Brutal killing, but Gideon and Fabian apparently died like heroes. Killed for being part of the Order of the Phoenix. Killed for being part of the Order of the Phoenix.ĥ Death Eaters (including Antonin Dolohov) Possibly murdered by unknown means on Lord Voldemort's orders Multiple Death Eaters (including Travers) His ghost awoke and continued to teach History of Magic at Hogwarts, said not to have noticed his death. Later became Gryffindor House ghost at Hogwarts School of Witchcraft and Wizardry.ĭied in his sleep in a chair in front of the Hogwarts staff room fireplace. Sir Nicholas de Mimsy-Porpington (Nearly-Headless Nick)Īsking his confessor if he should wear a hat to his executionĮxecuted on behalf of King Henry VII for a magical mishap with a lady-in-waiting, Lady Grieve died after 45 chops with the head still attached. Harry Potter and the Philosopher's Stone Character
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My understanding of cultural nostalgia's role in medievalism has been largely shaped by Alice Chandler's A Dream of Order my understanding of cultural nostalgia in modern Europe comes, in part, from Malcolm Chase and Christopher Shaw's article "The Dimensions of Nostalgia" in their collection The Imagined Past: History and Nostalgia. By using these medievalisms to create an ending that appeals to cultural nostalgia, I argue that Rowling has inserted her text into the tradition of medievalist literature. I argue that these visions and memories are medievalisms because of their parallels to Geoffrey Chaucer's three major dream visions, the Book of the Duchess, the House of Fame, and the Parliament of Fowls, and because they can be read in the terms established by Macrobius in his Commentary on the Dream of Scipio.
Harry potter order of the phoenix ending series#
The series recreates World War II but with a more positive ending, an ending that is possible because of Harry's visions in Order of the Phoenix and Deathly Hallows and others' memories, viewed in the Pensieve in Half-Blood Prince and Deathly Hallows. The nostalgia to which Rowling responds, I argue, is a reaction to the politics of post-World War II Britain. The tradition began as early as the sixteenth century but had its heyday in the nineteenth century, when it arose as a reaction to cultural nostalgia inspired by industrialization, and this nostalgia became an integral part of the tradition. Rowling's Harry Potter series and instead examining textual medievalisms - those plot points with precedents in medieval literature - I argue that Harry Potter is part of the tradition of medievalist literature. Going beyond the obvious visual medievalisms - such as Hogwarts Castle and its sundry suits of armor - in J.K.