luz gonzález-vinuesa
2017
Neo-colonial Perspectives in
‘
Harry Potter and
2
Abstract
This paper aims to explore neo-colonial perspectives in Harry Potter and the Chamber of Secrets. Analysing data provided by documentary research, this paper frames the imperialistic
neo-colonial semiotics thanks to props, soundtrack and discourse as a technique of the colonisation of the mind. Within the limits of this perspective, the portrait of cultural entities together with implication of otherness will help to evaluate to what extent Chamber serves this Neo-colonial ideology with Imperialistic connotations, however, under the umbrella of Europeanisation in the UK.
Este ensayo pretende la exploración de las perspectivas Neo-Coloniales en Harry Potter y la Cámara Secreta. Analizando datos proporcionados por la investigación documental, este
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Tabla de contenido
Abstract ... 2
1. Introduction ... 4
2. Literature Review. ... 5
2.1. Ideological and Cultural implications ... 5
2.2. Theories of Indoctrination ... 6
2.3. Indoctrination in the Harry Potter series ... 7
3. Neo-colonial imperialistic viewpoints and limits ... 9
3.1. Synopsis ... 9
3.2. Neo-colonial Imperialistic Semiotics ... 10
3.2.1. Religious and Military presence. ... 10
3.2.2. Soundtrack and Lyrics. ... 12
3.2.3. Landscape and technology ... 12
3.3. Neo-colonial construction of identities ... 14
3.3.1. Classical hierarchy coloniser-colonised –traditional dichotomy Wizard-Muggle- .... 14
3.3.2. Classical hierarchy of the colonised ... 15
3.3.3. Continuing exploring Othernessin the Wizard’s World: cultural binaries within the coloniser ... 17
4. Conclusion ... 19
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1. Introduction
There are reasons for choosing Harry Potter and the Chamber of Secrets. Firstly, there are authors who have been investigating neo-colonial and imperialistic features in the series, however, there is little argument specifically about these features in Chamber. Secondly, the portrait of the Self shows traditional relationships -Muggles-Wizards- but there is also little argument about cultural binaries within the Self: monocultural-intercultural -mature Malfoy-Weasley- and monocultural-transcultural -second generation Malfoy-Malfoy-Weasley-.This essay therefore explores two main points: firstly, recognising characteristics of neo-colonial and imperialistic features; and secondly, considering the limits of these perspectives within cultural identities within EU Britain.
Chapter 2 frames ideological and cultural implications tendencies (Antor, 2010; Anatol, 2012) within EU Britain (Gupta, 2003); this chapter also explores techniques of indoctrination by colonialism of the mind (Rings & Ife, 2008, p.3); the dissemination of the ideological message
by semiotic strategies in the imagery used (Eco, 1979); and, finally, what scholars have already written about indoctrination strategies in the Harry Potter series regarding religion, education system and adolescent psychological development viewpoints (Kutzer, 2000; Mulholland, 2009).
Chapter 3 offers a synopsis of Chamber. This chapter will also explore key features above, which conduct the semiotic building of values as a subtle indoctrination. Subchapter 3.1 will focus on the gap on the research found of interest on neo-colonial aspects with imperialistic connotations in Chamber, such as religious-military presence, soundtrack, semantics and technology within the education system. 3.2. This subchapter focuses on Otherness; monocultural, intercultural and transcultural tendencies within cultural neo-colonial entities: coloniser and colonised; and the psychological development particularly of the second generation of Wizards.
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2. Literature Review.
2.1. Ideological and Cultural implications
British Imperialism came from the necessity of migration and raw materials and it developed both ideology and culture based on the superiority and the supremacy of the West over the East (Morgan, 2016). This overseas domination took different forms, such as, amongst others, dominions, protectorates or colonies. Neo-colonialism started in Latin-America after the independence of the Spanish colonies. In the USA, the Doctrine Monroe (1823) was the diplomatic justification of the exploitation of this continent. It legitimized the USA to intervene -even militarily- in the internal problems of the countries where they have economic interests. Therefore, the USA created a neo-colonial dependence by political, economic and military pressure over Latin-America. It can be regarded as a new form of Imperialism since it was a reaction to other 19th century Empires -British, French, Dutch, and Belgium, amongst others in other continents- (Young, 2001). Neo-colonialism found its way to Europe after WWII when European ex-empires launched a new colonial system towards their ex-colonies -i.e.: Great Britain-India- in order to maintain their hegemony (Sartre, 2001). This was based on economic structures of management of raw materials and the settlement of what we currently know as multinational trusts. According to Montalbán “the ideological complex of neo-colonialism reproduces older ideological forms of colonialism through discursive regimes that use similar patterns of domination and subordination” (2008, p.235). As justification of this new colonialism, ex-empires used Darwinist theories (Leonard, 2009). The social approach of these theories states the natural economic selection by the supremacy of the strongest societies; these theories permitted the retrieval of classic colonial and imperialistic paradigms towards neo-colonialism. Neo-colonialism used external ideological signs of a contemporary Imperialism (Rodríguez Cobos, 2009). It is based in the domination by a foreigner minority with pretended ethnic and cultural superiority. It produces a clash of very different cultures: the superior Christian, militarily strong, economically developed and technologically advanced versus the other non-Christian, militarily weak, with a lack of technology and an economy based on natural resources (Balandier, 1954).
