Harry Potter

Dracorex was a dinosaur of the family Pachycephalosauridae, that lived during the Late Cretaceous of North America. The type (and only) species is Dracorex hogwartsia, meaning "dragon king of Hogwarts".
It is known from one nearly complete skull (the holotype TCMI 2004.17.1), as well as four cervical vertebrae including the atlas, third, ninth and eighth. These were discovered in the Hell Creek Formation in South Dakota by three amateur paleontologists from Sioux City, Iowa. The skull was subsequently donated to the Children's Museum of Indianapolis for study in 2004, and was formally described by Bob Bakker and Robert Sullivan in 2006.

Dracorex, a herbivore, had a skull with spiky horns, bumps, and a long muzzle. The species also sports well-developed supratemporal fenestrae and a heavily-armored flat skull – lacking the characteristic pachycephalosaurid dome. Coupled with these two features is the excessive number of osteoderms in the form of irregular osteodermal crust: a number of nodes, larger hornlets, and spikes. Disregarding this, Dracorex is physically comparable to Stygimoloch. In the Pachycephalosauridae family, the Asian taxa includes a number of (somewhat) flat-headed pachycephalosaurs (Homalocephale calat'hocercos, Goyocephale lattimorei, and Wannanosaurus yansiensis). However, prior to the discovery of Dracorex, the only semi-flat-headed pachycephalosaur from North America was Stegoceras validum (inclusive of Ornatotholus' browni). Even then, the semi-flat-headed trait was only present in juveniles of the species.

Aside from having a flat, nodal skull, the most prominent feature of Dracorex is the pair of huge and unrestricted superior temporal openings. The supratemporal fenestrae are much larger front-to-back and side-to-side than in Homalocephale, and larger than in Goyocephale. Only a fragmentary Wannanosaurus skull shows fenestrae as large as those of Dracorex. This fenestral architecture has been seen in ancient archosaurs, but not in other pachycephalosaurs.

Consequently, if unreduced superior fenestrae are morphologically primitive, then Dracorex is more primitive in the temporal region than any other known pachycephalosaur. However, Sullivan (2003, 2006) demonstrated that the oldest known pachycephalosaurs were, in fact, fully-domed, and that the flat-headed morphology appeared later in the fossil record. This suggests that doming may be primitive for pachycephalosaurs and that a reversion to the non-domed, flat-headed state is a secondary (derived) character reversion, coupled with the re-opening of the supratemporal fenestrae. Indeed, while Stegoceras has been considered to be transitional between domed and flat-headed taxa, it may indicate the beginning of a character reversion to suppression of doming and opening of the supratemporal fenestrae in some taxa.

The excavated specimen was most likely a young adult. However, based on ossification of the mid-cervical arch with the centrum, it was near maturity. The animal was approximately 10 feet (3 m) long.

However, at the 2007 annual meeting of the Society of Vertebrate Paleontology, Jack Horner of Montana State University presented evidence, from analysis of the skull of holotype specimen TCMI 2004.17.1, that Dracorex may well be a juvenile form of Pachycephalosaurus.

Classification
In the original description, Bob Bakker included Dracorex in the family Pachycephalosauridae within the subfamily Pachycephalosaurinae. In the latter in the Pachycephalosaurini tribe together with Pachycephalosaurus forming a clearing next to Stygimoloch . To carry out the analysis of the relationships between the genders, he observed the differences in cranial ornamentation.

In a comprehensive study of numerous fossils of Pachycephalosaurus published in 2009, John R. Horner and Mark B. Goodwin , a strong variation warn ontogenetic of the skull : large morphological differences between juveniles and adults. For them, the flat Dracorex skull , the nodules at the front end, the small spines at the back, and the thick but non-dome-shaped frontoparietal, indicate that the only known specimen is a juvenile Pachycephalosaurus

Alternative interpretation
Dracorex may be a closely related individual of Stygimoloch and / or Pachycephalosaurus in which the cupola and horns are not well developed either because the animal was a juvenile or a female. This consideration was supported at the 2007 annual meeting of the Society of Vertebrate Paleontology.

