Articles de revues sur le sujet « Children - harry potter »

The current popularity of the Harry Potter books (Rowling 1998, 1999a, 1999b, 2000, 2003) gives teachers a new and unique opportunity to integrate literature with mathematics. Often, books that are connected to mathematical explorations are picture books, which teachers can read easily in one sitting to a group of children. The books in the Harry Potter series are chapter books, which teachers must read to students over a period of several weeks. Despite the time investment, however, the appeal of the Harry Potter books to readers of all ages makes them ripe for a connection to mathematics.

Exciting movies are films with components that can affect a person's psychology and emotions including towards children. The Harry Potter movie is basically a show aimed at children after being adapted from a novel. It is about a world that full of magic and beautiful personalities that even adults are amazed by the links made between the minute details within every scene. However, there are several different opinions related to the story that say that the story has either a negative or positive effect on the children. This research was done to analyse the relationship between element of concrete operational concept and the impactful scene from one of Harry Potter movie, which is Harry Potter and the Sorcerer's Stone(2001). This research uses qualitative approach to answer all the research objectives with applying the method of descriptive analysis and focus on the materials collection based on phenomenally recorded news and feed backs from public as well as the support with authors, newspapers, journal, and other sources. Also, the cognitive operational concept by Jean Piaget’s cognitive development theory is use in this research to draw the conclusion at the end of the study. Thus, Harry Potter and the Sorcerer's Stone (2001) can be watched by the children especially children under the age of 7 until 11 years old after analyzing through each scene and relate it with the theory mentioned above.

"Harry Potter" and Moral Value Learning ​​is a qualitative study of the response of students aged 11-13 at an international Christian school in Bekasi, Indonesia, towards the phenomenal J.K Rowling text. Through the hermeneutic method, this research tried to seek the influence of Harry Potter texts, which are suspected of bringing adverse effects for their young readers. Besides, this research offers rational considerations to the authority in schools, especially regarding matters related to book censorship. Three things investigated in this study were the ability of students to think critically in making a distinction between fiction and facts in the Harry Potter text, the influence of the Harry Potter text on students' tendencies of violence and occultism, and finally about student learning of moral values ​​contained in the text. The data was collected through in-depth interviews with two male respondents and three female respondents aged 11-13 years with a high religious background, mediocre, and less significant religious background. It was found that all respondents were able to distinguish between fiction and facts in the Harry Potter texts, and there was no significant evidence that the texts influenced respondents' tendency for violence nor respondents' interest in occultism. This study also found that respondents were able to identify the moral values ​​contained in the text.

Abstract A professional literary translator recounts her experience in rendering J.K. Rowling’s Harry Potter series into Brazilian Portuguese in regard to working conditions and premises, British cultural marks maintained to preserve foreignness or erased for the sake of fluency and the verisimilitude of a magical world for children between nine and twelve years of age. The purchase and reception of the book, which enjoyed unexpected success, among older teenagers and adults, media coverage, and the unusual visibility attained by the translator, are also briefly discussed.

“All aboard the Hogwarts Express!” shout the students busily immersed in their studies. No, this is not a casting call for young actors and actresses living out their fantasies of starring in a new Harry Potter movie. Rather, the children are studying mathematics at the Edith Bowen Laboratory School in Logan, Utah. These fourth-grade students are developing mathematical activities around the topic of the child magician Harry Potter.

This research aims to analyze to illustrate the kind of bully action that do Dursleys, Draco Malfoy and Professor Severus Snape in Harry Potter. To describe the factors that trigger the Dursleys, Draco Malfoy and Professor Severus Snape take action against bully Harry Potter. To illustrate the social impact of the bully acts committed by the Dursleys, Draco Malfoy and Professor Severus Snape in Harry Potter in Harry Potter and the Sorcerer's Stone Joanne Kathleen Rowling. The method of the research is descriptive qualitative, which tries to explain about the correlations between author life background and its influence to the literary work produced. Sources of data in this study include the source of primary data and secondary data. Data collection techniques used in this study is a technique to read and record. The measures undertaken to analyze the data is as follows (1) Read the novel Harry Potter and The Sorcerer's Stone works J.K. Rowling. (2) Marking a sentence or a paragraph discussing about the social context associated with the bully action. (3) Analyzing the results about the social context are associated with the bully, the social picture, and social functions and (4) Describe results. After analyzing the social factors that Harry Potter bully (intimidated) in Harry Potter and the Philosopher's Stone, the author concludes the analysis into three findings: first to describe the type of action undertaken bully Dursleys, Draco Malfoy and Professor Severus Snape in Harry Potter. The types of bullying done of verbal bullying, where the actors perform intimidation through their words to a bully victim. Then bullying involving physical contact between the offender and the victim either directly or indirectly. This type of bullying usually include punching, kicking, slapping, choking, biting, spitting, even destroy the belongings of the victims, and relational bullying (friendship). Second to describe the factors that trigger the Dursleys, Draco Malfoy and Professor Severus Snape take action against Harry Potter bully. Factors child's own personal self, namely anxiety and feeling inferior from an agent, competition is not realistic, feelings of resentment arising from hostility or because the bullies had been the victim of bullying before, and the inability to handle emotions positively. Family factors namely lack of warmth and level of awareness of parents are low on his son, Pattern foster parents who are too permissive so that children are free to take whatever measures are desirable or otherwise. Factors association. Third to describe the social impact of the bully acts committed by the Dursleys, Draco Malfoy and Professor Severus Snape in Harry Potter. The social impact of the action bully among others They have a strong need to dominate and subdue other students and to get their own way. Are impulsive and are Easily angered. Are Often defiant and aggressive toward adults, Including parents and teachers. Show little empathy toward students who are victimized If they are boys, they are physically stronger than most other boys in general.

Abstract We conducted a conceptual replication of Chi and Koeske (1983) and Gobbo and Chi's (1986) studies on children's knowledge acquisition. One hundred elementary school students (86 through 159 months of age, in school grades 1 through 7) were asked to recall information about Harry Potter and the Sorcerer's Stone, the first of the books in the Harry Potter series. A quantitative measure of expertise was derived by a summation of factor loadings that were drawn from a free response and trivia task and from the number of Harry Potter books and movies a child reported having read or watched. Different measures of expertise were strongly intercorrelated but were only moderately correlated with age or grade. Although there was a significant correlation between age or grade and knowledge acquisition and expertise, nearly every other measure that correlated with expertise maintained statistical significance, even when we controlled for age or grade. Furthermore, regardless of age or grade, children with higher knowledge acquisition and expertise scores sorted characters more cohesively, with more sophistication, and used more categories that require a deep understanding of the Harry Potter domain. These results reinforce the idea that expertise is an aspect of knowledge that can be separated from a child's level of cognitive development and is associated with a deeper and richer knowledge base.

