Harry had been a year old the night that Voldemort -- the most powerful Dark wizard for a century, a wizard who had been gaining power steadily for eleven years -- arrived at his house and killed his father and mother. Voldemort had then turned his wand on Harry; he had performed the curse that had disposed of many full-grown witches and wizards in his steady rise to power -- and, incredibly, it had not worked. Instead of killing the small boy, the curse had rebounded upon Voldemort. Harry had survived with nothing but a lightning-shaped cut on his forehead, and Voldemort had been reduced to something barely alive. His powers gone, his life almost extinguished, Voldemort had fled; the terror in which the secret community of witches and wizards had lived for so long had lifted, Voldemort's followers had disbanded, and HarryPotter had become famous. It had been enough of a shock for Harry to discover, on his eleventh birthday, that he was a wizard; it had been even more disconcerting to find out that everyone in the hidden wizarding world knew his name. Harry had arrived at Hogwarts to find that heads turned and whispers followed him wherever he went. But he was used to it now: At the end of this summer, he would be starting his fourth year at Hogwarts, and Harry was already counting the days until he would be back at the castle again.
Professor Vector, that Arithmancy witch, this morning. They were going on about yesterday's lesson, but Hermione can't 've been there, because she was with us in Care of Magical Creatures! And Ernie McMillan told me she's never missed a Muggle Studies class, but half of them are at the same time as Divination, and she's never missed one of them either!" Harry didn't have time to fathom the mystery of Hermione's impossible schedule at the moment; he really needed to get on with Snape's essay. Two seconds later, however, he was interrupted again, this time by Wood. "Bad news, Harry. I've just been to see Professor McGonagall about the Firebolt. She -- er -- got a bit shirty with me. Told m' I'd got my priorities wrong. Seemed to think I cared more about winning the Cup than I do about you staying alive. Just because I told her I didn't care if it threw you off, as long as you caught the Snitch first." Wood shook his head in disbelief. "Honestly, the way she was yelling at me... you'd think I'd said something terrible... then I asked her how much longer she was going to keep it. He screwed up his face and imitated Professor McGonagall's severe voice. 'As long as necessary, Wood'... I reckon it's time you ordered a new broom, Harry. There's an order form at the back of Which Broomstick... you could get a Nimbus Two Thousand and One, like Malfoy's got."
“Males are represented more often, but they are also depicted as wiser, braver, more powerful, and more fun than females” (ibid.). Female powerlessness is most evident in the portrayal of Hermione, who often shows signs of fear. As an example Heilman cites the attack of the mountain troll when the boys have to save Hermione because she is merely crouching helplessly under the sink and screaming (Rowling 1999, 132). Heilman argues, somewhat inaccurately, that Hermione is supposed to be exceptionally intelligent, but not brave or daring. Further, her knowledge is only of use to the boys while she does not know how to use it or cannot use it. This can be explained through the understanding of HarryPotter as a mythic hero. Both Hermione and Ron are only helping Harry since he is the principal protagonist of the story (Nikolajeva 2003, 127). Although Heilman draws attention to such instances as the Polyjuice Potion which helps the boys to sneak into the Slytherin House, it does not work on Hermione so she has to stay behind; or when Hermione becomes ‘petriﬁed’ but still