In addition, Kress and Van Leeuwen's visual grammar is utilized to elaborate on how postcolonial space displays itself metaphorically through visual arts when portraying the margins. Bhabha's notions of hybridity, mimicry, stereotype, ambivalence, agency, third space, and the uncanny reveal the reasons for the marginalization of some characters. The analysis is based on Bhabha's, and Kress and Van Leeuwen's theories on the verbal and visual aspects of the series, respectively. This study scrutinizes the first four books of Rowling's Harry Potter series (1997-2000) to explore three groups of marginal characters consisting of werewolves, half-giants, and house-elves. Keywords: Imperialism, British literature, colonial studies, post-colonial studies, Harry Potter.īhabha views colonial discourse as an arena of struggle that gives rise to the emergence of new postcolonial spaces. 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. Other XXXXX creatures known to have been kept by wizards in some capacity, though perhaps in unusual circumstances, included the Nundu (by Eldon Elsrickle and by Newt Scamander) and the Manticore (by Theresa Stadt)."Harry Potter" is a story influenced by uncountable elements of the British history, literature and culture. In the latter case, however, wizards were more limited to using brute force and conditioning it via torture. Despite being classified XXXXX, Basilisks and dragons could be tamed, by Parselmouths and dragonologists, respectively, regardless of the incredibly dangerous nature of the creatures.The Phoenix was classified XXXX not for aggression, but for the difficulty in domestication. The Golden Snidget was classified XXXX not for the difficulty in domestication or hazardous properties, but because it was an endangered species that would result in severe punishments if hunted or harmed.On the page that describes the classification system, a handwritten note by Ron Weasley indicates classification XXXXX is " anything Hagrid likes".In the entry on werewolves, a handwritten note from Harry reads "Not always bad", a reference to Remus Lupin. Ron also adds seven "X"s on the pixie entry, with the additional remark of " if you're Lockhart". This may also be contributed to by Aragog's offspring almost killing them, only being saved by the chance appearance of his father's car. This is a reference to Ron's fear of spiders. In Fantastic Beasts and Where to Find Them, Ron Weasley adds nine "X"s to Acromantula's Classification.
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