Harry potter book report prisoner azkaban
About the Author. Plot Summary. Chapter 1. Chapter 2. Chapter 3. Chapter 4. Chapter 5. Chapter 6. Chapter 7. Chapter 8.
Chapter 9. Chapter Free Quiz. Social Sensitivity. Literary Qualities. Topics for Discussion. Ideas for Reports and Papers. Further Study.
Harry Potter and the Prisoner of Azkaban (2004): original Telegraph review
Copyright Information. And they are both upset and threatened by these themes. According to one newspaper report: Parents in more than 13 states have demanded that librarians and school officials keep Harry out of their kids' hands. John Miesburg, a parent in Jacksonville, Fla. One is tempted to suggest that this is because the majority of the voices rising above the clamor are those of folks who are not members of the typical reading public.
Kids who have never voluntarily picked up a book in their lives - and are proud to say so on national television - are flocking to local bookstores in droves, egged on by peer pressure and natural curiosity. The complaints usually directed at more mainstream media are suddenly being rerouted to literature in a dramatic way. Harry Potter, as many of us now know, is a young boy who was raised along with his hateful cousin, Dudley, by his unsympathetic aunt and uncle the Dursleys , after his parents' death in what he is told was an automobile accident.
He awakens on his eleventh birthday to discover that, rather then being a perfectly normal orphan, he is in fact a wizard, and not just any old wizard either. Ten years before, his parents were murdered by the most evil and powerful wizard of modern times, and he - baby though he was - apparently caused this character's Lord Voldemort, or You-Know-Who's downfall, though not his demise.
Harry is thus greatly revered in the wizarding world - an alternative universe with its own rules and laws, a Ministry of Magic to oversee them, shopping centers, athletic stadiums, and train stations - which exists alongside the regular mortals' Muggles's world, unbeknownst to, and unsuspected by, them. Freed from the stifling and uncaring authority of his relatives, Harry embarks upon a series of adventures at his new boarding school, Hogwarts, where the curriculum includes such courses as Defense Against the Dark Arts and Care of Magical Creatures; Quidditch a game played on broomsticks, involving goal posts, hoops, and several different flying balls is the sport of choice rather than football either American or European ; and trolls and ghosts prowl the hallways, wreaking havoc on students' nerves as well as the furniture.
There, between classes, school dances, and surreptitious forays into the Forbidden Forest which harbors such creatures as giant spiders, self-propelling automobiles, and centaurs , Harry consistently finds himself encountering, and then doing magical battle with, the minions of Lord Voldemort. The latest chapter of the saga finds him face-to-face with the Dark Lord himself, and Harry barely escapes with his life. As Rowling herself admits, however, the character type that Harry Potter represents is not new, nor is his an entirely novel world.
His story is not unusual, nor are his concerns and crises both the natural and the supernatural particularly original. As one reviewer writes, "They share so many elements with so many children's classics that sometimes it seems as though Rowling had assembled her novels from a kit. While certain aspects of his universe are unique, Harry Potter is really only the latest protagonist in a long and honorable line of fantasy children, and the youngest general in the age-long battle against the forces of evil. The rest of this review will attempt to put Harry Potter and his magical world into historical perspective and to compare and contrast J.
Rowling's work with some of the admitted classics of children's fantasy literature.
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It was not until the nineteenth century that children even became a target audience for authors; until then, children simply relied upon those adult tales and stories that engaged their imaginations. Naturally, their preferred chronicles generally included some element of fantasy, which should come as no surprise to people who either know - or have ever been - children. Thus, in the Middle Ages, as the oral tradition began to give way to the printed word, children were beguiled with Aesop and his fables, stories of King Arthur and his knights, Robin Hood, and Beowulf , as well as tales from the Bible.
Puritans like John Bunyan deliberately included elements of fantasy in their religious tracts in order to appeal to children; The Pilgrim's Progress , intended as a Christian allegory, included monsters, dragons, giants, and other imaginary creatures. Witches, faeries, and alternative worlds continued to appear in the adult realm, and consequently to appeal to children, during the eighteenth and early nineteenth century; for example, in the works of Herbert Spenser, William Shakespeare, and Jonathan Swift. Swift's Gulliver's Travels, for example, although written as a political satire, is thus described by Charlotte Bronte's child Jane Eyre: This book I had again and again perused with delight.
I considered it a narrative of facts, and discovered in it a vein of interest deeper than what I found in fairy tales: for as to the elves, having sought them in vain among foxglove leaves and bells, under mushrooms and beneath the ground-ivy mantling old wall-nooks, I had at length made up my mind that they were gone out of England to some savage country. By the mid-nineteenth century, children finally became the primary focus of attention for certain authors, and children no longer had to "make do. These authors embraced dwarves and giants, conversed with mice, cats, and lizards, danced with animated chess pieces and playing cards, and explored underwater worlds and parallel "Looking Glass" universes.
