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changes the point of view

The first five books of HP are told from the point of view inside: everything is seen through the eyes of Harry.

In the 6th point of view begins to change. The reader needs to know that the Unbreakable Vow Snape formula. But there's no way that Harry knows it, or at least he knows when the episode is recounted. Consequently, the narrative must temporarily abandon the view of Harry.

This does not mean that the narrative becomes not focused, that is, the narrator becomes omniscient. In fact, it almost seems to know even less. When we witness the encounter between Snape and the two sisters Bellatrix and Narcissa, it is as if we were silent spectators of the scene. Let's see what happens, hear what they say, but we are not aware of the thoughts of the characters. In other words, Rowling takes the external point of view.

do not see things from the point of view of Snape, but from the outside. If not, we could not judge Snape: you can not judge a character while you are inside him . But the judge Snape and how, the judge and basically evil.

In these pages I have supported the goodness of Snape before HP came out 7th. Was therefore not necessary to explain who insists that the verdict on Snape is a misjudgment. But the point is: how can we so wrong? The answer may be this: Snape look outside, consideriamo le sue azioni senza conoscere le sue intenzioni. Se la narrazione adottasse il punto di vista di Piton, ciò non sarebbe possibile.

Naturalmente, si tratta di una condizione necessaria, ma non sufficiente. La focalizzazione esterna non basta a spiegare perché giudichiamo male Piton. Per farlo, è necessario che si aggiunga il pregiudizio negativo, che abbiamo maturato attraverso gli anni, guardando Piton con gli occhi di Harry.

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identification

La Rowling, almeno in HP 1-5, adotta coerentemente il punto di vista interno di Harry.

In questo modo il lettore si abitua a vedere il mondo dal punto di vista di Harry. A meno che Harry gli sia proprio antipatico (ma allora non arriva oltre il primo volume), finisce con l'identificarsi con lui, più o meno consapevolmente.

L'identificazione con il personaggio non comporta necessariamente che si approvi tutto quello che fa. Piuttosto, costringe a sospendere il giudizio. Nessuno può giudicare se stesso. Il lettore, identificato con Harry, non può giudicare Harry. Il lettore non sta continuamente a chiedersi se Harry è buono o cattivo: semplicemente, sta dalla sua parte. Non vuole che Harry si salvi perché è bravo e buono, vuole che si salvi e basta. L'istinto di conservazione di Harry viene fatto proprio dal lettore.

Se, prima della fine, il lettore deve esprimere un giudizio su Harry, occorrerà che, almeno per un momento, si distacchi dal suo punto of view.

When does this happen?

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point of view of Harry

In the previous post I tried to illustrate how a story can be written from different points of view. Left open the question of point of view adopted in Harry Potter.

The first volume begins with a short story: Dumbledore leaves Harry in the doorway of the small house of his uncles. The story is short: it runs in a chapter, over which we find Harry has now grown up. Many years have passed. It can be said that the first chapter serves as background.

The background has a peculiar characteristic: Harry is too young to understand what happens. Therefore impossible to tell anything from the point of view Harry. That viewpoint is adopted here? I leave the question open.

From the second chapter onwards, the view becomes that of Harry. This is the internal point of view: we all know what Harry feels, see what you see, we are aware of what he thinks. It is not therefore outside perspective.

And if we were faced with an omniscient narrator? We do not know maybe what they think of Harry's friends? Ron what he thinks, for example?

I would say no. Ron's thoughts are unknown to us, unless he manifests on the outside, confiding with Harry, Ron's feelings are not directly known, except that shine out: then we we can read on his face, his gestures, tone of his voice. The fact is that Ron is outgoing, rarely takes place in what he thinks. If anything, it is first thought to have enough, at least until the 4th volume. That's why we know his thoughts, because Harry knows them.

similar situation could be done for other friends of Harry, we know of them what he knows Harry. So we know less and less of their inner world, as we move away from Harry.

An exception is at the beginning of the book 4: I remember it was surprised at the reading. He was told what was happening in a country house. They saw Wormtail, Nagini, and that monster Voldemort. How was that possible? Rowling had decided to abandon the view of internal puno Harry? Or even make a mistake?

