사용자:LikeHow/연습장

위키백과, 우리 모두의 백과사전.

번역중

줄거리[편집]

초반[편집]

"The Elephant House", a small, painted red café where Rowling wrote a few chapters of Harry Potter and the Philosopher's Stone
조앤 롤링이 해리 포터와 마법사의 돌의 일부 부분을 집필했던 에든버러의 카페 The Elephant House. 소설의 초반부에 등장한다.

The series follows the life of a boy named Harry Potter. In the first book, Harry Potter and the Philosopher's Stone, Harry lives in a cupboard under the stairs in the house of the Dursleys, his aunt, uncle and cousin. The Dursleys consider themselves perfectly normal, but at the age of eleven, Harry discovers that he is a wizard. He meets a half-giant named Hagrid who invites him to attend the Hogwarts School of Witchcraft and Wizardry. Harry learns that as a baby, his parents were murdered by the dark wizard Lord Voldemort. When Voldemort attempted to kill Harry, his curse rebounded and Harry survived with a lightning-shaped scar on his forehead.

Harry becomes a student at Hogwarts and is sorted into Gryffindor House. He gains the friendship of Ron Weasley, a member of a large but poor wizarding family, and Hermione Granger, a witch of non-magical, or Muggle, parentage. Harry encounters the school's potions master, Severus Snape, who displays a dislike for him; the rich pure-blood Draco Malfoy whom he develops an enmity with; and the Defence Against the Dark Arts teacher, Quirinus Quirrell, who turns out to be allied with Lord Voldemort. The first book concludes with Harry's confrontation with Voldemort, who, in his quest to regain a body, yearns to gain the power of the Philosopher's Stone, a substance that bestows everlasting life.

Harry Potter and the Chamber of Secrets describes Harry's second year at Hogwarts. Students are attacked and petrified by an unknown creature; wizards of Muggle parentage are the primary targets. The attacks appear related to the Chamber of Secrets, a fifty-year-old mystery at the school. Harry discovers an ability to speak the snake language Parseltongue, which he learns is rare and associated with the Dark Arts. When Hermione is attacked, Harry and Ron uncover the chamber's secrets and enter it. Harry discovers that the chamber was opened by Ron's younger sister, Ginny Weasley, who was possessed by an old diary in her belongings. The memory of Tom Marvolo Riddle, Voldemort's younger self, resided inside the diary and unleashed the basilisk, an ancient monster that kills those who make direct eye contact. Harry draws the Sword of Gryffindor from the Sorting Hat, slays the basilisk and destroys the diary.

In the third novel, Harry Potter and the Prisoner of Azkaban, Harry learns that he is targeted by Sirius Black, an escaped convict who allegedly assisted in his parents' murder. As Harry struggles with his reaction to the dementors – creatures guarding the school that feed on despair – he reaches out to Remus Lupin, a new professor who teaches him the Patronus charm. On a windy night, Ron is dragged by a black dog into the Shrieking Shack; Harry and Hermione follow. The dog is revealed to be Sirius Black. Lupin enters the shack and explains that Black was James Potter's best friend; he was framed by Peter Pettigrew, who hides as Ron's pet rat, Scabbers. As the full moon rises, Lupin transforms into a werewolf and bounds away; the group chase after him but are surrounded by dementors. They are saved by a mysterious figure who casts a stag Patronus. This is later revealed to be a future version of Harry, who traveled back in time with Hermione using the Time Turner. The duo help Sirius escape on a Hippogriff.

볼드모트의 귀환[편집]

작가가 해리 포터와 마법사의 돌의 몇 부분을 집필했던 Nicholson's Cafe이다. 이후 'Spoon in Edinburgh'로 이름이 변경되었다.

In Harry's fourth year of school (detailed in Harry Potter and the Goblet of Fire), he is unwillingly entered in the Triwizard Tournament, a contest between schools of witchcraft and wizardry. Harry is Hogwarts' second participant after Cedric Diggory, an unusual occurrence that causes his friends to distance themselves from him. He competes against schools Beauxbaton and Durmstrang with the help of the new Defence Against the Dark Arts professor, Alastor "Mad-Eye" Moody. Harry claims the Triwizard Cup with Cedric, but in doing so is teleported to a graveyard where Voldemort's supporters convene. Moody reveals himself be to Barty Crouch, Jr, a Death Eater. Harry manages to escape, but Cedric is killed and Voldemort is resurrected using Harry's blood.

In the fifth book, Harry Potter and the Order of the Phoenix, the Ministry of Magic refuses to believe that Voldemort has returned. Dumbledore re-activates the Order of the Phoenix, a secret society to counter Voldemort; meanwhile, the Ministry appoints Dolores Umbridge as the High Inquisitor of Hogwarts. Umbridge bans the Defense Against the Dark Arts; in response, Hermione and Ron form "Dumbledore's Army", a secret group where Harry teaches what Umbridge forbids. Harry is punished for disobeying Umbridge, and dreams of a dark corridor in the Ministry of Magic. Near the end of the book, Harry falsely dreams of Sirius being tortured; he races to the Ministry where he faces Death Eaters. The Order of the Phoenix saves the teenagers' lives, but Sirius is killed. A prophecy concerning Harry and Voldemort is then revealed: one must die at the hands of the other.

In the sixth book, Harry Potter and the Half-Blood Prince, Snape teaches Defense Against the Dark Arts while Horace Slughorn becomes the Potions master. Harry finds an old textbook with annotations by the Half-Blood Prince, due to which he achieves success in Potions class. Harry also takes lessons with Dumbledore, viewing memories about the early life of Voldemort in a device called a Pensieve. Harry learns from a drunken Slughorn that he used to teach Tom Riddle, and that Voldemort divided his soul into pieces, creating a series of Horcruxes. Harry and Dumbledore travel to a distant lake to destroy a Horcrux; they succeed, but Dumbledore weakens. On their return, they find Draco Malfoy and Death Eaters attacking the school. The book ends with the killing of Dumbledore by Professor Snape, the titular Half-Blood Prince.

In Harry Potter and the Deathly Hallows, the seventh novel in the series, Lord Voldemort gains control of the Ministry of Magic. Harry, Ron and Hermione learn about the Deathly Hallows, legendary items that lead to mastery over death. The group infiltrate the ministry, where they steal a locket Horcrux, and visit Godric's Hollow, where they are attacked by Nagini. A silver doe Patronus leads them to the Sword of Gryffindor, with which they destroy the locket. They steal a Horcrux from Gringotts and travel to Hogwarts, culminating in a battle with Death Eaters. Snape is killed by Voldemort out of paranoia, but lends Harry his memories before he dies. Harry learns that Snape was always loyal to Dumbledore, and that he himself is a Horcrux. Harry surrenders to Voldemort and dies. The defenders of Hogwarts continue to fight on; Harry is resurrected, faces Voldemort and kills him.

An epilogue titled "Nineteen Years Later" describes the lives of the surviving characters and the impact of Voldemort's death. Harry and Ginny are married with three children, and Ron and Hermione are married with two children.

Style and allusions[편집]

Genre and style[편집]

The novels fall into the genre of fantasy literature, and qualify as a type of fantasy called "urban fantasy", "contemporary fantasy", or "low fantasy". They are mainly dramas, and maintain a fairly serious and dark tone throughout, though they do contain some notable instances of tragicomedy and black humour. In many respects, they are also examples of the bildungsroman, or coming of age novel,[1] and contain elements of mystery, adventure, horror, thriller, and romance. The books are also, in the words of Stephen King, "shrewd mystery tales",[2] and each book is constructed in the manner of a Sherlock Holmes-style mystery adventure. The stories are told from a third person limited point of view with very few exceptions (such as the opening chapters of Philosopher's Stone, Goblet of Fire and Deathly Hallows and the first two chapters of Half-Blood Prince).

The series can be considered part of the British children's boarding school genre, which includes Rudyard Kipling's Stalky & Co., Enid Blyton's Malory Towers, St. Clare's and the Naughtiest Girl series, and Frank Richards's Billy Bunter novels: the Harry Potter books are predominantly set in Hogwarts, a fictional British boarding school for wizards, where the curriculum includes the use of magic.[3] In this sense they are "in a direct line of descent from Thomas Hughes's Tom Brown's School Days and other Victorian and Edwardian novels of British public school life", though they are, as many note, more contemporary, grittier, darker, and more mature than the typical boarding school novel, addressing serious themes of death, love, loss, prejudice, coming-of-age, and the loss of innocence in a 1990s British setting.[4][5]

In Harry Potter, Rowling juxtaposes the extraordinary against the ordinary.[6] Her narrative features two worlds: a contemporary world inhabited by non-magical people called Muggles, and another featuring wizards. It differs from typical portal fantasy in that its magical elements stay grounded in the mundane.[7] Paintings move and talk; books bite readers; letters shout messages; and maps show live journeys, making the wizarding world both exotic and familiar.[6][8] This blend of realistic and romantic elements extends to Rowling's characters. Their names are often onomatopoeic: Malfoy is difficult, Filch unpleasant and Lupin a werewolf.[9][10] Harry is ordinary and relatable, with down-to-earth features such as wearing broken glasses;[11] the scholar Roni Natov terms him an "everychild".[12] These elements serve to highlight Harry when he is heroic, making him both an everyman and a fairytale hero.[11][13]

