Hogwarts : A History (New Edition)
written by Shakira Marvolo Riddle
This book is rich with detail about the history of Hogwarts School of Witchcraft and Wizardry. " Hogwarts: A History, also known as Hogwarts, A History, is a book concerning Hogwarts School of Witchcraft and Wizardry and its history that was written by Bathilda Bagshot. This Book is Complete and Unabridged.
Last Updated
05/31/21
Chapters
8
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The Beginning
Chapter 2
This diploma paper deals with the representation of modern ideologies of the contemporary world in the Harry Potter series written by J. K. Rowling. The paper examines the significant socio-cultural issues with regard to the fundamental changes in the cultural condition of postmodernism. The goal of this thesis is to explore dominant set of beliefs and values depicted in the novels by emphasising the role of the fictional world in the illustration of the most distinctive and pervasive features of the present-day culture. Moreover, the paper is based on the thorough analysis of human relationships and the position of an individual within the wizarding society. The choice of the topic was conditioned by personal interests in the fantasy genre and Harry Potter stories, which present an alternate reality and depict issues and values of the modern day. I have observed that the Harry Potter books do not solely deal with the adventures of wizards but also with seriousness, morality, and the perception of the primary world. The selection of the concepts incorporated in supernatural conditions clearly demonstrates societal affairs and the structure of a modern society. This diploma thesis has three basic parts. A theoretical part is based on a discussion of the terms ‘postmodernism’ and ‘consumerism’. The first chapter aims at delivering information about postmodern condition, its characteristics, and perspective-change. There is also a paragraph which proves that Harry Potter books have been written in the light of postmodern thoughts and theories. More, this part deals with the short description of the consumer culture and its relation to the magical world of Harry Potter. The other part of the paper is based on the outcomes of the examination of the fantasy genre. It has been highlighted that apart from basic aspects of the fantasy literature, such as supernatural elements, the concept of good and evil, and the element of a hero, it shows a deep concern for approaching the issues of human nature and the contemporary world. This chapter has been used as an
2 introduction into the socio-cultural context by analysing the concept of social hierarchy, status and power. The final chapter constitutes of the further description and research on modern ideologies of the supernatural world. The analysis encloses the concepts of socially constructed gender roles, feminist perspectives, the phenomenon of multicultural society, as well as political aspects. The consideration of the issues mentioned above reveals an attempt to representation conceits, fundamentally and ideologically identical to the counterparts of the present day. In the concluding section all the findings will be summarized and evaluated.
3 1. The condition of postmodernity and values of consumer culture This chapter aims at delivering information about a new 20th century movement which is viewed as a reaction against the philosophical assumptions and values of the modern period. It covers information about perspective-change and a blurred distinction between reality and imagination. Moreover, it depicts the notion of consumerism as an inseparable aspect of postmodern culture and the role of mass media in shaping individual’s perceptions. What is more, the chapter highlights that series of Harry Potter are related to postmodern thoughts and theories. 1.1 Postmodern theory and its characteristics Postmodernism refers to a variety of terms and trends in literature, art, music as well as to many aspects of social life. This concept marks a cultural shift, developing in the late 20th century, and breakdown from modernity. It has emerged with its distinctive principles as a negation and reconstruction of modern tendencies and has rapidly influenced all areas of human interest. According to McRobbie (2005), “Postmodernism has entered into a more diverse number of vocabularies more quickly than most other intellectual categories. It has spread outwards from the realms of art history into political theory and on to the pages of youth culture magazines, record sleeves and the fashion spreads of Vogue” (p. 14). Featherstone (2007) points out that postmodernism is a complicated term, for at once indicates something modern and up-to-date; on the other hand seems to be awkwardly difficult to define. He states that scholars are not to be criticised for inventing the term as being merely a key to success and career within intellectual fields. Moreover, being something more than an academic expression and a reflection of social changes, postmodernism has gained an enormous popularity and attracted people’s interest. Even though the term is used by some critics in a disrespectful way, they affirm its widespread influence on middle-class groups (p. 1).
