Make Margaret Atwood Fiction Again Harry Potter Quidditch Set
DOI: 10.24308/iass-2014-054
Academy of Applied Arts Vienna, Republic of austria
gloria.withalm@uni-ak.ac.at
Abstruse
Though it'southward already seventeen years that Harry Potter and the Philosopher's Stone appeared, the first novel of the Harry Potter saga concluded by Harry Potter and the Deathly Hallows in 2007, the craze about the Boy Magician has a chip decreased only is by far not over: in 2012 the Leavesden Studio nearly London (where all eight movies were fabricated) opened as the Warner Bros. Studio Bout London and J.K. Rowling started her interactive website Pottermore; since 2010 fans can visit Hogsmeade and Hogwarts Schoolhouse of Witchcraft and Wizardry at the Orlando, FL theme park Wizarding World of Harry Potter which has but got a 2nd role depicting Diagon Alley; and in 2016 the starting time part of a new trilogy dealing with the author of Fantastic Beasts and Where to Find Them volition hit the motion picture theaters all over the world.
It is already seventeen years thatHarry Potter and the Philosopher's Stone (Rowling 1997) appeared: the first novel of the Harry Potter saga concluded withHarry Potter and the Deathly Hallows in 2007.[i] The craze about the Male child Wizard has decreased slightly, but is by far from over. Books announced in new editions; all the films are constantly aired on television; ever new DVD and Bluray boxes announced on the market place; and there are various activities continued to Harry Potter (from conferences to websites) – enough to keep older fans on track and concenter e'er new fan generations.
Reading the books, watching the movies and buying collectibles is definitely not bars to young adults, the original principal target group, nor is all that done only for fun, as the long list of books and manufactures analyzing the texts and the miracle demonstrates. Authors – and fifty-fifty a few scientists are among them – come up from the entire spectrum of the humanities. However, there are so far non besides many semiotically oriented papers.
In this essay, I will attempt to read the texts from three different canons (the novels, subsequent writings by J.K. Rowling in print and online, and the movies), from a socio-semiotic perspective inspired by the work of Ferruccio Rossi-Landi. I will focus on the grapheme of magical performance which can be examined in view of his concepts of materiality, signs and bodies. Unfortunately, other questions touching a more than comprehensive (socio‑)semiotic assay tin can only be briefly mentioned; the same goes for topics plainly related to specific sign systems like runes and divination likewise as the strong intertextual and intratextual relations presented in the saga.
1. From onePhilosopher's Rock to threeDeathly Hallows: a brief introduction to the Harry Potter universe, the "Potterverse"
There are the vii books (Harry Potter and the Philosopher'southward Rock, …Chamber of Secrets, …Prisoner of Azkaban, …Goblet of Burn down, …Society of the Phoenix, …Half-Blood Prince, …Deathly Hallows; Rowling 2004a–eastward, 2006, 2008a) published in ever new editions both in the Great britain and in the Us, not to mention the translations appearing in more than seventy languages plus the three smaller books (Quidditch Through the Ages,Fantastic Beasts and Where to Observe Them andThe Tales of Beedle the Bard; Rowling 2001a, 2001b, 2008c) and a sort of prequel of approximately 800 words (Rowling 2008b). There are 8 movies (Columbus 2001, 2002, Cuáron 2004, Newell 2005, Yates 2007, 2009, 2010, 2011); and rumor has it that in 2016 the first installment of a new trilogy will be released focusing on theFantastic Beasts and Where to Observe Them and its "author" Newt Scamander. In 2012 Rowling launched thePottermore website with a chapter past chapter presentation of the books and tons of additional groundwork texts (as of Dec 2014, the last three capacity of volume five plus books six and seven are non yet online).
