![]() ![]() This paper seeks to investigate the role-conception of the DADA teachers from a film scholars’ perspective by exploring their queer potential, mainly focussing on their relationship with the hero and on their appearance in the movies. And finally, Harry’s eyes are eroticised as fetish for Snape. Furthermore, Moody has not only a secret identity he gets a perverse kick from pain and transfiguration. Lupin’s second nature as werewolf is a secret that references closeted homosexuality and AIDS. Lockhart’s role-conception follows the Sissy-stereotype from the Classic Hollywood era. There is Quirrell’s lavender turban and his double-identity as host for Voldemort. Every DADA teacher turns out to be hiding something, has a secret identity, and is untrustworthy, evil or at least strange. It is important to note that all six possible role-models to the hero are defined by their highly ambivalent character. Apart from his relationship with Albus Dumbledore, Harry’s encounters with these teachers are the most important lessons during his way into adulthood. It was concluded that the novels present us to a posthumanist pespective of human/animal relations, which enables a Lévinasian ethics which would welcome any Other, be it human or animal.Įvery Hogwarts school year is defined by Harry Potter’s new teacher for Defence Against the Dark Arts (DADA): Quirinus Quirrell, Gilderoy Lockhart, Remus Lupin, Moody/Barty Crouch Jr., Dolores Umbridge, and Severus Snape. The Harry Potter series was analysed by means of identifying literary moments crucial to the narrative that also resonate with the posthumanist theory highlighted from such authors. ![]() Coetzee were selected in order to try to map a range of possibile understandings of what has been called “the question of the animal” - which also includes reflections on ethics and compassion towards this animal Other. As theoretical ground for this reading, writings from thinkers such as Martin Heidegger, Giorgio Agamben, Jacques Derrida, Emmanuel Lévinas, Michel Foucault and J. Rowling in order to try to prove that such representations outline posthumanist conceptions of animality and, consequently, of humanity. The analysis undertaken here was carried out with the intent of identifying how non-human animals are represented in the Harry Potter series of seven novels by author J. Keywords: Imperialism, British literature, colonial studies, post-colonial studies, Harry Potter. I conclude by discussing the (lack of) possibilities for the referred creatures to leave their place of subalternity, and what are the implications of it in the story and for the reader. I analyse the mechanisms used by wizards to keep them in an inferior position and how these creatures subvert the hierarchic order of the magic community. Then, I apply my analysis on the British Empire on "Harry Potter", using creatures like goblins, centaurs and house-elves as examples of subaltern peoples on the saga. ![]() Secondly, I investigate some forms that subaltern colonised peoples had found to rebel against British domination. Firstly, I present a brief historic background on the British Empire, analysing the social, political and economic justifications and mechanisms not only for the creation of the empire, but also for the establishment of rigid hierarchies between the peoples of Britain and of its colonies. Thus, I intend to show the presentness of the British imperialist past through the example of a contemporary and extremely popular story, scrutinised under a post-colonial approach to concepts such as hegemony and subalternity. Rowling’s work in the Victorian tradition of the adventure novel, I establish in this dissertation a comparison between British imperialist rhetoric and the discourse of wizards in the saga through the way both created and maintained social hierarchies. "Harry Potter" is a story influenced by uncountable elements of the British history, literature and culture. ![]()
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