The Harry Potter phenomenon has created a new world: one of Quidditch in the park, lightning earrings, endless parodies, a new genre of music, and fan conferences of epic proportions. This book attempts to document everything - exploring costuming, crafting, gaming, and more, with essays and interviews straight from the multitude of creators. At last, this groundbreaking moment of pop culture is brought to light, from the amazing philanthropic triumphs of the Harry Potter Alliance to the many camps and classrooms that have welcomed Harry into their halls. Today's internet age has formed a new kind of reader: one who devours 800-page books and then creates fanfiction, art, videos, real-life adventures, and more, reimagining the series to reflect a new growing consciousness. From children to adults, fans are delighting the world with an explosion of captivating activities and experiences, all based on Rowling's delightful series.

"Wizard rock"--music based on the Harry Potter series by J. K. Rowling--is an idiosyncratic subgenre, with band names like Harry and the Potters, Draco and the Malfoys and The Whomping Willows. Drawing on input from insiders and fans, and interviews with more than a dozen wizard rockers, this book explores the history and aesthetics of the movement. An appendix lists dozens of popular bands, members and discographies: a must-have for fandom scholars and wizard rock devotees alike.

Through classroom activities, wizard rock concerts, and organizations like the Harry Potter Alliance, Harry Potter fans are using creativity to positively impact the world. This collection of essays and interviews examines how playful fandom--from fanfiction to Muggle quidditch, cosplay, role-playing games, and even Harry Potter burlesque--not only reimagines the canon but also challenges consumerism, questions notions of identity, and fosters participatory culture. The contributors explore issues applicable to fan studies and performance studies at large, such as the role of performance, the nature of community, and questions of representation and ownership in the digital age. Presented in three parts, the essays discuss discrepancies between sanctioned versions of Harry Potter and fan creations, the reenactment and reinterpretation of the original narrative in fan performance, and collaborative and participatory performances that break down the boundaries between actors and audiences.

Since the 1997 publication of the first Harry Potter novel, the "Potterverse" has seen the addition of eight feature films (with a ninth in production), the creation of the interactive Pottermore© website, the release of myriad video games, the construction of the Wizarding World of Harry Potter at Universal Studios, several companion books (such as Fantastic Beasts and Where to Find Them), critical essays and analyses, and the 2016 debut of the original stage play Harry Potter and the Cursed Child. This collection of new essays interprets the Wizarding World beyond the books and films through the lens of convergence culture. Contributors explore how online communities tackle Sorting and games like the Quidditch Cup and the Triwizard Tournament, and analyze how Fantastic Beasts and Harry Potter and the Cursed Child are changing fandom and the canon alike.

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.

In The Classics and Children's Literature between West and East a team of contributors from different continents offers a survey of the reception of Classical Antiquity in children’s and young adults’ literature by applying regional perspectives.

An Unexpected Parody: The Unauthorized Spoof of The Hobbit revisits the film with mayhem, mirth, and magic missiles-or at least, crumpled newspaper missiles. Torn Teepeeshield, the Hot Prince of the Dwarves, puts aside his developing stardom in dwarf cabaret to quest to the Lame Old Mountain and destroy the dragon Erpolushun, or in the common tongue, Smog. Gonedaft the Grey, formerly known as Gonedaft the Grizzled and Gonedaft of the Rainbow Tie-die that He So Can't Pull Off, recruits Bumble Baglunch, country gentleman and professional coward, since as an avid comic book fan and all-around geek, Bumble's too smart to fall prey to obvious fantasy clich�s. Together with Bobbin, Noggin, Rover, Clover, Sloppy, Ploppy, Frappe, Hottie, Spottie, Quaff, Sloth, and Ezekiel the dwarves, they journey across Renfair Earth to revive their franchise. Destiny may be a word writers use to pave over plotholes, but Bumble is determined to triumph nonetheless and play as good a game of goblin golf as his ancestors.

"Bringing details from myths, herbal guides, military histories, and the classics, English professor and award-winning pop culture author Valerie Estelle Frankel sheds light on the deeper meanings behind Panem's heroes and villains in this hottest of YA trilogies."--Page 4 of cover.

Andy witnesses a bank robbery and becomes a recruit for a secret organization that finds and eliminates evil.

Intertextuality has signaled change, appropriation, adaptation, and derivation. It has focused readers on irresolvable questions of influence and origination, progressive or regressive movement across continents, periods, and media. Inhabited by Stories: Critical Essays on Tales Retold takes a different approach. What would a model of literary study look like that steps out of time’s river and embraces not only the presence and proximity of the world to the senses, but also of the past and the future to the present here and now? When stories inhabit us, imagination and memory extend our ability to see and feel. Phenomenological experience is lived, not just thought. Such a perspective suggests that the past and future inhabit the present, increase the depth of sensory perception itself, and enrich the range of our affective and ethical responses. Grounded in the lived experience of reading, this perspective offers an alternative to an idea of intertextuality as simply following lines of influence and appropriation. It focuses on the expansion of experience created by telling and retelling stories. Ironically, for literary theorists and critics, perhaps the highest form of both praise and critique is a tale retold, since such retellings attest to literature’s instructive power and its perennial regeneration.