Contemporaneously, this Neo-colonial Imperialism coexists with Europeanisation. It refers to the emerged EU project. Europeanisation -end 20th Century- is defined by Ladrech
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national politics and policy-making”. Eurocentric cultural development might show cultural binaries (Rings, 2016): monoculturality vs towards transculturality. Monoculturality is the promotion of the nation values and interests in opposition to others (Merriam Webster, 2016). Transculturality is a negotiation of identities (Bhabha, 1994) in a “complex mixedness of cultures in close contact” (Benessaieh 2010, p.16). However, in the natural progression to transcultural Europeanisation, a previous step can be observed in Chamber: interculturality; it
might be defined as the “interpersonal interaction between members of clearly distinguished cultures” (Schulze-Engles, 2002, p.72f, quoted in Rings, 2016). In Chamber -the movie-, the traditional monocultural identity of the coloniser might be observed together with a re-negotiation of this identity. Upon analysis of cultural identities in the figure of the coloniser, I would argue that monocultural nationalism might coexist with a progressive tendency from interculturality towards transcultural Europeanisation (Gonzalez-Vinuesa, 2016). The analysis of the two portrayals of the coloniser might help to consider the reconstruction of cultural binaries which might be affected by Eurocentrism (see 4).
2.2. Theories of Indoctrination
To impose its superiority, this neo-capitalistic system also goes in parallel with certain side-social colonisations by the colonisation of the mind. According to Rings and Ife,
“colonisation of the mind” refers to a subtle way of indoctrination; for example the
“McDonaldization” has provoked social collateral effects -i.e.: American values inherent to
McDonald’s global franchise (Ritzer, 2011, p.1)-. Thus, also narrative works and/or films could be used for a determined industry to disseminate certain values (Rings, 2016), i.e.: in the Harry Potter series, neo-colonialism of ideas (Hampden-Turner and Trompenaars, 2015) appears together with the imperialistic and colonial Anglo idiosyncrasy (Morgan, 2016) within Eurocentrism. All tendencies might be observed in Chamber. To what extent they belong to the Anglo writer -the book- or to the American Hollywood business -the movie- might be worth investigating in further research.
The importance of the agents of communication in the process of programming minds (Hofstede, 2005) is highlighted by Montalbán (2008, p.231), “all media information transforms itself into an essential component of the production and reproduction of the social reality, it
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relationship patterns and gives meaning to a broad range of social acts derived from it”. In other words, this shapes culture and “collective identity” (Montalbán, 2008, p.231). This process can be found in the notion of colonisation of the mind (Rings and Ife, 2016) by semiotic forms of propaganda such as music, imagery (Eco, 1979) or discourse (Plato, 2003; Aristotle, 2012; van Dijk 1996; Fairclough 1992). On the other hand, narrative –written or films- plays a crucial role in this process, mainly within the youngest since they are direct consumers of them. These are always the expression of social reality and each epoch makes flourishing narratives helping the spread of the current ideology - i.e.: business, financial speculation, trusts or economic crises in novels over World Wars- (Younkins, 2016). It appears clear that narrative also serves to manipulate when spreading ideologies.
The hypodermic syringe psychological model suggests that the audience passively accepts the message injected into them by the mass media and also by the printed word (Baillie, 1996) with any kind of criticism (Rings, 2016). With regards to globalisation (Jandt, 2010; Hirst and Thompson,1996), there is a current discussion on how global communication has affected
local cultures. “Media is domesticated by local cultures and hybridised in a way that makes sense within local communities”. They state that, “consumers of the global media have become both citizens of the world and their own local area. This global communication is often adapted to local cultures and becomes a hybrid culture this makes it easier for the globalized culture to be understood by local ones”. (Hirst and Thompson, 1996, p.104). This paper agrees that media contributes to a process of hybrid global culture amongst passive and sometimes unconscious audience.