Implementing a good character education from an early age will form a qualified personality for children. Societies use novels in embedding the value of character education. This research aimed to analyze the characterization of Harry Potter in a novel entitled “Harry Potter and the Deathly Hallows”. The character was analysed based on five core values of character education proposed by the Ministry of Education and Culture of Indonesia; religious, nationalist, independent, mutual cooperation, & integrity. This research was conducted in descriptive qualitative research design. The data collection technique used were close reading and note taking. The obtained information were analyzed through textual analysis. Data triangulation, theory triangulation, and investigator triangulation were used to check the trustworthiness of the data. The findings showed that Harry Potter had 20 characterizations and 11 values of character education which were portrayed through the action, speech, and direct description by the author in the story. Relating to the context of Indonesian’s character building used as a research foundation, some identified characterizations have occupied the five cores values mentioned. The religious and mutual cooperation values were more emphasized in the whole story. Implication related to the use of this finding as a future learning-material was provided

In Harry Potter, J.K. Rowling presents to readers a foreign world in the familiar setting of England with a wide array of characters who have a wide variety of names. Harry Potter is challenging for translators who must translate character names while maintaining a balance between the foreign and the familiar, as does Rowling. Rowling’s work is identified as a piece of ‘kiddult’ literature where it is directed at both adults and children. Additionally, Rowling is described as winking at adults through her use of allusions in character names. Some translators argue in favour of localizing all character names in the target language while others argue for the direct transfer of names from English to the translation. This paper argues in favour of a balance between localization and direct transfer (or globalization) in the translation of texts like Harry Potter. After a comparison of the literature, a translation model is presented to aid translators in establishing a balance between localization and direct transfer by providing specific situations in which it is advisable to translate character names and when it is advisable to directly transfer character names into the translation.

Inspired by my students' enthusiasm for Harry Potter and the Sorcerer's Stone, I developed a multidisciplinary thematic unit. It started with the novel that the class was reading aloud for language arts and evolved into a mathematics problem that formed the foundation of the unit. The context of the problem linked literature to mathematics, provided a world about which most children could understand, and produced mathematics problems that are relevant to daily life. The students were keen to try the problems, and the familiar context helped them to feel self-confident.

Gender-stereotyped roles of female and male characters are common in literature. Seeing that Harry Potter series has gained much popularity especially among children and teenagers, this qualitative paper attempts to investigate to what extent the author, Rowling (1997), confirms or challenges the gender stereotypes in the portrayal of the main male and female characters through her lexical (words) and grammatical (nouns, verbs, adjective and adverbs) choices. Halliday’s transitivity system is used to examine the lexis and structures that Rowling chose to describe the characters in her novel. Several scenes which contain descriptions about the main male and female characters were analyzed. Analysis of the excerpts from the novel showed that both the male and female main characters are portrayed with either feminine or masculine roles.

The study of children’s play activities has not only been historically trivialized, but numerous widely held misconceptions about kids, their play, folklore and popular culture continue to persist today despite evidence to the contrary. For example, some adults believe that mass media and popular culture has contributed to the decline of kids’ traditional play activities, while others argue that traditional play objects are being replaced by “media culture artifacts”; however, the child-centred fan-play research I present in this paper reveals that popular culture encourages and activates children’s traditional and creative competences, rather than destroy them. The Harry Potter “phenomenon”, as a contested site where youth struggle for visibility and power, serves as the case study for this paper. Based on ethnographic observation of several local events, surveys, and interviews with child and teenage fans of Harry Potter, I examine several emergent, participatory, fan-play activities (including costuming, role-playing, make-believe and spells) and discuss the many ways children manipulate, appropriate, adapt and combine popular culture and folklore, using both creativity and tradition as expression of their lives, identities and power struggles. I conclude by discussing the heart of contemporary children’s culture and play – the conservative/creative nature of children, hybrid play forms and the activation of traditional and creative competencies in the face of popular culture influences.

This article considers the correlation between reading strategies and peculiarities of academic discourse. Special attention is paid to the upbringing-educational potential of teaching English on the basis of selected materials, namely the seven-book series “Harry Potter” by Joan K. Rowling. The paper discusses a number of ways of sustaining the communicative focus of teaching a foreign language through the prism of a potential reading strategy. It is proved that the series authored by Joan K. Rowling is filled with modern lexical and phraseological means. Texts about Hogwarts magic and spells are exemplary among the works of modern English literary language, because it contains a wide range of thematic material of an instructive nature, which greatly contributes to both teaching and performing basic activities such as reading, speaking, writing, as well as critical thinking, text analysis and the formation of moral values. The study mentions multiculturalism in order to help students master the concept, as well as to realize that each unit of cultural diversity has the right and freedom to exist and respect it. The authors proved that Potterian material is rich in instructiveness and contains such topics as the influence of folklore on modern culture, multicultural manifestations, issues of freedom and slavery, raising “problem children” or interaction with non-biological parents and others. Specific techniques and strategies that are most appropriate for the treatment of the above topics are proposed. These can be text analysis, investigation and comparison of book’s world and modern life, as well as critical thinking. It is seen that effective communication is dialogue and group discussion, the amount of oral and written speech which must be balanced with quality.

The practice of reading is increasingly endangered as young people intensify their interaction with the new media. Reading literature, however, is a potent source of moral formation, shaping the moral imagination. The article draws on contemporary neuroscience, cognitive psychology, and creativity studies to conceptualize the imagination and describe the special role of the moral imagination. It explores claims about the ways literature shapes the moral imagination, drawing on the findings of an empirical study of young adults who were avid readers of the Harry Potter series as children and youth.

Conflicts between religion and literature are not rare; history can produce many interesting examples of more or less important discussions leading towards prohibitions, burning /of books or authors/, excommunications or imprisonments. Although, in Christian religions and societies consequences of these polemics ceased to be so violent, the vehemence of arguments of the parties concerned is still great. With the publication of J. K. Rowlings' Harry Potter and the revival of Tolkien's Lord of the Rings following Peter Jackson's films, literary critics, religious authorities, psychologists, and many others /re/started the polemics about fantasy literature, and its alleged danger for the souls of believers. On one hand, there is the freedom of the art and artist, on the other, gloomy views of destroyed children, rise of occultism, and threat of paganism. In this paper the author takes a closer look at the arguments of both sides, and considers possible ways of approaching this kind of literature by a religious person of the 21st century.

This article discusses the specificity of occasional onomasticon in the cycle of novelsby Dmitriy Emets (b. 1974) featuring Tanya Grotter, which is an outstanding exampleof fantasy literature, playing an important role in the modern cultural space, andtargeted mainly at children and teenagers. It has been established that while creatingthe onomastic space of the cycle the author draws parallels with J. Rowling’s novelsabout Harry Potter and forms onyms – occasionalisms based on the precedent names(folk, mythological, religious, literary, and historical), foreign language vocabulary,phraseology, etc. The desire to comprehend the author’s intention and to understand thecharacteristics presented in onyms not only motivates readers to expand their horizon,but also engages them in cross-cultural communication.