4 According to Stanford Encyclopaedia of Philosophy (2005), the term ‘postmodern’ appeared for the first time in the lexicon of philosophy with the publication of “La Condition Postmoderne” written in 1979 by Jean-François Lyotard'. (The Postmodern Condition section, para. 1) . He states: “Simplifying to the extreme, I define postmodern as incredulity toward metanarratives” (Lyotard, 1979, XXIV). Internet Encyclopaedia of Philosophy (n.d.) characterizes metannaratives as stories of historical meaning and goals of the human beings that justify knowledge. The most important metanarratives include the role of history in the process of social enlightenment and emancipation, as well as an attempt to totalise knowledge (The Postmodern Condition section, para.1). Gloag (2012) asserts that we have become postmodern, for we fail to believe in modern stories and conditions. People do distrust and deny modern ideologies, becoming skeptical towards modern metanarratives. Instead of being regarded as a source of validation, grand narratives have been rejected and replaced with micronarrative, a form of imagination. It means a shift to multiple stories, plurality, and fragmentation interpreted from different perspectives. Each ‘little narrative’ forms its own sense and meaning (self-legitimacy) within a broad sphere characterized as postmodernism (pp. 6-7). Metanarratives, ideologically constructed forms, are flouted by some postmodern authors, thus marking the breakdown from modernism. Hutcheon (1993) observes that postmodernism is a hazardous and problematic aspect of our culture by challenging the commonsensical and reasonable sense of nature. What is more, it occurs with “discontinuity, dislocation, and disruption” (p. 3). The Age of Modernity dates back to 1687, when the epoch of Enlightenment began. Isaac Newton, Rene Descartes, and Immanuel Kant created set of beliefs and universal truths marked by the establishment of the most crucial doctrines: reason and science. Political leaders advocated reason as the impetus of social changes, considering it as a way to introduce egalitarian social structure. The First and The Second World Wars as well as revolutions in America and France were influenced by such ideas. Freedom, individuality, capitalism, and democracy were recognised as the major ideologies of the Enlightenment.
5 Modernism was followed by the rise of postmodern theories interpreted as an anti-reaction to modern principles (Barrett, 1997, p. 17). Barrett (1997) states that the birth of postmodernity is symbolically ascribed to students’ revolutionary movements in Paris in 1968 when they demanded changes in university systems in Europe. While modernity were dominated by the rationalism of Kant, Descartes, and Newton, postmodern philosophers such as Nietzsche, Derrida, and Dewey doubted whether the theoretical approach can reflect a real world. It has been claimed that modernists failed to introduce equality and liberation among people. Moreover, this movement aimed at devastation of people who suffered injustice and were rejected from a social sphere. Representatives of postmodernism are more skeptical about truth and knowledge, emphasizing that facts are just interpretations. They impugn the universality of truth which is considered simply as the invention of groups of people, and claim that knowledge is controlled by cultural practices and language (pp. 17-19). Furthermore, ‘hyperreality’ is another fundamental concept of postmodernism. Dahl (2014) defines it as a combination of false images or situations with their real equivalents. He claims that elements of reality and its simulation are indistinguishable, for a real form is blended with its representation. Thus, hyperreal images may be seen as a collection of images and signs without an external referent (p. 100). It has been claimed that signs and images have replaced real forms in the modern-day era. The relation between sign and signified has collapsed; the Internet and TV create images and themes based on intertextuality that satisfy viewers’ expectations. Being exposed to a profusion of perspectives, everyone has a possibility to make own judgments about truth and reality. Objectivity, independence of personal biases and reference to an external reality, has been dispersed towards an aggregate of concepts stimulated by mass media without the visible distinction between real and imaginary (Antonio & Kellner, 1994, pp. 1-2). Clearly, communication appeared to be one of the major transformations of postmodern civilization. According to this, linguistics has become the
6 innovative phenomenon relevant to miscellaneous branches of disciplines. Lyotard pointed out that in this distinct new system-based culture, language as the key of communication fulfils the fundamental role “..in a society whose communication component is becoming more prominent day by day, both as a reality and as an issue, it is clear that language assumes a new importance” (as cited in Edles, 2010, p. 441). Kvale (1992) explains that the postmodern condition concentrates on changing language games, as well as on the instabilities. Conversation is perceived as a conflict of views and ideas between rivals, rather than a dialogue between participants. A postmodern culture can be viewed as a standing perspective-change, where language and knowledge do not imitate a real world. Each language comprises reality and creates its particular aspects diversely. Each kind of language is a result of a culture diversity, creating dialects and other linguistic varieties. Therefore, non-existence of a universal language-code is emphasised. Furthermore, postmodern authors have become mediators of the cultural issues through their genius expertise in language transmission (pp. 21-22). Analysing definitions of postmodernism, other characteristic features can be found. The boundary between art and everyday life has been erased, as well as divergence between high art and popular culture. Hierarchical systems of symbols has been equalised, simultaneously marking the break with traditional forms. The notion of the ‘aestheticization of everyday life’ is a distinctly postmodern condition, emphasizing the blurring of boundaries between reality and imagination. This process aims to “dissemble its sacred halo and challenge its respectable location” and when it comes to art, it could be found anywhere, in the “detritus of mass culture and the debased consumer commodities” (Featherstone, 2007, p. 65). Postmodern man endeavors to know all curiosities of life, to develop originality and change life into a work of art. Through advertising and an immense impact of mass media and their manipulative strategies on people’s thoughts and values, human beings deal with “dream-images” which appeal to their minds and intensify an appetite for consuming goods. In this way, the importance of commodification has been exacerbated, thus symbolising a
