Children 's literature can be said to be concerned with both ideology and power relations. This essay is interested in exploring these issues through a close reading of an extract from J.K Rowling 's Harry Potter and the Philosopher 's Stone (1997). The extract itself is taken from chapter ten, Halloween in which a pivotal scene in the plot 's rising action is played out. The scene also highlights a major development in the character of Hermione Granger, from prissy 'nightmare ' (Rowling, 1997) to loyal friend which this essay intends to explore in greater detail. Furthermore, as part of a wider discussion questions such as; how is the relationship between children and adults represented; who is the more powerful of the two; is that power
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In addition, he goes on to say that writers have their 'own ideological stance, their own ideas of what is right and wrong '. It is important to remember this when considering Rowling 's construction of childhood within Harry Potter and the Philosopher 's Stone and when we think about her vision of childhood and the ideology which accompanies it. Lynley Stace (2014) writes that all texts, from a literary perspective are 'imbued with ideological content '. Indeed, Rowling 's writing is no different and could be described as didactic, 'You 're lucky you weren 't killed ' Professor McGonagall tells the children (Rowling, 1997). However, Rowling 's dominant ideology concentrates upon such themes as friendship, decency and the rewards that such values bring. As aforementioned, there are occasions when rules are required to be broken, but Rowling is certain to make sure that this is only done so for good reason. Perhaps, as a piece of children 's literature Rowling 's Harry Potter and the Philosopher 's Stone is inescapably edifying even if elitist (students are chosen to attend Hogwarts, a public school for witches and wizards). Furthermore, in choosing to write for children, Rowling has embroiled herself in what Peter Hunt calls a 'complex, active literary-social system ' in which the adult-child relationship 'precludes the existence of a “true” children 's book ' (Hunt,
In addition, he goes on to say that writers have their 'own ideological stance, their own ideas of what is right and wrong '. It is important to remember this when considering Rowling 's construction of childhood within Harry Potter and the Philosopher 's Stone and when we think about her vision of childhood and the ideology which accompanies it. Lynley Stace (2014) writes that all texts, from a literary perspective are 'imbued with ideological content '. Indeed, Rowling 's writing is no different and could be described as didactic, 'You 're lucky you weren 't killed ' Professor McGonagall tells the children (Rowling, 1997). However, Rowling 's dominant ideology concentrates upon such themes as friendship, decency and the rewards that such values bring. As aforementioned, there are occasions when rules are required to be broken, but Rowling is certain to make sure that this is only done so for good reason. Perhaps, as a piece of children 's literature Rowling 's Harry Potter and the Philosopher 's Stone is inescapably edifying even if elitist (students are chosen to attend Hogwarts, a public school for witches and wizards). Furthermore, in choosing to write for children, Rowling has embroiled herself in what Peter Hunt calls a 'complex, active literary-social system ' in which the adult-child relationship 'precludes the existence of a “true” children 's book ' (Hunt,