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
Reads
9,030
Consumer culture and its role in contemporary society
Chapter 3
In these days consumption, dominance of commodity, and advertising constitute fundamental aspects of social interactions. Nowadays people concentrate on objects which they possess and which surround them. Maintaining wellbeing and purchasing material goods appear to be an essential part of life. Mass media services’ role is to create a kind of spectacle where objects and gadgets perform a lead role, whereas the audience, potential purchasers, are captivated by splendour of objects in a modern world. Featherstone (2007) indentifies three significant approaches to consumer culture. Firstly, consumer culture is based on the spread of capitalist commodity production which has contributed to intensification of materialistic civilization where goods and products are purchased and consumed. From this perspective it could be contended that the accumulation of goods has arisen from the expanding and maximizing satisfaction and the success of exchange-value. This actually means that cultural traditions and qualities have been replaced with quantities. Reception and the pursuit of traditional forms of association, as well as art and culture in general have been transformed to a destroyed and manipulated mass of commodity culture. The multiplicity of signs and their constant development as well as reproduction have provoked consumers to formulate own perspectives and
8 associations on ‘commodity-signs’. The post-World War II period has established a new sense of understanding the culture where distinction between high and mass culture is no longer visible. Without a stable and common meaning of images popularized by media and advertisements, culture is given a brand-new understanding (p. 12). Secondly, the author claims that goods can be used by people in very different ways and be influential in shaping social relations or creating social distinctions. On the one hand the purchase of commodities enables communities and groups to integrate and remove social barriers, on the other hand it may destroy links between people. Goods are able to draw lines of social relationships, for instance, when we enjoy products and share their names and their attributes with others. Social structure is important in classifying social classes and their preferences where judgments, consumption preferences, and lifestyle routines are correlated with particular occupation and class determining distinctive features within a particular society. Consumption preferences and tastes are attached to our views, simultaneously revealing information about occupation and social and class belonging. Trough distinguishing different necessities of social groups, distinctions and contradictions among people in a particular society can be simply visible (Featherstone, 2007, pp. 16-19). Thirdly, consumption of dreams, images and pleasures is the later approach to consumer culture, which seems to create an image of a post-modern consumer who looks for freedom, desire and pleasure. An individual is capable of satisfying own needs and contentment through the process of consuming goods. This is strictly related to fantasies as well as to dreams which can be fulfilled by man who gratifies own desires and curiosity (Featherstone, 2007, pp. 21-25). 1.3 The role of the mass media in consumerism Miles (1998) examines the role of the media in the consumer culture. He states that changes that have been taking place since 1960s have altered the reception and understanding of goods and have disseminated otherness of
9 different cultural values and traditions. The media have been blamed for popularising sexism, racism, and gender inequality, which make people aware of social and cultural aspects of post-modern world. The author claims that for some theorists, the media are responsible for choices in everyday life, for perception of the world, mediation of economic, political, cultural issues and for enabling social interactions and communication between groups of people. Popular media culture has become a force towards socialization and sharing experience of consuming and entertaining. The need for incorporating different perspectives and issues is on the increase, at the same time the line between art and everyday life has blurred, for there is no longer valid distinction amid high and popular art. Symbolic hierarchies have collapsed and every aspect of intellectual fields has become popularized. In this media-dominated world, consumption enables people to posses commodities the have always dreamed about and increased competition and greed of individuals (pp. 37-41). Moreover, the media have developed the notion of a sense of ‘self’, which functions as a way of standardizing a social code and means a loss of individual values. Consumerism has become a process of self-identification and system of defining who we are, where we are and what we need in order to pleasure ourselves. The method of creating a personal identity is formed through absorbing cultural norms and behaviours. The identity has become unstable, incoherent, and disintegrated, for mass culture has destabilized our perspectives and orientation in finding our ‘self’. Cultural fragmentation provides heterogeneous image of many aspects of our life, thus urges an individual to find a way of constructing appropriate personal and social identities. Moreover, postmodern theory questions the patriarchal model of society and encouarges individuals to consider a new reference to traditional gender roles (Todd, 2011, pp. 49-50). 1.4 Harry Potter series as a product of consumer culture Harry Potter series appeared in a time of child-extending consumerism. The children’s literature sales increased, for companies targeted at children as potential consumers. In the capitalist societies of the West, the teenagers have