Nothing. At the end of the chapter, Harry wakes up, and we learn that in a dream he was seeing what was happening in the abandoned house. That's why we could see it too.

now opens a question: Rowling gets the result by adopting the internal point of view of Harry?

I see that I will continue my post a little longer, to answer this question.

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two posts on the point of view, and close

Dear friends,

I hope that together we had fun trying to predict the end of Harry Potter, a year ago. Everything was set up this blog. After that remained a bit 'budget to do. Without that, I would have to close. I was sorry a bit ', and I postponed the decision. I'm sorry to have thus created the illusion that this diary could be maintained.

Now I write two posts on the point of view and then close really. In the second last post I will talk in general terms, the last point of view from which Harry Potter is told.

1) Not always a story has a point of view. Some writers prefer to tell as if they were omniscient. They have the right: after all, are creating a world. They are the authors who tell you what happens in places far away from the main, they tell you what they think to himself the different characters.

In this way you write, "the werewolf came to the door of the child's bedroom. The boys saw that the handle is lowered, but never would have imagined what was about to enter. "

2.1) The perspective of the omniscient narrator is not the only possible one. Stevenson and Dickens loved to write first-person accounts. The narrative voice was that of one of the characters in the scene, and the view was restricted. The narrator could not know what other people thought what I adopt the perspective: it would seem incongruous to the reader. The narrator spoke from the perspective of his character.

It then writes: "I was with my brother nella nostra stanza. Sentii un rumore fuori dalla porta, e dissi: Papà, sei tu? Nessuna risposta. Invece la maniglia cominciò ad abbassarsi».

Se proprio non ce la faceva più e voleva dire qualcosa che il suo personaggio non poteva sapere, il narratore ricorreva al senno di poi: cioè a quelle conoscenze che il personaggio focale aveva acquistato dopo la fine della storia raccontata. Si trattava allora di una trasgressione del punto di vista.

Potrebbe aggiungere: «Se avessi saputo che cosa stava per accadere, avrei afferrato mio fratello e sarei fuggito dalla finestra».

2.2) Nel xix secolo, Henry James teorizza la superiorità del racconto condotto dal punto di vista interno. Ma, con genius, apart from the internal point of view first-person narrative. You may very well tell from the internal point of view of a character and write in third person.

It then writes: "Richard was awake, but her brother was sleeping. Richard heard a strange noise outside the door and he was afraid. "Dad, are you?" No response. Instead, the handle began to fall. Fear grew in terror. Richard shook, her brother, who woke up suddenly and cried. "

Note that the narrator knows what Richard thinks. He knows his feelings and their gradations: from fear to terror. If that Richard noise outside the door seems strange. The narrator

non conosce invece i sentimenti del fratellino, perché non li conosce neppure Riccardo. Può però congetturarli, a partire dalle azioni del fratellino e dai mutamenti esterni che i sentimenti inducono. Il grido del fratellino è un gesto che è facile interpretare come una paura improvvisa.

3) A partire da Hemingway, viene usato sempre più spesso un terzo punto di vista: quello esterno, diverso sia dal punto di vista interno sia da quello del narratore onnisciente. In questo caso il narratore ha il minimo di conoscenza: non ha accesso ai pensieri di nessun personaggio, a meno che questi non li manifesti con parole o azioni. Non ne conosce i sentimenti, se non quando emergono al di fuori, alterando il comportamento e le fattezze of the characters. The narrator must sharpen our wits to detect the expressions of the characters, and must make them talk. He needs to grasp the details.

were written: "Richard was awake, but the little brother was asleep. A noise coming from outside. Richard stared and asked in a low voice: "Dad, are you?" No response. Instead, the handle began to fall. Richard turned to Louis and shook him. Luigi suddenly awoke and cried. "

I had to remove all references to the thoughts and feelings of Richard. "Stared" is a gesture that reveals the fear of Richard. I do not speak more than "little brother" because he has a affective connotation that was good in the mind of Richard, but not that of the external narrator. I called Louis, adopting the name.

Finally: the narrator can switch between the three points of view, as needed, or it can adopt a point of view and follow it from beginning to end.

The change in perspective is not necessarily a mistake: it is sometimes a necessity. The narrator uses one or the other resource, depending on the effect they want to achieve. Instead you can consider an error commingling of points of view. If the second or third version had said that Richard hears the sound of the werewolf, I made a mistake. If the third story I talked about the "little brother" or "Gigi," which is used by the diminutive Richard, I made a mistake.