Each of the seven books is set over the course of one school year. Harry struggles with the problems he encounters, and dealing with them often involves the need to violate some school rules. If students are caught breaking rules, they are often disciplined by Hogwarts professors. The stories reach their climax in the summer term, near or just after final exams, when events escalate far beyond in-school squabbles and struggles, and Harry must confront either Voldemort or one of his followers, the Death Eaters, with the stakes a matter of life and death – a point underlined, as the series progresses, by characters being killed in each of the final four books.[14][15] In the aftermath, he learns important lessons through exposition and discussions with head teacher and mentor Albus Dumbledore. The only exception to this school-centred setting is the final novel, Harry Potter and the Deathly Hallows, in which Harry and his friends spend most of their time away from Hogwarts, and only return there to face Voldemort at the dénouement.[14]

Allusions[편집]

The Harry Potter stories feature imagery and motifs drawn from Arthurian myth and fairytales. Harry's ability to draw the Sword of Gryffindor from the Sorting Hat resembles the Arthurian sword in the stone legend.[16] His life with the Dursleys has been compared to Cinderella.[17] Hogwarts resembles a medieval university-cum-castle with several professors who belong to an Order of Merlin; Old Professor Binns still lectures about the International Warlock Convention of 1289; and a real historical person, a 14th-century scribe, Sir Nicolas Flamel, is described as a holder of the Philosopher's Stone.[18] Other medieval elements in Hogwarts include coats-of-arms and medieval weapons on the walls, letters written on parchment and sealed with wax, the Great Hall of Hogwarts which is similar to the Great Hall of Camelot, the use of Latin phrases, the tents put up for Quidditch tournaments are similar to the "marvellous tents" put up for knightly tournaments, imaginary animals like dragons and unicorns which exist around Hogwarts, and the banners with heraldic animals for the four Houses of Hogwarts.[18]

Many of the motifs of the Potter stories such as the hero's quest invoking objects that confer invisibility, magical animals and trees, a forest full of danger and the recognition of a character based upon scars are drawn from medieval French Arthurian romances.[18] Other aspects borrowed from French Arthurian romances include the use of owls as messengers, werewolves as characters, and white deer.[18] The American scholars Heather Arden and Kathrn Lorenz in particular argue that many aspects of the Potter stories are inspired by a 14th-century French Arthurian romance, Claris et Laris, writing of the "startling" similarities between the adventures of Potter and the knight Claris.[18] Arden and Lorenz noted that Rowling graduated from the University of Exeter in 1986 with a degree in French literature and spent a year living in France afterwards.[18]

Like C. S. Lewis's The Chronicles of Narnia, Harry Potter also contains Christian symbolism and allegory. The series has been viewed as a Christian moral fable in the psychomachia tradition, in which stand-ins for good and evil fight for supremacy over a person's soul.[19] Children's literature critic Joy Farmer sees parallels between Harry and Jesus Christ.[20] Comparing Rowling with Lewis, she argues that "magic is both authors' way of talking about spiritual reality".[21] According to Maria Nikolajeva, Christian imagery is particularly strong in the final scenes of the series: Harry dies in self-sacrifice and Voldemort delivers an "ecce homo" speech, after which Harry is resurrected and defeats his enemy.[22]

Rowling stated that she did not reveal Harry Potter's religious parallels in the beginning because doing so would have "give[n] too much away to fans who might then see the parallels".[23] In the final book of the series Harry Potter and the Deathly Hallows, Rowling makes the book's Christian imagery more explicit, quoting both Matthew 6:21 and 1 Corinthians 15:26 (King James Version) when Harry visits his parents' graves.[23] Hermione Granger teaches Harry Potter that the meaning of these verses from the Christian Bible are "living beyond death. Living after death", which Rowling states "epitomize the whole series".[23][24][25] Rowling also exhibits Christian values in developing Albus Dumbledore as a God-like character, the divine, trusted leader of the series, guiding the long-suffering hero along his quest. In the seventh novel, Harry speaks with and questions the deceased Dumbledore much like a person of faith would talk to and question God.[26]

Themes[편집]

J.K. Rowling, a blond, blue-eyed woman, who is the author of the series
작가 J. K. 롤링

Harry Potter's overarching theme is death.[27][28] In the first book, when Harry looks into the Mirror of Erised, he feels both joy and "a terrible sadness" at seeing his desire: his parents, alive and with him.[29] Confronting their loss is central to Harry's character arc and manifests in different ways through the series, such as in his struggles with Dementors.[29][30] Other characters in Harry's life die; he even faces his own death in Harry Potter and the Deathly Hallows.[31] The series has an existential perspective – Harry must grow mature enough to accept death.[32] In Harry's world, death is not binary but mutable, a state that exists in degrees.[33] Unlike Voldemort, who evades death by separating and hiding his soul in seven parts, Harry's soul is whole, nourished by friendship and love.[32]

Love distinguishes Harry and Voldemort. Harry is a hero because he loves others, even willing to accept death to save them; Voldemort is a villain because he does not.[34] Harry carries the protection of his mother's sacrifice in his blood; Voldemort, who wants Harry's blood and the protection it carries, does not understand that love vanquishes death.[20]

Rowling has spoken about thematising death and loss in the series. Soon after she started writing Philosopher's Stone, her mother died; she said that "I really think from that moment on, death became a central, if not the central theme of the seven books".[35] Rowling has described Harry as "the prism through which I view death", and further stated that "all of my characters are defined by their attitude to death and the possibility of death".[36]

While Harry Potter can be viewed as a story about good vs. evil, its moral divisions are not absolute.[37][38] First impressions of characters are often misleading. Harry assumes in the first book that Quirrell is on the side of good because he opposes Snape, who appears to be malicious; in reality, Quirrell is an agent of Voldemort, while Snape is loyal to Dumbledore. This pattern later recurs with Moody and Snape.[37] In Rowling's world, good and evil are choices rather than inherent attributes: second chances and the possibility of redemption are key themes of the series.[39][40] This is reflected in Harry's self-doubts after learning his connections to Voldemort, such as Parseltongue;[39] and prominently in Snape's characterisation, which has been described as complex and multifaceted.[41] In some scholars' view, while Rowling's narrative appears on the surface to be about Harry, her focus may actually be on Snape's morality and character arc.[42][43]

Rowling said that, to her, the moral significance of the tales seems "blindingly obvious". The key for her was the choice between what is right and what is easy, "because that ... is how tyranny is started, with people being apathetic and taking the easy route and suddenly finding themselves in deep trouble".[출처 필요] Academics and journalists have developed many other interpretations of themes in the books, some more complex than others, and some including political subtexts. Themes such as normality, oppression, survival, and overcoming imposing odds have all been considered as prevalent throughout the series.[44] Similarly, the theme of making one's way through adolescence and "going over one's most harrowing ordeals – and thus coming to terms with them" has also been considered.[45] Rowling has stated that the books comprise "a prolonged argument for tolerance, a prolonged plea for an end to bigotry" and that they also pass on a message to "question authority and... not assume that the establishment or the press tells you all of the truth".[46]

Development history[편집]

<nowiki /> 이 부분의 본문은 Harry Potter influences and analogues입니다.

해리 포터에 관한 아이디어가 갑자기 생각났던 날, 롤링은 맨체스터에서 런던으로 향하는 열차에 올라 있었다. 이후 그녀의 웹사이트에서 이에 관해 말했다.[47]

"6살부터 그때까지 계속해서 이야기를 쓰는 동안, 그렇게 흥분된 적은 없었어요. 그리고 4시간 동안(열차 지연) 제 자리에 앉아서 그것에 대해 생각했고, 해리에 관한 모든 디테일들이 제 머리속에서 생겨났죠. 자신이 마법사인줄 몰랐던, 흑발의 소년 캐릭터가 점점 제 머릿속에서 확실해지기 시작했어요."

Rowling completed Harry Potter and the Philosopher's Stone in 1995 and the manuscript was sent off to several prospective agents.[48] The second agent she tried, Christopher Little, offered to represent her and sent the manuscript to several publishers.[49]

Publishing history[편집]

2010년 이전에 영국, 오스트레일리아, 캐나다에서 쓰였던 로고[50]

12개의 출판사에게서 거절당하고 찾아간 영국의 출판사 '블룸즈버리 퍼블리싱'에서 해리 포터와 마법사의 돌 출판권을 구입하였다.[51] 당시까지만 해도 그녀는 등장인물들의 나이대를 정하지 못했었는데, 출판사에서 9~11세로 결정하였다.[52] 책의 발행이 시작되기 전날, 출판사에서 책에 적힐 그녀의 서명을 바꿀 수는 없냐고 롤링에게 물어보았다. 당시에는 여성 작가가 쓴 책은 재미 없다는 인식이 남아있었기 때문이었다. 결국 그녀는 J.K. Rowling(Joanne Kathleen Rowling)이라는 이름을 사용하기로 결정하였다.[53][54]

1997년 6월 26일, 영국에서 해리 포터와 마법사의 돌 판매가 시작되었고, [55]1998년 9월 1일에 미국의 출판사 스콜라스틱에서 'Harry Porter and the Sorcerer's Stone'이라는 이름으로 판매를 시작하였다.[56] 판매가 시작된 이후, 미국에서 10만 달러가 넘는 수익을 내며 무명 작가의 어린이 소설 부문에서 기록을 세웠다.[57] Scholastic feared that American readers would not associate the word "philosopher" with magic, and Rowling suggested the title Harry Potter and the Sorcerer's Stone for the American market.[58] Rowling has later said that she regrets the change.[59]