manages to aid Harry and Ron with the help of a note in her hand which reveals the secret of Salazar’s successor. It is important to stress that in the ﬁnal battle Harry always ﬁghts alone because Ron also fails half way. This happens at the end of each book: in The Philosopher’s Stone Ron sacriﬁces himself on the chessboard and Harry confronts Squirrel alone; in The Chamber of Secrets the ceiling of the tunnel collapses and Ron remains trapped; in The Prisoner of Azkaban Hermione helps Harry rescue Black and Buckbeak while Ron rests injured in the inﬁrmary; in The Goblet of FireHarry confronts Lord Voldemort while Ron and Hermione watch the competition from the stands for the spectators; in The Order of Phoenix Harry has several helpers, among them Ron, Hermione, Ginny, Neville, and Luna; in the sixth book, The Half-Blood Prince, Ron and Hermione stay at Hogwarts while Harry joins Dumbledore in his search for a part of Lord Voldemort’s soul. Another proof of Hermione’s bravery and daring is the scene in The Chamber of Secrets when she tries to convince the boys they should make the Polyjuice Potion:
This fantasy series consists of seven books published between 1997 and 2007. It begins with Harry as an infant, who is left in the care of his ‘Muggle’, or non-magical, relatives, Aunt Petunia and Uncle Vernon. In HarryPotter and the Philosopher's Stone (1997), Harry joins Hogwarts boarding School of Witchcraft and Wizardry as a first-year student at the age of eleven; here he meets his friends Ron and Hermione. The second book, HarryPotter and the Chamber of Secrets (1998), follows Harry’s struggle to save Ginny, who is kidnapped and taken into the Chamber of Secrets by Lord Voldemort. The third novel, HarryPotter and the Prisoner of Azkaban (1999), follows Harry’s third year in the school, where he meets some faithful old friends of his parents, including Sirius Black, and some traitors who betrayed his family, such as Peter Pettigrew, who was Lord Voldemort’s servant. In his fourth year at Hogwarts, in HarryPotter and the Goblet of Fire (2000), Harry takes part in a dangerous competition called the Triwizard Tournament; by the end of this book Lord Voldemort has regained his full strength. In his fifth year at Hogwarts, in HarryPotter and the Order of the Phoenix (2003), Harry and his friends encounter and nearly defeat Lord Voldemort’s Death Eaters. In the sixth book, HarryPotter and the Half-Blood Prince (2005), Harry discovers that Voldemort became immortal through his creation of six ‘horcruxes’ where parts of his soul are kept within objects. Two of these horcruxes have been destroyed: one by Harry in the events of the Chamber of Secrets and the other by Dumbledore, Hogwarts’ headmaster, before the events of Half-Blood Prince. The final book, HarryPotter and the Deathly Hallows (2007), follows Harry’s development and maturation to the age of 17. With the help of his friends and supporters, Harry finally defeats Lord Voldemort and his followers and saves the wizard world.
Hermione had become a bit more relaxed about breaking rules since Harry and Ron had saved her from the mountain troll, and she was much nicer for it. The day before Harry's first Quidditch match the three of them were out in the freezing courtyard during break, and she had conjured them up a bright blue fire that could be carried around in a jam jar. They were standing with their backs to it, getting warm, when Snape crossed the yard. Harry noticed at once that Snape was limping. Harry, Ron, and Hermione moved closer together to block the fire from view; they were sure it wouldn't be allowed. Unfortunately, something about their guilty faces caught Snape's eye. He limped over. He hadn't seen the fire, but he seemed to be looking for a reason to tell them off anyway.