Now, the question is: from which point of view is told Harry Potter?

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summer break

After the post last week of July, it's time to declare a summer break.

Since I have a very limited access to the Internet, activate the comment moderation. This means you will not see published soon want to leave comments. Will be retained, pending publication. Was therefore not necessary to send the same comment repeatedly.

In early September I will publish the comments, with discussion that could arise.

In mid-September will cease publication of the post schedule. The comments will continue. If this becomes some interesting discussion, I could publish again.

But the main efforts will be donated to the new blog on Tolkien, which will play a series of actions linked to the way of those in the month preceding the publication of HP7. Not so often, because it lacks the urgency, but who will be interested will find a search path to the plot of Lord of the Rings. I will try to build on the basis of accurate citations, from which I will try to draw conclusions argued.

Happy Summer!

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apologia pro HP

I it is interesting to bring up a discussion that took place in the comments.

A reader mentioned an article by Edward Rialti expressing a moral condemnation of Harry Potter because it contains a call to the practice of witchcraft.

Rialti wrote in L'Osservatore Romano, to counter another article published on the same page and signed by Paolo Gulisano. As Paul says Gulisano, the Osservatore Romano editorial policy was to talk about Harry Potter without giving the impression to express an official position. I read the concern in relation to the different opinions that the Catholic faithful have in the matter. Gulisano had invited Paul to write, but his article era tanto favorevole a Harry Potter, che per conservare la neutralità il giornale ha dovuto cercare un autore disposto a esprimere la versione opposta. Hanno trovato Rialti.

Rialti ha scritto un articolo che moltiplica le citazioni del Catechismo della Chiesa cattolica per dimostrare che la stregoneria e la superstizione sono ivi condannate. Poi altri mezzi di comunicazione hanno ripreso la notizia, menzionando il solo Rialti. Titolo: l'Osservatore romano condanna Harry Potter. Sarà questo il giudizio del Papa?

La cosa ha del paradossale: Rialti era stato ospitato dall'Osservatore romano proprio per mettere in chiaro che i due saggi esprimevano soltanto l'opinione dei rispettivi autori, e non il giudizio del Papa. I media avrebbero have reported both of the articles: it would lead to a free debate between Catholics, who expressed different views on a recent book. The reader could decide which of the views expressed seemed better informed and better reasoned.
Instead the effect on the media has been the opposite. What might appear an enlightened discussion seemed a manifestation of obscurantism. Wonderful opportunity for those seeking to put the Pope in a bad light. If

Rialti is Catholic, which states, of which I have no reason to doubt, it could make him think. Is it not possible that the tone used by Rialti contains in itself something inappropriate? I think not to be less Catholic Rialto, but I appreciate Harry Potter as do many other Christians, Catholics or not. I'd rather Rialti had refrained from condemning the stegoneria sciorinare quotations taken from the Catechism. He thought maybe we did not know that Dumbledore's Army, the Christian faith has always been contrary to the practice of magic? Or perhaps he wanted to give the impression that we were inconsistent with our faith? I prefer to think that Rialti, finding writing in L'Osservatore Romano on a subject he knew little, thought it useful to read up on the Catechism. Save it because the good faith of the text. And we turn to an examination of the logic of its arguments.

Here's my note: Rialti confused with the more minor of a syllogism. Got it? Not so much. Allow me then to remember the most famous of the syllogism: 1
premise: Socrates is a man
second premise: men are mortal
conclusion: Socrates is mortal.

The premise is that a minor premise, because it contains a particular opinion, valid for the individual Socrates. The second premise is that more, because it contains a Last Judgement, delivered in such a way as to propose it as valid for all men.

Rialti thesis is that Harry Potter promotes among its readers the magical practices. The thesis is proven with arguments? No! To do so, he would have to take steps to Harry Potter. Instead of trying the minor premise, the columnist addresses his efforts to establish the major premise. To that end, the Catechism quotes, text that can be expected well accepted among the readers of the newspaper in which he writes.