7 beginning of a new era of consumer culture (Featherstone, 2007, pp. 64-67). As Baudrillard (1983) noticed, postmodern culture experiences merely a simulation of reality: It is reality itself today that is hyperrealist. Surrealism’s secret already was that the most banal reality could become surreal, but only in certain privileged moments that are still nevertheless connected with art and the imaginary. Today it is quotidian reality in its entirety – political, social, historical and economic – that from now on incorporates the simulating dimension of hyperrealism. We live everywhere already in an ‘aesthetic’ hallucination of reality
2 introduction into the socio-cultural context by analysing the concept of social hierarchy, status and power. The final chapter constitutes of the further description and research on modern ideologies of the supernatural world. The analysis encloses the concepts of socially constructed gender roles, feminist perspectives, the phenomenon of multicultural society, as well as political aspects. The consideration of the issues mentioned above reveals an attempt to representation conceits, fundamentally and ideologically identical to the counterparts of the present day. In the concluding section all the findings will be summarized and evaluated.
3 1. The condition of postmodernity and values of consumer culture This chapter aims at delivering information about a new 20th century movement which is viewed as a reaction against the philosophical assumptions and values of the modern period. It covers information about perspective-change and a blurred distinction between reality and imagination. Moreover, it depicts the notion of consumerism as an inseparable aspect of postmodern culture and the role of mass media in shaping individual’s perceptions. What is more, the chapter highlights that series of Harry Potter are related to postmodern thoughts and theories. 1.1 Postmodern theory and its characteristics Postmodernism refers to a variety of terms and trends in literature, art, music as well as to many aspects of social life. This concept marks a cultural shift, developing in the late 20th century, and breakdown from modernity. It has emerged with its distinctive principles as a negation and reconstruction of modern tendencies and has rapidly influenced all areas of human interest. According to McRobbie (2005), “Postmodernism has entered into a more diverse number of vocabularies more quickly than most other intellectual categories. It has spread outwards from the realms of art history into political theory and on to the pages of youth culture magazines, record sleeves and the fashion spreads of Vogue” (p. 14). Featherstone (2007) points out that postmodernism is a complicated term, for at once indicates something modern and up-to-date; on the other hand seems to be awkwardly difficult to define. He states that scholars are not to be criticised for inventing the term as being merely a key to success and career within intellectual fields. Moreover, being something more than an academic expression and a reflection of social changes, postmodernism has gained an enormous popularity and attracted people’s interest. Even though the term is used by some critics in a disrespectful way, they affirm its widespread influence on middle-class groups (p. 1).
4 According to Stanford Encyclopaedia of Philosophy (2005), the term ‘postmodern’ appeared for the first time in the lexicon of philosophy with the publication of “La Condition Postmoderne” written in 1979 by Jean-François Lyotard'. (The Postmodern Condition section, para. 1) . He states: “Simplifying to the extreme, I define postmodern as incredulity toward metanarratives” (Lyotard, 1979, XXIV). Internet Encyclopaedia of Philosophy (n.d.) characterizes metannaratives as stories of historical meaning and goals of the human beings that justify knowledge. The most important metanarratives include the role of history in the process of social enlightenment and emancipation, as well as an attempt to totalise knowledge (The Postmodern Condition section, para.1). Gloag (2012) asserts that we have become postmodern, for we fail to believe in modern stories and conditions. People do distrust and deny modern ideologies, becoming skeptical towards modern metanarratives. Instead of being regarded as a source of validation, grand narratives have been rejected and replaced with micronarrative, a form of imagination. It means a shift to multiple stories, plurality, and fragmentation interpreted from different perspectives. Each ‘little narrative’ forms its own sense and meaning (self-legitimacy) within a broad sphere characterized as postmodernism (pp. 6-7). Metanarratives, ideologically constructed forms, are flouted by some postmodern authors, thus marking the breakdown from modernism. Hutcheon (1993) observes that postmodernism is a hazardous and problematic aspect of our culture by challenging the commonsensical and reasonable sense of nature. What is more, it occurs with “discontinuity, dislocation, and disruption” (p. 3). The Age of Modernity dates back to 1687, when the epoch of Enlightenment began. Isaac Newton, Rene Descartes, and Immanuel Kant created set of beliefs and universal truths marked by the establishment of the most crucial doctrines: reason and science. Political leaders advocated reason as the impetus of social changes, considering it as a way to introduce egalitarian social structure. The First and The Second World Wars as well as revolutions in America and France were influenced by such ideas. Freedom, individuality, capitalism, and democracy were recognised as the major ideologies of the Enlightenment.