Jack Horner from Montana State University presented evidence, from analysis of the skull of the only extant specimen of Dracorex , that this dinosaur could be a juvenile form of Stygimoloch . In addition, he presented data indicating that both Stygimoloch and Dracorex may be juvenile forms ofPachycephalosaurus . Horner and MB Goodwin published their findings in 2009, showing that the spine / nodule bones and cranial domes of all three species' exhibit extreme plasticity and that both Dracorex and Stygimoloch are known only from juvenile specimens, while Pachycephalosaurus is only known from specimens. Adults". These observations, plus the fact that all three forms lived at the same time and place, lead them to conclude that Dracorex and Stygimoloch may have simply been juvenile Pachycephalosaurs that had lost their spines and developed domes as they aged. The researchers were unable to break out Dracorex's skull to sample it,  and had to use a cast of the skull for descriptive purposes.
A 2010 study by Nick Longrich and colleagues also supported the hypothesis that all flat-headed pachycephalosaurus were juveniles, suggesting that flat-domed forms, such as Goyocephale and Homalocephale , represent the juveniles of domed adults. 
In 2016, Goodwin and Evans analyzed the youngest known ontogimorphs of Pachycephalosaurus , collected from the Hell Creek Formation. While this material would normally refer to DracorexSince it represented one or more individuals younger than the only known Dracorex individual and displayed similar characteristics, the items showed that the unique characters in Dracorex and Stygimoloch represent morphological characters consisting of a morphological continuum for Pachycephalosaurus . In other words, these younger individuals showed that Dracorex characteristics were probably transient and can be easily traced on a growth curve to Pachycephalosaurus , where Stygimoloch and Dracorex are incorporated into this genus. As such, DracorexIt is probably not a single species, but a more modern synonym for Pachycephalosaurus .
This study has not been challenging and represents the most recent analysis of this genre. In conclusion, an ontogenetic relationship is established, being infantile, juvenile and adult individuals of the same species, between Dracorex hogwartsia , Stygimoloch spinifer and Pachycephalosaurus wyomingensis , the latter being the bearer of the valid species name, as it is the first of the three to be described.

Name
The name Dracorex hogwartsia was inspired by young visitors to the Children's Museum of Indianapolis as a tribute to both dragons (Dracorex means "dragon king"), which the animal resembled, as well as the Harry Potter series of books by J.K. Rowling (hogwartsia for the Hogwarts School of Witchcraft and Wizardry, the fictional school from the popular series).

References
^ Bakker, R. T., Sullivan, R. M., Porter, V., Larson, P. and Saulsbury, S.J. (2006). "Dracorex hogwartsia, n. gen., n. sp., a spiked, flat-headed pachycephalosaurid dinosaur from the Upper Cretaceous Hell Creek Formation of South Dakota." in Lucas, S. G. and Sullivan, R. M., eds., Late Cretaceous vertebrates from the Western Interior. New Mexico Museum of Natural History and Science Bulletin 35, pp. 331–345. [1]
^ Erik Stokstad,"SOCIETY OF VERTEBRATE PALEONTOLOGY MEETING:Did Horny Young Dinosaurs Cause Illusion of Separate Species?", Science Vol. 18, 23 Nov. 2007, p. 1236; http://www.sciencemag.org/cgi/content/full/318/5854/1236.

Swimming in the waters a half hour drive from Hermione's house, Hermione found some special seashells. She thought they were remarkably different from regular ones, in that these sparkled and transmitted coloured reflections from the sunshine. She didn't know what they were so she went to her magical and rare nature objects book she had found in the library one night looking for an antidote to mild insomnia. After reading from it she found out these shells, when woven with silk thread gave the owners the ability to turn into a mermaid. " Enchanting, " she thought, " this could give me something to do all summer long away from Hogwarts. She found some silk from one of her dresses and unwound it, poking small holes into the seashells and threading them onto the string. By midday on the beach she dove into the water. As soon as she entered the water, her legs felt gooey and they shut together like magnets and her waist began to tingle, slowly turning into a long scaly green skin with a tail and fins. While with her legs, she had only been able to swim the shore without the waves tackling her. Now she was able to ride the waves and swim deep underground.