Moreover, they included real children in their stories who interacted with the bizarre characters and actively participated in the unfolding of the tales.
Harry Potter and the Prisoner of Azkaban - Wikipedia
They demonstrated a certain amount of knowledge about - and respect for - children's intelligence and interests, while they also portrayed a moral and rule-bound universe with clear designations of "wrong" and "right" and often deep insights into societal and political issues. Fantasy in children's fiction blossomed at the turn of the twentieth century - particularly in regard to the creation of "secondary" magical worlds.
Edith Nesbit plagued her child protagonists with odd creatures such as the petulant Psammead pronounced SammyAd , the vain Phoenix, and a flying carpet, which whisked the explorers out of their staid drawing room and into magical domains. Mary Poppins took up residence at the Banks's abode, from which she led her child charges on a series of other-world escapades. Sir James Barrie produced Never-Never Land, through which Peter Pan swooped, fought, and crowed his way into the hearts and minds of several generations of children. At the same time, children in the United States joyfully romped through the fields and mountains of L.
Frank Baum's fabulous Oz, enjoying the first truly complete and self-contained "Secondary World" in children's fantasy literature. Rather than being the dreamy result of an overactive imagination, as Never-Never Land and Wonderland had been, Oz was a real world, a physical place, with its own topography, politicians, and laws although those reared solely on the Judy Garland film, and not the Baum books, may not realize this.
In these and other early twentieth-century tales, children from this reality were swept or summoned into an alternative land, a "secondary world," where they had great adventures battling and overcoming forces of evil, with the aid of friendly locals. However, the magic ended when they returned to their own worlds - cornfields, nurseries, or damp music rooms - where the return to normalcy was generally embraced, though the lost excitement was sometimes mourned. Like many of his predecessors, Harry Potter straddles a "secondary" world of magic - embodied by Hogwarts school, Diagon Alley, and Platform Nine and Three-Quarters - and the normal Muggle one, which includes Dudley, the Dursleys, and yellow taxicabs.
And as with many secondary world fantasies, the two worlds are rather distinct; their inhabitants and cultures are kept carefully separate. Nevertheless, there is an especially warm familiarity about Harry's secondary world, where the political and social organizations almost precisely mirror those of the primary one, and whose characters and fates are clearly but ineffably tied to those of the Muggles.
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Clearly, Rowling, like other fantasists before her, has deliberately modeled Harry's world of dragons, flying broomsticks, and goblin-guarded gold on the one she sees around her. The "Secondary World" genre reached its zenith in the works of J.
- Harry Potter and the Prisoner of Azkaban Summary.
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Tolkien and C. Lewis, both to whom Rowling has referred as inspirations.
source These works also embody the epic tradition in children's literature. In this tradition, a hero, or group of heros, engages with, fiercely battles, and eventually defeats a dire and powerful embodiment of Evil. Symbolic swords and wise teachers, treacherous and faithful friends, and tests of moral strength are common factors in the tales. Generally, a single, omniscient, and practically omnipotent individual wields great moral and magical influence and guides the protagonists through their adventures. The fall of Evil is often followed by a crucial and terrible choice: whether or not the hero s of the story will choose a life of continued magic and presumably infinite bliss, or whether they will return to the mundane world of humanity.
Lewis's child heros and heroines initially enter Narnia through the back of an old wardrobe in an odd old country house. There they discover the wonders of talking animals and the horror of the callous White Witch, who has cast a frosty spell over the land so that "it is always winter and never Christmas. They proceed, with his help, to do so. Although there are exceptions, a similar pattern evolves in most of the subsequent Narnia chronicles.
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Children, sitting at a common British train station or peering at a picture of a seafaring vessel, find themselves abruptly plunged into the forests or salty waters of Narnia, where they are assigned a specific heroic task, which always involves fighting the forces of Evil and reinstating the supremacy of Good. They struggle against minor jealousies and selfish tendencies, learn to appreciate true friendship and the power of trust, and in so doing inevitably grow up.
Aslan acts as their oracle throughout, all-knowing, but also intent on forcing the child-heros to make their own decisions and forge their own paths. In the end, the children always return to their own world except in The Last Battle , which is more directly a Christian allegory where they grow old and must strive to remember the lessons they have learned. Tolkien's Middle Earth is quite different, in that it does not involve the intervention of children from this world, although the primary protagonists and heros - hobbits - are diminutive in stature and childlike in appearance.
Rather, his Lord of the Rings trilogy features other-world characters such as hobbits and dwarves, elves and goblins, wraiths and Ents, engaged in a mighty and all-encompassing war for domination of their own land.