2.3. Indoctrination in the Harry Potter series
Anatol (2009), who has been researching the books Order of the Phoenix, Half-Blood Prince, Deathly Hallows, rephrased a question from Said when he commented about how
ideologies could be transmitted or reproduced themselves across epochs; Anatol herself responds by stating that “critics in those fields often neglect the most obvious answer: through
children’s literature" (2009, p.xi). “Children are inculcated with the moral, behavioural, and
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current collection are often more subtle, but no less powerful in the messages they have the
power to convey” (2009, p.xi). Besides, this messages will benefit from the power of semiotics within the indoctrination process since “semiotics in mainly concerned with signs as social
forces” (Eco, 1979, p.65). The Harry Potter series is translated to sixty-eight different languages with a global box office of $5,544,226,695 being a lucrative global capitalistic business within the Anglo-American neo-colonialism. Anatol is certainly right in arguing about the remarkable importance of the influence when educating and forming the minds of new generations and, undoubtedly, the Harry Potter series reach to a large audience.
On the other hand, Solomon et al. (1982) also commented on the rebirth of the ideology of the British Imperialism. Kutzner (2000, p.xvi) states that “Britain tried to impose Western cultural ideals and behaviours in Africa, India, the Caribbean, and elsewhere. British adults try to impose adult cultural ideals of thought and behaviour upon children”. Particularly, Anatol
states that “Rowling seems to project a more traditional, nostalgic view of imperial Centre and less-civilized periphery (the Other’s world and individuals) in her Harry Potter series” (2012, p.165). In other words, it could be argued that the Harry Potter series might serve the Western imperialistic neo-colonisation of the mind (see 4).
According to Andersen there is a positive effect that might be regarded in the context of neo-colonisation of the mind of the Harry Potter series. She argues that “instead of categorizing children as passive and homogenous subjects of analysis, they should instead be incorporated as participants in the discourse about children's books and films. Although frequently figured as especially susceptible to the effects of advertising and other media, young Harry Potter fans are particularly visible as not only consumers of the texts, but creators of new texts” (2005, p.1). Regardless of its quality of writing, undoubtedly, promoting literacy amongst children is a target in the current education system; however the question could be what price is paid.
Voices claim regarding children’s indoctrination. Conservative Christian groups
claimed that “Harry Potter’s content is dangerous for children” (Andersen, 2005, p.2) because this reading could tempt children to explore this area of witchcraft and to disobey teachers. Following these concerns, Mulholland (2009, p.5) critically explores Hogwarts education system. He states that this promotes “memorization and punishes experimentation, creativity, and critical thinking skills, creating alumni who are truly unprepared to handle calamities. Of course, not all students are unprepared (...); Harry Potter and some of his friends are notable
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Another important aspect is the teen psychological development in cultural identities. Darmour (2009, p.1) said “I propose that young readers are likely attracted to elements in
Rowling’s first four books that reflect the dynamic, unconscious elements of preadolescent
psychological development” and Anatol(2009, p.xi) praises Damour’s psychological approach
when describing Harry’s bildungsroman since it “is a realistic portrait of a normally developing
teenager” and it “appeals to any boy who hopes to go from zero to hero” (Anatol, 2009, p.2). I would highlight that there is a habitual development of a teenager when being a positive role model protagonist. In contrast, what is remarkable is the dramatic development of the second generation neo-coloniser the transcultural Ron Weasley or Neville Longbotton. This emphasis in the personal development of the second generation of the coloniser might reflect the influences of Europeanization and its transcultural aims. The author creates a neo-colonialism of identity within her audience, bringing them -mainly disorientated pre-adolescents with a lack of group identity and self-esteem- the possibility of a remarkable personal evolution within a group of transcultural elite.
Based on these points above, the influence of the Harry Potter series over its global audience might be of remarkable importance. Neo-colonial imperialistic features within cultural identities and their limits are to be investigated in the analysis below.