Author Julia Golding reflects on her process for writing historical fiction for children. She wants to leave readers with an image that will encourage their young minds to turn on to history: The popularity of the Harry Potter and Percy Jackson series shows that huge numbers of children love fantasy, perhaps best summed up as going-through-the-wardrobe to other worlds. I enjoy this, too. Yet the pleasure of writing historical novels is similar in my experience to writing fantasy: the past is one place to which my imagination/wardrobe leads. If a young writer gathers just enough information to map a few steps beyond the door, then they have a whole new world to explore, which, if they give it a chance, will be just as exciting as anything a magician or half-blood could experience.

Previous neuroimaging research with adults suggests that the medial prefrontal cortex (MPFC) and the medial posterior parietal cortex (MPPC) are engaged during self-knowledge retrieval processes. However, this has yet to be assessed in a developmental sample. Twelve children and 12 adults (average age = 10.2 and 26.1 years, respectively) reported whether short phrases described themselves or a highly familiar other (Harry Potter) while undergoing functional magnetic resonance imaging. In both children and adults, the MPFC was relatively more active during self- than social knowledge retrieval, and the MPPC was relatively more active during social than self-knowledge retrieval. Direct comparisons between children and adults indicated that children activated the MPFC during self-knowledge retrieval to a much greater extent than adults. The particular regions of the MPPC involved varied between the two groups, with the posterior precuneus engaged by adults, but the anterior precuneus and posterior cingulate engaged by children. Only children activated the MPFC significantly above baseline during self-knowledge retrieval. Implications for social cognitive development and the processing functions performed by the MPFC are discussed.

The complexity of contemporary international communication requires an analysis of the transfer phenomena occurring within it. This paper addresses the subject from the perspective of cultural approaches to translation by adopting the concept modes of discursive transfer, which refers to any form of text processing that can be produced within and/or across cultures and media (translation, summary, adaptation for children, comic strip or film, etc.). To illustrate the transformations that textual material can undergo, I draw on the well-known example of Harry Potter and the Philosopher’s Stone and its discursive multiplication within the book industry. Focusing more specifically on cover illustrations and plot summary, I adopt a cross-cultural perspective and present a comparison and contrast of the English, US, and Spanish editions.

Because of the current fantasy trend to represent lycanthropy as a genetically inherited or inborn feature, with werewolves frequently belonging to werewolf families and/or packs, many contemporary narratives for children and young adults encourage readings of lycanthropy as a metaphor for racial or ethnic difference. Diverse representations of lycanthropy, from monstrous and sympathetic werewolves to benevolent and idealised werewolves, non-essentialist werewolves, and incommensurable werewolves thus suggest shifting conceptions of race and ethnicity. The divergent ideological implications of these distinctive werewolf schemata are analysed in a variety of contemporary children's and young adult fantasy texts, including Maggie Pearson's Owl Light ( 1996 ), Annette Curtis Klause's Blood and Chocolate ( 1997 ), Patrick Jennings's The Wolving Time ( 2003 ), J. K. Rowling's Harry Potter series (1997–2007), and Stephenie Meyer's Twilight series (2005–8).

This is an opportunity to think hard about the rhetorics of multiliteracy and media literacy. What exactly do these mean when we look at the detail, at the 'micro-level' of literacy (Buckingham 2003)? How does a particular image or narrative moment 'translate' across different media? If we expect children to learn about the notion of 'character' in literature or film, what does this mean in the context of a game? If they learn the category of 'verb' in language, how do we talk about this category in film? How is the 'verb' different in the interactive media of computer games? And how do these processes relate to macro-literacy, to the broader cultural experience of books, films and games within which such meanings are situated? And what are these different formal structures representing? At the heart of this question, I want to place the question about the social purpose of Harry Potter for children, and the forms of agency the character represents.

Readers of bestsellers, books which sell over 100.000 copies in a short time, feel ashamed to acknowledge such wguilty pleasuresn in view of the general opinion against their poor literary quality. The equation between high number of readers and poor quality has not been solved but there is little doubt that the impact of bestsellers mirrors and afects the ways in which we envisage our present, past and future. Precisely this capacity of popular fiction to articulate contemporary issues calls for critica1 analysis. This paper tackles the issue from the penpective of popular fiction studies considering factors and issues involved in the success of bestselling fiction both in its production and consumption. Because of their international dimension, «The Da Vinci Code» and «Harry Potter» offer two unavoidable paradigms in adult and children fiction to be considered. A menudo los lectores de novelas, que alcanzan cifras de venta superiores a los cien mil ejemplares en poco tiempo, los llamados «bestsellers» o «fastsellers», parecen obligados a ocultarlo o justificarlo dada la opinión dominante acerca de su escasa calidad literaria. La ecuación a mayor número de lectores menor calidad está por demostrar, pero lo que no ofrece duda es que, precisamente por su impacto, estos textos influyen y reflejan el modo en que entendemos e imaginamos nuestro presente, pasado y futuro. Por esto, las obras de ficción popular que alcanzan tales niveles de difusión requieren análisis crítico. Este trabajo aborda dicho análisis desde la perspectiva de los estudios de cultura popular considerando los factores y condiciones de éxito de los bestsellers, analizándose dos éxitos recientes cuya dimensión internacional establece un paradigma en la industria editorial y de la cultura: «Harry Potter» y «El código da Vinci».

AbstractThis essay argues that modern society lacks a vision of the common good, which prevents education from having an adequate telos or goal. It calls for a restoration of the language of virtue and the ethical tradition of Aristotle and Aquinas. The Anglican parish and the church primary or elementary school are examined as sites where virtue ethics is still active: particularly in the intercessory work of parish prayer, and in the mimetic approach to learning employed with younger children. The article then addresses ways in which these institutions depend upon what C.S. Lewis called ‘deeper magic’ of a transcendent reality, and ways in which the school especially might develop further a pedagogy of the virtues using J.K. Rowling’s Harry Potter stories as exemplars. Finally, it argues for a dimension of the beautiful in a recovery of an education in Christian virtue.

the work is devoted to observations of the phenomenon of modern mass culture, which is in demand by viewers on the Internet -the television series "Wednesday", created by order of the «Netflix»streaming service, for children and youth audiences. The author analyzes in detail the gothic elements underlying the fantastic plot scheme, intertextual inclusions in the idea of film writers, in particular, the work of E.A. Poe, motifs from the novels by M. Shelley and R. Stevenson and Old Testament allusions, as well as possible parallels with the equally popular a decade ago with the Harry Potter series. Attention is paid to the genre forms of mass culture, the thrillerand the detective story, which were clearly used by the script authors in their work on the TV series "Wednesday". The value orientations of modern public life in the United States, which are reflected in popular culture, are considered in detail.