The second book, Harry Potter and the Chamber of Secrets, was originally published in the UK on 2 July 1998 and in the US on 2 June 1999. Harry Potter and the Prisoner of Azkaban was published a year later in the UK on 8 July 1999 and in the US on 8 September 1999.[60] Harry Potter and the Goblet of Fire was published on 8 July 2000 at the same time by Bloomsbury and Scholastic.[61] Harry Potter and the Order of the Phoenix is the longest book in the series, at 766 pages in the UK version and 870 pages in the US version.[62] It was published worldwide in English on 21 June 2003.[63] Harry Potter and the Half-Blood Prince was published on 16 July 2005.[64][65] The seventh and final novel, Harry Potter and the Deathly Hallows, was published on 21 July 2007.[66] Rowling herself has stated that the last chapter of the final book (in fact, the epilogue) was completed "in something like 1990".[67]

Rowling retained rights to digital editions and released them on the Pottermore website in 2012. Vendors such as Amazon displayed the ebooks in the form of links to Pottermore, which controlled pricing.[68] All seven Harry Potter books have been released in unabridged audiobook versions, with Stephen Fry reading the UK editions and Jim Dale voicing the series for the American editions.[69][70]

Translations[편집]

<nowiki /> 이 부분의 본문은 Harry Potter in translation입니다.
러시아어 번역본의 해리포터와 죽음의 성물이 판매되기 시작한 후 모스코의 모습

The series has been translated into 80 languages,[71] placing Rowling among the most translated authors in history. The books have seen translations to diverse languages such as Korean, Armenian, Ukrainian, Arabic, Urdu, Hindi, Bengali, Bulgarian, Welsh, Afrikaans, Albanian, Latvian, Vietnamese and Hawaiian. The first volume has been translated into Latin and even Ancient Greek,[72] making it the longest published work in Ancient Greek since the novels of Heliodorus of Emesa in the 3rd century AD.[73] The second volume has also been translated into Latin.[74]

8Some of the translators hired to work on the books were well-known authors before their work on Harry Potter, such as Viktor Golyshev, who oversaw the Russian translation of the series' fifth book. The Turkish translation of books two to seven was undertaken by Sevin Okyay, a popular literary critic and cultural commentator.[75] For reasons of secrecy, translation on a given book could only start after it had been released in English, leading to a lag of several months before the translations were available. This led to more and more copies of the English editions being sold to impatient fans in non-English speaking countries; for example, such was the clamour to read the fifth book that its English language edition became the first English-language book ever to top the best-seller list in France.[76]

The United States editions were adapted into American English to make them more understandable to a young American audience.[77]

Cover art[편집]

For cover art, Bloomsbury chose painted art in a classic style of design, with the first cover a watercolour and pencil drawing by illustrator Thomas Taylor showing Harry boarding the Hogwarts Express, and a title in the font Cochin Bold.[78] The first releases of the successive books in the series followed in the same style but somewhat more realistic, illustrating scenes from the books. These covers were created by first Cliff Wright and then Jason Cockroft.[79]

Due to the appeal of the books among an adult audience, Bloomsbury commissioned a second line of editions in an 'adult' style. These initially used black-and-white photographic art for the covers showing objects from the books (including a very American Hogwarts Express) without depicting people, but later shifted to partial colourisation with a picture of Slytherin's locket on the cover of the final book.[출처 필요]

International and later editions have been created by a range of designers, including Mary GrandPré for U.S. audiences and Mika Launis in Finland.[80][81] For a later American release, Kazu Kibuishi created covers in a somewhat anime-influenced style.[82][83]

Reception[편집]

경제적 이익[편집]

<nowiki /> 많이 팔린 책 목록 문서를 참고하십시오.
A large crowd of fans wait outside of a Borders store in Delaware, waiting for the release of Harry Potter and the Half-Blood Prince
해리 포터와 혼혈왕자를 사기 위해 몰린 사람들

The popularity of the Harry Potter series has translated into substantial financial success for Rowling, her publishers, and other Harry Potter related license holders. This success has made Rowling the first and thus far only billionaire author.[84] The books have sold more than 500 million copies worldwide and have also given rise to the popular film adaptations produced by Warner Bros., all of which have been highly successful in their own right.[85][86] The total revenue from the book sales is estimated to be around $7.7 billion.[87] The first novel in the series, Harry Potter and the Philosopher's Stone, has sold in excess of 120 million copies, making it one of the bestselling books in history.[88][89] The films have in turn spawned eight video games and have led to the licensing of more than 400 additional Harry Potter products. The Harry Potter brand has been estimated to be worth as much as $25 billion.[90]

The great demand for Harry Potter books motivated The New York Times to create a separate best-seller list for children's literature in 2000, just before the release of Harry Potter and the Goblet of Fire. By 24 June 2000, Rowling's novels had been on the list for 79 straight weeks; the first three novels were each on the hardcover best-seller list.[91] On 12 April 2007, Barnes & Noble declared that Deathly Hallows had broken its pre-order record, with more than 500,000 copies pre-ordered through its site.[92] For the release of Goblet of Fire, 9,000 FedEx trucks were used with no other purpose than to deliver the book.[93] Together, Amazon.com and Barnes & Noble pre-sold more than 700,000 copies of the book.[93] In the United States, the book's initial printing run was 3.8 million copies.[93] This record statistic was broken by Harry Potter and the Order of the Phoenix, with 8.5 million, which was then shattered by Half-Blood Prince with 10.8 million copies.[94] Within the first 24 hours of its release, 6.9 million copies of Prince were sold in the U.S.; in the United Kingdom more than two million copies were sold on the first day.[95] The initial U.S. print run for Deathly Hallows was 12 million copies, and more than a million were pre-ordered through Amazon and Barnes & Noble.[96]

Fans of the series were so eager for the latest instalment that bookstores around the world began holding events to coincide with the midnight release of the books, beginning with the 2000 publication of Harry Potter and the Goblet of Fire. The events, commonly featuring mock sorting, games, face painting, and other live entertainment have achieved popularity with Potter fans and have been highly successful in attracting fans and selling books with nearly nine million of the 10.8 million initial print copies of Harry Potter and the Half-Blood Prince sold in the first 24 hours.[97][98] The final book in the series, Harry Potter and the Deathly Hallows became the fastest selling book in history, moving 11 million units in the first twenty-four hours of release.[99] The book sold 2.7 million copies in the UK and 8.3 million in the US.[65] The series has also gathered adult fans, leading to the release of two editions of each Harry Potter book, identical in text but with one edition's cover artwork aimed at children and the other aimed at adults.[100]

Literary criticism[편집]

Early in its history, Harry Potter received positive reviews. On publication, the first book, Harry Potter and the Philosopher's Stone, attracted attention from the Scottish newspapers, such as The Scotsman, which said it had "all the makings of a classic",[101] and The Glasgow Herald, which called it "Magic stuff".[101] Soon the English newspapers joined in, with The Sunday Times comparing it to Roald Dahl's work ("comparisons to Dahl are, this time, justified"),[101] while The Guardian called it "a richly textured novel given lift-off by an inventive wit".[101]

By the time of the release of the fifth book, Harry Potter and the Order of the Phoenix, the books began to receive strong criticism from a number of literary scholars. Yale professor, literary scholar, and critic Harold Bloom raised criticisms of the books' literary merits, saying, "Rowling's mind is so governed by clichés and dead metaphors that she has no other style of writing."[102] A. S. Byatt authored an op-ed article in The New York Times calling Rowling's universe a "secondary secondary world, made up of intelligently patchworked derivative motifs from all sorts of children's literature ... written for people whose imaginative lives are confined to TV cartoons, and the exaggerated (more exciting, not threatening) mirror-worlds of soaps, reality TV and celebrity gossip."[103]

Michael Rosen, a novelist and poet, advocated the books were not suited for children, as they would be unable to grasp the complex themes. Rosen also stated that "J. K. Rowling is more of an adult writer."[104] The critic Anthony Holden wrote in The Observer on his experience of judging Harry Potter and the Prisoner of Azkaban for the 1999 Whitbread Awards. His overall view of the series was negative – "the Potter saga was essentially patronising, conservative, highly derivative, dispiritingly nostalgic for a bygone Britain," and he speaks of "a pedestrian, ungrammatical prose style".[105] Ursula K. Le Guin said, "I have no great opinion of it [...] it seemed a lively kid's fantasy crossed with a 'school novel,' good fare for its age group, but stylistically ordinary, imaginatively derivative, and ethically rather mean-spirited."[106] By contrast, author Fay Weldon, while admitting that the series is "not what the poets hoped for", nevertheless goes on to say, "but this is not poetry, it is readable, saleable, everyday, useful prose."[107]