3. Neo-colonial imperialistic viewpoints and limits
3.1. Synopsis
The plot can be explained under a neo-colonial imperialistic perspective (Antor, 2010; Anatol, 2009-2012) as the story of an eleven year old orphan boy who discovers the reason why he feels an outsider: he does not belong to the culture he was born in -i.e.: “I do not belong to this (Muggle) world” during the scene with Dobby1. His parents, -colonised immigrants in the
wizards’ world-, were murdered. The story starts when Harry is called to join the exclusive boarding school of Wizards, Hogwarts -the academic heart of the coloniser’s metropolis- discovering his blood origins -second generation of outsiders/immigrants- and the expectations that certain wing of this superior wizard community has about him as a mestizo leader. The chamber of secrets is in fact a dangerous Pandora’s box -the house of a monster- that one of the
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Hogwarts founders -the defender of the elitist pure-blood Slytherin- left before abandoning the school when he did not find quorum to his elitist monocultural expectations, blocking the entrance to non-pure blood -outsiders/immigrants- to their studies at Hogwarts. Therefore, Harry is the so called Mestizo Prince who survived his parent’s murder to save the metropolis
and the wizards’ world. Eventually, the mestizo leader Harry Potter, the puppet colonised Hermione Granger and the transcultural second generation coloniser Ron Weasley defeated the monster -the emblem of the Monocultural Neo-Colonialism- closing the Pandora’s box of the Chamber of Secrets2 which threaten the Wizards’ Metropolis -Neo-Colonial system- (Gupta, 2003). Antor and Anatol are certainly right in arguing that the Harry Potter series shows evidence of neo-colonial imperialism. Therefore, I continue to explore these features in detail
“because literature can so readily be wielded as a weapon of assimilation, we must understand the imperialist ideology encoded within especially when it is ensconced in the discourse of postcolonial resistance” (Anatol, 2012, p.175). To this paper the tendencies are the contemporary neo-colonialism and British Imperialism however coexisting with Eurocentric cultural ideas of transculturality (Anatol, 2012). The following analysis focuses on, firstly, the semiotics used to spread neo-colonial imperialism; and secondly, on the neo-colonial patterns of identities also observed within a Europeanization context by which identities are re-shaped.
3.2. Neo-colonial Imperialistic Semiotics
As key aspects of the imperialistic imagery used by this colonisation of the mind, this chapter focuses on the semiotics of the religious and military presence, soundtrack, lyrics, the domination of landscape in the education system and the development of adolescent psychology.
3.2.1. Religious and Military presence.
There is certain discussion about the Christian message disseminated in the Harry Potter series commented by Stephens and Andersen (see 2) ; Harry Potter and the School of Witchery
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“have become the lighting rod that deflects and reflects the insider and outsider status of Christian groups and their power -or lack of- within this cultural moment” (2009, p.14). Due to the limits of its length, this paper will not enter into this current discussion but just highlight that there is current debate amongst scholars and socio-religious groups. Apart from discussions, this paper agrees with Anatol (2016) and Christian imagery could be applied as a tool to spread an imperialistic ideology, i.e.: the Crusades imagery used in set and props. Thus it is legitimate to question why the Crusades. The obvious answer might be because the Crusades were one of the most powerful and ambitious imperialistic colonialism of the mind in the History of Humanity and its imagery mixes two important powers: religious and military. It was justified as religious endeavour: to recover Jerusalem for the Catholic Church. However, the second and third Crusades showed their economic face when they turned onto the conquest of new realms and territories (Dreagon, 2014) with a lack of intercultural communication between Catholics and Muslims. Therefore, I would argue that this imperialistic imagery evokes military and religious power over the Other and might offer appropriate semiotic features to be used. From thestudents’ uniform which recreates a mixture of crusades and academic look: capes and gowns;
magic wands handled as swords; books held as shields; Hogwarts logo in clothes similar in size and colour to the crusades’ logo; Hogwarts Hall and its obvious parallelism with medieval Gothic Churches in the Middle Ages where, instead of the altar presiding the hall, it can be seen
the Professor’s table.