Children's literature, as the name suggests, is a literary work created for children and teenagers, and it plays an important role in their growth process, accompanied by the functions of education, entertainment and cognitive formation. In recent years, China's translation research has been greatly improved, but the research on children's literature translation is still lacking. The translators of children's literature are mostly adults, but the audience is children. Under the guidance of aesthetic theory, the author, from the perspective of children's readers, puts children at the center, aiming to meet their reading needs. so, this paper explores the translation of children's literature on the basis of acceptance aesthetics from the original text-centered to reader-centered, and take the Su Nong's translation of Harry Potter and the Philosopher's Stone and the original version as an example to explore the vocabulary, rhetoric and translation of magic spells. In terms of rhetoric, the author skillfully uses metaphors, rhymes, and parallelism techniques to make the translation reflect the stylistic style of the original text as much as possible, simultaneously increasing literary talent and bringing pleasant artistic enjoyment to children. This paper aims to popularize different perspectives and interpretations of children's literature translation for the general public, and better enable children to appreciate the aesthetics and charm of Chinese and English texts so that they can grow up healthily and develop comprehensively.

The Nigerian youth’s restiveness and licentious acts have come under the purview of the public interest in recent times. Consequently, the rise of ritual killings and other social vices amongst the younger generation in the country questions the teaching model and learning environments designed to impart knowledge to Nigerian children. The objective of this study is to evaluate the aptitudes of fantastical and realistic film environments in child’s learning and nurturing. The study, through the adoption of the content analysis approach of qualitative research method, evaluated the impact of the fantasy genre and fictional reality film environments on children and thus analysed. Harry Potter: The Sorcerer’s Stone (A British Fantasy Film) and My Kids and I (A Nigerian Fictional Reality Film). The study utilised Skolnick Weisberg's theory of Mise-en-place: Setting the Stage and Nkemakonam Aniukwu’s Screen Institution Postulation, in examining the influence of fantastical and fictional reality film environments in child’s learning. The study discovered that some films produced in the Nollywood film industry have the capacity of thwarting the child’s mind and this could lead to misconceptions of certain principles and standards of the society and subsequently change his behaviour towards other members of the public. Parents should also play a vital role in monitoring and curtailing what the children are watching on their screen interface.

Literature is a significant part of any nation’s cultural heritage, its continuing existence depending on the values which are handed down from era to era, from generation to generation. Most traditional Thai literature follows the same conventions. The influence exerted by western literature helped to foster the development of contemporary Thai literature, but at the same time relegated traditional literature to the back burner, seemingly remote from contemporary Thai life. This can clearly be seen in contemporary children’s literature; for example, it is obvious that at the present time the books in The Adventures of Harry Potter series by J. K. Rowling are bestsellers that have captured the hearts of children all over the world. Witches and the magic of the western world are borrowed by authors of children’s literature and even play a role in some Thai children’s books as well. Nevertheless, there are a number of Thai writers who appreciate traditional Thai literary works and who have made an effort to revive some works of traditional Thai literature both in terms of content and style. They narrate new versions of classical literature in modern form and with more up-to-date content in a manner that appeals to young readers.

Literary texts do not appear in a vacuum. Literature in Western society has been written for several thousand years, and literature written specifically for children has existed for at least two hundred years. Thousands of children’s books are published every year. Writers have usually read books by other writers or are at least aware of them. In the case of children’s writers, they are most likely to have read the major children’s classics, but they have probably also read mainstream literature. Whether conscious about this or not, writers are affected by what they read and even by what they have not read, but only heard about. Not all people today have actually read Shakespeare, but many know the plots and characters of at least the most famous plays. Literature is also disseminated through other channels, such as film, television, comics and computer games. When we read a book, we are often struck by its similarities to others we know. For instance, if we compare The Lion, the Witch and the Wardrobe and Harry Potter and the Philosopher’s Stone we will observe many similarities: events, happenings, settings, characters, symbols, and messages. At the same time, we will most likely note that in many ways the two novels are different and perhaps contemplate the nature of the difference.

Clause 13 of the United Nations Convention on the Rights of the Child states that children have the right ‘to seek, receive or impart information and ideas of all kinds, regardless of frontiers, either orally, in writing or in print, in art or in any other media of the child's voice’. However, there is one area in which this directive is constrained in various countries by domestic regulations curtailing children's access to information. That area is human sexuality. The arguments for and against children's access to sex education are well rehearsed. In this article, the author pursues a different angle, looking instead at the increasing restrictions placed upon young people's ability to imagine and communicate with each other about sexual issues, particularly in online settings. The advent of the internet and a range of social networking sites have not only enabled young people to access previously quarantined information about sexuality, but also to actively engage in forms of ‘intimate citizenship’ online. In this article, the author focuses on young people's online fan communities which use characters from popular culture such as Harry Potter or a range of Japanese manga and animation to imagine and explore sexual issues. ‘Child abuse publications legislation’ in Australia and elsewhere now criminalizes the representation of even imaginary characters who are or may only ‘appear to be’ under the age of 18 in sexual scenarios. Hence these children and young people are in danger of being charged with the offence of manufacturing and disseminating child pornography. Despite research into these fandoms that indicates that they are of positive benefit to young people in developing ‘sexual literacies’, there is increasingly diminishing space for young people under the age of 18 to imagine or communicate about sexuality, even in the context of purely fictional scenarios.

Purpose The purpose of this paper is to set out three dilemmas that challenge historians of education who write for both professional and academic audiences. It focuses on the example of using fiction as a source for understanding the informal education of girls in the twentieth century. It contributes to the debate over the purpose of history of education and the possibilities that intersecting and contested analytical frameworks might contribute to the development of the discipline. Design/methodology/approach The paper discusses the rules of engagement and the duties of a historian of education. It reforms current concerns into three dilemmas: audience, method and writing. It gives examples drawn from research into girls’ school stories between 1910 and 1960. It highlights three authors and stories set in Australia, England and an international school in order to explore what fiction offers in getting “inside” the classroom. Findings Developed from a conference keynote that explored intersecting and contested histories of education, the paper sets up as many questions as it provides answers but re-frames them to include the use of a genre that has been explored by historians of childhood and literature but less so by historians of education. Research limitations/implications The vast quantity of stories set in girls’ schools between 1910 and 1960 necessarily demands a selective reading. Authors may specialise in the genre or be general young people’s fiction authors. Reading such stories must necessarily be set against changing social, cultural and political contexts. This paper uses examples from the genre in order to explore ways forward but cannot include an exhaustive methodology for reasons of space. Practical implications This paper suggests fiction as a way of broadening the remit of history of education and acting as a bridge between related sub-disciplines such as history of childhood and youth, history and education. It raises practical implications for historians of education as they seek new approaches and understanding of the process of informal education outside the classroom. Social implications This paper suggests that the authors should take more seriously the impact of children’s reading for pleasure. Reception studies offer an insight into recognising the interaction that children have with their chosen reading. While the authors cannot research how children interacted historically with these stories in the mid-twentieth century, the authors can draw implications from the popularity of the genre and the significance of the legacy of the closed school community that has made series such as Harry Potter so successful with the current generation. Originality/value The marginal place of history of education within the disciplines of history and education is both challenging and full of possibilities. The paper draws on existing international debates and discusses future directions as well as the potential that girls’ school stories offer for research into gender and education.