The literary critic A. N. Wilson praised the Harry Potter series in The Times, stating, "There are not many writers who have JK's Dickensian ability to make us turn the pages, to weep – openly, with tears splashing – and a few pages later to laugh, at invariably good jokes ... We have lived through a decade in which we have followed the publication of the liveliest, funniest, scariest and most moving children's stories ever written."[108] Charles Taylor of Salon.com, who is primarily a movie critic,[109] took issue with Byatt's criticisms in particular. While he conceded that she may have "a valid cultural point – a teeny one – about the impulses that drive us to reassuring pop trash and away from the troubling complexities of art",[110] he rejected her claims that the series is lacking in serious literary merit and that it owes its success merely to the childhood reassurances it offers.[110] Stephen King called the series "a feat of which only a superior imagination is capable", and declared "Rowling's punning, one-eyebrow-cocked sense of humor" to be "remarkable". However, he wrote that he is "a little tired of discovering Harry at home with his horrible aunt and uncle", the formulaic beginning of all seven books.[2][111]

Sameer Rahim of The Daily Telegraph disagreed, saying "It depresses me to see 16- and 17-year-olds reading the series when they could be reading the great novels of childhood such as Oliver Twist or A House for Mr Biswas."[112] The Washington Post book critic Ron Charles opined in July 2007 that "through no fault of Rowling's", the cultural and marketing "hysteria" marked by the publication of the later books "trains children and adults to expect the roar of the coliseum, a mass-media experience that no other novel can possibly provide".[113] Jenny Sawyer wrote in The Christian Science Monitor on 25 July 2007 that Harry Potter neither faces a "moral struggle" nor undergoes any ethical growth, and is thus "no guide in circumstances in which right and wrong are anything less than black and white".[114] In contrast Emily Griesinger described Harry's first passage through to Platform 9+3⁄4 as an application of faith and hope, and his encounter with the Sorting Hat as the first of many in which Harry is shaped by the choices he makes.[115]

In an 8 November 2002 Slate article, ChrisSuellentrop likened Potter to a "trust-fund kid whose success at school is largely attributable to the gifts his friends and relatives lavish upon him".[116] In a 12 August 2007, review of Deathly Hallows in The New York Times, however, Christopher Hitchens praised Rowling for "unmooring" her "English school story" from literary precedents "bound up with dreams of wealth and class and snobbery", arguing that she had instead created "a world of youthful democracy and diversity".[117] In 2016, an article written by Diana C. Mutz compares the politics of Harry Potter to the 2016 Donald Trump presidential campaign. She suggests that these themes are also present in the presidential election and it may play a significant role in how Americans have responded to the campaign.[118]

There is ongoing discussion regarding the extent to which the series was inspired by Tolkien's Lord of the Rings books.[119]

Thematic critique[편집]

The portrayal of women in Harry Potter has been described as complex and varied, but nonetheless conforming to stereotypical and patriarchal depictions of gender.[120] Gender divides are ostensibly absent in the books: Hogwarts is coeducational and women hold positions of power in wizarding society. However, this setting obscures the typecasting of female characters and the general depiction of conventional gender roles.[121] According to scholars Elizabeth Heilman and Trevor Donaldson, the subordination of female characters goes further early in the series. The final three books "showcase richer roles and more powerful females": for instance, the series' "most matriarchal character", Molly Weasley, engages substantially in the final battle of Deathly Hallows, while other women are shown as leaders.[122] Hermione Granger, in particular, becomes an active and independent character essential to the protagonists' battle against evil.[123] Yet, even particularly capable female characters such as Hermione and Minerva McGonagall are placed in supporting roles,[124] and Hermione's status as a feminist model is debated.[125] Girls and women are more frequently shown as emotional, more often defined by their appearance, and less often given agency in family settings.[121][126]

The social hierarchy of wizards in Rowling's world has drawn debate among critics. "Purebloods" have two wizard parents; "half-bloods" have one; and "Muggle-born" wizards have magical abilities although neither of their parents is a wizard.[127] Lord Voldemort and his followers believe that blood purity is paramount and that Muggles are subhuman.[128] According to the literary scholar Andrew Blake, Harry Potter rejects blood purity as a basis for social division;[129] Suman Gupta agrees that Voldemort's philosophy represents "absolute evil";[130] and Nel and Eccleshare agree that advocates of racial or blood-based hierarchies are antagonists.[131][132] Gupta, following Blake,[133] suggests that the essential superiority of wizards over Muggles – wizards can use magic and Muggles cannot – means that the books cannot coherently reject anti-Muggle prejudice by appealing to equality between wizards and Muggles. Rather, according to Gupta, Harry Potter models a form of tolerance based on the "charity and altruism of those belonging to superior races" towards lesser races.[134]

Harry Potter's depiction of race, specifically the slavery of house-elves, has received varied responses. Scholars such as Brycchan Carey have praised the books' abolitionist sentiments, viewing Hermione's Society for the Promotion of Elfish Welfare as a model for younger readers' political engagement.[135][136] Other critics including Farah Mendlesohn find the portrayal of house-elves "most difficult to accept": the elves are denied the right to free themselves and rely on the benevolence of others like Hermione.[137][138] Pharr terms the house-elves a disharmonious element in the series, writing that Rowling leaves their fate hanging;[139] at the end of Deathly Hallows, the elves remain enslaved and cheerful.[140]

Controversies[편집]

<nowiki /> 이 부분의 본문은 Legal disputes over the Harry Potter series, Religious debates over the Harry Potter series, Politics of Harry Potter 및 Tanya Grotter입니다.

The books have been the subject of a number of legal proceedings, stemming from various conflicts over copyright and trademark infringements. The popularity and high market value of the series has led Rowling, her publishers, and film distributor Warner Bros. to take legal measures to protect their copyright, which have included banning the sale of Harry Potter imitations, targeting the owners of websites over the "Harry Potter" domain name, and suing author Nancy Stouffer to counter her accusations that Rowling had plagiarised her work.[141][142][143] Various religious fundamentalists have claimed that the books promote witchcraft and religions such as Wicca and are therefore unsuitable for children,[144][145][146] while a number of critics have criticised the books for promoting various political agendas.[147][148] The Harry Potter series has landed the American Library Associations' Top 10 Banned Book List in 2001, 2002, 2003, and 2019 because it was anti-family, discussed magic and witchcraft, contained actual spells and curses, referenced the occult/Satanism, violence, and had characters who used "nefarious means" to attain goals, as well as conflicts with religious viewpoints.[149]

The books also aroused controversies in the literary and publishing worlds. From 1997 to 1998, Harry Potter and the Philosopher's Stone won almost all the UK awards judged by children, but none of the children's book awards judged by adults,[150] and Sandra Beckett suggested the reason was intellectual snobbery towards books that were popular among children.[151] In 1999, the winner of the Whitbread Book of the Year award children's division was entered for the first time on the shortlist for the main award, and one judge threatened to resign if Harry Potter and the Prisoner of Azkaban was declared the overall winner; it finished second, very close behind the winner of the poetry prize, Seamus Heaney's translation of the Anglo-Saxon epic Beowulf.[151]

In 2000, shortly before the publication of Harry Potter and the Goblet of Fire, the previous three Harry Potter books topped The New York Times fiction best-seller list and a third of the entries were children's books. The newspaper created a new children's section covering children's books, including both fiction and non-fiction, and initially counting only hardback sales. The move was supported by publishers and booksellers.[91] In 2004, The New York Times further split the children's list, which was still dominated by Harry Potter books, into sections for series and individual books, and removed the Harry Potter books from the section for individual books.[152] The split in 2000 attracted condemnation, praise and some comments that presented both benefits and disadvantages of the move.[153] Time suggested that, on the same principle, Billboard should have created a separate "mop-tops" list in 1964 when the Beatles held the top five places in its list, and Nielsen should have created a separate game-show list when Who Wants to Be a Millionaire? dominated the ratings.[154]

Legacy[편집]

Influence on literature[편집]

Sculpture of Harry Potter in Leicester Square, London, 2020
런던의 레스터 스퀘어(Leicester Square)에 있는 해리 포터 조각상

Harry Potter transformed children's literature.[155][156] In the 1970s, children's books were generally realistic as opposed to fantastic,[157] while adult fantasy became popular because of the influence of The Lord of the Rings.[158] The next decade saw an increasing interest in grim, realist themes, with an outflow of fantasy readers and writers to adult works.[159][160]

The commercial success of Harry Potter in 1997 reversed this trend.[161] The scale of its growth had no precedent in the children's market: within four years, it occupied 28% of that field by revenue.[162] Children's literature rose in cultural status,[163] and fantasy became a dominant genre.[164] Older works in the genre, including Diana Wynne Jones's Chrestomanci series and Diane Duane's Young Wizards, were reprinted and rose in popularity; some authors re-established their careers.[165] In the following decades, many Harry Potter imitators and subversive responses grew popular.[166][167]

Rowling has been compared to Enid Blyton, who also wrote in simple language about groups of children and long held sway over the British children's market.[168][169] She has also been described as an heir to Roald Dahl.[170] Some critics view Harry Potter's rise, along with the concurrent success of Philip Pullman's His Dark Materials, as part of a broader shift in reading tastes: a rejection of literary fiction in favour of plot and adventure.[171] This is reflected in the BBC's 2003 "Big Read" survey of the UK's favourite books, where Pullman and Rowling ranked at numbers 3 and 5, respectively, with very few British literary classics in the top 10.[172]

Cultural impact[편집]

<nowiki /> Harry Potter fandom 문서에 이 부분의 추가 정보가 있습니다.
런던 킹스크로스 역에 걸린 "9+3⁄4 승강장" 표지판

