harry potter and the chamber of secrets

Thursday, May 6, 2010 by GOD FATHER | 0 comments

harry potter and the chamber of secrets



Study Questions
What is the role of the afterlife in Harry Potter and the Chamber of Secrets? Consider Nearly-Headless Nick and Moaning Myrtle as examples of characters who continue to affect the plot even after they are dead. Why do you think Harry's parents are not able to return to earth in this ghostly form?
Answer for Study Question #1
How do Harry's and Lockhart's attitudes toward fame act as foils to each other?
Answer for Study Question #2
Suggested Essay Topics

How does the author use foreshadowing to comment on and prepare the reader for the story's defining conflicts? Consider the early introduction of Fawkes, the Dursley's hatred of all things magic, and Ginny's dismay when the cat was petrified.
Knowing what you know about Harry and each of the houses, what do you think would have become of Harry had the Sorting Hat placed him in Slytherin as it had originally considered?
What is glorified as the greatest virtue in this story, and why?
What does the author accomplish by framing many people before finally revealing the Heir of Slytherin to be Voldemort's younger self, acting through Ginny Weasley?
What do the origins and parts of the names reveal about their characters? Consider the names of Lucius Malfoy, Albus Dumbledore, and Voldemort.

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harry potter and the chamber of secrets


Chapter Eighteen: Dobby's Reward
Summary
Harry, Ron, Ginny, and Lockhart enter McGonagall's office to find Dumbledore and Molly and Arthur Weasley waiting inside. The Weasleys fling themselves on their daughter and ask Harry how he saved her. Harry tells them everything from the voice to Aragog to Moaning Myrtle, managing to avoid the parts involving Ginny and the diary. When asked directly about this topic, Harry instinctively looks to Dumbledore, who gently prods him to answer the question of how Voldemort managed to enchant Ginny. So the part of the diary comes out into the open, and Dumbledore sends Ginny to the infirmary for rest and hot chocolate, and he informs all of them that the Mandrake juice is presently being administrated to the petrified victims. Dumbledore calls for a feast for the entire school, and he awards Harry and Ron each two hundred points for Gryffindor House on account of their daring tasks in battling the monster. Dumbledore then sends the clueless Lockhart to the infirmary under Ron's care, and finally he asks Harry to remain.