Coming of age and classification of adolescents In Salla Simukka’s YA-dystopias Jäljellä and Toisaalla Finnish YA-author Salla Simukka takes a current societal problem into the center of her novel pair Jäljellä (Left Over, not translated, 2012) and Toisaalla (Elsewhere, not translated, 2012). These novels criticize the current system, where even young children are forced to choose specialized studies and make decisions that affect their whole future. This is a consequence on a modern western information society, where branches of knowledge are differentiated. These theme Simukka’s novels handle with the methods off dystopic fiction. Both novels depict a dystopic world, where adolescents are classified into groups based on their personality and their talents. Both novels depict a world very much like our own, but the time of the story lies in the near future. As usual to the dystopic fiction the author pics up some existing progressions from the reality and then extends those conditions into a future, and this way the flaws of the current conditions are revealed. In my article I claim, that Simukka’s novels take under critical consideration the whole Western concept of coming of age. Especially crucial is the idea of growth as being something controllable. In western cultures the growing up of an individual is standardized and regulated by institutions and fields of science such us daycare, school, medicine, and psychology. In Simukka’s novels this idea is exaggerated but still recognizable. The motif of classifications or sorting the adolescents has lately been popular in YA-fantasy and YA-dystopia. Simukka’s novels borrow from two bestsellers: J.K. Rowling’s Harry Potter -series (1997–2007), and Veronica Roth’s Divergent-series (2011–2013). These examples seem to prove, that the idea of adolescents of being sorted or being classified is important in contemporary genre fiction targeting young audiences. Sorting or classification as motifs seem to be connected to the contemporary understanding of youth and growing up. In this article I consider the classification motif in Simukka’s novel. I consentrate especially to the connections between the motif and the wider theme of growing up. I examine the motif beside the Western ideas of growth and coming of age. Besides that I also study the different genre frames Simukka’s novels use to discuss of growing up in contemporary society. These genre traditions include dystopic fiction, YA-literature and fairytale. In this article I propose, that the classification motif allegorizes the demands set to adolescents in contemporary society but also appeals to the young readers as a fantasy of belonging to the group.

This article discusses the Harry Potter phenomenon as popular culture, and traces the evolution of the literature from children's work to young adult. In addition, it demonstrates uses of this literature in the school environment with a large number of activities to support this use. Available companion literature is also covered, as is the controversy over the appropriateness of the series for our children.

The Harry Potter Series has found a place in the hearts of millions of children as well as adults across the globe. Hogwarts is the traditional boarding school which is situated in the faerie green countryside that is well beyond London. Though Hogwarts is a school in the fictional world, there are many people across the globe who have a relationship with it. We have developed a close affinity with Harry Potter, his friends as well as the teachers who are associated with the school. Students at the school learn to perfect the arts of witchcraft through a fixed curriculum. The school setting plays a significant role in the stories. The Harry Potter series persistently revolve around the protagonist’s heart rending and shocking adventures and experiences in school. The cornerstone for analysis is J.K Rowling’s portrayal of the teachers at Hogwarts. This leads to an emphasis on the teaching methods of the teachers. This paper has explored the pedagogy and different approaches of certain professors at Hogwarts. This study has demonstrated that students at Hogwarts do learn but their learning can be termed as wholesome only when teachers adopt the pedagogical approach that involves the concept of active learning integrated into a pleasant environment that not only boasts of cooperative learning, continuous support, but encourages and awards analytical thinking and risk taking. Keywords: Harry Potter series, Traditional, Curriculum, Pedagogical theories

Abstract Much has been written about the international phenomenon that the Harry Potter series has become and inevitably about the translations that contributed to its success. Eirlys E. Davis’s comparative analysis of some of these translations in particular shows dissimilarities between the strategies adopted in different languages and presents individual translators’ choices as inconsistent. This paper deals almost exclusively with the French translation of Harry Potter and the Philosopher’s Stone and reveals that, in the light of the ideological and cultural reality of the receiving corpus, patterns of translation techniques do appear. This paper looks at the transformative strategies and their effects in the target text, first focusing on the treatment of alien British values. Their transformation and disappearance indicate the need to produce a text morally suitable for its assumed readership: French youngsters. Indeed, it seems that the skopos of the target text – being read by French children – determined the translator’s decisions not only to smooth down extreme British otherness but also to reinforce the fantasy of Harry Potter’s world. Indeed, the French creates an utterly “other” world by strengthening its fantastic and magical aspects while undermining the sense of familiarity and credibility of the community portrayed. The shift from a child’s perspective in the original to an adult’s in the translation leads to numerous omissions of banal and realistic details, weakening the realness of the setting and the protagonists. I give textual and extra-textual examples of these transformative strategies which ultimately reduced Harry Potter à l’école des sorciers to a fairy tale and shaped the way it was perceived and received in France.

Every parent has high hopes for their children. They will protect their children from a bad environment to keep them from behaving badly too. This is also because their minds will be influenced by the environment in which they grow and develop. Because this research is based on literature, the researcher uses literary devices to support good and accurate research. Therefore, this paper uses qualitative research that provides description of the phenomena. For more technical analysis on the comparison of the data taken from the novel, this research uses comparative literature method. The results show that novel Harry Potter and The Order of Phoenix presents clearly the struggle of Harry and his friends to defeat Voldemort and his followers. Therefore, after the death of his parents, Harry was entrusted to a good family and an environment filled with people who really care about him. Imagination and ambition will be created on the basis of the thoughts of the doer. Therefore, the development of character in terms of ambition and imagination was found in the novel.Keywords: Literature, Children Character, Imagination, Ambition