Since 2010 fans can visit (a reconstruction of the film architecture of) Hogsmeade and the Hogwarts School of Witchcraft and Wizardry at the Florida theme park The Wizarding Earth of Harry Potter. Information technology has recently opened a Diagon Alley office (Diagon Alley is a famous street in the Harry Potter stories). In July 2014 another theme park opened as role of the Universal Studios Nihon in Osaka; a third one in Los Angeles is under construction. The Leavesden Studios near London (where all eight movies were made) opened their sets in 2012 for the Warner Bros. Studio Tour London, and since 2009 a Harry Potter exhibition is touring the world. Concluding but non least, in that location is the massive merchandising, both in shops and online, offering e.thou. replicas of wands, scarfs in the colors of the four houses, bookmarks, etc. Since December 2012 even in Rex's Cross Station at that place is a Platform nine¾, the railroad train platform where Harry and his cohorts go out from for Hogwarts.
2. A first closer await on the saga from a semiotic view point
There aren't too many semiotic papers in the strictest sense on the serial[2], but a lot has been written in closely related or overlapping areas. First and foremost, at that place are a number of analyses on the narrative structure. John Granger, perhaps the virtually of import Harry Potter pundit, has published a discussion of the ring limerick in each individual volume and with regard to the whole series (2010).
Some other aspect of the books that has been widely discussed is the overall intertextuality, both in the narrower sense of alluding to other literary texts, and in the broader sense of references to history, culture, and, above all, mythology. J.K. Rowling revived the genre of the English boarding school novel – to name but the well-nigh prominent example:Tom Brown'due south School Days (Hughes 1857; cf. Granger 2009 ch.3) – and fused it with other genres. On the level of particular writers, scholars have found parallels to both C.S. Lewis and J.R.R. Tolkien. When it comes to cultural and historical references, nosotros may look at bodily persons, like Nicolas Flamel, the French medieval alchemist, whom Rowling remodeled to be part of her universe. And there are all the mythical creatures, from basilisks or centaurs to unicorns and werewolves.
Moreover, nosotros discover also intratextual relations, like the ii stones that figure prominently in the series: the Philosopher's Stone in the start novel, used to create an Elixir of Life (which "will brand the drinker immortal", Rowling 2004a: 149), and the Resurrection Stone introduced in the final book (Rowling 2008a), which tin bring back a shadowy version of dead persons. There are many more than examples that can easily be recognized. I of them may even count equally part of the above mentioned chiasmic structure. When Harry, Ron and Hermione try to secure thePhilosopher's Rock towards the cease of the commencement volume, they are suddenly entangled past a magic plant that nigh chokes them:
'Devil's Snare, Devil's Snare … What did Professor Sprout say? It likes the night and the damp –' 'And then calorie-free a burn!' Harry choked. 'Yep – of course – only there'south no wood!' Hermione cried, wringing her hands. 'HAVE You lot GONE MAD?' Ron bellowed. 'ARE YOU A WITCH OR NOT?' 'Oh, right!' said Hermione, and she whipped out her wand, waved it, muttered something and sent a jet of the same bluebell flames she had used on Snape at the plant […] 'Yeah,' said Ron, '[…] – "there'due south no wood",honestly.' (Rowling 2004a: 299)
Close to the terminate of theDeathly Hallows book, the trio is again harassed past a plant, this time the Whomping Willow that guards the secret entrance to the Shrieking Shack: i has to push a knot on the trunk to immobilize it, as Hermione's true cat Crookshanks did in thePrisoner of Azkaban (Rowlings 2004c: 362). This fourth dimension Ron doesn't know what to practise:
Panting and gasping Harry slowed down, […] peering through the darkness towards its thick torso, trying to come across the unmarried knot in the bark of the former tree that would paralyse it. Ron and Hermione defenseless up, Hermione so out of breath she could not speak. 'How – how're we going to arrive?' panted Ron. 'I tin can – see the identify – if we just had – Crookshanks once more –' 'Crookshanks?' wheezed Hermione, bent double, clutching her breast.'Are y'all a wizard, or what?' 'Oh – right – yeah –' Ron looked around, then directed his wand at a twig on the basis and said, 'Wingardium Leviosa!' The twig flew up from the ground, […]. It jabbed at a place most the roots and at once, the writhing tree became notwithstanding. (Rowling 2008a: 713–714)
Socio-semiotic aspects of the saga focus, of grade, on the societal make-upward of the wizarding world and the political situation there. In this context, a lot has been said on the stratification of the order, including the position of not-man magical beings like the firm-elves, or on the increasing rigor ending in the final installment in a fascist system.