While Dumbledore is alone with Harry, he explains that Fawkes came to his aid because of the true loyalty Harry showed Dumbledore down in the Chamber. Harry asks Dumbledore the question that has been bothering him for so long, whether he is in fact like Riddle, marked with evil potential and predestined for Slytherin House. Dumbledore explains here in a gloriously reassuring passage that the Sorting Hat put Harry in Gryffindor because Harry did not want to be in Slytherin, and that choices made are far more important than abilities. Dumbledore also adds that only a true Gryffindor could have pulled Godric Gryffindor's sword out of the Sorting Hat.
The door bangs open and Lucius Malfoy appears, Dobby squealing at his heals. Lucius is most upset that Dumbledore has returned to Hogwarts, and Dumbledore calmly explains that the attacks have been stopped, and that eleven of the school governors contacted him, begging him to return to Hogwarts and suggesting that they had been blackmailed into suspending him. When Dumbledore holds up the diary as evidence from the recent events, Dobby begins to make strange faces and gestures, which Harry ultimately understands to mean that Lucius had slipped the diary into Ginny's books in Flourish and Blotts, so many months ago. Lucius acts shifty and defensive when Harry accuses him of this, and he sweeps out of the room, yelling at Dobby to follow. Harry thinks quickly and wraps the diary inside one of his slimy socks, then hands it to Lucius. Lucius unwraps it and disgustedly throws down the sock, which Dobby retrieves with a thrilled expression on his face. In handing him an article of clothing, Lucius has inadvertently freed his house-elf, and Dobby thanks Harry profusely in front of the livid Lucius, and then the elf disappears with a crack.
Harry then attends the great feast. Hagrid returns, exams are cancelled, and Lockhart is officially removed from the school staff, and Gryffindor is given the House cup. Harry has not been this happy for a long time. The last bit of school passes calmly and happily. Defense Against the Dark Arts classes are cancelled, and Lucius Malfoy is fired as school governor. All is well. On the train ride back to London, Harry curiously asks Ginny what she caught Percy doing. She giggles and replies that he was kissing his girlfriend, Penelope Clearwater, in an empty classroom. Fred and George are pleased by this bit of knowledge, and together they all walk back into the Muggle world for their summer vacations.
Analysis
This chapter neatly ties up all loose ends still dangling after the rest of the story has been resolved. We see the reason why Percy was sneaking suspiciously into empty rooms and corridors, and we understand finally how Ginny came to possess the diary. Most importantly, we are reassured that Harry was not, in fact, destined for the dark wizard House, Slytherin. Dumbledore's speech in which he explains to Harry the importance of choices over ability reveals Harry's success as a character. In none of the books is he a stereotypical or epic hero; he simply is marked and helped by the people who have loved him and his flights into adventure and detective work have the noble intentions of keeping himself, his friends, and his school safe. Harry is simply a good person with courage and people looking out for him, and this combination, more than any natural or learned talents, brings him to triumph again over the world's most powerful dark wizard. He and Ron and Hermione each add their individual talents to the group, but their group efforts and initiative as a whole is what makes them so successful in their ventures. The same is the case for Harry; he is a sum of decent parts, but he uses them in ways that make him a truly impressive magical hero.
The ending serves justice to all characters. Dobby is liberated, Lucius Malfoy is without a servant and loses his job as school governor. Ginny is freed from enchantment, and her involvement in the Chamber of Secrets is kindly and instantly forgotten by her friends and family. Gryffindor wins the House cup, which is always a delight, since we know that the students in it are a good, smart, deserving bunch of kids. Harry is happy and satisfied and safe as he heads into summer vacation. The fairness element is crucial in this book, as a children's book and somewhat of a fantasy/fairy tale. Good triumphs over evil with no casualties to be mourned, and Harry Potter and the Chamber of Secrets ends in a nice, tight conclusion. This was the case in the first book and also the third, but as the series progresses, the author does involve incidents in which life is not fair at all, and is in fact laden with unnecessary tragedy. In this book, the ending follows a standard storybook pattern, but it is not an easy ending. Everything that happens has a reason behind it, something significant in the lessons learned or the personalities shown in the dealing with danger. Whichever morals seem vague are soon explained by Dumbledore, who once again is safely overlooking Hogwarts' affairs. A sense of comfort ends this book, and for the time being, Hogwarts is left in its natural state-a cheerful and eccentric place where students grow up, make friends, and learn magic.


RHINOCEROS BY IONESCO

by GOD FATHER | 0 comments

RHINOCEROS BY IONESCO







"RHINOCEROS BY IONESCO"

Q.Women are represented as sentimental,shallow & irrational in'rhinoceros'.do you agree?
ans.IONESCO'S 'RHINOCEROSES' IS,IN A WAY,A CRITIQUE OF HYSTERICAL ATTITUDE OF WOMEN IN IT. THEY ARE DETAILED AS PIG-HEADED.THEY ARE AN UNPLEASENT LOT. IT'S A PART OF NAZISM.
DAISY IN THIS PLAY TAKES UP THE ROLE OF WOMAN AS NURTURER UNLIKE THE OTHER WOMEN IN IONESCO'S PLAY WHO THREATEN TO DESTROY OR QUESTION MALE SELFHOOD.DIASY VOLUNTEERS TO NURTURE BERENGER WITH FOOD AND GOOD COUNSEL,OFFERING HIM MORAL SUPPORT AND MOTHERING HIM EXTRAVAGANTLY.
BUT SOON ENOUGH , HER ROLE IS REWRITTEN. SHE IS NOW AN UNTHINKING, EAST GOING WOMAN WHO FINDS BEARNING CHILDREN 'BORING. THE MOTHERING' OF BERENGER BY DAISY IS COUNTERED DAISY'S REFUSAL TO TAKE UP RESPONSIBILITY OF MOTHERHOOD TO COMBAT RHINOCERITIS.SHE REFUSES TO DO WHAT EVERYONE ELSE IS DOING-JOIN THE RHINOCEROSES.
BERENGER CAN'T PLAY AT ADAM &EVE GAME ANYMORE. AND THAT IS THE PRECISE POINT THE PLAY REINFORCES. BERENGER IS A HERO SUPERIOR TO ADAM, FOR HE STICKS OUT TO HIS POSITION EVEN WHEN HE'S TOTALLY ALONE WITHOUT ANYGENDERED SUPPORT.
THE ANGISH OF THE ISOLATED MAN,THE RECURRING THEME OF ABSURDIST DISCOURSE, IS RETERATED MOST ELOQUENTLY IN ANUNGENDERED SPACE. ALL CONFLICTS, INEQUALITIES OR DEMANDS ARE NEGATED TO POTRAY MAN IN HIS ESSENCE AND GENDER ALONE, WITHOUT THE WOMAN, BERENGER'S ROOM IS CUT OFF FROM ALL SOCIAL AND MODERN COURSES.