The confusion between the two premises is a serious logical error, which invalidates the whole argument. Aristotle would say that it becomes a fallacy. To hide the weaknesses of the minor premise, it opens a discussion on the major premise. Hapless those who follow him on that plane.

correlative error of Rialto and the error of those among his critics have challenged the major premise, defending the practice of magic, or challenging the Church's right to express an opinion. This would have equated the Rialto, agreeing to move the debate on the morality of magic. But as the discussion can become infinite. That is what happens when you confuse the major premise and minor premise: the endless discussions and become free of the construct.

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King's Cross and repulsive creature

Last January we had entertained the repulsive creature that Harry saw at King's Cross. Have been put forward various proposals for identification. Let me now offer my own.

It seems necessary since the presence of Harry in King's Cross. Obviously, this is a place outside the world they live in Ron, Hermione and other friends. In that place Dumbledore can see Harry, who is certainly dead, and talk to him. The visible figure of Dumbledore can not be his body lying dead in the white tomb. It is rather a manifestation of the staff of Dumbledore, which is expressed through an image of his former physical shape.

Harry, meanwhile, is not dead. In the dialogue with Dumbledore, it ends up saying clearly, adding that this will be ready to agree Harry. Harry's body is still in the Forbidden Forest, where he was just hit by ' Voldemort's Avada Kedavra. The image (visible, but palpable) that Harry sees himself in King's Cross is therefore not his body, but a manifestation of Harry's personal.

At this point nothing prevents the repulsive creature, like a spoiled baby, which sees Harry in King's Cross, is the manifestation of personal Voldemort, whose body is lying unconscious at the moment in the Forbidden Forest.

So there I would see the fragment of Voldemort's soul that was over in Harry's scar, and not one of the fragments that had been or were still trapped in the other horcruces . It may well be that part of the soul, horribly mutilated by the killings, which still resides in Voldemort's body.

As Harry sees himself and the new journey that could take if he died, so he sees Voldemort and the impasse which has voluntarily pulled alley cieco da cui non potrebbe più uscire, se prima di morire non provasse un qualche rimorse.

La stazione di King's Cross appare come una specie di luogo virtuale, in cui la diversa condizione morale di Harry e di Silente da una parte e di Voldemort dall'altra viene espressa in modo visibile, con il ricorso a immagini. Sembra che i miti si scrivano ancora, e si leggano volentieri, quando sono scritti bene.

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Kreacher, a year after

Nel giugno di 2007 avevo scritto un post riguardo a Kreacher: la fine di Harry Potter: Kreacher!

HP6 si chiudeva sul mistero di RAB. Poco tempo dopo, Wikipedia pubblicava un articolo che riconosceva in RAB Regulus Black, e il medaglione- Horcrux nel pesante medaglione Black found at home, that locket that no one could open. Regulus had taken him there. I explained that there was an error in Italian translation: "locket" was translated lock, which made the sign unreadable for the Italian reader.

Obviously, the medallion had been brought there by Regulus. But how Regulus had to overcome the protections that prevent access to the cave?

A year ago it seemed that Kreacher was the only one that could have accompanied Regulus in the cave. Just like a minor Harry, a house-elf would not be counted as a magician adult when crossing the lake on the boat. In this way, it would not be taken to prevent the protection to cross the lake in two. I assumed that he could have Kreacher drink the potion on command of Regulus.

We had also discussed thoroughly. The chapter "Kreacher's Tale" in HP7 is therefore not come as a surprise for us. Indeed, Kreacher went with Regulus to the cave to help you take the medallion.

There are also some things we did not anticipate.

The first is that Kreacher had been in the cave with Voldemort. The reason is stated as follows: "This, then, how Voldemort Was HAD tested the Defences surrounding the Horcrux: by borrowing a disposable creature, a house-elf" (HP7, p. 160 ed. Bloomsbury).

The reason some of us an excuse not to have discovered that Kreacher had been in the cave with Voldemort: it was a test of a control. Since no control is absolutely necessary to Voldemort, no one could predict.

This does not mean that the plot of HP7, the first trip Kreacher is pointless. For the purposes of the plot, the fact that Voldemort is made to explain how Kreacher from Regulus Regulus came to know the location of Horcrux. It also explains how he could think of to bring out the medallion: having heard from Kreacher Kreacher as he returned, he thought the company could be repeated.