Embasado na perspectiva bakhtiniana da linguagem, a partir da constituição socioideológica da arte, este artigo propõe tecer uma análise dialógica acerca do discurso da "pureza da raça", como conteúdo temático materializado na narrativa de Harry Potter (HP), expresso pela voz vilanesca, especialmente pelos posicionamentos axiológicos de Voldemort. O objetivo é pensar sobre como o signo ideológico transita da vida para a arte e da arte volta à vida. A justificativa se volta à relevância de se pensar, a partir da arte (HP), acerca do racismo científico e da eugenia propagados e existentes na vida, mobilizados como arma política pelo nazismo e como valoração axiológica da "pureza", em diálogo, atribuído pelos fãs da saga, ao discurso bolsonarista. Os resultados confirmam a premissa da qual se parte, de que os valores preconceituosos e de intolerância com as diferenças na série mágica em interação com a contemporaneidade, em embate com o portal Potterish, que defende os direitos humanos, ocorre, de maneira refletida e refratada entre arte e vida, na obra Harry Potter.

From Hogwarts to the Boxing ring: Courage, creativity and psychological wellbeing.
In this public lecture Martin will be reflecting on psychological wellbeing and the ways in which it is
linked to courage and creativity. He will of course draw on insights from counselling psychology but
this will be supplemented by insights from a range of other areas, fields as diverse as the Harry Potter
stories, the sport of boxing and MMA and lesbian and gay psychology. Martin will explore and
question the place of such experiences as courage, risk, creativity and standardisation in relation to
psychological wellbeing in our age of ever increasing risk averseness.

J.K. Rowling had sworn she was finished with Harry Potter, sworn so loud that everyone knew it was a lie. She tried some other styles but it did not work really.

So revive that poor dead and buried Harry Potter the author changes media and shifts from the printing press to the theater stage where she finds two people who are going to help her in that new venture, a playwright and a stage director.

The play in London was and is a success but the book, though bestselling is going to be disappointing to the readers who have not seen the play. The money-making logic of the venture will lead the producers of the play to releasing a DVD-Bluray capture of the stage production as fast as possible for the millions of people who want more than a few stage directions. She might be tempted to shift directly to a cinema production but that will frustrate the readers the same way since a cinema production cannot be compared to a play. It is like moonshine and starshine in a fully sunny sky. The film will have to betray the play to be realistic in its special effects.

But what I discover is that the author, from the very start, is obsessed by trilogies, triads, ternary structures, and so on.

The 9th issue of Fantasy Art and Studies gathers the proceedings of the symposium "Représentations animales dans les mondes imaginaires" (Université d'Artois, November 2019) organised by Marie-Lucie Bougon, Charlotte Duranton and Laura Muller-Thoma. It explores the animal theme in Fantasy fiction with papers dealing with the link between woman and dragon in Game of Thrones and Robin Hobb's works, the swine animalisation of Orcs, the bestiary of Harry Potter...
It also includes short stories, including a new tale by Charlotte Bousquet, a figure of the French Fantasy scene, and the new chapter of Guillaume Labrude's comics, plus beautiful illustrations by Océane Azeau, GaëlleC., Antoine Pelloux, Guillaume Labrude, Guillaume Sallah Thomas, Princesse Mandragore Art and Véronique Thill who signs the cover art.

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Le 9e numéro de Fantasy Art and Studies rassemble les actes du colloque "Représentations animales dans les mondes imaginaires" (Université d'Artois, novembre 2019) organisé par Marie-Lucie Bougon, Charlotte Duranton et Laura Muller-Thoma. Il explore la thématique animale dans la Fantasy à travers des articles sur le lien entre femme et dragon dans Game of Thrones et l'oeuvre de Robin Hobb, l'animalisation porcine des Orques, le bestiaire de Harry Potter...
Il inclut également des nouvelles, dont un récit inédit de Charlotte Bousquet, figure majeure de la Fantasy française, et le nouveua chapitre de la BD de Guillaume Labrude, ainsi que de superbes illustrations d'Océane Azeau, GaëlleC., Antoine Pelloux, Guillaume Labrude, Guillaume Sallah Thomas, Princesse Manadragore Art et Véronique Thill qui signe l'illustration de couverture.