Another topic would be the organization of the schoolhouse community and the rituals that construction the year at Hogwarts. 1 of them is the start-of-term banquet with delicious nutrient, preceded by allocating the first-year students to one of the four houses (Gryffindor, Hufflepuff, Ravenclaw, and Slytherin). However, contrary to an ordinary school, in Hogwarts this task is carried out past the Sorting Hatwho reads the mind and personality of the child with regard to the characteristics related to the four houses. Amid the other festivities in Hogwarts (and in wizarding families in general) nosotros notice Halloween, and Christmas at Hogwarts is celebrated with those students that stay in the castle over the holidays. In both cases, all well known elements and decorations are nowadays, except maybe that the magician crackers, i.eastward. the magic version of Christmas crackers, sometimes incorporate "a rear-admiral's hat and several live, white mice" (Rowling 2004a: 220).
The skill of mind reading is not confined to the Sorting Hat: among wizards the respective technique is calledLegilimancy. However, there are however more decoding processes present in the serial. At least three practices described in the novels are alike tointerpretive reading: one is divination in its various forms, from stargazing, equally done by the centaurs, to the methods Professor Trelawney is teaching: palmistry; and seeing the future in tea leaves or by looking into a crystal ball. Hermione, who considers divination to exist "very woolly" (Rowling 2004c: 122), likes other courses better:Arithmancy, a form of divination based on numbers, and translating texts written in ancient runes.
3. Magical (sign) processes
"Revelio" – the starting time word in the title of this essay refers to a spell, i of the major magic processes we encounter in the written and filmic texts. Casting spells is a typical topos in stories nearly witchcraft. However, spells in the Harry Potter saga have specific features that can be discussed in terms of the semiotic theory developed past the Italian semiotician and philosopher Ferruccio Rossi-Landi. The way Rowling meticulously describes the procedures and the effects presupposes that magic processes in general and spells in particular have always had both semiosic and fabric qualities simultaneously.
In the heart of the first chapter of thePhilosopher's Stone ("The Boy Who Lived"), we are confronted for the first fourth dimension with magic when Dumbledore arrives at Privet Drive in Little Whinging, Surrey. Already since early morning a foreign cat is sitting on a wall:
For some reason, the sight of the cat seemed to charm him [Dumbledore]. He chuckled and muttered, 'I should have known.' He had constitute what he was looking for in his within pocket. It seemed to be a silvery cigarette lighter. He flicked it open, held it upwards in the air and clicked information technology. The nearest street lamp went out with a little popular. He clicked it over again – the adjacent lamp flickered into darkness. (Rowling 2004a: 15)
In the picture show version of the scene, the lights are really whooshing from the lamps into the device. Only there is fifty-fifty more in this scene, though we are allowed a closer expect at the very process but after on. Dumbledore
gear up off down the street towards number four, where he sabbatum down on the wall adjacent to the true cat. He didn't look at it, but after a moment he spoke to it. 'Fancy seeing you here, Professor McGonagall.' He turned to smile at the tabby, but information technology had gone. Instead he was smiling at a rather severe-looking woman who was wearing square glasses exactly the shape of the markings the true cat had had around its eyes. (Rowling 2004a: sixteen)
Caption: Minerva McGonagall is anAnimagus: she can modify into an animal at volition. In the movieHarry Potter and the Philosopher'south Stone (Columbus 2001), nosotros can watch how she does it. When Ron and Harry are late for their very commencement Transfiguration class, the desk is empty except for a cat. Satisfied that they escaped a reprimand, Ron panted, "Whew! We made it! Tin can you lot imagine the look on McGonagall'due south face up if we were late?" A dissever second afterward he realized how wrong he was: with an elegant leap the true cat turned instantly into Professor McGonagall.[3]
four. Rossi-Landi on "Signs and Bodies"
These concluding two examples showed two different magic processes which both involved very material furnishings. Let the states now consult Rossi-Landi's semiotic theories. Forty years ago, Ferruccio Rossi-Landi wrote a paper titled "Signs and Bodies", which he presented at the commencement Congress of the International Clan for Semiotic Studies in Milan in June 1974. Later on on the text appeared in the proceedings, edited by Chatman, Eco and Klinkenberg (Rossi-Landi 1979; 1992b).