Harry Potter has been described as a cultural phenomenon.[173][174] The word "Muggle" has spread beyond its origins in the books, entering the Oxford English Dictionary in 2003.[175] A real-life version of the sport Quidditch was created in 2005 and featured as an exhibition tournament in the 2012 London Olympics.[176] Characters and elements from the series have inspired scientific names of several organisms, including the dinosaur Dracorex hogwartsia, the spider Eriovixia gryffindori, the wasp Ampulex dementor, and the crab Harryplax severus.[177]

Librarian Nancy Knapp pointed out the books' potential to improve literacy by motivating children to read much more than they otherwise would.[178] The seven-book series has a word count of 1,083,594 (US edition). Agreeing about the motivating effects, Diane Penrod also praised the books' blending of simple entertainment with "the qualities of highbrow literary fiction", but expressed concern about the distracting effect of the prolific merchandising that accompanies the book launches.[179] However, the assumption that Harry Potter books have increased literacy among young people is "largely a folk legend".[180]

Research by the National Endowment for the Arts (NEA) has found no increase in reading among children coinciding with the Harry Potter publishing phenomenon, nor has the broader downward trend in reading among Americans been arrested during the rise in the popularity of the Harry Potter books.[180][181] The research also found that children who read Harry Potter books were not more likely to go on to read outside the fantasy and mystery genres.[180] NEA chairman Dana Gioia said the series, "got millions of kids to read a long and reasonably complex series of books. The trouble is that one Harry Potter novel every few years is not enough to reverse the decline in reading."[182]

Many fan fiction and fan art works about Harry Potter have been made. In March 2007, "Harry Potter" was the most commonly searched fan fiction subject on the internet.[183] Jennifer Conn used Snape's and Quidditch coach Madam Hooch's teaching methods as examples of what to avoid and what to emulate in clinical teaching,[184] and Joyce Fields wrote that the books illustrate four of the five main topics in a typical first-year sociology class: "sociological concepts including culture, society, and socialisation; stratification and social inequality; social institutions; and social theory".[185]

From the early 2000s onwards several news reports appeared in the UK of the Harry Potter book and movie series driving demand for pet owls[186] and even reports that after the end of the movie series these same pet owls were now being abandoned by their owners.[187] This led J. K. Rowling to issue several statements urging Harry Potter fans to refrain from purchasing pet owls.[188] Despite the media flurry, research into the popularity of Harry Potter and sales of owls in the UK failed to find any evidence that the Harry Potter franchise had influenced the buying of owls in the country or the number of owls reaching animal shelters and sanctuaries.[189]

Awards, honours, and recognition[편집]

<nowiki /> List of awards and nominations received by J. K. Rowling 문서에 이 부분의 추가 정보가 있습니다.

The Harry Potter series has been recognised by a host of awards since the initial publication of Philosopher's Stone including a platinum award from the Whitaker Gold and Platinum Book Awards ( 2001),[190][191] three Nestlé Smarties Book Prizes (1997–1999),[192] two Scottish Arts Council Book Awards (1999 and 2001),[193] the inaugural Whitbread children's book of the year award (1999),[194] the WHSmith book of the year (2006),[195] among others. In 2000, Harry Potter and the Prisoner of Azkaban was nominated for a Hugo Award for Best Novel, and in 2001, Harry Potter and the Goblet of Fire won said award.[196] Honours include a commendation for the Carnegie Medal (1997),[197] a short listing for the Guardian Children's Award (1998), and numerous listings on the notable books, editors' Choices, and best books lists of the American Library Association, The New York Times, Chicago Public Library, and Publishers Weekly.[198]

In 2002, sociologist Andrew Blake named Harry Potter a British pop culture icon along with the likes of James Bond and Sherlock Holmes.[199] In 2003, four of the books were named in the top 24 of the BBC's The Big Read survey of the best loved novels in the UK.[200] A 2004 study found that books in the series were commonly read aloud in elementary schools in San Diego County, California.[201] Based on a 2007 online poll, the U.S. National Education Association listed the series in its "Teachers' Top 100 Books for Children".[202] Time magazine named Rowling as a runner-up for its 2007 Person of the Year award, noting the social, moral, and political inspiration she has given her fandom.[203] Three of the books placed among the "Top 100 Chapter Books" of all time, or children's novels, in a 2012 survey published by School Library Journal: Sorcerer's Stone ranked number three, Prisoner of Azkaban 12th, and Goblet of Fire 98th.[204] In 2012, the opening ceremony of the 2012 Summer Olympics in London featured a 100-foot tall rendition of Lord Voldemort in a segment designed to show off the UK's cultural icons.[205] In November 2019, the BBC listed the Harry Potter series on its list of the 100 most influential novels.[206]

각주[편집]