The Harry Potter (HP) Fan Fiction (FF) phenomenon offers an opportunity to explore the nature of fame and the work of fans (including the second author, a participant observer) in creating and circulating cultural products within fan communities. Matt Hills comments (xi) that “fandom is not simply a ‘thing’ that can be picked over analytically. It is also always performative; by which I mean that it is an identity which is (dis-)claimed, and which performs cultural work”. This paper explores the cultural work of fandom in relation to FF and fame. The global HP phenomenon – in which FF lists are a small part – has made creator J K Rowling richer than the Queen of England, according to the 2003 ‘Sunday Times Rich List’. The books (five so far) and the films (three) continue to accelerate the growth in Rowling’s fortune, which quadrupled from 2001-3: an incredible success for an author unknown before the publication of Harry Potter and the Philosopher’s Stone in 1997. Even the on-screen HP lead actor, Daniel Radcliffe, is now Britain’s second wealthiest teenager (after England’s Prince Harry). There are other globally successful books, such as the Lord of the Rings trilogy, and the Narnia collection, but neither of these series has experienced the momentum of the HP rise to fame. (See Endnote for an indication of the scale of fan involvement with HP FF, compared with Lord of the Rings.) Contemporary ‘Fame’ has been critically defined in relation to the western mass media’s requirement for ‘entertaining’ content, and the production and circulation of celebrity as opposed to ‘hard news’(Turner, Bonner and Marshall). The current perception is that an army of publicists and spin doctors are usually necessary, but not sufficient, to create and nurture global fame. Yet the HP phenomenon started out with no greater publicity investment than that garnered by any other promising first novelist: and given the status of HP as children’s publishing, it was probably less hyped than equivalent adult-audience publications. So are there particular characteristics of HP and his creator that predisposed the series and its author to become famous? And how does the fame status relate to fans’ incorporation of these cultural materials into their lives? Accepting that it is no more possible to predict the future fame of an author or (fictional) character than it is to predict the future financial success of a book, film or album, there is a range of features of the HP phenomenon that, in hindsight, helped accelerate the fame momentum, creating what has become in hindsight an unparalleled global media property. J K Rowling’s personal story – in the hands of her publicity machine – itself constituted a magical myth: the struggling single mother writing away (in longhand) in a Scottish café, snatching odd moments to construct the first book while her infant daughter slept. (Comparatively little attention was paid by the marketers to the author’s professional training and status as a teacher, or to Rowling’s own admission that the first book, and the outline for the series, took five years to write.) Rowling’s name itself, with no self-evident gender attribution, was also indicative of ambiguity and mystery. The back-story to HP, therefore, became one of a quintessentially romantic endeavour – the struggle to write against the odds. Publicity relating to the ‘starving in a garret’ background is not sufficient to explain the HP/Rowling grip on the popular imagination, however. Instead it is arguable that the growth of HP fame and fandom is directly related to the growth of the Internet and to the middle class readers’ Internet access. If the production of celebrity is a major project of the conventional mass media, the HP phenomenon is a harbinger of the hyper-fame that can be generated through the combined efforts of the mass media and online fan communities. The implication of this – evident in new online viral marketing techniques (Kirby), is that publicists need to pique cyber-interest as well as work with the mass media in the construction of celebrity. As the cheer-leaders for online viral marketing make the argument, the technique “provides the missing link between the [bottom-up] word-of-mouth approach and the top-down, advertainment approach”. Which is not to say that the initial HP success was a function of online viral marketing: rather, the marketers learned their trade by analysing the magnifier impact that the online fan communities had upon the exponential growth of the HP phenomenon. This cyber-impact is based both on enhanced connectivity – the bottom-up, word-of-mouth dynamic, and on the individual’s need to assume an identity (albeit fluid) to participate effectively in online community. Critiquing the notion that the computer is an identity machine, Streeter focuses upon (649) “identities that people have brought to computers from the culture at large”. He does not deal in any depth with FF, but suggests (651) that “what the Internet is and will come to be, then, is partly a matter of who we expect to be when we sit down to use it”. What happens when fans sit down to use the Internet, and is there a particular reason why the Internet should be of importance to the rise and rise of HP fame? From the point of view of one of us, HP was born at more or less the same time as she was. Eleven years old in the first book, published in 1997, Potter’s putative birth year might be set in 1986 – in line with many of the original HP readership, and the publisher’s target market. At the point that this cohort was first spellbound by Potter, 1998-9, they were also on the brink of discovering the Internet. In Australia and many western nations, over half of (two-parent) families with school-aged children were online by the end of 2000 (ABS). Potter would notionally have been 14: his fans a little younger but well primed for the ‘teeny-bopper’ years. Arguably, the only thing more famous than HP for that age-group, at that time, was the Internet itself. As knowledge of the Internet grew stories about it constituted both news and entertainment and circulated widely in the mass media: the uncertainty concerning new media, and their impact upon existing social structures, has – over time – precipitated a succession of moral panics … Established commercial media are not noted for their generosity to competitors, and it is unsurprising that many of the moral panics circulating about pornography on the Net, Internet stalking, Web addiction, hate sites etc are promulgated in the older media. (Green xxvii) Although the mass media may have successfully scared the impressionable, the Internet was not solely constructed as a site of moral panic. Prior to the general pervasiveness of the Internet in domestic space, P. David Marshall discusses multiple constructions of the computer – seen by parents as an educational tool which could help future-proof their children; but which their children were more like to conceptualise as a games machine, or (this was the greater fear) use for hacking. As the computer was to become a site for the battle ground between education, entertainment and power, so too the Internet was poised to be colonised by teenagers for a variety of purposes their parents would have preferred to prevent: chat, pornography, game-playing (among others). Fan communities thrive on the power of the individual fan to project themselves and their fan identity as part of an ongoing conversation. Further, in constructing the reasons behind what has happened in the HP narrative, and in speculating what is to come, fans are presenting themselves as identities with whom others might agree (positive affirmation) or disagree (offering the chance for engagement through exchange). The genuinely insightful fans, who apparently predict the plots before they’re published, may even be credited in their communities with inspiring J K Rowling’s muse. (The FF mythology is that J K Rowling dare not look at the FF sites in case she finds herself influenced.) Nancy Baym, commenting on a soap opera fan Usenet group (Usenet was an early 1990s precursor to discussion groups) notes that: The viewers’ relationship with characters, the viewers’ understanding of socioemotional experience, and soap opera’s narrative structure, in which moments of maximal suspense are always followed by temporal gaps, work together to ensure that fans will use the gaps during and between shows to discuss with one another possible outcomes and possible interpretations of what has been seen. (143) In HP terms the The Philosopher’s Stone constructed a fan knowledge that J K Rowling’s project entailed at least seven books (one for each year at Hogwarts School) and this offered plentiful opportunities to speculate upon the future direction and evolution of the HP characters. With each speculation, each posting, the individual fan can refine and extend their identity as a member of the FF community. The temporal gaps between the books and the films – coupled with the expanding possibilities of Internet communication – mean that fans can feel both creative and connected while circulating the cultural materials derived from their engagement with the HP ‘canon’. Canon is used to describe the HP oeuvre as approved by Rowling, her publishers, and her copyright assignees (for example, Warner Bros). In contrast, ‘fanon’ is the name used by fans to refer the body of work that results from their creative/subversive interactions with the core texts, such as “slash” (homo-erotic/romance) fiction. Differentiation between the two terms acknowledges the likelihood that J K Rowling or her assignees might not approve of fanon. The constructed identities of fans who deal solely with canon differ significantly from those who are engaged in fanon. The implicit (romantic) or explicit (full-action descriptions) sexualisation of HP FF is part of a complex identity play on behalf of both the writers and readers of FF. Further, given that the online communities are often nurtured and enriched by offline face to face exchanges with other participants, what an individual is prepared to read or not to read, or write or not write, says as much about that person’s public persona as does another’s overt consumption of pornography; or diet of art house films, in contrast to someone else’s enthusiasm for Friends. Hearn, Mandeville and Anthony argue that a “central assertion of postmodern views of consumption is that social identity can be interpreted as a function of consumption” (106), and few would disagree with them: herein lies the power of the brand. Noting that consumer culture centrally