 2008.
23. ^ Alton 2008, p. 216.
24. ^ Gallardo & Smith 2003, p. 195.
25. ^ Jump up to:a b c d e f Arden, Heather; Lorenz, Kathryn (June 2003). “The Harry Potter Stories and French Arthurian Romance”. Arthuriana. 13 (12): 54–68. doi:10.1353/art.2003.0005.
JSTOR 27870516. S2CID 161603742.
26. ^ Singer 2016, pp. 26–27.
27. ^ Jump up to:a b Farmer 2001, p. 58.
28. ^ Farmer 2001, p. 55.
29. ^ Nikolajeva 2008, pp. 238–39.
30. ^ Jump up to:a b c Adler, Shawn (17 October 2007). “‘Harry Potter’
Author J.K. Rowling Opens Up About Books’ Christian Imagery”. MTV. Archived from the original on 14 October 2017. Retrieved 3 April 2018.
31. ^ Sedlmayr, Gerold; Waller, Nicole (28 October 2014). Politics in Fantasy Media: Essays on Ideology and
Gender in Fiction, Film, Television and Games. McFarland & Company. p. 132. ISBN 9781476617558. During this press conference, Rowling stated that the Bible quotations in that novel “almost epitomize the whole series. I think they sum up all the themes
in the whole series” (reported in Adler).
32. ^ Falconer, Rachel (21 October 2008). The Crossover Novel: Contemporary Children’s Fiction and Its Adult Readership. Routledge. p. 69. ISBN 9781135865016. These New Testament verses (Matthew 6:19 and
1 Corinthians 15:26) together denote the promise of resurrection through the Son of God’s consent to die.52 In interview, Rowling has stressed that these two quotations ‘sum up – they almost epitomize the whole series’.
33. ^ Cooke, Rachel, {{citation}}:
Missing or empty |title= (help)
34. ^ Ciaccio 2008, pp. 39–40.
35. ^ Groves 2017, pp. xxi–xxii, 135–136.
36. ^ Jump up to:a b Natov 2002, pp. 134–36.
37. ^ Taub & Servaty-Seib 2008, pp. 23–27.
38. ^ Pharr 2016, pp. 20–21.
39. ^ Jump up
to:a b Los 2008, pp. 32–33.
40. ^ Stojilkov 2015, p. 135.
41. ^ Pharr 2016, pp. 14–15, 20–21.
42. ^ Groves 2017, p. 138.
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