And here, as usual, Rowling has improved since our predictions. Instead of sacrificing Kreacher, as I supposed, Regulus has wanted from the beginning to sacrifice himself, he knew that Kreacher would have been able to split himself out of the cave, while the same Regulus would remain a prisoner.

In this way the figure of Regulus comes out better, and explains the attachment of Kreacher to him, which would have been less clearly motivated if Regulus had forced to drink the potion.

It seems to me that this would open a gap: I can not explain how Regulus is able to drink the potion that Dumbledore can not drink alone. Dumbledore needed Harry to compel him to continue drinking. Regulus stand it alone.

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here we go again

stop waiting for new messages. I refrain from giving details of the book that I worked hard for several months and due for release in October, because I do reveal my identity, and even suppress, it was part of the game. Let us resume the thread of the discussion.

Now that the saga is over, you can express overall ratings on the seven Harry Potter books, without fear of being contradicted by the next volume.

Our analysis, it was time to guess the consequences of what had already been told, has focused on the plot.

The joint was more difficult to predict on the death of Harry. Somehow, that you had died and she died: he died to destroy the Horcruxes that contained in the scar, and she died in order to kill Voldemort.

guess I could do both. Between the two I had ruled out the first, because I preferred the second: I thought it was necessary to kill Harry to Voldemort.

Now we can say that Rowling is "invented" a non-death-death. Harry experiences that is dying, helpless and offered to 'Avada Kedavra . But it can not really die, thanks to the protection that the sacrifice of Lily offers him again. I must say that I did not think the same resource, already used widely in the first volume, could be used again in seventh.

The beauty is that it emphasizes the importance of the meaning we give to actions. L 'Avada Kedavra out against Harry that Voldemort has different meanings for different people. For Voldemort is a new murder and a new crime. Harry is the sacrifice of life, sacrifice is not killing, but let them be killed to save his friends. It seems very significant that both these actions remain even if Harry did not die. The act is an act of hatred Voldemort and Harry an act of love.

We were already convinced that love was the sacrifice of their lives to save Harry. I thought it would sacrifice of life already consumed by Dumbledore to save Harry. Instead of that Harry is the sacrifice to save it.

We have predicted that good until the end, Harry would not have thrown the 'Avada Kedavra . How could he do it without hate? And how could the saga end with Harry performing an act with the force of hatred?

there is only one possibility: that Voldemort was killed by his own act of hatred, which would have backfired. Precisely this happens at the end: the 'Avada Kedavra who lashed out at Harry's bouncing on him and kills him. And we can feel uplifted by the end of the threat of the Dark Lord, and at the same time we can rejoice because even then Harry has become a murderess.

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Calendar

Dear friends,

I'll be out until July 17. On my return, I will have time to finally end the debate, the last two weeks of July. Meanwhile activate the comment moderation, so will not appear immediately, as it was before.

you soon!

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where is a repulsive creature Palantir

Dear friends,

a few months I'm working on a book that absorbs all the time I had available. Unfortunately, as you saw, are not able to continue for the time being. I'm sorry I did not enjoy your conversation. I read your messages anyway.

As soon as I finished the book, I will let you know.

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Restless then a question of young, what is that creature which groans helplessly in the chapter King's Cross?
all know that Voldemort is so that the question be rephrased as follows: that Voldemort is doing there and why has this issue?
Maybe it's easier to say because it appears in that form. This is the form that had almost fetal beginning of Goblet of Fire, when he had to rely in all respects on the help of Wormtail. It appeared again in the same manner in the final scenes of the Goblet of Fire, when Wormtail performs the spell that Voldemort returns in a body, then accompany the body that until his death.
It is therefore the only form allowed the fragment of Voldemort's soul that was left after the creation of the Horcrux. A form that would not have the strength to survive, if not supported by the Horcruxes because then existing.
Nagini, the last Horcrux, is still alive. But why Voldemort is King's Cross with Harry, if it is not dead yet?

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Italian readers are ready? final warning

In response to recent questions: given that many readers were waiting for the release in Italian, I thought I'd wait too. I found it a bit 'annoying having to always be careful to add the warning of "spoilers" not to betray those who had not read The Deathly Hallows in English.

Allora, da martedì riprendo le pubblicazioni, dando per scontato che il lettore abbia già letto il 7° libro.

Buon anno a tutti!