There is no research about the military presence in the Harry Potter series. However, one of neo-colonial imperialistic characteristics are to show military supremacy before the coloniser (Balandier, 1954). This is widely observed within the imagery of the crusades; for example: in contrast with the Muggle -non-magic- suburban British neighbourhood, the school itself is an unassailable castle. “The style of Hogwarts has been called Medieval Gothic, but in actuality it is a mixture of several styles, including Norman Romanesque, Gothic and Gothic
Revival” (Hendricks, 2015, no page). The school logo is a coat of arms, helmet and the representations of powerful animal in aggressive postures. The school motto is, of course, in the Latin of the Roman Empire: Never tickle a sleeping dragon –“tickle” having the connotations of excite, stimulate, appeal to-. This could be regarded as a threat in a holistic semiotic military message. Students’ dinner tables at Hogwarts Hall remind us of militia formations. Also, fights with magic wands are clearly related to fencing and pistols duels or even battles. This imagery
builds the foundation of the so called Dumbledore’s Army, the transcultural Army named in
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contest Eurocentric norms” (2006, p.169) and, I would argue that Rowling might use an imperialistic military imagery establishing a battle between monocultural and transcultural UK.
3.2.2. Soundtrack and Lyrics.
As commented above, the varnish of imperialistic signs might be used to reinforce a neo-colonialism of the mind. Presence of this imperialistic varnish might be present in one of
the features that capture the audience’s attention is its soundtrack. To support the dissemination of neo-colonial imperialistic ideology, Williams could not produce any soundtrack rather than a grand symphonic suit. Hedwig’s Theme (Richards, 2013) shows clear similarities, in melody and instruments used, to the imperialistic Wagner -first movements Valkyries Parade-; alsoand for the same reasons, Hogwarts Forever might reminds us of Elgar’s Pomp and Circumstances;
although “Elgar is a piano reduction, Williams is composed for a horn quartet however the similarities are evident being both march rhythms -2/4 and 4/4- belonging both to the same spirit -Elgar: maestoso and Williams: nobly-“ (Enrech de Acedo, 2016). Therefore, this paper agrees with the parallelism Wagner-Williams and also with the parallelism Elgar-Williams. I would argue that, inevitably, the neo-colonial imperialistic message of the Harry Potter series must be supported by the grandest music as it is the symphonic one.
Another tool of neo-colonial imperialistic propaganda (Kutzer, 2000) might regard the title of the hymn Hogwarts Forever which reminds us of Forever England -the famous verse of the icon of monocultural imperialistic values Rupert Brooke and his poem The Soldier (1914)-. Lyrics of Double-Trouble are clearly based on the other great icon of Britishness: Shakespeare. Similarities are remarkable with the scene of the three witches’ prophecy in Macbeth (1993) (Enrech de Acedo, 2016). Therefore, it might be said that icons of British culture of music and literature have been used to build and spread the imperialistic neo-coloniser’s British ideology.
3.2.3. Landscape and technology
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parallelism with the technological domination of the landscape in the Imperialistic Britain of the 18th century. Because the 21st century coloniser does not have a forest to dominate/re-create, the focus is on other implacable surroundings: technology, even wilder than the surrounding forests in the 18th century. Certainly, there is a physical forest, surrounding Hogwarts, which must be dominated by magic technology. Research conducted by this paper did not find further discussions about the role of technology as the new 21st century environmental landscape in the Harry Potter series. This argumentation sees the desire of colonise Nature was a new Imperialistic aim (C18Media, 2012). This might be rooted to the Spanish Empire when the discovery of the new world lead to the technological Hispanic hegemony in Botanic (Durin, 2016). Rationalising, manipulating Nature and dominating the landscape were a top goal in the
coloniser’s aims in the 18th century. This could be linked to Nieto Bedoya who comments on
the “British arrogance and vanity in the 18th century fashion of recreating Nature by
landowners’ as an effect of the social fever of Imperialistic Colonialism at this time” (1996, p125-126). This can be observed in Pope’s poem Windsor Forest (1713)3. This rational fever to order the universe by human beings is reflected in other of the British imperialistic icons: Robinson Crusoe. According to Rings, his primary necessity of dominating the island ”thanks to
his tools of civilization” (technology) “he can convert the seemingly useless island into a useful and meaningful resource by domesticating nature to serve (his) specific purpose” (2011, p.4). This feature of robinsonade -or castaway narrative (Rings, 2016)- is crucial when the coloniser depicts technological supremacy over the colonised (Balandier, 1954). In the Harry Potter series, Magic technology and gadgets, as new tools of civilization, are far more sophisticated and required of more technical preparation (wands, flying cars and brooms) than the obsolete
Muggles’ microwave -contrast showed in the scene where Harry Potter and Dobby show this tech-supremacy over the Muggles’ kitchen-. Also Teatre highlights, when referring to Muggles’ technology, that they ‘rely on contraptions because they cannot imagine the conveniences of
magic’ (2004, p.338). Moreover, the domination of this new magic technology is the base of the
3 Pope’s poem Windsor Forest (1713) might be regarded as the paradigm of praise of monarchist colonial
revival with Queen Anne (1702-1714) and British supremacy over native Americans (C18Media, 2012). Pope’s poem introduction quotes Virgil:
“Non injussa cano: Te nostrae Vare myricae
te nemus omme canet; nec Poebo gratior ulla est
quam sibi quae Vari praescripsit pagina nomen”
Virgilii Maronis, Bucolica 1819, p.96
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studies at Hogwarts. Contrary to what Mulholland (2009) commented when criticising Hogwarts’ education system (see 2), this paper found that Hogwarts educates Wizards with an undoubted technological supremacy over the Other –Muggle- as a new form of neo-colonial imperialistic British robinsonade.