Hospitality has always appeared in literature throughout the ages. In Classical
Antiquity, for instance, a great deal of emphasis was placed on the centrality of hospitality, and its importance cannot be underestimated. There are at least 18 hospitality scenes in the works of Homer; these are central to his storytelling
technique. Homer’s original audience may well have believed in the existence and reality of gods like Zeus and Hera or monstrous beings such as the Cyclops and Charybdis;
however, they knew he was telling a story. In the case of the recently completed Harry Potter series, hospitality permeates all the seven books to the extent that it almost goes unnoticed: from cups of tea in Hagrid’s house, to shared butterbeers in the Three Broomsticks, and feasting in the Great Hall of Hogwarts School of Witchcraft and Wizardry.

This article proposes that the experiences of screen tourists in Oxford help to create a theoretical "deep map" of the city which explores place through narrative. Building on the travel writing of William Least Heat-Moon and other recent work in the spatial humanities, two case studies of major screen tourism drivers are considered and analyzed. The British television drama Inspector Morse (1987-2000) explores the ambiguity of Oxford intellectualism through its central character. Morse's love of high culture, especially music, provides suggestive additional layers for multimedia mapping, which are realized online through user-adapted Google Maps and geolocated images posted on the Flickr service. Harry Potter fans may not be "pure" or independent screen tourists, but they provide a wealth of data on their interactions with filming locations via social media such as Instagram. This data provides emotional as well as factual evidence, and is accumulating into an ever richer and deeper digital map of human experience.

The Harry Potter phenomenon created a surge in reading with a lasting effect on all areas of culture, especially education. Today, teachers across the world are harnessing the power of the series to teach history, gender studies, chemistry, religion, philosophy, sociology, architecture, Latin, medieval studies, astronomy, SAT skills, and much more. These essays discuss the diverse educational possibilities of J.K. Rowling's books. Teachers of younger students use Harry and Hermione to encourage kids with disabilities or show girls the power of being brainy scientists. Students are reading fanfiction, splicing video clips, or exploring Rowling's new website, Pottermore. Harry Potter continues to open new doors to learning.

This book links the mounting demand for images of violent death with dramatic changes in death-related social rituals. It offers a conceptual framework that connects observations of fictional worlds—including The Twilight Saga, The Vampire Diaries, and the Harry Potter series—with real-world sociocultural practices, analyzing the aesthetic, intellectual, and historical underpinnings of the cult of death. It also places the celebration of death in the context of a longstanding critique of humanism and investigates the role played by 20th-century French theory, posthumanism, transhumanism, and the animal rights movement in shaping the current antihumanist atmosphere.

This article is an account of fieldwork carried out in a school in East Sussex, in the south of England, with a group of 10-and 11-year-old children, to discover whether they perceive social class in a selection of children's fantasy fiction texts. The methodology will be described, and there will be a discussion of the initial findings. I am grateful to University of East London's School of Arts and Digital Industries for the funding that enabled me to buy the books used in this research.

The House of Griffin or Griffin dynasty was a dynasty ruling the Duchy of Pomerania from the 12th century until 1637. The name "Griffins" was used by the dynasty after the 15th century and had been taken from the ducal coat of arms. Duke Wartislaw I (died 1135) was the first historical ruler of the Duchy of Pomerania and the founder of the Griffin dynasty. The most prominent Griffin was Eric of Pomerania, who became king of the Kalmar Union in 1397, thus ruling Denmark, Sweden and Norway. The last Griffin duke of Pomerania was Bogislaw XIV, who died during the Thirty Years' War, which led to the division of Pomerania between Brandenburg-Prussia and Sweden. Duchess Anna von Croy, daughter of Duke Bogislaw XIII and the last Griffin, died in 1660.
The dynasty is known by two names, Pomerania, after their primary fief, and Griffin, after their coat of arms, which had featured a griffin since the late 12th century: The first verifiable use of the griffin as the dynasty's heraldic emblem occurred in a seal of Casimir II, Duke of Pomerania, which showed the imaginary beast within a shield, and was attached to a document dated 1194.
The name Pomerania comes from Slavic 'po more', which means: 'land along the sea'.
The origins of the Griffins are not clear. Most theories derive them from either local Slavic nobility or a cadet branch of the Polish house of Piasts. Medieval Polish chronicler Jan Długosz connected them with Polish noble family of Świebodzice from the south province of Poland named the Lesser Poland, who also used a griffin as their coat-of-arms and who in turn might also have been a cadet branch of the Piasts. At any rate, chronicler Gallus Anonymus in his Gesta principum Polonorum calls the Griffins "close cousins" of then-contemporary Bolesław III of Poland, directly implying a close dynastic relationship with the Piasts.
In the 17th century, the Griffins derived their roots from legendary beings from Sorb mythology called Gryphus or Baltus.
The first known members of the Griffins were the brothers Wartislaw I and Ratibor I. Wartislaw would be the ancestor of the line of dukes that ruled the Duchy of Pomerania until 1630; Ratibor would be the ancestor of the Ratiborides branch of the Griffins, that was to rule the lands of Schlawe and Stolp (Slupsk) until the line became extinct and the area was incorporated in the Duchy of Pomerania. The first known member of the Swantiborides branch of the Griffins, notable as castellans of Pomeranian cities, was Wartislaw (II) Swantiboriz.