"My name was down for Eton, you know. I can't tell you how glad I am I came here instead. Of course, Mother was slightly disappointed, but since I made her read Lockhart's books I think she's begun to see how useful it'll be to have a fully trained wizard in the family . . . ." After that they didn't have much chance to talk. Their earmuffs were back on and they needed to concentrate on the Mandrakes. Professor Sprout had made it look extremely easy, but it wasn't. The Mandrakes didn't like coming out of the earth, but didn't seem to want to go back into it either. They squirmed, kicked, flailed their sharp little fists, and gnashed their teeth; Harry spent ten whole minutes trying to squash a
characters. As several of Harry’s closest friends and family members pass away during his seventeen years, Harry wonders where these characters have gone. Does Dumbledore live on in another place? Where did Sirius find himself after falling behind the veil? Rowling explains that these questions reveal how “Death is an extremely important theme throughout all seven books. I would say possibly the most important theme” (Thøgersen par. 111). Readers may recognize this importance as Harry loses one relationship after another, striving to understand death – the ultimate hand of fate -- over and over again. Rowling leads readers to grapple with these same existential questions as she records Harry’s struggle to grasp the meaning and finality of death: “As his closing attempts in Order of the Phoenix to make contact with his dead godfather indicate, [Harry is] now wrestling with questions of whether the dead live on – and what’s ‘beyond the veil’” (Smith par. 18). But however often Harry faces loss, grief, and confusion, Rowling never provides him or readers a definitive description of life after death. While Harry wishes desperately for Dumbledore’s guidance in HarryPotter and the Deathly Hallows, he realizes that, “Dumbledore, like Mad-Eye, like Sirius, like his parents, like his poor owl, all were gone where Harry could never talk to them again” (84). Harry encounters manifestations of his parents once in HarryPotter and the Goblet of Fire and again in HarryPotter and the Deathly Hallows where Lupin and Sirius join them, but these ghostly apparitions appear for a specific purpose: to help Harry through especially difficult trials. Their brief presences prepare Harry for his task, but they do not fulfill him emotionally. In HarryPotter and the Goblet of Fire,
However, the parallels between “The Waste Land”, HarryPotter and His Dark Materials are there not only in the use of mythic structure and allusion. In employing symbols derived from Jessie L. Weston‟s From Ritual to Romance (1920) and James Frazer‟s The Golden Bough (1890-1915) Eliot has chosen to use myths which highlight the cycle of the seasons and the cyclic renewal of life, particularly in Weston‟s use of the Fisher King, and Joseph Campbell elaborates on the cyclic nature of the hero of the monomyth (which I discuss in the next chapter). These works emphasise the fact that new life has to be forced out of lethargy and this life has to be difficult and painful otherwise the individuals involved might as well be dead. In the 1930s Cleanth Brooks said of the theme of “The Waste Land”, “Life devoid of meaning is death; sacrifice, even the sacrificial death, may be lifegiving, an awakening to life” (qtd. in Gish 13). This same comment might have been applied to HarryPotter or His Dark Materials. HarryPotter knowingly sacrifices his own life in order to defeat Voldemort and Lord Asriel and Mrs. Coulter sacrifice themselves in order to save Lyra, thus their actions are lifegiving. Accordingly, there is a prevailing mood of fear, loss and unease which haunt “The Waste Land”, HarryPotter and His Dark Materials because their worlds are dead lands, places of sterility and loss, and yet these worlds are ones in which value might be possible because life is sets of choices to risk action or be dead. As I discuss in the chapter of this thesis about memory and identity, it is the choices we make which define who we are as individuals.
magic that happens when a child reads a book. When you can see that, it really works,” explains Ben. “Books like that usually, eventually, find their way on to the bestseller lists. To get there you need great characters, a compelling plot, attractive production and bang-on marketing and publicity.”
Yet the tension between the market and moral economies plays an integral part in Harry’s particular heroism. It is part of Harry’s heroism that he must navigate the compelling lure of materialism, especially when at age eleven he suddenly inherits his parent’s considerable wealth. As Harry enters the Hogwarts Express for the first time, he has a pocket full of money, but no family or friends. To this extent Ron Weasley offers a direct contrast in that he has a large family, but as a consequence his parents have very little money. It is a mark of Harry’s future status that he uses his money to create and celebrate his new friendship with Ron, sharing an exciting new gastronomical and cultural experience with him. During this feast of chocolate frogs, cauldron cakes and Bertie Bott’s Every Flavour Beans, Ron helps Harry interpret and understand the wizarding society he is entering; subjects of a picture are active in a wizarding photograph and Albus Dumbledore is regarded as “the greatest wizard of modern times”, for example (HPPS 77, italics in original). But equally, the experience of giving is formative for Harry’s character, who, the narrator declares, “had never had anything to share before or, indeed, anyone to share it with. It was a nice feeling, sitting there, with Ron, eating their way through all Harry’s pasties and cakes” (76).