  1. ↑ Anne Le Lievre, Kerrie (2003). “Wizards and wainscots: generic structures and genre themes in the Harry Potter series”. CNET Networks. 2008년 9월 1일에 확인함. [깨진 링크]
  2. ↑ 가 나 King, Stephen (23 July 2000). “Wild About Harry”. 《The New York Times》. 17 April 2009에 원본 문서에서 보존된 문서. 9 August 2010에 확인함. ...the Harry Potter books are, at heart, satisfyingly shrewd mystery tales. 
  3. ↑ “Harry Potter makes boarding fashionable”. 《BBC News》. 13 December 1999. 28 December 2008에 원본 문서에서 보존된 문서. 1 September 2008에 확인함. 
  4. ↑ Ellen Jones, Leslie (2003). 《JRR Tolkien: A Biography》. Greenwood Press. 16쪽. ISBN 978-0-313-32340-9. 
  5. ↑ A Whited, Lana (2004). 《The Ivory Tower and Harry Potter: Perspectives on a Literary Phenomenon》. University of Missouri Press. 28쪽. ISBN 978-0-8262-1549-9. 
  6. ↑ 가 나 Natov 2002, 129쪽.
  7. ↑ Butler 2012, 233–34쪽.
  8. ↑ Butler 2012, 234쪽.
  9. ↑ Park 2003, 183쪽.
  10. ↑ Natov 2002, 130쪽.
  11. ↑ 가 나 Nikolajeva 2008, 233쪽.
  12. ↑ Ostry 2003, 97쪽.
  13. ↑ Ostry 2003, 90, 97–98쪽.
  14. ↑ 가 나 Grossman, Lev (28 June 2007). “Harry Potter's Last Adventure”. 《Time》. 27 August 2008에 원본 문서에서 보존된 문서. 1 September 2008에 확인함. 
  15. ↑ “Two characters to die in last 'Harry Potter' book: J.K. Rowling”. CBC. 2006년 6월 26일. 2006년 6월 30일에 원본 문서에서 보존된 문서. 2008년 9월 1일에 확인함. 
  16. ↑ Alton 2008, 216쪽.
  17. ↑ Gallardo & Smith 2003, 195쪽.
  18. ↑ 가 나 다 라 마 바 Arden, Heather; Lorenz, Kathryn (June 2003). “The Harry Potter Stories and French Arthurian Romance”. 《Arthuriana》 13 (12): 54–68. doi:10.1353/art.2003.0005. JSTOR 27870516. S2CID 161603742. 
  19. ↑ Singer 2016, 26–27쪽.
  20. ↑ 가 나 Farmer 2001, 58쪽.
  21. ↑ Farmer 2001, 55쪽.
  22. ↑ Nikolajeva 2008, 238–39쪽.
  23. ↑ 가 나 다 Adler, Shawn (17 October 2007). “'Harry Potter' Author J.K. Rowling Opens Up About Books' Christian Imagery” (영어). MTV. 14 October 2017에 원본 문서에서 보존된 문서. 3 April 2018에 확인함. 
  24. ↑ Sedlmayr, Gerold; Waller, Nicole (2014년 10월 28일). 《Politics in Fantasy Media: Essays on Ideology and Gender in Fiction, Film, Television and Games》 (영어). McFarland & Company. 132쪽. ISBN 9781476617558. During this press conference, Rowling stated that the Bible quotations in that novel "almost epitomize the whole series. I think they sum up all the themes in the whole series" (reported in Adler). 
  25. ↑ Falconer, Rachel (2008년 10월 21일). 《The Crossover Novel: Contemporary Children's Fiction and Its Adult Readership》 (영어). Routledge. 69쪽. ISBN 9781135865016. These New Testament verses (Matthew 6:19 and 1 Corinthians 15:26) together denote the promise of resurrection through the Son of God's consent to die.52 In interview, Rowling has stressed that these two quotations 'sum up – they almost epitomize the whole series'. 
  26. ↑ Cooke, Rachel. “ProQuest Ebook Central”. 《CC Advisor》. doi:10.5260/cca.199425. 
  27. ↑ Ciaccio 2008, 39–40쪽.
  28. ↑ Groves 2017, xxi–xxii, 135–136쪽.
  29. ↑ 가 나 Natov 2002, 134–36쪽.
  30. ↑ Taub & Servaty-Seib 2008, 23–27쪽.
  31. ↑ Pharr 2016, 20–21쪽.
  32. ↑ 가 나 Los 2008, 32–33쪽.
  33. ↑ Stojilkov 2015, 135쪽.
  34. ↑ Pharr 2016, 14–15, 20–21쪽.
  35. ↑ Groves 2017, 138쪽.
  36. ↑ Groves 2017, 135쪽.
  37. ↑ 가 나 Shanoes 2003, 131–32쪽.
  38. ↑ McEvoy 2016, 207쪽.
  39. ↑ 가 나 Doughty 2002, 247–49쪽.
  40. ↑ Berberich 2016, 153쪽.
  41. ↑ Birch 2008, 110–13쪽.
  42. ↑ Nikolajeva 2016, 204쪽.
  43. ↑ Applebaum 2008, 84–85쪽.
  44. ↑ Greenwald, Janey; Greenwald, J (Fall 2005). “Understanding Harry Potter: Parallels to the Deaf World”. 《The Journal of Deaf Studies and Deaf Education》 (Free full text) 10 (4): 442–450. doi:10.1093/deafed/eni041. PMID 16000691. 
  45. ↑ Duffy, Edward (2002). “Sentences in Harry Potter, Students in Future Writing Classes”. 《Rhetoric Review》 21 (2): 177. doi:10.1207/S15327981RR2102_03. S2CID 144654506. 
  46. ↑ “JK Rowling outs Dumbledore as gay”. 《BBC News》. 21 October 2007. 22 October 2007에 원본 문서에서 보존된 문서. 21 October 2007에 확인함. 
  47. ↑ Rowling, JK (2006). “Biography”. JKRowling.com. 2006년 4월 21일에 원본 문서에서 보존된 문서. 2006년 5월 21일에 확인함. 
  48. ↑ Kirk 2003, 73쪽.
  49. ↑ Smith 2002, 156, 159–161쪽.
  50. ↑ “Harry Potter Books (UK Editions) Terms and Conditions for Use of Images for Book Promotion” (PDF). Bloomsbury Publishing Plc. 2007년 7월 10일. 2007년 7월 10일에 원본 문서 (PDF)에서 보존된 문서. 2012년 9월 7일에 확인함. 
  51. ↑ Smith 2002, 159–160쪽.
  52. ↑ Huler, Scott. “The magic years”. 《The News & Observer》. 2008년 12월 18일에 원본 문서에서 보존된 문서. 2008년 9월 28일에 확인함. 
  53. ↑ Kirk 2003, 76쪽.
  54. ↑ Savill, Richard (21 June 2001). “Harry Potter and the mystery of J K's lost initial”. 《The Daily Telegraph》 (London). 20 December 2008에 원본 문서에서 보존된 문서. 27 September 2008에 확인함. 
  55. ↑ “Harry Potter and the Philosopher's Stone”. Bloomsbury Publishing. 26 June 2015에 원본 문서에서 보존된 문서. 27 November 2016에 확인함. 
  56. ↑ “Wild about Harry”. NYP Holdings, Inc. 2007년 7월 2일. 2009년 8월 21일에 원본 문서에서 보존된 문서. 2008년 9월 27일에 확인함. 
  57. ↑ Rozhon, Tracie (21 April 2007). “A Brief Walk Through Time at Scholastic”. 《The New York Times》. C3면. 16 April 2009에 원본 문서에서 보존된 문서. 21 April 2007에 확인함. 
  58. ↑ Errington 2017, 145쪽.
  59. ↑ Whited 2015, 75쪽.
  60. ↑ “A Potter timeline for muggles”. 《Toronto Star》. 14 July 2007. 20 December 2008에 원본 문서에서 보존된 문서. 27 September 2008에 확인함. 
  61. ↑ “Speed-reading after lights out”. London: Guardian News and Media Limited. 19 July 2000. 31 December 2013에 원본 문서에서 보존된 문서. 27 September 2008에 확인함. 
  62. ↑ Harmon, Amy (14 July 2003). “Harry Potter and the Internet Pirates”. 《The New York Times》. 3 April 2009에 원본 문서에서 보존된 문서. 21 August 2008에 확인함. 
  63. ↑ Cassy, John (16 January 2003). “Harry Potter and the hottest day of summer”. 《The Guardian》 (London: Guardian News and Media Limited). 31 December 2013에 원본 문서에서 보존된 문서. 27 September 2008에 확인함. 
  64. ↑ “July date for Harry Potter book”. 《BBC News》. 21 December 2004. 29 December 2008에 원본 문서에서 보존된 문서. 27 September 2008에 확인함. 
  65. ↑ 가 나 “Harry Potter finale sales hit 11 m”. 《BBC News》. 23 July 2007. 25 December 2008에 원본 문서에서 보존된 문서. 21 August 2008에 확인함. 
  66. ↑ “Rowling unveils last Potter date”. 《BBC News》. 1 February 2007. 28 December 2008에 원본 문서에서 보존된 문서. 27 September 2008에 확인함. 
  67. ↑ “Rowling to kill two in final book”. 《BBC News》. 2006년 6월 27일. 2009년 8월 3일에 원본 문서에서 보존된 문서. 2007년 7월 25일에 확인함. 
  68. ↑ Clark & Phillips 2019, 47쪽.
  69. ↑ Rich, Mokoto (2007년 7월 17일). “The Voice of Harry Potter Can Keep a Secret”. 《The New York Times》. 2019년 9월 6일에 확인함. 
  70. ↑ “Harry Potter Audiobooks and E-Books”. 《Mugglenet》. Dose Media. 2019년 9월 6일에 확인함. 
  71. ↑ 인용 오류: <ref> 태그가 잘못되었습니다; Harry Potter copies라는 이름을 가진 주석에 텍스트가 없습니다
  72. ↑ Wilson, Andrew (2006). “Harry Potter in Greek”. Andrew Wilson. 21 June 2008에 원본 문서에서 보존된 문서. 28 July 2008에 확인함. 
  73. ↑ Castle, Tim (2004년 12월 2일). “Harry Potter? It's All Greek to Me”. Reuters. 2008년 1월 19일에 원본 문서에서 보존된 문서. 2008년 7월 28일에 확인함. 
  74. ↑ LTD, Skyron. “Harry Potter and the Chamber of Secrets (Latin)”. 《Bloomsbury Publishing》. 5 September 2015에 원본 문서에서 보존된 문서. 13 August 2015에 확인함. 
  75. ↑ Güler, Emrah (2005). “Not lost in translation: Harry Potter in Turkish”. 《The Turkish Daily News》. 2007년 9월 30일에 원본 문서에서 보존된 문서. 2007년 5월 9일에 확인함. 
  76. ↑ “OOTP is best seller in France - in English!”. 《BBC News》. 1 July 2003. 13 June 2017에 원본 문서에서 보존된 문서. 28 July 2008에 확인함. 
  77. ↑ “Differences in the UK and US Versions of Four Harry Potter Books”. FAST US-1. 2008년 1월 21일. 2015년 3월 19일에 원본 문서에서 보존된 문서. 2008년 8월 17일에 확인함. 