3.3. Neo-colonial construction of identities
According to Montalbán, the contemporary global economic system creates a new
hierarchy “driven by the success of the fittest in the capitalist system and leading to a division between those who have progressed and won, and those who lost and did not progress, the new
primitives” (2008, p. 235). In the neo-colonial construction of identities it can be said that there are two fundamental features (see 2): firstly, the economic exploitation of the colonised with no cultural interaction (see 3.3.1); and secondly, the use of the puppets and mestizo leaders to execute the coloniser’s power (see 3.3.2.). In the Harry Potter series, traditional cultural portrayals of the colonised might be found within the neo-colonial ideology; however, is worth highlighting the cultural binary observed in the figure of the coloniser (see 3.3.3.).
Neo-colonial hierarchical identities could remind us of the colonisations during the 15th and 16th centuries when colonies were used just to support the coloniser with little interest in social contact or cultural understanding of the coloniser to the colonised (Rings, 2010). What is interesting for this paper is the fact that, yet in the Descubrimiento de América by Spanish conquerors (Rings, 2016), Bartolomé de las Casas viewed the colonised just as the noble savage -concept retaken in the 18th century in Defoe’s Robinson Crusoe-, a docile source of raw materials; this approach might be observed in the Harry Potter series in the traditional dichotomy coloniser-colonised (see 3.3.1/3.3.2)
3.3.1. Classical hierarchy
coloniser-colonised
–
traditional dichotomy
Wizard-Muggle-
This classical approach can be therefore observed in the Otherness relationship -coloniser-colonised: Wizards-Muggles-; it is portrayed under traditional colonial conventions
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interact with each other, except at the beginning of the Harry Potter series, to show Harry Potter’s living circumstances and blood origins. The discourse of the class in power where
“there is no room in it for the Other” (Barthes, 1986 in Rings, 2016) is implicit in the almost invisibility of the Muggles. I would therefore argue that the classical hierarchy might be found in this context of traditional monocultural coloniser identity within neo-colonial imperialism: Muggles are portrayed as the indisputable inferior. This Other is non-understandable in his culture but necessary to support the superior civilization of Wizards -i.e.: Wizards using Victoria Station and the 9¾ platform as the train station of the Hogwarts Express-.
3.3.2. Classical hierarchy of
the colonised
3.3.2.a.The Slave
The elf Dobby embodies the figure of the slave, the lowest social class in the social
hierarchy of the Wizard’s World. According to Gupta, it is aligned with the fascist ideology as
“a brutal, punitive and consuming manipulation” (2003, p.115). Dressed in a rustic tunic, Dobby is physically portrayed as pale, weak and short which forces him to always look up to the Self. Simplistic use of language and his submissive but sarcastic attitude contribute to his portrait. He turns emotional when the superior entity -Harry Potter- shows a certain transcultural approach.
Dobby: “treated like an equal”; Harry Potter: “you have to meet decent wizards”; Dobby: “No I haven’t; what an awful thing to say!“ 4. Certainly, elves were institutionalised by Voldemort and still serving monocultural Aryan families -Malfoys and Blacks- but they do not serve intercultural/transcultural colonisers –Weasleys- nor second transcultural second generations (see 3.3); this might be regarded as the author’s direct criticism of the open slavery in colonial societies; however, slavery is still present in the Harry Potter series with a generalised passive consent of intercultural/transcultural colonisers and this might be the author’s criticism of the dissembled slavery in neo-colonial societies.