avant-garde

by GOD FATHER | 0 comments

avant-garde


Avant-garde in French means front guard, advance guard, or vanguard. People often use the term in French and English to refer to people or works that are experimental or novel, particularly with respect to art, culture, and politics.
According to its champions, the avant-garde pushes the boundaries of what is accepted as the norm within definitions of art/culture/reality.
The vanguard, a small troop of highly skilled soldiers, explores the terrain ahead of a large advancing army and plots a course for the army to follow. This concept is applied to the work done by small bands of intellectuals and artists as they open pathways through new cultural or political terrain for society to follow. Due to implied meanings stemming from the military terminology, some people feel the avant-garde implies elitism, especially when used to describe cultural movements.
Thus avant-garde in music may refer to an extreme form of musical improvisation in which little or no regard is given by soloists to any underlying chord structure or rhythm.
The term may also refer to the promotion of radical social reforms, the aims of its various movements presented in public declarations called manifestos. Over time, avant-garde became associated with movements concerned with art for art's sake, focusing primarily on expanding the frontiers of aesthetic experience, rather than with wider social reform.
The origin of the application of this French term to art can be fixed at May 17, 1863, the opening of the Salon des Refusés in Paris, organised by painters whose work was rejected for the annual Paris Salon of officially sanctioned academic art. Salons des Refusés were held in 1874, 1875, and 1886.
By some assessments, avant-garde art includes street art, for example graffiti and any other movement which pushes forward the accepted boundaries.
For instance, whereas Marcel Duchamp's urinal may have been avant-garde at the time, if someone created it again today it would not be avant-garde because it has already been done. Avant-garde is therefore temporal and relates to the process of art's unfolding in time. Duchamp's work retains its distinction as avant-garde even today, because it marks a historical point in the advancement of the conception of art, relative to the period in which it surfaced. Similarly, "avant-garde" can be applied to the forerunners of any new movements.
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Avantgarde is an indie rock band based in Spain.
Avantgarde came into existence in the year 2003 when Miguel Goñi (born 1976, Spain), Phillippe D´huart (born 1975, Belgium) and Carlos Piris (born 1976, Spain) sought to record their first album. While recording the music in Madrid, they were looking for a singer. While in a short trip to London, Carlos Piris met Aida Galway (born 1979, USA) at a U2 concert and thanks to their incredibly similar tastes in music they instantly became friends. When Carlos returned to Spain, they began a long distance relationship, writing on regular basis. The band would send songs to Galway and he would practise and mould the songs in London. By year's end had, they decided that Aida would join the group in Spain, rather than moving the whole group to London.
An experimental novel is a written work - often a novel or a magazine that places great emphasis on innovations regarding style and technique.
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Early History
The first text generally cited in this category is Laurence Sterne's The Life and Opinions of Tristram Shandy, Gentleman. This extraordinary text "pre-breaks" most of the "rules" that would be subsequently advanced for the writing of fiction.
As a "life story" Tristram Shandy is utterly impractical, spending the first half on trying to have the titular hero be born, and on utterly irrelevant digressions about the narrator's father, his Uncle Toby, and anybody else within range of the narrative. Suddenly the narrative leaps forward by decades, and the narrator is seen near the end of his life, riding a coach at breakneck speed across France, trying to escape Death.
In its postmodern approach to narrative, and its willingness to use such graphic elements as an all-black page (for mourning) and a page of marbled end-paper within the text, Sterne's novel is a foundational text for many post-World War II authors. But alongside the experimental novel, critical attacks on the experimental novel are also to be found at this early period. Samuel Johnson, for instance, is quoted in Boswell as saying "The merely odd does not last. Sterne did not last."
Almost as early is Denis Diderot's Jacques the Fatalist and His Master