  78. ↑ Taylor, Thomas (26 July 2012). “Me and Harry Potter”. 《Thomas Taylor (author site)》. 23 September 2015에 원본 문서에서 보존된 문서. 23 September 2015에 확인함. 
  79. ↑ Thorpe, Vanessa (20 January 2002). “Harry Potter beats Austen in sale rooms”. 《The Observer》 (Guardian News and Media Limited). 13 June 2014에 원본 문서에서 보존된 문서. 21 November 2010에 확인함. 
  80. ↑ Rowling, J.K. Harry Potter and the Deathly Hallows; American edition; Scholastic Corporation; 2007; Final credits page
  81. ↑ “Illustrator puts a bit of herself on Potter cover: GrandPré feels pressure to create something special with each book”. Today.com. Associated Press. 8 March 2005. 12 February 2007에 확인함. 
  82. ↑ Liu, Jonathan H. (13 February 2013). “New Harry Potter Covers by Kazu Kibuishi”. 《Wired》. 12 July 2015에 원본 문서에서 보존된 문서. 6 July 2015에 확인함. 
  83. ↑ Hall, April (2014년 8월 15일). “5 Questions With... Kazu Kibuishi (Amulet series)”. 《www.reading.org》. 2015년 4월 18일에 원본 문서에서 보존된 문서. 2015년 7월 6일에 확인함. 
  84. ↑ Watson, Julie (26 February 2004). “J. K. Rowling and the Billion-Dollar Empire”. 《Forbes》. 11 December 2007에 원본 문서에서 보존된 문서. 3 December 2007에 확인함. 
  85. ↑ “All Time Worldwide Box Office Grosses”. 《Box Office Mojo》. 1998–2008. 3 November 2010에 원본 문서에서 보존된 문서. 29 July 2008에 확인함. 
  86. ↑ Eyre, Charlotte ( 1 February 2018). “Harry Potter book sales top 500 million worldwide”. 《The Bookseller》. 1 February 2018에 원본 문서에서 보존된 문서. 
  87. ↑ “The Billion Dollar Business Behind 'Harry Potter' Franchise”. 《entrepreneur》. 2018년 11월 18일. 2020년 12월 22일에 확인함. 
  88. ↑ Chalton, Nicola; Macardle, Meredith (2017년 3월 15일). 《20th Century in Bite-Sized Chunks》 (영어). Book Sales. ISBN 978-0-7858-3510-3. 
  89. ↑ “Burbank Public Library offering digital copies of first 'Harry Potter' novel to recognize the book's 20th anniversary”. 《Burbank Leader》 (미국 영어). 2018년 9월 5일. 2020년 9월 3일에 확인함. 
  90. ↑ 인용 오류: <ref> 태그가 잘못되었습니다; Time25라는 이름을 가진 주석에 텍스트가 없습니다
  91. ↑ 가 나 Smith, Dinitia (24 June 2000). “The Times Plans a Children's Best-Seller List”. 《The New York Times》. 21 June 2009에 원본 문서에서 보존된 문서. 30 September 2008에 확인함. 
  92. ↑ “New Harry Potter breaks pre-order record”. RTÉ.ie Entertainment. 13 April 2007. 18 April 2007에 원본 문서에서 보존된 문서. 23 April 2007에 확인함. 
  93. ↑ 가 나 다 Fierman, Daniel (2000년 7월 21일). “Wild About Harry”. 《Entertainment Weekly》. 2007년 3월 31일에 원본 문서에서 보존된 문서. 2019년 10월 26일에 확인함. When I buy the books for my grandchildren, I have them all gift wrapped but one...that's for me. And I have not been 12 for over 50 years. 
  94. ↑ “Harry Potter hits midnight frenzy”. CNN. 2005년 7월 15일. 2006년 12월 21일에 원본 문서에서 보존된 문서. 2007년 1월 15일에 확인함. 
  95. ↑ “Worksheet: Half-Blood Prince sets UK record”. 《BBC News》. 20 July 2005. 4 February 2007에 원본 문서에서 보존된 문서. 19 January 2007에 확인함. 
  96. ↑ “Record print run for final Potter”. 《BBC News》. 15 March 2007. 25 March 2007에 원본 문서에서 보존된 문서. 22 May 2007에 확인함. 
  97. ↑ Freeman, Simon (18 July 2005). “Harry Potter casts spell at checkouts”. 《The Times》 (London). 15 June 2011에 원본 문서에서 보존된 문서. 29 July 2008에 확인함. 
  98. ↑ “Potter book smashes sales records”. 《BBC News》. 18 July 2005. 27 December 2008에 원본 문서에서 보존된 문서. 29 July 2008에 확인함. 
  99. ↑ “'Harry Potter' tale is fastest-selling book in history”. 《The New York Times》. 2007년 7월 23일. 2011년 12월 8일에 원본 문서에서 보존된 문서. 2010년 3월 30일에 확인함. 
  100. ↑ “Harry Potter at Bloomsbury Publishing – Adult and Children Covers”. Bloomsbury Publishing. 2008년 8월 28일에 원본 문서에서 보존된 문서. 2008년 8월 18일에 확인함. 
  101. ↑ 가 나 다 라 Eccleshare 2002, 10쪽
  102. ↑ Bloom, Harold (24 September 2003). “Dumbing down American readers”. 《The Boston Globe》. 17 June 2006에 원본 문서에서 보존된 문서. 20 June 2006에 확인함. 
  103. ↑ Byatt, A. S. ( 7 July 2003). “Harry Potter and the Childish Adult”. 《The New York Times》. 17 April 2009에 원본 문서에서 보존된 문서. 1 August 2008에 확인함. 
  104. ↑ Sweeney, Charlene (19 May 2008). “Harry Potter 'is too boring and grown-up for young readers'”. 《The Times》 (London). 15 June 2011에 원본 문서에서 보존된 문서. 15 January 2011에 확인함. 
  105. ↑ Holden, Anthony (25 June 2000). “Why Harry Potter does not cast a spell over me”. 《The Observer》 (London). 24 August 2013에 원본 문서에서 보존된 문서. 1 August 2008에 확인함. 
  106. ↑ “Chronicles of Earthsea”. 《The Guardian》 (London). 9 February 2004. 2 October 2013에 원본 문서에서 보존된 문서. 2 October 2009에 확인함. 
  107. ↑ Allison, Rebecca (11 July 2003). “Rowling books 'for people with stunted imaginations'”. 《The Guardian》 (London). 18 May 2014에 원본 문서에서 보존된 문서. 1 August 2008에 확인함. 
  108. ↑ Wilson, A. N. (29 July 2007). “Harry Potter and the Deathly Hallows by JK Rowling”. 《The Times》 (London). 6 July 2008에 원본 문서에서 보존된 문서. 28 September 2008에 확인함. 
  109. ↑ “Salon Columnist”. 《Salon.com》. 2000. 2008년 6월 16일에 원본 문서에서 보존된 문서. 2008년 8월 3일에 확인함. 
  110. ↑ 가 나 Taylor, Charles (2003년 7월 8일). “A. S. Byatt and the goblet of bile”. 《Salon.com》. 2008년 6월 16일에 원본 문서에서 보존된 문서. 2008년 8월 3일에 확인함. 
  111. ↑ Fox, Killian (31 December 2006). “JK Rowling: The mistress of all she surveys”. 《The Guardian》 (London). 28 September 2014에 원본 문서에서 보존된 문서. 10 February 2007에 확인함. 
  112. ↑ Rahim, Sameer (13 April 2012). “The Casual Vacancy: why I'm dreading JK Rowling's adult novel”. 《The Telegraph》 (London). 2 January 2018에 원본 문서에서 보존된 문서. 28 March 2017에 확인함. 
  113. ↑ Charles, Ron (15 July 2007). “Harry Potter and the Death of Reading”. 《The Washington Post》. 25 July 2008에 원본 문서에서 보존된 문서. 16 April 2008에 확인함. 
  114. ↑ Sawyer, Jenny (25 July 2007). “Missing from 'Harry Potter" – a real moral struggle”. 《The Christian Science Monitor》. 27 September 2007에 원본 문서에서 보존된 문서. 16 April 2008에 확인함. 
  115. ↑ Griesinger, E. (2002). “Harry Potter and the "deeper magic": narrating hope in children's literature”. 《Christianity and Literature》 51 (3): 455–480. doi:10.1177/014833310205100308. 
  116. ↑ Suellentrop, Chris ( 8 November 2002). “Harry Potter: Fraud”. 《Slate》. 27 March 2008에 원본 문서에서 보존된 문서. 16 April 2008에 확인함. 
  117. ↑ Hitchens, Christopher (2007년 8월 12일). “The Boy Who Lived”. 《The New York Times》. 2009년 4월 16일에 원본 문서에서 보존된 문서. 2008년 4월 1일에 확인함. 
  118. ↑ C. Mutz, Diana (2016). “Harry Potter and the Deathly Donald”. 《Elections in Focus》 49. 2018년 9월 21일에 원본 문서에서 보존된 문서. 2018년 9월 29일에 확인함. 
  119. ↑ Wetherill, Louise. "Harry Potter: Merely Frodo Baggins with a Wand?", in Ampthill Literary Festival Yearbook 2015. Ampthill: Literary Festival Committee, 2015. ISBN 978-1-5175506-8-4, pp. 85–92.
  120. ↑ Heilman & Donaldson 2008, 139–41쪽; Pugh & Wallace 2006; Eberhardt 2017.
  121. ↑ 가 나 Pugh & Wallace 2006.
  122. ↑ Heilman & Donaldson 2008, 139–41쪽.
  123. ↑ Berents 2012, 144–49쪽.
  124. ↑ Heilman & Donaldson 2008, 142–47쪽.
  125. ↑ Bell & Alexander 2012, 1–8쪽.
  126. ↑ Heilman & Donaldson 2008, 149–55쪽.
  127. ↑ Barratt 2012, 64쪽.
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  130. ↑ Gupta 2009, 104쪽.
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  135. ↑ Carey 2003, 105–107, 114쪽.
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  139. ↑ Pharr 2016, 12–13쪽.
  140. ↑ Barratt 2012, 52쪽.
  141. ↑ “Scholastic Inc, J.K. Rowling and Time Warner Entertainment Company, L.P, Plaintiffs/Counterclaim Defendants, -against- Nancy Stouffer: United States District Court for the Southern District of New York”. ICQ. 17 September 2002. 7 June 2007에 원본 문서에서 보존된 문서. 12 June 2007에 확인함. 
  142. ↑ McCarthy, Kieren (2000). “Warner Brothers bullying ruins Field family Xmas”. 《The Register》. 3 November 2015에 원본 문서에서 보존된 문서. 3 May 2007에 확인함. 