When dealing with subtitling of currency units in HarryPotter movies, the subtitler does not seem to have a clear strategy, as different subtitling strategies were applied for different cases. Loan ‘preservation’ strategy is used with the names of magical currency units, which are also neologisms or words borrowed from other domains. For example, ‘galleons’, as seen in snapshot (97), ‘sickles’ and ‘knuts’ are all preserved as ‘نولاج’, ‘لكيس’ and ‘تاتون’ respectively. It is worth noting here that the transliteration of the plural ‘knuts’ uses the affix ‘تا’ (āt), following the standard Arabic rule for pluralizing foreign nouns. Since these currency units are only related to the wizarding world, the Arabic audience would not be able to find out how much they are worth in Arabic currencies.
Each movie covers a year of Harry’s life at Hogwarts School. Harry and his close friends, Hermione and Ron, have to experience many challenges, especially at the end of each movie. The first three movies are mainly dedicated to presenting different characters and their experiences, highlighting the childhood years at Hogwarts School, and revealing secrets of the wizarding community, magical objects and spells. The whole movie series also emphasises the significant role of Harry and his close friends in stopping the Voldemort’s return to the physical world through his followers. Regarding the scripts of the HarryPotter movies, Steve Kloves, who is an American screenwriter, wrote all the scripts except the fifth movie. Kloves had direct assistance from the author. The correspondence of the plot and tone of the movies and books are almost the same, however, some modifications and deletions have been made because of cinematic structure, time and technical constraints.
HarryPotter novels define a variety of spells. These are keywords cast by witches and wizards to achieve purposes, such as turning on a light (‘Lu- mos’), unlocking a door (‘Alohomora’) or killing (‘Avada Kedavra’). They abstract complex and non-ambiguous actions. Their use also makes it possible to build an automatic and self-annotated corpus for action prediction. The moment a spell occurs in a text represents a response to the en- vironment, and hence, it can be used to label the preceding text fragment as a scene description that ends up triggering that action. Table 1 illustrates it with some examples from the original books.
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Like some fantasies (including Lord of the rings and the Chronicles of Narnia), the HarryPotter series by J.K. Rowling makes a social comment on a particular dominant discourse within a particular sociocultural context. One of Rowling’s social comments is the dehumanising and fragmenting effect of the power and consumerist discourse in Western society – where great value is placed on what a person owns. An example of this theme in the series is the characters of the Dursleys, as prime examples of ‘Muggles’. Although it is not power that Muggles seek, but rather to fit in by having what the Jones’ have, which fits in well with the capitalist discourse as developed by Lacan – as discussed by Meylahn. Rowling juxtaposes this discourse with the alternative sacred story of the Christ discourse (community and fellowship are more important than material possessions), that she has subtly woven into her narrative. This alternative discourse challenges adolescents’ identity and spirituality by offering the Christ discourse as an alternative discourse to the dominant discourse of consumerism and power they live in. In his article, ‘Holistic redemptive pastoral ministry in the fragmented transit hall of existence’, Meylahn (2010) speaks of a ‘wounded Christ’ healing a ‘wounded community’ and this ties in well with the Christ discourse presented by Rowling. Meylahn gives us a useful hermeneutical tool to interpret the actions of some of Rowling’s characters. Hence, Meylahn’s ‘wounded Christ’, will be brought into conversation with the actions of some of Rowling’s characters. By bringing Rowling into conversation with Meylahn, pastors and youth workers are presented with an ideal tool to help guide adolescents towards a more spiritual life that is not bound to the dehumanising discourse of consumerism and power.
The Truth About the Harry Quebert Affair has rocked the publishing world, and is already being called the ‘Swiss Millennium,|’ referring to the huge success of Stieg Larsson's Millennium trilogy. Just one month after the Frankfurt Book Fair, The truth about the Harry Quebert affair had been sold to 33 countries and won three literary awards in France, the Prix Goncourt, Grand prix du roman de l'Académie française, and the Lire Prize for best novel in French.Who killed Nola Kellergan? In 2008, a young writer named Marcus Goldman pays a visit on his mentor and acclaimed author Harry Quebert. There, Marcus discovers Quebert’s secret affair with Nola Kellergan. Soon after, Harry is charged with the murder of the woman after authorities find her body buried in Quebert’s back yard. Working to prove his mentor’s innocence Marcus starts an investigation, recording every aspect of the case in a book. An intricate web of secrets starts to emerge, but the truth will only be uncovered after a long, complex, and exciting journey. An extraordinary detective tale and romantic novel, and an exceptional thriller that escapes all attempts of description, The Truth About the Harry Quebert Affair recounts in three distinct time periods—1975, 1998, and 2008—the mystery surrounding the murder of a young fifteen-year old woman in a small town in New Hampshire.
