Microsoft Word final-current Developments at the Intersection of British Children-online-version doc
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FINAL Current Developments at the Intersection of British Children ONLINE VERSION
Prisoner of Azkaban
marks the transition of the series to darker themes, for instance Dementors are introduced in this volume. Used as guards in the prison of Azkaban, these blind creatures disseminate an atmosphere of fear and death wherever they appear. Sucking all the happiness out of their victims, in an act perversely called the Kiss, Dementors, depression personified, only leave human shells behind. Psychological terror is not all, however. Peter Pettigrew mutilates himself and stages his death, killing people in the act; and the execution of the hippogriff Buckbeak can only be prevented by means of a time-reversal the second time round. Harry Potter and the Goblet of Fire testifies of the sinking inhibition threshold as more and more incidents of graphic violence are reported. Put into perspective, the many injuries become harmless and negligible. The auror Moody is the prime example: Incessant exposure to physical violence has wrecked his health. As it were, the maltreated body symbolises the prevailing potential within the series for violence. The Death Eaters’ march through the camp during the Quidditch world-championship 120 for instance reminds one strongly of activities of the Ku-Klux-Klan or other smear campaigns against minorities. It is alarming that disrespectful and unemotional atrocities are committed by the villains for the most trivial reasons, such as the fun factor. 121 Cedric’s unnecessary death is only the prelude for the arguably most dark and gory scene of the entire series. Surrounded in a cemetery by hooded devil worshippers assembled to witness the re-incarnation of their master Voldemort, Harry realises that he is intended as a human sacrifice. In a cauldron reminiscent of old sagas, 122 the evil wizard is resurrected to his old grandeur. In the course of the ritual, the grave of Voldemort’s father is desecrated, some of Harry’s blood forcibly taken and Voldemort’s servant Wormtail cuts off his own hand to add it to the concoction in the cauldron. 123 As soon as the revival is completed, Voldemort proceeds to torture one of his followers before torturing and then attempting to kill Harry. It is difficult to imagine any worse, as these scenes are unsurpassed in their goriness and graphic violence. Yet, this is only the fourth of seven novels, and the course is set. As expected, the fifth volume therefore continues the development. Consequently, Harry Potter 120 J.K. Rowling. Harry Potter and the Goblet of Fire. London: Bloomsbury, 2000, p. 108. 121 Ibd., p. 128. 122 Taken up again for example by Lloyd Alexander in his Prydain-Chronicles: Lloyd Alexander. The Black Cauldron . New York; Chicago; San Francisco: F. Holt, Rinehart and Winston, 1965. 123 Rowling, Harry Potter and the Goblet of Fire, pp. 556-557. 123 and the Order of the Phoenix 124 is lavish with graphic violence on both physical and psychological levels. The teacher Umbridge punishes pupils’ rebellious behaviour by physical torture and Sirius Black dies from Bellatrix Lestrange’s curse. 125 In the fifth volume, Harry experiences psychological violence through his vivid dreams inside Voldemort’s snake. On one occasion he even attacks Mr Weasley. Under Voldemort’s evil influence the young wizard develops an urgent and strong desire to harm and maim. 126 Last but not least, Voldemort tries and fails yet again to kill Harry. The sixth’ novel follows suit. Reminiscent of a scene in Tolkien’s The Lord of the Rings , Harry encounters Inferi in a lake, ready to drag him into the waters. After many incidents, volume six climaxes with Dumbledore’s death at the hand of Snape. 127 Download 1.22 Mb. Do'stlaringiz bilan baham: |
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