10 become an important and expanding segment of the consumer market, by means of which young generation can acquired the new model of the consumer society. Harry Potter series seemingly aim at younger readers but through the act of consumption and encouraging new forms of presenting social problems they have become a product appropriate for multigenerational society (Heilman, 2003, p. 45). With an ongoing transformation of cultural identity and values, books that are published conform to the standards of the culture. In order to be successful in the marketplace, people’s demands and expectations must be satisfied. A demanding reader, a participant of a revolutionary period, awaits an exploration of a mystery world which depicts enigmas and inexplicable aspects of humanity. The representation of all forces which govern the world on the physical, emotional, and intellectual level as well as at the revealing human opportunities and anxieties of a contemporary world appear as the important aspects of commercial culture. Harry Potter offers a wide perspective of themes and ideologies which are familiar to readers who can easily identify own experiences in stories presented in books. The book series confront our uncertainties and curiosities by a representation of a personal development and human emotions which induce individuals to undertake different tasks. This world of commonplace and undeniable human theories is constructed as a mixture of reality and magic. The question is : What is it that makes these books both an international phenomenon and a crucial topic to cultural critics? According to Teare (2002), the Harry Potter stories stimulate both our fantasies and fears “in the context of twenty-first-century commercial and technological culture” (p. 329). Fantasy principles are incorporated into contemporary world which reflects socio-cultural trends, conventional notions and established forms of symbols. Through the compatibility with the expectations of a wide spectrum of audience, this bestseller has become conventional and recognized as a form of popular culture. It had to conform to the demands of the mass media and has become another product of culture industry. Even if not discussed explicitly, money and power are a central concern in Harry Potter series, involving both human and wizard world. J.K Rowling’s
11 stories coincides with a world transformed by global changes and mass media’s influence on every sphere of life. Exploring the nature of the magic world, the main character is consistently exposed to the dangers of the universe. He attempts to find his own place and ‘self’ among groups of people, therefore seeks for self-identity in a world consumed by evil powers which strive to dominate an individual and impose own will. These ‘evil powers’ can be ascribed to modern technologies which on the one hand give a greater control but on the other hand capture our innate senses. Additionally, characters in a magic world are also under the influence of possessions, especially the latest broomsticks, that grant a sort of status symbol. According to Gibson and Waetjan (2007), “the current explosion of Potter-inspired merchandise is, to be sure, a textbook case in the commodification of children’s culture and the proliferating sins of hyper-commercialism” (p. 4). Rowling’s stories about the wizarding world are considered as a celebration of commodity consumption in a world marked by magic. The prevalence of Harry Potter and at the same time its transformation to commodity-sign is ascribed especially to Time Warner, the global leader in media and entertainment. The text and stories have been transferred for commercial usage e.g. video games, films, and multiplicity of things which are connected with the boy, with the lightning scar and his adventures. It can be stated that a situation presented in a paper format clearly reflects the condition of a post-modern, consumer world. A depiction of class inequalities in a muggle (non-magical) and wizarding world is thoroughly outlined by a wealth and form of consumption which lead to amusement and gratification. Class materialism and the economic system are strategically applied in these book series. The portrayal of Harry Potter as a gadget-loving boy, even in wizard-cloak, imitates a contemporary boy of the twenty-first century who desires the pleasures of world he lives in. Harry’s magical possessions: a wand, an invisibility cloak, a broomstick and the Marauder’s Map which reveals secret passages, fulfill his hidden craving and greed for power. Throughout the series, Harry is exposed to interesting magical objects which arouse a deep fascination and interest. Every school year in
12 Hogwarts involves shopping spree in Diagon Alley, a street of magical consumerism where chain of stores offer a wide variety of products, being at the same time a great incentive to young wizards. “Harry wished he had about eight more eyes (…). There were shops selling robes, shops selling telescopes and strange silver instruments. Harry had never seen before, windows stacked with barrels of bat spleens and eels’ eyes, tottering piles of spell books, quills, and rolls of parchment, potion bottles, globes of the moon…” (J.K. Rowling, 1997, p. 56). The wizarding world is also filled with advertisements which appear as a tempting and enticing invitation to buy and spend some money. The moment when Harry was enchanted by a new model of an incredibly fast broomstick clearly proves the persuasive effect of advertising. The process of reading an advertisement and emotions which they invoked reminiscent many non-wizard commercials. The books enable readers to observe joys of wealth, thrill of a new purchase, and excitement of changing life and status with the accumulation of commodities. Harry Potter, formerly an orphan without any perspectives and chances to improve his life quality, by entering a world of magic and wizards has become a vital part of market-based class system. 1.5 Postmodern aspects in Harry Potter series Harry Potter’s world is the demonstration of themes and ideas related to the consumer culture, especially value of money and gadgetry, which appear as significant elements of the postmodern era. Apart from this crucial facet of postmodernism, Harry Potter stories examinine the wizarding world in the light of other postmodern thoughts and theories. For instance, magical realism appears as a significant element of postmodernism, for it introduces fantastic and impossible elements, rejects rationalism and discover mysterious things of life without logical explanation. The boundaries between what is real and fictional are questioned and becoming blurred, because people with supernatural and magical powers have real-world experiences and act as human beings and the ficitional world relate to the contemporary issues of modern society. The stories exemplify the idea of hyperreal images and simulations that distorts the reality, where