In this relatively short text he gain from five propositions concerning the relation betwixt signs and bodies, and since the newspaper is non widely known, I will present some fundamental quotes:
A, All signs are bodies; B,Not all bodies are signs; C, All bodies can exist signs. And D,Signs are not bodies; E,All bodies are signs. (Rossi-Landi 1992b: 271)
Rossi-Landi formulates his main working hypothesis as such: whereas D and East belong to idealistic semiotics, the propositions A to C form "the basic model of materialistic semiotics" (Rossi-Landi 1992b: 272). He continues by further discussing the intricate relation:
According to this hypothesis, materialistic semiotics starts with bodies, and past realizing that bodies can beor not besigns, comes to consider signs as a subclass of bodies-in-full general (Rossi-Landi 1992b: 272).
Rossi-Landi also makes a remark hither that is of importance for our understanding of particular sign and fabric operations:
As speakers of at least i tongue, we all distinguish between "signs" and "bodies" to some extent. […] All we need to add together at this stage is that 'bodies' in the widest sense must refer toall atmospheric condition of matter, including energy, and that 'signs' stands for semiosis in general. (Rossi-Landi 1992b: 272; my emphasis)
Later in the text Rossi-Landi argues confronting "Semiotical Panlogism":
Bodies, and not signs only, are the world's furniture. Bodies are to exist met both outside of signs and inside signs themselves. Interpreters are bodies with needs, desires, illnesses, etc., and not but bodies capable of using signs. […] If y'all kill a human, y'all impale a man, and not only an interpreter. Social life, while being entirely covered past sign systems up to the point that without signs information technology wouldn't be social and, perchance, it wouldn't even be life, consists also of something else. (Rossi-Landi 1992b: 275)
Rossi-Landi concludes by request for several lines of investigation that he really carried out himself over the next decade, starting with his "Theory of Sign Residues" in which he further elaborates the specific materiality involved in semiosis.[4] Without conducting an in-depth discussion of his semiotic models, I'd nonetheless like to mention at least one aspect that is related to the matter–sign relation. The near comprehensive concept in Rossi-Landian socio-semiotics isSocial Reproduction – "the sum total of all processes by means of which a community or order survives, grows bigger, or, at least, continues to exist." (Rossi-Landi 1985: 175)
Viewed in their totality, there are several different processes that act within social reproduction. The basic ane, summarized in theSchema of Social Reproduction (Rossi-Landi 1975: 65; 1985: 38), is the wheel ofproduction – exchange – consumption, composed of "three indissolubly correlated moments" which social reproduction "always comprehends in a constitutive way" (Rossi-Landi 1975: 65). The moment of exchange, conceived in a twofold way, is at the very middle of the schema. It issimultaneously both external material exchange, and sign exchange, which is in itself the reduplication of the entire wheel and comprehends once more "iii indissolubly correlated moments": sign production, sign exchange and sign consumption.
When switching from the verbalized schema (which already includes a spatial presentation of the internal relations) to a diagrammatic form, the most adequate configuration seems to exist the triad. Proceeding from the basic triad P–East–C, the ii dissimilar moments of exchange can exist visualized by reduplicating the triad of sign production, sign exchange and sign consumption within the major betoken of substitution.
v. The semiotics of spells and other magic practices
Analyzing magical processes every bit described and depicted in the Harry Potter saga in the calorie-free of these concepts reveals them to be excellent examples of the sign-body duality. Magical sign processes areever simultaneously and in a constitutive style material and sign processes. The semiosic elements and the material elements are indissolubly correlated.