5 Modernism was followed by the rise of postmodern theories interpreted as an anti-reaction to modern principles (Barrett, 1997, p. 17). Barrett (1997) states that the birth of postmodernity is symbolically ascribed to students’ revolutionary movements in Paris in 1968 when they demanded changes in university systems in Europe. While modernity were dominated by the rationalism of Kant, Descartes, and Newton, postmodern philosophers such as Nietzsche, Derrida, and Dewey doubted whether the theoretical approach can reflect a real world. It has been claimed that modernists failed to introduce equality and liberation among people. Moreover, this movement aimed at devastation of people who suffered injustice and were rejected from a social sphere. Representatives of postmodernism are more skeptical about truth and knowledge, emphasizing that facts are just interpretations. They impugn the universality of truth which is considered simply as the invention of groups of people, and claim that knowledge is controlled by cultural practices and language (pp. 17-19). Furthermore, ‘hyperreality’ is another fundamental concept of postmodernism. Dahl (2014) defines it as a combination of false images or situations with their real equivalents. He claims that elements of reality and its simulation are indistinguishable, for a real form is blended with its representation. Thus, hyperreal images may be seen as a collection of images and signs without an external referent (p. 100). It has been claimed that signs and images have replaced real forms in the modern-day era. The relation between sign and signified has collapsed; the Internet and TV create images and themes based on intertextuality that satisfy viewers’ expectations. Being exposed to a profusion of perspectives, everyone has a possibility to make own judgments about truth and reality. Objectivity, independence of personal biases and reference to an external reality, has been dispersed towards an aggregate of concepts stimulated by mass media without the visible distinction between real and imaginary (Antonio & Kellner, 1994, pp. 1-2). Clearly, communication appeared to be one of the major transformations of postmodern civilization. According to this, linguistics has become the
6 innovative phenomenon relevant to miscellaneous branches of disciplines. Lyotard pointed out that in this distinct new system-based culture, language as the key of communication fulfils the fundamental role “..in a society whose communication component is becoming more prominent day by day, both as a reality and as an issue, it is clear that language assumes a new importance” (as cited in Edles, 2010, p. 441). Kvale (1992) explains that the postmodern condition concentrates on changing language games, as well as on the instabilities. Conversation is perceived as a conflict of views and ideas between rivals, rather than a dialogue between participants. A postmodern culture can be viewed as a standing perspective-change, where language and knowledge do not imitate a real world. Each language comprises reality and creates its particular aspects diversely. Each kind of language is a result of a culture diversity, creating dialects and other linguistic varieties. Therefore, non-existence of a universal language-code is emphasised. Furthermore, postmodern authors have become mediators of the cultural issues through their genius expertise in language transmission (pp. 21-22). Analysing definitions of postmodernism, other characteristic features can be found. The boundary between art and everyday life has been erased, as well as divergence between high art and popular culture. Hierarchical systems of symbols has been equalised, simultaneously marking the break with traditional forms. The notion of the ‘aestheticization of everyday life’ is a distinctly postmodern condition, emphasizing the blurring of boundaries between reality and imagination. This process aims to “dissemble its sacred halo and challenge its respectable location” and when it comes to art, it could be found anywhere, in the “detritus of mass culture and the debased consumer commodities” (Featherstone, 2007, p. 65). Postmodern man endeavors to know all curiosities of life, to develop originality and change life into a work of art. Through advertising and an immense impact of mass media and their manipulative strategies on people’s thoughts and values, human beings deal with “dream-images” which appeal to their minds and intensify an appetite for consuming goods. In this way, the importance of commodification has been exacerbated, thus symbolising a
7 beginning of a new era of consumer culture (Featherstone, 2007, pp. 64-67). As Baudrillard (1983) noticed, postmodern culture experiences merely a simulation of reality: It is reality itself today that is hyperrealist. Surrealism’s secret already was that the most banal reality could become surreal, but only in certain privileged moments that are still nevertheless connected with art and the imaginary. Today it is quotidian reality in its entirety – political, social, historical and economic – that from now on incorporates the simulating dimension of hyperrealism. We live everywhere already in an ‘aesthetic’ hallucination of reality