13 magical creations are imitations of possible real situations. Moreover, books present a plurality of themes, adventures, and characters, which emphasise the fact that there is not absolute or unambiguous truth. Pluralism confronts readers with a diversity of perspectives and a wide range of possible interpretations. What is more, Harry Potter highlights the importance of language transmission through the usage of spells. Casting spells is associated with concepts of power and authority, because the proper usage of words which hold magical power determines whether someone wins or loses a battle. This creates a kind of hierarchy, where language skills affect a status of any individual within society.
14 2. The fantasy genre in Harry Potter novels as a reflection of the contemporary social stratification This chapter focuses on the brief description and analysis of the fantasy literature, and indicates that Harry Potter novels encompass elements of the fantasy formula. Furthermore, it explains that despite magical and unreal elements, fantasy stories explore modern world and its contemporary issues. Moreover, this chapter concerns social hierarchy as one of the most distinctive and pervasive features of the present-day culture as well as depicts social inequality in the wizarding world. 2.1 The elements of the fantasy genre Fantasy literature has become increasingly popular and has attracted throngs of followers who look for escapism from everyday problems and reality which tends to limit their inner dreams and desires. This escape from difficulties of life and from constraints that are imposed on humans may be possible through activation of imagination processes. This innate ability is considered as a powerful and creative part of mind which is capable of forming images and mental concepts which are not actually presented to the senses, or perhaps not actually real. Moreover, this fascinating phenomenon is an integral part of communing with fantasy literature, for a reader experiences adventures, journeys and battles in a fictional and supernatural world which forces an individual to explore irrational elements and gives better understanding of people’s place in the world. Fantasy illustrates the unconscious desires and aspirations of our modern society through symbolism and allegory (Burkart, 2009, pp. 38-43). Martin asserts that fantasy is a reflection of our dreams: “The best fantasy is written in the language of dreams. It is alive as dreams are alive, more real than real … for a moment at least … that long magic moment before we wake” (as cited in Perret, 1996). According to Merriam-Webster’s Encyclopedia of Literature (1995), fantasy is an “imaginative fiction dependent for effect on strangeness of setting (such as other worlds or times) and characters (such as supernatural beings)” (p.
15 403). This is a genre which consists of magic and supernatural elements and often creatures that do not exist in a real world. These constituents are not easily explained by rationality and scientific means. The narrative takes place in two worlds. One of them indicates a world we know and experience (a primary world), the secondary world may only be achieved by the use of magic and particular gadgets. Problems and obstacles are solved by special powers and strengths that an individual possesses. Through power and magical abilities people can control the world (Merriam-Webster’s Encyclopedia of Literature, 1995, p. 403). Fantasy genre clearly indicates the distinction between evil and good. The conflict and struggle between these two aspects is sharpened through distinctive types of behaviour of protagonists. Thus, characters are defined through their personality and decisions they make. This convention is considered as a universal aspect of human relations. The depiction of good and evil as discernibly polarised opposites cultivates a perception in readers that the real world is similarly organized. Good-Evil scenario is usually concluded when the light side of life triumphs over dark (Burkart, 2009, pp. 19-21). Another aspect that is characteristic for fantasy genre and at the same time makes fantasy literature attractive and appealing is a figure of a hero. According to Saricks (2009), a hero is a representation of all the best qualities in our society: intelligence, courage, honour, and loyalty. Heroes exhibit the greatnesses of their societies, showing an admirable way to behave and act according to moral principles. Heroes have special skills and outstanding abilities and act under the strict moral code. With the aid of these special inner-strengths they are capable of overcoming danger and enemies who threaten humanity. Heroes weaken their fears and uncertainties in order to save the world by opposing evil forces and in this way preventing their negative influence on people. A hero suffers, engages in risky situations, sacrifices himself to save others. This person is determined to unconditionally continue his or her guidelines and is continuously placed in life-and-death situations. The creation of fantasy heroes has an universal appeal among readers who value inspiring individuals with similarities of the real world.