3.3.2.b. Colonised Second generation
Second generation of immigrants are Muggles or half-blood new arrivals to the
Wizard’s World, such as, apart from Hermione and Harry –see subchapters below-, Colin and
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Myrtle. They are portrayed as non-integrated figures but still useful within the community (Jandt, 2010). The former is always hidden behind the big camera, which almost makes him invisible; however he is the one who reports cultural situations and events. The latter, a ghost, is
always hidden in the girls’ toilets; however, she is the one who is giving a clue to find the
monster’s cave.
3.3.2.b.1. The Puppet Colonised
“The effect of mimicry is camouflage” (Jaques Lacan, 1997 p.99 quoted in Bhabha,
1994, p.121). I would argue that Hermione assimilates the new Wizard’s culture trying to hide
his Muggle blood origins. She not only embodies this assimilation process but also steps up trying to beat pure-blood values, being a first-class student at Hogwarts (Vollmer, 2007), although being abused by the fascist Malfoys (Gupta, 2003). She may also embody values traditionally represented by the nobility of blood -pure-blood coloniser- such as braveness, honesty, conscientiousness, reliability and resilience. Therefore, Hermione might represent a new parallelism with the British Imperialistic ideology within the expansion of the bourgeoisie: nobility of blood vs nobility of mind. It was portrayed by another icon of the Britishness: Jane
Austin’s Pride and Prejudice (1831), and embodied by Darcy and Bingley respectively. This paper suggests that Hermione represents the new nobility of mind, the alien -or second generation of immigrants- who can beat nobility of blood.
3.3.2.b.2. Mestizo leader: Harry Potter
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3.3.3. Continuing exploring
Otherness
in
the Wizard’s World
: cultural
binaries within
the coloniser
Regarding cultural identities, and what is remarkable for this paper, is the re-defined figure of the coloniser -mature and second generation-. It shows a dichotomy of cultural entities. The Malfoys might show monocultural values since they embody their own culture values in opposition to others (see 2.1.), such as the certainty in their blood supremacy and the rejection of aliens. They are a one child family upper-class family. The Malfoys are physically portrayed as blond, pale, slim and elegantly dressed in black at all times of the day following British patterns of appropriateness. Other features could be observed, such as cold arrogance, cruel ambition and, even madness in the figure of the Aunt Bellatrix Lestrange; interestingly,
Malfoys’ features could resemble stereotypes of the Aryan race (Gupta, 2003). On the other hand, the Weasleys could embody intercultural and transcultural tendencies (see 2.1.): as an example of interculturality, Mr Wesley is respectful and interested in understanding cultural aspects of the Others -i.e.: Mr Weasley works in the Ministry of Magic studying the Muggle’s World. When he first meets Harry Potter, he just asks about the function of the yellow gum
duck in the Muggles’ bathroom-5; as an example of transculturality, the relationship Harry-Mr and Mrs Weasley might show the habitual relationship that parents have with a friend of their children. This occurs in a “complex mixedness of cultures in close contact” (Benessaieh 2010, p.16) (see 2.1.). Moreover, the relationship Harry-Weasley brothers might be regarded as the habitual one amongst individuals of the same generation. The Weasleys are physically portrayed as mainly red-hair, casual country and even wearing second hand outfits. They are a large, middle class family with sense of humour. They show values, such as family oriented, hard-working and respectful with other cultures. This paper suggests that these values might represent current British Values (Gov.UK, 2014) which have to be taught in the current UK education system. However, the outfit and ethnicity of the Weasleys might follow Scottish stereotypes. This might hide a social criticism within the novel due to J.K. Rowling’s Scottish ancestors because these British Values are embodied by characters with Scottish features.
The policy of Communities was strongly promoted -i.e.: the promotion of non-mix independent communities in Britain- (Watson, 1997; Rings, 2016). This might promote a lack of interaction. However, this tendency coexists with the idea of transcultural Europeanisation and neo-colonial imperialism (Ladson-Billings, 1978). Influences of these contradicting tendencies might be observed. The clash between both wings of pure-blood can be found throughout the series; particularly in the first encounter in Chamber Mr Malfoy-Harry Potter,
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where Malfoy bullies the young Weasleys6. Mr Malfoy reprimands Mr Weasley because he said
he disgraces the name of Wizards after having an inter/transcultural encounter with Hermione’s Muggle parents. Mr Weasley replies they “have a very different idea of what disgraces the name of Wizards”. In this scene, the dichotomy in the figure of the neo-coloniser appears clear: the monocultural Lucious Malfoy and the inter/transcultural Mr Arthur Weasley. This might be seen as the binary cultural approach in the UK society today.