Sign product in the process of magic is ever and at the same time the production of something fabric in the strict sense, hence the semiotics of Rossi-Landi is the appropriate background theory. Magical processes are office and parcel of the Potterverse. Though, according to Rowling, the ability to do magic is innate; it is non bars to wizard/witch families and can occur also in "Muggle-born" children (i.east. of non-magical parents).
Since spells are definitely the central magic procedures, my examples come from this domain. In general, a spell consists of anincantation (vocalized or non-verbal, that is, only mentally represented) mostly together with a specificmovement of thewand; theintent to cast the spell;[v] and theeffect/result. (Maybe it's too far-fetched, but this triadic structure of spells seems to exist alike to certain models of signs or semioses.) Based on the books, nosotros discover several classifications of spells, like transfiguration, amuse, jinx, hex or curse (cf. http://harrypotter.wikia.com/wiki/Spell). For our purpose I propose some other simplified way of arranging spells, or acts of magic in full general, into two major categories, differentiating between:
(i) the materiality of the magic process; and
(ii) the materiality of the result.
The showtime category comprises both the corporeal quality of the process itself, and whatsoever emanates from the wand when a spell is cast. The second category touches the actual changes of the target of the human activity of magic. Beginning with the second category, we have already witnessed, in Ron Weasley'southward words (Columbus 2001) 1 "bloody bright" act of magic, the machine-transfiguration of an Animagus. Transfiguration is ane of the major subjects taught at Hogwarts, at one point in theChamber of Secrets movie we are allowed a closer look at the spell and wand movement involved when Professor McGonagall demonstrates how an animate being is turned into a water goblet (Columbus 2002).[6]
Fifty-fifty if they are not capable of changing into an animal, wizards and witches can disguise themselves every bit objects, equally is the case with Horace Slughorn early in theOne-half-Blood Prince where he appears to be an armchair. Even so he can't fool Dumbledore:
And without warning, Dumbledore swooped, plunging the tip of his wand into the seat of the overstuffed armchair, which yelled, 'Ouch!' 'Good evening, Horace,' said Dumbledore, straightening up again. Harry's jaw dropped. Where a split 2d before there had been an armchair, in that location now crouched an enormously fat, baldheaded quondam man who was massaging his lower belly and squinting upwardly at Dumbledore with an aggrieved and watery eye. 'There was no need to stick the wand in that hard,' he said gruffly, clambering to his anxiety. 'It hurt.' (Rowling 2006: 81)
In the wizarding world fifty-fifty memories appear in cloth form as silvery-white gossamer-like threads. Just similar files from a hd, they can exist extracted from the brain, stored abroad in vials, and later on, be poured into the Pensieve and revisited:
And then, very slowly, Slughorn put his hand in his pocket and pulled out his wand. He put his other hand within his cloak and took out a small, empty canteen. Nevertheless looking into Harry's eyes, Slughorn touched the tip of his wand to his temple and withdrew it, and so that a long, silverish thread of retentiveness came away also, clinging to the wand-tip. Longer and longer the retentivity stretched until it bankrupt and swung, silver bright, from the wand. Slughorn lowered it into the bottle where it coiled, then spread, swirling like gas. He corked the bottle with a trembling hand then passed it across the table to Harry. (Rowling 2006: 580)
Now to the first category. The books are full of vivid descriptions of the corporeal aspect of spells. Y'all "aim" and "shoot" a spell at somebody; if yous do non "contrivance" or "leap aside" to avoid the spell, information technology will "striking" you – and you will experience or even endure the event: from a mere tickle (Rictusempra) to defoliation (Confundo); losing the own wand (Expelliarmus); being unable to motility (Impedimenta orPetrificus Totalus); being stunned and unconscious (Stupefy); feeling unbearable hurting (theCruciatus expletive); or in the worst case: dying (Avada Kedavra).