Tutti i personaggi principali della saga di Harry Potter sono condizionati in modo decisivo dalle relazioni familiari che hanno vissuto: Harry, Ron, Neville, Luna, Draco... ma anche Dumbledore/Silente e perfino Voldemort. Una lettura che mette in luce questo aspetto della creazione letteraria della Rowling.

What is YOllr dee pest desire ? May be yOll know it a nd are actively working to wards satisfying it. O r pe rha ps yOll do n't know w ha t it is or find YOllr de sire to be like th e Go lden Snilch-tleeting and impossible to pin dow n . Maybe yOll th ink yOll kn o w , b ut are m istak en and, in fact, it w o uld surp rise , eve n shock yo u to disco ver w hat you truly desired the m o st W hile introspection or psychot herapy mig ht allow Mugg les to disco ver th eir d esires, Harry Po tte r has an easie r way. l ie can just loo k in th e mirror.

On December 20, 2015, the Palace Theatre announced the casting of Harry Potter and the Cursed Child, a new play by Jack Thorne, based on a story by Potter creator J.K. Rowling, John Tiffany, and Thorne himself. Set nineteen years in the future, the play introduces theatre into the Harry Potter universe, 1 though the Wizarding World of Harry Potter areas of Universal Studios theme parks have long featured live performances. While news from London's theatre district, the West End, rarely instigates an international cause célèbre, this announcement delighted and surprised Harry Potter fans around the world in its casting of Numa Dumezweni as the strong-willed female lead, Hermione Granger. An accomplished British actress born in Swaziland to South African parents, Dumezweni would become the second actress to portray Hermione following Emma Watson's star-making turn in the eight Harry Potter films produced by Warner Bros between 2001 and 2011. Unlike Watson, however, Dumezweni was black. The ensuing controversy provides a productive inroad into examining race in the world of Harry Potter, not only for the questions it raises about the authorship and ownership of popular texts, but also for the specific constraints and attendant cultures that come with media and its afterlife. Adapting a print text for the stage means entering a new medium and, in the process, a new culture of common practices and expectations, both of the artists and of the audience. This chapter explores these nuances to complicate our understanding of not only the decision to cast Dumezweni, but to further understand how race operates across the Harry Potter universe and media culture more broadly. Though I am a White critic, I ground my discussion of this controversy in the commentaries, critiques, and theories developed by scholars of color so that I might challenge received accounts of this evocative moment in Harry Potter fandom. I will examine this case study through three different lenses: the cultural differences between film and theatre as media and industries; the enduring debate over " colorblind casting " (hereafter, nontraditional casting) in the theatre, 2 in particular, but gradually more across media culture; and the increasingly visible tension between authorship and ownership of popular texts that takes places online in what Henry Jenkins has called " convergence culture " —that is, to borrow from the subtitle of his landmark book, " where old and new media collide. " In so doing, I drawn upon and expand our understanding of race and media through a critical examination of the Harry Potter universe, the culture industries, and convergence culture. 1 I use " the Harry Potter universe " to encompass the world of Harry Potter, which includes the seven books, but also the supplemental books, films, online materials in Pottermore, theme park attractions, and other extensions that further develop the world in the spirit of transmedia storytelling, all under the supervision of J. K. Rowling. 2 Though " colorblind casting " is often used across the culture industries to discuss the practice of casting white roles or roles where race is not specified with actors of colors, I will use " nontraditional casting " because not only does it encompass casting practices beyond questions of race, but it conscientiously avoids the casual ableism of the term. I will only use the term hereafter when quoting others.