8 associations on ‘commodity-signs’. The post-World War II period has established a new sense of understanding the culture where distinction between high and mass culture is no longer visible. Without a stable and common meaning of images popularized by media and advertisements, culture is given a brand-new understanding (p. 12). Secondly, the author claims that goods can be used by people in very different ways and be influential in shaping social relations or creating social distinctions. On the one hand the purchase of commodities enables communities and groups to integrate and remove social barriers, on the other hand it may destroy links between people. Goods are able to draw lines of social relationships, for instance, when we enjoy products and share their names and their attributes with others. Social structure is important in classifying social classes and their preferences where judgments, consumption preferences, and lifestyle routines are correlated with particular occupation and class determining distinctive features within a particular society. Consumption preferences and tastes are attached to our views, simultaneously revealing information about occupation and social and class belonging. Trough distinguishing different necessities of social groups, distinctions and contradictions among people in a particular society can be simply visible (Featherstone, 2007, pp. 16-19). Thirdly, consumption of dreams, images and pleasures is the later approach to consumer culture, which seems to create an image of a post-modern consumer who looks for freedom, desire and pleasure. An individual is capable of satisfying own needs and contentment through the process of consuming goods. This is strictly related to fantasies as well as to dreams which can be fulfilled by man who gratifies own desires and curiosity (Featherstone, 2007, pp. 21-25). 1.3 The role of the mass media in consumerism Miles (1998) examines the role of the media in the consumer culture. He states that changes that have been taking place since 1960s have altered the reception and understanding of goods and have disseminated otherness of
9 different cultural values and traditions. The media have been blamed for popularising sexism, racism, and gender inequality, which make people aware of social and cultural aspects of post-modern world. The author claims that for some theorists, the media are responsible for choices in everyday life, for perception of the world, mediation of economic, political, cultural issues and for enabling social interactions and communication between groups of people. Popular media culture has become a force towards socialization and sharing experience of consuming and entertaining. The need for incorporating different perspectives and issues is on the increase, at the same time the line between art and everyday life has blurred, for there is no longer valid distinction amid high and popular art. Symbolic hierarchies have collapsed and every aspect of intellectual fields has become popularized. In this media-dominated world, consumption enables people to posses commodities the have always dreamed about and increased competition and greed of individuals (pp. 37-41). Moreover, the media have developed the notion of a sense of ‘self’, which functions as a way of standardizing a social code and means a loss of individual values. Consumerism has become a process of self-identification and system of defining who we are, where we are and what we need in order to pleasure ourselves. The method of creating a personal identity is formed through absorbing cultural norms and behaviours. The identity has become unstable, incoherent, and disintegrated, for mass culture has destabilized our perspectives and orientation in finding our ‘self’. Cultural fragmentation provides heterogeneous image of many aspects of our life, thus urges an individual to find a way of constructing appropriate personal and social identities. Moreover, postmodern theory questions the patriarchal model of society and encouarges individuals to consider a new reference to traditional gender roles (Todd, 2011, pp. 49-50). 1.4 Harry Potter series as a product of consumer culture Harry Potter series appeared in a time of child-extending consumerism. The children’s literature sales increased, for companies targeted at children as potential consumers. In the capitalist societies of the West, the teenagers have
10 become an important and expanding segment of the consumer market, by means of which young generation can acquired the new model of the consumer society. Harry Potter series seemingly aim at younger readers but through the act of consumption and encouraging new forms of presenting social problems they have become a product appropriate for multigenerational society (Heilman, 2003, p. 45). With an ongoing transformation of cultural identity and values, books that are published conform to the standards of the culture. In order to be successful in the marketplace, people’s demands and expectations must be satisfied. A demanding reader, a participant of a revolutionary period, awaits an exploration of a mystery world which depicts enigmas and inexplicable aspects of humanity. The representation of all forces which govern the world on the physical, emotional, and intellectual level as well as at the revealing human opportunities and anxieties of a contemporary world appear as the important aspects of commercial culture. Harry Potter offers a wide perspective of themes and ideologies which are familiar to readers who can easily identify own experiences in stories presented in books. The book series confront our uncertainties and curiosities by a representation of a personal development and human emotions which induce individuals to undertake different tasks. This world of commonplace and undeniable human theories is constructed as a mixture of reality and magic. The question is : What is it that makes these books both an international phenomenon and a crucial topic to cultural critics? According to Teare (2002), the Harry Potter stories stimulate both our fantasies and fears “in the context of twenty-first-century commercial and technological culture” (p. 329). Fantasy principles are incorporated into contemporary world which reflects socio-cultural trends, conventional notions and established forms of symbols. Through the compatibility with the expectations of a wide spectrum of audience, this bestseller has become conventional and recognized as a form of popular culture. It had to conform to the demands of the mass media and has become another product of culture industry. Even if not discussed explicitly, money and power are a central concern in Harry Potter series, involving both human and wizard world. J.K Rowling’s