The spell can also result in more or less massive (temporary or permanent) visible and tangible changes of the trunk or the targeted object: objects tin can be raised into the air (Wingardium Leviosa); caused to explode in flames (Confringo); made bigger (Engorgio) or smaller (Reducio); or made to vanish completely (Evanesco). Among the spells causing body alterations we find:Furnunculus (to produce boils and pimples);Episkey (to heal minor injuries like a broken toe or nose); a vomiting slugs hex; a stinging hex which swells the face beyond recognition; and theSectumsempra expletive that slashes a person, resulting in deep, mostly incurable wounds (only Snape knows an incantation to heal them; cf. Rowling 2006: 618). However, since the casted spell itself has a corporeal quality, you can "block", "repel" or "deflect" a spell. It can "rebound" on a wall and "bounce dorsum" or striking an object and boom it.
The tip is the most important part of the wand, every bit many different objects can emerge from or shoot out of information technology:Lumos lights the tip of the wand;Aguamenti produces a jet of h2o (Rowling 2004d: 394; 2006: 714); when two persons make anUnbreakable Vow, a "thin tongue of brilliant flame" shoots from the wand of the person casting the spell, "making a fine, glowing concatenation" around the hands of those engaged in the vow (Rowling 2006: 49). The wand can also be used for ornament purposes: "Hermione made regal and golden streamers erupt from the end of her wand and curtain themselves artistically over the trees and bushes" (Rowling 2008a: 133); when the incantationOrchideous is spoken, a "bunch of flowers burst from the wand tip" (Rowling 2004d: 338); and both in the terminal book and in the pic, Hermione conjures a wreath of Christmas roses when they visit the grave of Harry's parents (Rowling 2008a: 365).[7] The tip of the wand can exist used in a less amiable way, as with theIncarcerous spell: ropes wing out of the wand and necktie upwards the targeted person (e.chiliad. Rowling 2004e: 826; 2008a: 187).
In one item example, something extremely powerful erupts from the tip: the Patronus of the witch or wizard who casts the spell. Everyone has his or her own unique Patronus, a argent shining guardian-being who shields a person against Dementors. Harry learns how to produce a Patronus in his private lessons with Remus Lupin in thePrisoner of Azkaban, and later on he teaches his friends in theOrder of the Phoenix. The nearly common consequence, however, is a flash or jet of calorie-free shooting from the wand. When in the first volume, Harry finally finds his own, personal wand, "a stream of cherry-red and golden sparks shot from the stop like a firework" (Rowling 2004a: 96). The lite jets come in different colors for different spells: silverish (Rictusempra), blood-red (Expelliarmus orStupefy), or, when the Killing Curse is performed, dark-green.
Having a corporeal quality themselves, spells can collide in mid-air, which happens several times throughout the series. The most spectacular collision of light jets, however, appears in the final battle between Voldemort and Harry when they both cast their respective spells:
'Avada Kedavra!' 'Expelliarmus!' The blindside was similar a cannon-blast and the gilded flames that erupted betwixt them, at the dead centre of the circle they had been treading, marked the point where the spells collided. Harry saw Voldemort'south dark-green jet meet his own spell, saw the Elder Wand fly high […]. And Harry, with the unerring skill of the Seeker, caught the wand in his free hand as Voldemort brutal backwards, arms splayed, the slit pupils of the blood-red eyes rolling upwards. Tom Riddle hit the flooring with a mundane finality, his torso feeble and shrunken, the white hands empty, the serpent-like face vacant and unknowing. Voldemort was dead, killed by his own rebounding curse, and Harry stood with two wands in his hand, staring downwardly at his enemy'due south beat out. (Rowling 2008a: 814–815)
6. Semio-magic epilogue
Those who know Rossi-Landian semiotics may consider it odd to refer to a materialist sign theory to talk near a children's book dealing with the wizarding world. All the same, for the purpose of recalling Rossi-Landi's discussion of the interrelation between signs and bodies, I hope that choosing such well-known and loved literature to analyze has helped to raise awareness of a topic vital to semiotics. The material aspects of sign processes are often neglected, simply have to be taken into business relationship, in order to avoid the idealistic trap. Why not do then with the help of literary examples? After all – to end with one of the last sentences spoken by the peachy wizard Dumbledore in the filmHarry Potter and Deathly Hallows Part 2 (Yates 2011) – "Words are, in my not and so apprehensive opinion, our most inexhaustible source of magic."