focuses upon harnessing ‘the desire to desire’, Streeter’s work (654, on the opening up of Internet connectivity) suggests a continuum from ‘desire provoked’; through anticipation, ‘excitement based on what people imagined would happen’; to a sense of ‘possibility’. All this was made more tantalising in terms of the ‘unpredictability’ of how cyberspace would eventually resolve itself (657). Thus a progression is posited from desire through to the thrill of comparing future possibilities with eventual outcomes. These forces clearly influence the HP FF phenomenon, where a section of HP fans have become impatient with the pace of the ‘official’/canon HP text. J K Rowling’s writing has slowed down to the point that Harry’s initial readership has overtaken him by several years. He’s about to enter his sixth year (of seven) at secondary school – his erstwhile-contemporaries have already left school or are about to graduate to University. HP is yet to have ‘a relationship’: his fans are engaged in some well-informed speculation as to a range of sexual possibilities which would likely take J K Rowling some light years from her marketers’ core readership. So the story is progressing more slowly than many fans would choose and with less spice than many would like (from the evidence of the web, at least). As indicated in the Endnote, the productivity of the fans, as they ‘fill in the gaps’ while waiting for the official narrative to resume, is prodigious. It may be that as the fans outstrip HP in their own social and emotional development they find his reactions in later books increasingly unbelievable, and/or out of character with the HP they felt they knew. Thus they develop an alternative ‘Harry’ in fanon. Some FF authors identify in advance which books they accept as canon, and which they have decided to ignore. For example, popular FF author Midnight Blue gives the setting of her evolving FF The Mirror of Maybe as “after Harry Potter and the Goblet of Fire and as an alternative to the events detailed in Harry Potter and the Order of the Phoenix, [this] is a Slash story involving Harry Potter and Severus Snape”. Some fans, tired of waiting for Rowling to get Harry grown up, ‘are doin’ it for themselves’. Alternatively, it may be that as they get older the first groups of HP fans are unwilling to relinquish their investment in the HP phenomenon, but are equally unwilling to align themselves uncritically with the anodyne story of the canon. Harry Potter, as Warner Bros licensed him, may be OK for pre-teens, but less cool for the older adolescent. The range of identities that can be constructed using the many online HP FF genres, however, permits wide scope for FF members to identify with dissident constructions of the HP narrative and helps to add to the momentum with which his fame increases. Latterly there is evidence that custodians of canon may be making subtle overtures to creators of fanon. Here, the viral marketers have a particular challenge – to embrace the huge market represented by fanon, while not disturbing those whose HP fandom is based upon the purity of canon. Some elements of fanon feel their discourses have been recognised within the evolving approved narrative . This sense within the fan community – that the holders of the canon have complimented them through an intertextual reference – is much prized and builds the momentum of the fame engagement (as has been demonstrated by Watson, with respect to the band ‘phish’). Specifically, Harry/Draco slash fans have delighted in the hint of a blown kiss from Draco Malfoy to Harry (as Draco sends Harry an origami bird/graffiti message in a Defence against the Dark Arts Class in Harry Potter and the Prisoner of Azkaban) as an acknowledgement of their cultural contribution to the development of the HP phenomenon. Streeter credits Raymond’s essay ‘The Cathedral and the Bazaar’ as offering a model for the incorporation of voluntary labour into the marketplace. Although Streeter’s example concerns the Open Source movement, derived from hacker culture, it has parallels with the prodigious creativity (and productivity) of the HP FF communities. Discussing the decision by Netscape to throw open the source code of its software in 1998, allowing those who use it to modify and improve it, Streeter comments that (659) “the core trope is to portray Linux-style software development like a bazaar, a real-life competitive marketplace”. The bazaar features a world of competing, yet complementary, small traders each displaying their skills and their wares for evaluation in terms of the product on offer. In contrast, “Microsoft-style software production is portrayed as hierarchical and centralised – and thus inefficient – like a cathedral”. Raymond identifies “ego satisfaction and reputation among other [peers]” as a specific socio-emotional benefit for volunteer participants (in Open Source development), going on to note: “Voluntary cultures that work this way are not actually uncommon [… for example] science fiction fandom, which unlike hackerdom has long explicitly recognized ‘egoboo’ (ego-boosting, or the enhancement of one’s reputation among other fans) as the basic drive behind volunteer activity”. This may also be a prime mover for FF engagement. Where fans have outgrown the anodyne canon they get added value through using the raw materials of the HP stories to construct fanon: establishing and building individual identities and communities through HP consumption practices in parallel with, but different from, those deemed acceptable for younger, more innocent, fans. The fame implicit in HP fandom is not only that of HP, the HP lead actor Daniel Radcliffe and HP’s creator J K Rowling; for some fans the famed ‘state or quality of being widely honoured and acclaimed’ can be realised through their participation in online fan culture – fans become famous and recognised within their own community for the quality of their work and the generosity of their sharing with others. The cultural capital circulated on the FF sites is both canon and fanon, a matter of some anxiety for the corporations that typically buy into and foster these mega-media products. As Jim Ward, Vice-President of Marketing for Lucasfilm comments about Star Wars fans (cited in Murray 11): “We love our fans. We want them to have fun. But if in fact someone is using our characters to create a story unto itself, that’s not in the spirit of what we think fandom is about. Fandom is about celebrating the story the way it is.” Slash fans would beg to differ, and for many FF readers and writers, the joy of engagement, and a significant engine for the growth of HP fame, is partly located in the creativity offered for readers and writers to fill in the gaps. Endnote HP FF ranges from posts on general FF sites (such as fanfiction.net >> books, where HP has 147,067 stories [on 4,490 pages of hotlinks] posted, compared with its nearest ‘rival’ Lord of the rings: with 33,189 FF stories). General FF sites exclude adult content, much of which is corralled into 18+ FF sites, such as Restrictedsection.org, set up when core material was expelled from general sites. As an example of one adult site, the Potter Slash Archive is selective (unlike fanfiction.net, for example) which means that only stories liked by the site team are displayed. Authors submitting work are asked to abide by a list of ‘compulsory parameters’, but ‘warnings’ fall under the category of ‘optional parameters’: “Please put a warning if your story contains content that may be offensive to some authors [sic], such as m/m sex, graphic sex or violence, violent sex, character death, major angst, BDSM, non-con (rape) etc”. Adult-content FF readers/writers embrace a range of unexpected genres – such as Twincest (incest within either of the two sets of twin characters in HP) and Weasleycest (incest within the Weasley clan) – in addition to mainstream romance/homo-erotica pairings, such as that between Harry Potter and Draco Malfoy. (NB: within the time frame 16 August – 4 October, Harry Potter FF writers had posted an additional 9,196 stories on the fanfiction.net site alone.) References ABS. 8147.0 Use of the Internet by Householders, Australia. http://www.abs.gov.au/ausstats/abs@.nsf/ e8ae5488b598839cca25682000131612/ ae8e67619446db22ca2568a9001393f8!OpenDocument, 2001, 2001>. Baym, Nancy. “The Emergence of Community in Computer-Mediated Communication.” CyberSociety: Computer-Mediated Communication and Community. Ed. S. Jones. Thousand Oaks, CA: Sage, 1995. 138-63. Blue, Midnight. “The Mirror of Maybe.” http://www.greyblue.net/MidnightBlue/Mirror/default.htm>. Coates, Laura. “Muggle Kids Battle for Domain Name Rights. Irish Computer. http://www.irishcomputer.com/domaingame2.html>. Fanfiction.net. “Category: Books” http://www.fanfiction.net/cat/202/>. Green, Lelia. Technoculture: From Alphabet to Cybersex. Sydney: Allen & Unwin. Hearn, Greg, Tom Mandeville and David Anthony. The Communication Superhighway: Social and Economic Change in the Digital Age. Sydney: Allen & Unwin, 1997. Hills, Matt. Fan Cultures. London: Routledge, 2002. Houghton Mifflin. “Potlatch.” Encyclopedia of North American Indians. http://college.hmco.com/history/readerscomp/naind/html/ na_030900_potlatch.htm>. Kirby, Justin. “Brand Papers: Getting the Bug.” Brand Strategy July-August 2004. http://www.dmc.co.uk/pdf/BrandStrategy07-0804.pdf>. Marshall, P. David. “Technophobia: Video Games, Computer Hacks and Cybernetics.” Media International Australia 85 (Nov. 1997): 70-8. Murray, Simone. “Celebrating the Story the Way It Is: Cultural Studies, Corporate Media and the Contested Utility of Fandom.” Continuum 18.1 (2004): 7-25. Raymond, Eric S. The Cathedral and the Bazaar. 2000. http://www.catb.org/~esr/writings/cathedral-bazaar/cathedral-bazaar/ar01s11.html>. Streeter, Thomas. The Romantic Self and the Politics of Internet Commercialization. Cultural Studies 17.5 (2003): 648-68. Turner, Graeme, Frances Bonner, and P. David Marshall. Fame Games: The Production of Celebrity in Australia. Melbourne: Cambridge UP. Watson, Nessim. “Why We Argue about Virtual Community: A Case Study of the Phish.net Fan Community.” Virtual Culture: Identity and Communication in Cybersociety. Ed. Steven G. Jones. London: Sage, 1997. 102-32. Citation reference for this article MLA Style Green, Lelia, and Carmen Guinery. "Harry Potter and the Fan Fiction Phenomenon." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/14-green.php>. APA Style Green, L., and C. Guinery. (Nov. 2004) "Harry Potter and the Fan Fiction Phenomenon," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/14-green.php>.