El propósito de este trabajo es abordar las continuidades y rupturas entre el mundo de los fans de la saga de Harry Potter y el deporte quidditch en Argentina, el cual se inspira en dicha obra, pero se muestra como una actividad independiente. Esto se trabajará mediante el análisis del modo en que la ética del fandom aparece en el deporte estudiado. Para lograr esto, se recuperará la historia y polémicas recientes de la actividad a nivel global y local, estructurándose el artículo en torno a investigaciones previas, entrevistas, observaciones y la utilización de la etnografía virtual. Se concluye la existencia tanto de continuidades como de rupturas entre estos ámbitos, jugando la ética del fandom un papel particular: rechazar actitudes y sentidos opuestos a la misma que emergen de los propios practicantes del quidditch, pero también de los nuevos desafíos de la actividad.

Co-curated with Julian Harrison, Joanna Norledge and Tanya Kirk, this exhibition explored the history behind the magic in the Harry Potter stories. A once-in-a-lifetime collaboration between the British Library, Bloomsbury and J.K. Rowling this exhibition showcased a treasure trove of artefacts from the British Library and other collections around the world, alongside manuscripts, sketches and illustrations from the archives of Bloomsbury and J.K. Rowling. Within a few weeks of opening this exhibition sold out.

In Being and Time, Martin Heidegger argues that death is always impending, waiting to claim us, and as such our existence in the world is one that is Being-toward-death.  Despite the fact that we can never escape death, we are constantly trying to flee it and distract ourselves from it.  There is a certain anxiety and fear in the face of death that mortals experience, hence the reason we try to outrun it.  Looking at the figure of the hero, we see an individual who, at times, experiences horror and terror in their lives.  They face death, and they too are afraid to die, however, the hero is able to overcome such fears, in spite of the horror and terror, and meet death head on.  In this respect, the hero embodies what Heidegger calls authenticity, and therefore lives an authentic life.
This paper seeks to examine the hero’s relationship to death, their fear of it, as well as their ability to overcome this fear and achieve authenticity.  Using Achilleus and Harry Potter, as examples of Ancient and Modern epic heroes, I will show how both heroes demonstrate a moment of fear, of pure anxiety, while facing death, but then embrace and overcome it in order to fulfill their allotted destiny and measure.  Furthermore, I am interested in looking at each hero’s loss of their loved ones and how that shapes both their fear in the face of death, but at the same time strengthens their character as the epic hero.  Both Achilleus and Harry experience deep loss and mourning, and yet through the pain and horror, are able to come to terms with their own fate and finitude.  It is this shared experience that demonstrate Heidegger’s theory and allow them to be thought as achieving authenticity.

Contemporary analysis of Harry Potter books does not necessairly employ the latest accomplishments of cultural theory, such as neomarxism (Piketty), the questions of psychoanalysis and the theory of politics (Žižek) and the literary theory (Eagleton), which in suitable configuration represent the hypertextual phenomenon of “pottermania” as a popcultural occurrence of ideology with certain ethical consequences. Exposing textual nature and stressing out novel’s sense-making structures allows
for the critical evaluation of the world represented in the books and their cultural
reception.

This critical anthropological assessment explores the concept of Harry Potter tourism, specifically at London's King's Cross station. This new-age form of tourism, solely based upon fans living through the Harry Potter fantasies (both in-text and in-person) is brought to life through an abundance of stimuli rewarded to the curious Potter tourist. This paper investigates how the famed Platform Nine and Three Quarters at King's Cross station became one of our globe's most sought after tourist destinations, and how the Harry Potter series allows fans of all ages and cultural backgrounds to live like a wizard for one day. 

Diese Arbeit befasst sich mit der Subkultur Fandom sowie der zumeist dazugehörigen Fan Fiktion und setzt sich dabei mit Stereotypen, Vorurteilen, dessen Inhalt und Zweck sowie dem Verhalten der Fans anhand zweier praktischer Beispiele, dem MCU/Marvel Cinematic Universe und J.K. Rowlings Harry Potter, auseinander. Dabei werden mitunter die Fragen beantwortet, welche kulturellen Aspekte sich vom Phänomen Fandom ableiten lassen und inwieweit eine Subkultur Einfluss auf die Gesellschaft sowie die kulturelle Wahrnehmung dieser hat.