References
BEHR, Kate. 2008. Philosopher'southward Stone to Resurrection Stone: Narrative Transformations and Intersecting Cultures across the Harry Potter Series. In: Heilman 2008, 257–271.
COLUMBUS, Chris. 2001.Harry Potter and the Philosopher's [Magician's] Stone [picture]. USA: Warner Bros.
COLUMBUS, Chris. 2002.Harry Potter and the Chamber of Secrets [picture show]. United states: Warner Bros.
CUARÓN, Alfonso. 2004.Harry Potter and the Prisoner of Azkaban [film]. USA: Warner Bros.
ELLIS, Molly. 2012. Legitimate Commutation: Legitimacy through Reciprocity in Harry Potter. In: Haworth, Karen, Jason Hogue & Leonard G. Sbrocchi (eds.). 2012.Semiotics 2011. The Semiotics of Worldviews. Ottawa & New York: Legas Publ., 373–386.
ESTEP, Christina. 2012. Dueling Triangles: Power and Authority Struggles inside the Wizarding World". In: Haworth, Karen, Jason Hogue & Leonard G. Sbrocchi (eds.) (2012).Semiotics 2011. The Semiotics of Worldviews. Ottawa & New York: Legas Publ., 364–372.
GRANGER, John. 2008a.The Deathly Hallows Lectures: The Hogwarts Professor Explains the Final Harry'southward Adventure. Allentown: Zossima Press.
GRANGER, John. 2008b.How Harry Bandage His Spell: The Meaning Backside the Mania for J. K. Rowling's Bestselling Books. Ballad Stream: Tyndale House Publishers.
GRANGER, John. 2009.Harry Potter'south Bookshelf: The Slap-up Books Behind the Hogwarts Adventure. New York: Berkley Books.
GRANGER, John. 2010.The Hogwarts Saga equally Band Limerick and Ring Wheel. The Magical Construction and Transcendent Meaning of the Hogwarts Saga. Cleveland NY: Unlocking Press.
HEILMAN, Elizabeth E. (ed.). 2008.Disquisitional Perspectives on Harry Potter. New York: Routledge.
HUGHES, Thomas. 1857.Tom Brown'south Schoolhouse Days. London: Macmillan.
NEWELL, Mike. 2005.Harry Potter and the Goblet of Fire [film]. USA: Warner Bros.
REAGIN, Nancy R. (ed.). 2011.Harry Potter and History (= Wiley Popular Civilization and History Serial). Hoboken NJ: John Wiley & Sons.
ROSSI-LANDI, Ferruccio. 1979a. Ideas for a manifesto of materialistic semiotics.KODIKAS/Code 2: 121–123.
ROSSI-LANDI, Ferruccio. 1979b. Signs and bodies. In: Chatman, Seymour, Umberto Eco et Jean-Marie Klinkenberg (eds.).A Semiotic Landscape. Proceedings of the First Congress of the International Association for Semiotic Studies, Milan, June 1974. The Hague: Mouton, 356–359.
ROSSI-LANDI, Ferruccio. 1979c. Towards a Theory of Sign Residues.Versus 23: 15–32.
ROSSI-LANDI, Ferruccio. 1988. Il segno e i suoi residui. In: Ponzio 1988, 263–289 [= transcript of a lecture given at the Università degli studi di Bari on xix April 1985, edited by Angela Biancofiore after a tape recording.
ROSSI-LANDI, Ferruccio. 1992a.Between Signs and Non-Signs. Ed. Susan Petrilli (= Critical Theory 10). Amsterdam: John Benjamins.