11 stories coincides with a world transformed by global changes and mass media’s influence on every sphere of life. Exploring the nature of the magic world, the main character is consistently exposed to the dangers of the universe. He attempts to find his own place and ‘self’ among groups of people, therefore seeks for self-identity in a world consumed by evil powers which strive to dominate an individual and impose own will. These ‘evil powers’ can be ascribed to modern technologies which on the one hand give a greater control but on the other hand capture our innate senses. Additionally, characters in a magic world are also under the influence of possessions, especially the latest broomsticks, that grant a sort of status symbol. According to Gibson and Waetjan (2007), “the current explosion of Potter-inspired merchandise is, to be sure, a textbook case in the commodification of children’s culture and the proliferating sins of hyper-commercialism” (p. 4). Rowling’s stories about the wizarding world are considered as a celebration of commodity consumption in a world marked by magic. The prevalence of Harry Potter and at the same time its transformation to commodity-sign is ascribed especially to Time Warner, the global leader in media and entertainment. The text and stories have been transferred for commercial usage e.g. video games, films, and multiplicity of things which are connected with the boy, with the lightning scar and his adventures. It can be stated that a situation presented in a paper format clearly reflects the condition of a post-modern, consumer world. A depiction of class inequalities in a muggle (non-magical) and wizarding world is thoroughly outlined by a wealth and form of consumption which lead to amusement and gratification. Class materialism and the economic system are strategically applied in these book series. The portrayal of Harry Potter as a gadget-loving boy, even in wizard-cloak, imitates a contemporary boy of the twenty-first century who desires the pleasures of world he lives in. Harry’s magical possessions: a wand, an invisibility cloak, a broomstick and the Marauder’s Map which reveals secret passages, fulfill his hidden craving and greed for power. Throughout the series, Harry is exposed to interesting magical objects which arouse a deep fascination and interest. Every school year in
12 Hogwarts involves shopping spree in Diagon Alley, a street of magical consumerism where chain of stores offer a wide variety of products, being at the same time a great incentive to young wizards. “Harry wished he had about eight more eyes (…). There were shops selling robes, shops selling telescopes and strange silver instruments. Harry had never seen before, windows stacked with barrels of bat spleens and eels’ eyes, tottering piles of spell books, quills, and rolls of parchment, potion bottles, globes of the moon…” (J.K. Rowling, 1997, p. 56). The wizarding world is also filled with advertisements which appear as a tempting and enticing invitation to buy and spend some money. The moment when Harry was enchanted by a new model of an incredibly fast broomstick clearly proves the persuasive effect of advertising. The process of reading an advertisement and emotions which they invoked reminiscent many non-wizard commercials. The books enable readers to observe joys of wealth, thrill of a new purchase, and excitement of changing life and status with the accumulation of commodities. Harry Potter, formerly an orphan without any perspectives and chances to improve his life quality, by entering a world of magic and wizards has become a vital part of market-based class system. 1.5 Postmodern aspects in Harry Potter series Harry Potter’s world is the demonstration of themes and ideas related to the consumer culture, especially value of money and gadgetry, which appear as significant elements of the postmodern era. Apart from this crucial facet of postmodernism, Harry Potter stories examinine the wizarding world in the light of other postmodern thoughts and theories. For instance, magical realism appears as a significant element of postmodernism, for it introduces fantastic and impossible elements, rejects rationalism and discover mysterious things of life without logical explanation. The boundaries between what is real and fictional are questioned and becoming blurred, because people with supernatural and magical powers have real-world experiences and act as human beings and the ficitional world relate to the contemporary issues of modern society. The stories exemplify the idea of hyperreal images and simulations that distorts the reality, where
13 magical creations are imitations of possible real situations. Moreover, books present a plurality of themes, adventures, and characters, which emphasise the fact that there is not absolute or unambiguous truth. Pluralism confronts readers with a diversity of perspectives and a wide range of possible interpretations. What is more, Harry Potter highlights the importance of language transmission through the usage of spells. Casting spells is associated with concepts of power and authority, because the proper usage of words which hold magical power determines whether someone wins or loses a battle. This creates a kind of hierarchy, where language skills affect a status of any individual within society.