In this issue, Ray Dorion states, "It is often the intangible combination of the writer's enthusiasm, a unique perspective, and an engaging writing style that coalesces around a provocative subject that produces a rare and enduring book that captures everyone's interest." Although he is speaking about information books in his article in this issue, this phrase would also sum up the Harry Potter phenomenon. With millions of readers all over the world, the Potter series claims the attention of teacher-librarians, classroom teachers, and parents who want to know if the subject matter is healthy for their students or children. Some critics have focused on the elements of witchcraft and magic as warranting banning the books, while they overlook the phenomenal eagerness of young people to read each book in the series multiple times.

Literature is rightfully regarded as an art, but when translation enters the fray, it can require a somewhat scientific approach. Throw in a little bit of “Harry Potter” magic, and it can really become tricky. Translation is challenging, as it requires us to look not only at problems such as equivalence and the use of names, but also culture itself. Linguistic factors are also an issue, as a certain type of word might be abundant in the source language, but not very common in the target language. The role of the translator is therefore to distinguish what in a text is potentially translatable from what is fundamentally not. From there, one must walk the thin line between the art of translation – our personal hunches – and the science of translation – which is often too literal. In the case of J.K. Rowling, author of the Harry Potter book series, another difficulty arises. She has revealed herself as a wordsmith, not only with her writing skills, but also through her ability to coin and construct original words. Whether using terms from ancient mythologies, extinct languages or everyday life, her writing is known for an abundance of puns, linguistic jokes and other allusions that are mixed to create a brand new lexicon. Some examples include Harry Potter’s school, Hogwarts, the magical sport, Quidditch, as well as an array of supernatural creatures such as Thestrals and Jobberknolls. This may be the reason why her books have caught the interest of the linguistics and translation studies communities; their richness and diversity make the possibilities nearly endless. Each name or word created comes with a baggage of undertones and veiled references that translators must track and recognize before they attempt to translate them. As an additional complication, the Harry Potter books were first thought to be children’s literature, and only later attracted an older audience more prone to read between the lines and detect the hidden meanings of words. As a result, the series is known for its ambivalence, since children and adults alike can enjoy it for different reasons. Keeping these facts in mind, this research aims at using today’s linguistic theories and looking at word creation in both English and French in order to establish patterns of translation, and suggest possible equivalents for some of J. K. Rowling’s inventions.

After the success of Harry Potter series, in 2012 Joanne K. Rowling published her first novel for adults that received mixed criticism in public sphere. The novel provides an eloquent depiction of contemporary England. Though intended to be a comic tragedy it more likely resembles a gloomy melodrama, and is written in a realistic and ‘true to life’ manner. While hardly providing pleasant emotions, the novel truthfully reflects numerous emblematic social problems of provincial life, like neglect and abuse of children, domestic violence, lack of likeable characters – the representation of which are further analysed in the present paper paying attention also to the first critical reviews the novel has received.