  143. ↑ “Fake Harry Potter novel hits China”. 《BBC News》. 4 July 2002. 1 September 2007에 원본 문서에서 보존된 문서. 11 March 2007에 확인함. 
  144. ↑ O'Kane, Caitlin. Nashville school bans "Harry Potter" series, citing risk of "conjuring evil spirits". CBS News. Retrieved on 3 September 2019. "Rev. Reehil believes, 'The curses and spells used in the books are actual curses and spells; which when read by a human being risk conjuring evil spirits into the presence of the person reading the text.' It is unclear if the movies have been banned, since they don't require children to read spells." Archived from the original
  145. ↑ Reading Harry Potter: critical essays – Page 54, Giselle Liza Anatol – 2003
  146. ↑ Espinoza, Javier (2015년 12월 16일). “Religious parents want Harry Potter banned from the classroom because it 'glorifies witchcraft'”. 2022년 1월 10일에 원본 문서에서 보존된 문서 – www.telegraph.co.uk 경유. 
  147. ↑ Bonta, Steve (2002년 1월 28일). “Tolkien's Timeless Tale”. 《The New American》. 18권 2호. 
  148. ↑ Liddle, Rod (21 July 2007). “Hogwarts is a winner because boys will be sexist neocon boys”. 《The Times》 (London). 4 June 2010에 원본 문서에서 보존된 문서. 17 August 2008에 확인함. 
  149. ↑ American Library Association (2013년 3월 26일). “Top 10 Most Challenged Books Lists”. 《Advocacy, Legislation & Issues》 (영어). 2021년 3월 5일에 확인함. 
  150. ↑ Eccleshare 2002, 7–14쪽.
  151. ↑ 가 나 Beckett, S.L. (2008). 〈Child-to-Adult Crossover Fiction〉. 《Crossover Fiction》. Taylor & Francis. 112–115쪽. ISBN 978-0-415-98033-3. 2009년 5월 16일에 확인함. 
  152. ↑ Garner, D. (2008년 5월 1일). “Ten Years Later, Harry Potter Vanishes From the Best-Seller List”. 《The New York Times》. 2009년 2월 10일에 원본 문서에서 보존된 문서. 2009년 5월 16일에 확인함. 
  153. ↑ Bolonik, K. (2000년 8월 16일). “A list of their own”. 《Salon.com》. 2009년 5월 4일에 원본 문서에서 보존된 문서. 2009년 5월 16일에 확인함. 
  154. ↑ Corliss, R. (21 July 2000). “Why 'Harry Potter' Did a Harry Houdini”. 《Time》. 10 March 2010에 원본 문서에서 보존된 문서. 16 May 2009에 확인함. 
  155. ↑ Levy & Mendlesohn 2016, 8, 164–65쪽.
  156. ↑ Butler 2012, 232쪽.
  157. ↑ Eccleshare 2002, 106–8쪽.
  158. ↑ Stableford 2009, xli, lx–lxi, 72쪽.
  159. ↑ Levy & Mendlesohn 2016, 161–62쪽.
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  162. ↑ Eccleshare 2002, 108–9쪽.
  163. ↑ Eccleshare 2002, 105–6쪽.
  164. ↑ Levy & Mendlesohn 2016, 164–65쪽.
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  167. ↑ Striphas 2009, 158–59, 166–67쪽.
  168. ↑ Mendlesohn & James 2012, 167쪽.
  169. ↑ Eccleshare 2002, 33–35쪽.
  170. ↑ Eccleshare 2002, 10–12쪽.
  171. ↑ Mendlesohn & James 2012, 165, 171쪽.
  172. ↑ Mendlesohn & James 2012, 165쪽.
  173. ↑ Gunelius 2008, 99쪽.
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  177. ↑ Kean, Danuta (27 January 2017). “Harry Potter character provides name for new species of crab”. 《The Guardian》. 23 February 2017에 원본 문서에서 보존된 문서. 
  178. ↑ Knapp, N.F. (2003). “In Defense of Harry Potter: An Apologia” (PDF). 《School Libraries Worldwide》 (International Association of School Librarianship) 9 (1): 78–91. 2011년 3월 9일에 원본 문서 (PDF)에서 보존된 문서. 2009년 5월 14일에 확인함. 
  179. ↑ Penrod, D (December 2001). “The Trouble with Harry: A Reason for Teaching Media Literacy to Young Adults”. 《The Writing Instructor》 (Professional Writing Program at Purdue University). 2008년 12월 16일에 원본 문서에서 보존된 문서. 2009년 5월 16일에 확인함. 
  180. ↑ 가 나 다 인용 오류: <ref> 태그가 잘못되었습니다; Heilman2008라는 이름을 가진 주석에 텍스트가 없습니다
  181. ↑ 《To Read or Not to Read; A question of national consequence》 (PDF), National Endowment for the Arts, November 2007, 15 November 2015에 원본 문서 (PDF)에서 보존된 문서 
  182. ↑ 인용 오류: <ref> 태그가 잘못되었습니다; Rich2007라는 이름을 가진 주석에 텍스트가 없습니다
  183. ↑ Hurd, Gordon (2007년 3월 20일). “Fantastic Fiction”. 《Yahoo!》. 2007년 12월 22일에 원본 문서에서 보존된 문서. 2007년 4월 7일에 확인함. 
  184. ↑ Conn, J.J. (2002). “What can clinical teachers learn from Harry Potter and the Philosopher's Stone?”. 《Medical Education》 36 (12): 1176–1181. CiteSeerX 10.1.1.463.8854. doi:10.1046/j.1365-2923.2002.01376.x. PMID 12472752. S2CID 22560995. 
  185. ↑ Fields, J.W. (2007). “Harry Potter, Benjamin Bloom, and the Sociological Imagination” (PDF). 《International Journal of Teaching and Learning in Higher Education》 19 (2). 18 August 2010에 원본 문서 (PDF)에서 보존된 문서. 15 May 2009에 확인함. 
  186. ↑ “Potter sparks pet owl demand” (영국 영어). 18 December 2001. 15 August 2017에 원본 문서에서 보존된 문서. 12 April 2018에 확인함. 
  187. ↑ Paul, David (19 May 2012). “Hundreds of pet owls abandoned after Harry Potter craze fades”. 《mirror》. 12 April 2018에 원본 문서에서 보존된 문서. 12 April 2018에 확인함. 
  188. ↑ “Harry Potter tour accused of cruelty for use of live 'Hedwigs'”. 《The Independent》 (영국 영어). 23 March 2015. 12 April 2018에 원본 문서에서 보존된 문서. 12 April 2018에 확인함. 
  189. ↑ Megias, Diane A.; Anderson, Sean C.; Smith, Robert J.; Veríssimo, Diogo ( 4 October 2017). “Investigating the impact of media on demand for wildlife: A case study of Harry Potter and the UK trade in owls”. 《PLOS ONE》 (영어) 12 (10): e0182368. Bibcode:2017PLoSO..1282368M. doi:10.1371/journal.pone.0182368. ISSN 1932-6203. PMC 5627891. PMID 28976986. 
  190. ↑ Bill, Neto (2021년 4월 19일). “Fiction Genres”. 《eBooks Discounts》. 2021년 4월 19일에 확인함. 
  191. ↑ “Book honour for Harry Potter author”. 《BBC News》. 21 September 2001. 28 December 2008에 원본 문서에서 보존된 문서. 28 September 2008에 확인함. 
  192. ↑ “JK Rowling: From rags to riches”. 《BBC News》. 20 September 2008. 13 July 2012에 원본 문서에서 보존된 문서. 28 September 2008에 확인함. 
  193. ↑ “Book 'Oscar' for Potter author”. 《BBC News》. 30 May 2001. 27 December 2008에 원본 문서에서 보존된 문서. 28 September 2008에 확인함. 
  194. ↑ “Harry Potter casts a spell on the world”. CNN. 18 July 1999. 26 July 2008에 원본 문서에서 보존된 문서. 28 September 2008에 확인함. 
  195. ↑ “Harry Potter: Meet J.K. Rowling”. Scholastic Inc. 2007년 6월 4일에 원본 문서에서 보존된 문서. 2008년 9월 27일에 확인함. 
  196. ↑ “2001 Hugo Awards”. 《Hugo Awards》. 2007년 7월 26일. 2021년 4월 19일에 확인함. 
  197. ↑ “Harry Potter beaten to top award”. 《BBC News》. 7 July 2000. 28 December 2008에 원본 문서에서 보존된 문서. 28 September 2008에 확인함. 
  198. ↑ Levine, Arthur (2001–2005). “Awards”. Arthur A. Levine Books. 2006년 4월 29일에 원본 문서에서 보존된 문서. 2006년 5월 21일에 확인함. 
  199. ↑ Fenske, Claudia (2008). 《Muggles, Monsters and Magicians: A Literary Analysis of the Harry Potter Series》. Peter Lang. 3쪽. 
  200. ↑ "The Big Read: The Top 100" 보관됨 31 10월 2012 - 웨이백 머신. BBC. Retrieved 7 December 2016
  201. ↑ Fisher, Douglas; 외. (2004). “Interactive Read-Alouds: Is There a Common Set of Implementation Practices?” (PDF). 《The Reading Teacher》 58 (1): 8–17. doi:10.1598/RT.58.1.1. 2013년 12월 7일에 원본 문서 (PDF)에서 보존된 문서. 2012년 8월 19일에 확인함. 
  202. ↑ National Education Association (2007). “Teachers' Top 100 Books for Children”. 20 September 2012에 원본 문서에서 보존된 문서. 19 August 2012에 확인함. 
  203. ↑ “Person of the Year 2007 Runners-up: J. K. Rowling”. 《Time》. 23 December 2007. 21 December 2007에 원본 문서에서 보존된 문서. 23 December 2007에 확인함. 
  204. ↑ Bird, Elizabeth ( 7 July 2012). “Top 100 Chapter Book Poll Results”. A Fuse #8 Production. Blog. School Library Journal (blog.schoollibraryjournal.com). 13 July 2012에 원본 문서에서 보존된 문서. 19 August 2012에 확인함. 
  205. ↑ Bell, Crystal (27 July 2012). “London Olympics: Voldemort, Mary Poppins Have An Epic Duel”. 《The Huffington Post》 (미국 영어). 14 April 2017에 원본 문서에서 보존된 문서. 15 August 2017에 확인함. 
  206. ↑ “100 'most inspiring' novels revealed by BBC Arts”. 《BBC News》. 2019년 11월 5일. 2019년 11월 10일에 확인함. 
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