Bhabha comments on the continuous and repeatedly construction of stereotypes within Otherness when he said that ‘an important feature of colonial discourse is its dependence on the concept of fixity in the ideological construction of otherness’ (1994 p. 94); however, this paper found this duality in the representation of the coloniser because contradicting cultural tendencies might be observed in the evolution of adult pure blood and second generation of pure blood. The Malfoys-Mr. Malfoy and Draco –dragon?- Malfoy-, paradigm of Monocultural pure blood, show little personal evolution; they seems to be stuck in their own arrogant immobilism and “explicit fascist ideology” (Gupta, 2003, p.101). Therefore, monocultural features -the Malfoys- coexist with the extraordinary development (Darmour, 2009) of a new intercultural coloniser mature Weasleys and a transcultural second generation -young Weasleys, Longbottom, amongst others-. Precisely, this coloniser second generation is the one with the most extraordinary bildungsroman within the series (see 2.3). The fact that this evolution is highlighted by the author might be due to the effects of the Europeanization. It is worth to remember that Rowling, her daughter and the characters of the novel belong to the Europeanisation epoch. This dichotomy makes Rowling’s work interesting in respect of cultural entities within the EU era in the UK, because it shows a possible real shift of certain groups of Britons -young and mature-.
This argument might also be related to the duality within the colonised second generation: the multi-ethnic and intercultural-transcultural Dumbledore’s Army -Neville Longbottom, Pavarti Patil, Hannah Abbot, the Weasley brothers, Cho Chang and others- (Westman, 2004). They are, in fact, the ones who will save the metropolis and its culture. However, what is interesting is the fact that the mestizo Harry Potter is enthroned as the leader by the intercultural-transcultural wing of the pure-blood (see 3.3.2.b.2). Therefore, I would agree with Anatol (2012) regarding the influence of Eurocentric transculturality; moreover, this influence is the one which makes unique and contemporary the portrayal of the traditional Otherness. This evolution could be, thus, the by-product of the ideology of this EU generation
and the response to the acculturation they suffered when programming their minds (Hofstede, 2005).
19
4. Conclusion
Due to the length of this paper, there are remarkable limits on the aspects researched and exposed and/or sources. Further investigation will be desirable since this study could not have the opportunity of contrasting the original written version –British- and the audio-visual one –American-. This might be of importance to frame to what extent the manipulation towards spreading neo-colonial imperialistic ideologies comes from the American industry or from the British author, or from both. It could also help to explore the shift of the coloniser’s identities. This might be, firstly, due to the influence of Europeanisation suffered in Britain during the
author’s generation and immediate posterior generations; and, secondly, of the idea of the two
UKs (Gonzalez-Vinuesa, 2016) highlighted in the 23/06 referendum scrutiny fomented by two contradicting ideological tendencies: neo-colonial imperialistic within nationalism -mainly England-Wales- and European UK –Scotland-.
As commented by Bhabha “it is said that the place of the academic critic is inevitably within the Eurocentric archives of an imperialist or neo-colonial West" (1994, p.29). It appears clear that these ideologies are implicitly in Chamber. There might be evidence of the use of semiotics with neo-colonial imperialistic connotations, such as religious and military presence, soundtrack and lyrics and technological supremacy. On the other hand, this ideological influence appears in the traditional Otherness scheme –i.e.: Wizards vs Muggles- and the
Wizards’ hierarchy –Self: coloniser; Other: slave –Dobby-, puppet –Hermione Granger- and second generation mestizo leader –Harry Potter-. However, a renegotiation of cultural identities could be observed towards transcultural Eurocentrism. It appears, regarding the portrayals of the coloniser, in the dichotomy of monocultural Mr Malfoy and intercultural Mr Weasley –Arthur-.
Following this cultural tendency, binary forces also appear in the coloniser’s second generation:
monocultural young Malfoy and transcultural Neville Longbottom and young Weasleys. This second generation of pure blood shows an extraordinary bildungsroman. This evolution, therefore, is worth highlighting within the main concluding remarks of this research. This, together with the fact that the colonised mestizo leader is the one who leads this new multi-ethnic transcultural Army to save the Metropolis is the remarkable finding of this study because this might represent the cultural evolution of a British generation which belong to the EU acculturation process.
20
indoctrination by colonisation of the mind because this is through children. According to Rings,
21
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