ROSSI-LANDI, Ferruccio. 1992b. Signs and bodies. In: Rossi-Landi, Ferruccio (1992a).Between Signs and Non-Signs. Ed. Susan Petrilli (= Critical Theory 10). Amsterdam: John Benjamins, pp. 271–276.
ROSSI-LANDI, Ferruccio. 1992c. Towards a Theory of Sign Residues. In: Rossi-Landi, Ferruccio (1992a),Betwixt Signs and Non-Signs. Ed. Susan Petrilli (= Critical Theory 10). Amsterdam: John Benjamins, 281–299.
ROWLING, J.K. [& Newt Scamander]. 2001a.Fantastic Beasts and Where to Find Them. London: Bloomsbury & New York NY: Arthur A. Levine/Scholastic.
ROWLING, J.K. [& Kennilworth Whisp]. 2001b.Quidditch Through the Ages. London: Bloomsbury & New York NY: Arthur A. Levine/Scholastic.
ROWLING, J.K. 2004a.Harry Potter and the Philosopher's Stone. London: Bloomsbury.
ROWLING, J.Thou. 2004b.Harry Potter and the Chamber of Secrets. London: Bloomsbury.
ROWLING, J.K. 2004c.Harry Potter and the Prisoner of Azkaban. London: Bloomsbury.
ROWLING, J.Thousand. 2004d.Harry Potter and the Goblet of Fire. London: Bloomsbury
ROWLING, J.Chiliad. 2004e.Harry Potter and the Order of the Phoenix. London: Bloomsbury.
ROWLING, J.Yard. 2006.Harry Potter and the Half-Blood Prince. London: Bloomsbury.
ROWLING, J.G. 2008a.Harry Potter and the Deathly Hallows. London: Bloomsbury.
ROWLING, J.M. 2008b.The Harry Potter Prequel. Waterstones' Charity Auction; Web:http://spider web.archive.org/spider web/20101222170726/http://copiedtext.blogspot.com/2010/10/harry-potter-prequel-by-jk-rowling-2008.html; http://world wide web.snitchseeker.com/gallery/displayimage.php?album=89&pos=7; http://www.snitchseeker.com/gallery/displayimage.php?album=89&pos=viii [visited 2014-12-xv].
ROWLING, J.Chiliad. 2008c.The Tales of Beedle the Bard. London: Children's High Level Group & Bloomsbury.
ROWLING, J.Thou. 2012–.Pottermore. http://www.pottermore.com.
ST. DENNIS, Elijah Samuel. 2012. Harry Potter and the Making of Myth: A Look at the Harry Potter Franchise as Myth and its Meaning. In: Haworth, Karen, Jason Hogue & Leonard M. Sbrocchi (eds.). 2012.Semiotics 2011. The Semiotics of Worldviews. Ottawa & New York: Legas Publ., 387–393.
VANDER ARK, Steve. 2009.The Lexicon: An Unauthorized Guide to Harry Potter Fiction and Related Materials: A Passage of Ghosts. Muskegon MI: RDR Books & online:
VOSTOK et al. 2005–.Harr y Potter Wiki. http://harrypotter.wikia.com/wiki/.
WILLIAMSON Huber, Margaret. 2012. Analogical Classification in the Wizarding World. In: Haworth, Karen, Jason Hogue & Leonard G. Sbrocchi (eds.). 2012.Semiotics 2011. The Semiotics of Worldviews. Ottawa & New York: Legas Publ., 350–363.
YATES, David. 2007.Harry Potter and the Order of the Phoenix [film]. USA: Warner Bros.
YATES, David. 2009.Harry Potter and the Half-Blood Prince [pic]. USA: Warner Bros.
YATES, David. 2010.Harry Potter and the Deathly Hallows – Function 1 [film]. United states: Warner Bros.
YATES, David. 2011.Harry Potter and the Deathly Hallows – Part two [motion-picture show]. Us: Warner Bros.
Source: https://iass-ais.org/proceedings2014/view_lesson.php?id=30
0 Response to "Make Margaret Atwood Fiction Again Harry Potter Quidditch Set"
Post a Comment