14 2. The fantasy genre in Harry Potter novels as a reflection of the contemporary social stratification This chapter focuses on the brief description and analysis of the fantasy literature, and indicates that Harry Potter novels encompass elements of the fantasy formula. Furthermore, it explains that despite magical and unreal elements, fantasy stories explore modern world and its contemporary issues. Moreover, this chapter concerns social hierarchy as one of the most distinctive and pervasive features of the present-day culture as well as depicts social inequality in the wizarding world. 2.1 The elements of the fantasy genre Fantasy literature has become increasingly popular and has attracted throngs of followers who look for escapism from everyday problems and reality which tends to limit their inner dreams and desires. This escape from difficulties of life and from constraints that are imposed on humans may be possible through activation of imagination processes. This innate ability is considered as a powerful and creative part of mind which is capable of forming images and mental concepts which are not actually presented to the senses, or perhaps not actually real. Moreover, this fascinating phenomenon is an integral part of communing with fantasy literature, for a reader experiences adventures, journeys and battles in a fictional and supernatural world which forces an individual to explore irrational elements and gives better understanding of people’s place in the world. Fantasy illustrates the unconscious desires and aspirations of our modern society through symbolism and allegory (Burkart, 2009, pp. 38-43). Martin asserts that fantasy is a reflection of our dreams: “The best fantasy is written in the language of dreams. It is alive as dreams are alive, more real than real … for a moment at least … that long magic moment before we wake” (as cited in Perret, 1996). According to Merriam-Webster’s Encyclopedia of Literature (1995), fantasy is an “imaginative fiction dependent for effect on strangeness of setting (such as other worlds or times) and characters (such as supernatural beings)” (p.
15 403). This is a genre which consists of magic and supernatural elements and often creatures that do not exist in a real world. These constituents are not easily explained by rationality and scientific means. The narrative takes place in two worlds. One of them indicates a world we know and experience (a primary world), the secondary world may only be achieved by the use of magic and particular gadgets. Problems and obstacles are solved by special powers and strengths that an individual possesses. Through power and magical abilities people can control the world (Merriam-Webster’s Encyclopedia of Literature, 1995, p. 403). Fantasy genre clearly indicates the distinction between evil and good. The conflict and struggle between these two aspects is sharpened through distinctive types of behaviour of protagonists. Thus, characters are defined through their personality and decisions they make. This convention is considered as a universal aspect of human relations. The depiction of good and evil as discernibly polarised opposites cultivates a perception in readers that the real world is similarly organized. Good-Evil scenario is usually concluded when the light side of life triumphs over dark (Burkart, 2009, pp. 19-21). Another aspect that is characteristic for fantasy genre and at the same time makes fantasy literature attractive and appealing is a figure of a hero. According to Saricks (2009), a hero is a representation of all the best qualities in our society: intelligence, courage, honour, and loyalty. Heroes exhibit the greatnesses of their societies, showing an admirable way to behave and act according to moral principles. Heroes have special skills and outstanding abilities and act under the strict moral code. With the aid of these special inner-strengths they are capable of overcoming danger and enemies who threaten humanity. Heroes weaken their fears and uncertainties in order to save the world by opposing evil forces and in this way preventing their negative influence on people. A hero suffers, engages in risky situations, sacrifices himself to save others. This person is determined to unconditionally continue his or her guidelines and is continuously placed in life-and-death situations. The creation of fantasy heroes has an universal appeal among readers who value inspiring individuals with similarities of the real world.