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Ergodic literature is literature that requires a "non-trivial effort" to traverse the text. This effort must be extranoematic, that is, it must consist of more than simply reading by moving one's eyes along lines of text, turning pages and mentally interpreting what one reads. The term was coined by Espen Aarseth in his book Cybertext--Perspectives on Ergodic Literature, and is derived from the Greek words ergon, meaning "work" and hodos, meaning "path". The most commonly cited definition of ergodic is from pages 1-2 of Aarseth's book:
In ergodic literature, nontrivial effort is required to allow the reader to traverse the text. If ergodic literature is to make sense as a concept, there must also be nonergodic literature, where the effort to traverse the text is trivial, with no extranoematic responsibilities placed on the reader except (for example) eye movement and the periodic or arbitrary turning of pages.
Cybertext is a subcategory of ergodic literature that Aarseth defines as "texts that involve calculation in their production of scriptons." (Cybertext, page 75) Thus, hypertext fiction of the simple node and link variety is ergodic literature but not cybertext. A non-trivial effort is required for the reader to traverse the text, as the reader must constantly select which link to follow, but a link, when clicked, will always lead to the same node. A chat bot such as ELIZA is a cybertext because when the reader types in a sentence, the text-machine actually performs calculations on the fly that generate a textual response (ELIZA is categorised as a cybertext on page 75 and in figure 3.2). The I Ching is likewise a cybertext because it contains the rules for its own reading. The reader actually carries out the calculation, but the rules are clearly embedded in the text itself. It has been argued that these distinctions are not entirely clear, and scholars still debate the fine points of the definitions of ergodic literature and cybertext. [1]
One of the major innovations of the concept of ergodic literature is that it is not medium-specific. New media researchers have tended to focus on the medium of the text, stressing that it is for instance paper-based or electronic. Aarseth broke with this basic assumption that the medium was the most important distinction, and argued that the mechanics of texts need not be medium-specific. Ergodic literature is not defined by medium, but by the way in which the text functions. Thus, both paper-based and electronic texts can be ergodic: "The ergodic work of art is one that in a material sense includes the rules for its own use, a work that has certain requirements built in that automatically distinguishes between successful and unsuccessful users." (Cybertext, p 179)
The examples Aarseth gives include a diverse group of texts: wall inscriptions of the temples in ancient Egypt that are connected two-dimensionally (on one wall) or three dimensionally (from wall to wall or room to room); the I Ching; Apollinaire’s “calligrammes” in which the words of the poem “are spread out in several directions to form a picture on the page, with no clear sequence in which to be read”; Ayn Rand’s play Night of January 16th, in which members of the audience form a jury that chooses one of two endings; Marc Saporta’s Composition No. 1, Roman, which is a novel with shuffleable pages; Raymond Queneau’s One Hundred Thousand Million Poems; B. S. Johnson’s The Unfortunates; Milorad Pavic’s Landscape Painted with Tea; Joseph Weizenbaum’s ELIZA; Will Crowther and Don Woods’s Adventure; James Meehan’s Tale-spin; William Chamberlain and Thomas Etter’s Racter; Michael Joyce’s afternoon: a story; Roy Trubshaw and Richard Bartle’s Multi-User Dungeon (aka MUD1); and James Aspnes’s TinyMUD. With the exception of Tale-spin, where a program generates a linear text, all these examples can be said to require non-trivial effort from the reader, who must participate actively in the construction of the text. It has been argued that the effort required to read Apollinaire's calligrammes is not [2].
The concepts of cybertext and ergodic literature were of seminal importance to new media studies, in particular literary approaches to digital texts and to game studies.


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