The prospect of attempting to link ancient languages or proto- languages with recurring sets of material culture is daunting if not impossible (cf. Renfrew 2000). A number of proposed linkages may be consistent with the data but difficult to test; data in this region tend to be coarse- grained, limited to supposed stylistic attributes of lithic technology. Recently, Dumond (2010), Ives (2010), and Potter (2010) summarized and evaluated Na- Dene prehistory in the context of Vajda’s (2010) linguistic connection between Na- Dene (Athapaskan- Eyak- Tlingit) and Yeniseian languages. Potter (2010) focused on patterns of material culture continuity and discontinuity, identifying contemporaneous archaeological groups with separate material culture traditions, and evaluating antiq- uity of language groups from the present (direct historical approach). Dumond, Ives, and Potter agreed that evidence for migration and discontinuities was present in the northeast Asian and northwest North American record at 14,000– 12,000 cal b.p. (initial colonization), 6000– 4800 cal b.p., and 1000 cal b.p. It is plausible that Na- Dene ances- tors migrated to North America as part of late Pleistocene or middle Holocene popu- lation expansions from northeast Asia, but a specific material cultural correlate with Na- Dene speakers is unclear. Microblade technology, argued by a number of research- ers to be associated with Na- Dene or Athapaskan ancestors (Borden 1968; Dumond 1969; Matson and Magne 2007), is ubiquitous across northeast Asia, including Japan and northern China, while it is generally more isomorphic with Na- Dene speakers in northern North America.
To solve the problem, I read some books about acting and learned a lot from the book “An actor Prepares”. In the book says to act is to experience and the basic of acting is to control the unconscious natural behavior consciously. When you make an act, what motivates you movement should be the cause of certain reaction recorded in your mind. One can evoke emotion and really merge into the story by doing small task by task in logic order, concentrate on the other character’s action, and observing the environment around you and try to attract other actor’s attention. Other tips of acting I get from this book:
monitoring techniques and analytical methods, including forest health data (Smith and Conkling 2004), soils as an indicator of forest health (O’Neill and others 2005), urban forest health monitoring (Cumming and others 2006, 2007; Lake and others 2006), health conditions in national forests (Morin and others 2006), crown conditions (Schomaker and others 2007, Randolph 2010, Randolph and Moser 2009), sampling and estimation procedures for vegetation diversity and structure (Schulz and others 2009), ozone monitoring (Rose and Coulston 2009), establishment of alien- invasive forest insect species (Koch and others 2011), spatial patterns of land cover (Riitters 2011), changes in forest biodiversity (Potter and Woodall 2012), and the overall forest health indicator program (Woodall and others 2010). For more information, visit the FHM Web site at www.fs.fed.us/foresthealth/fhm.
Furthermore, two extra conditions regarding the con- text in which peer support appeared needed to be fulfilled as well. First, contact between students was only coded if the peer support was offered voluntarily. Second, only interactions occurring between two living characters, at- tending Hogwarts at the same moment, were coded as peer support. Consequently, when dead characters reap- peared in the books, interactions between these dead characters and living students were not coded. One ex- ample for such reappearance is Cedric Diggory’s return at the end of book4, when Cedric asks Harry to return his dead body to his parents. Furthermore, interactions with former or future Hogwarts students at a certain point in time were not included. For example, although Harry and Ginny met before Ginny attended Hogwarts, peer support relations between both characters were only coded when both students attended Hogwarts together.