Chirchik state pedagogical institute

Style and allusions
Rowling is known primarily as an author of fantasy and children's literature
Her writing in other genres, including literary fiction and murder mystery, has received less critical attention.Rowling's most famous work, Harry Potter, has been defined as a fairy tale, a Bildungsroman and a boarding-school story. Her other writings have been described by Pugh as gritty contemporary fiction with historical influences (The Casual Vacancy) and hardboiled detective fiction (Cormoran Strike).
In Harry Potter, Rowling juxtaposes the extraordinary against the ordinary.Her narrative features two worlds – the mundane and the fantastic – but it differs from typical portal fantasy in that its magical elements stay grounded in the everyday. Paintings move and talk; books bite readers; letters shout messages; and maps show live journeys, making the wizarding world "both exotic and cosily familiar" according to the scholar Catherine Butler. This blend of realistic and romantic elements extends to Rowling's characters. Their names often include morphemes that correspond to their characteristics: Malfoy is difficult, Filch unpleasant and Lupin a werewolf.Harry is ordinary and relatable, with down-to-earth features such as wearing broken glasses;Roni Natov terms him an "everychild". These elements serve to highlight Harry when he is heroic, making him both an everyman and a fairytale hero.Arthurian, Christian and fairytale motifs are frequently found in Rowling's writing. Harry's ability to draw the Sword of Gryffindor from the Sorting Hat resembles the Arthurian sword in the stone legend.His life with the Dursleys has been compared to Cinderella.Like C. S. Lewis's The Chronicles of Narnia, Harry Potter contains Christian symbolism and allegory. The series has been viewed as a Christian moral fable in the psychomachia tradition, in which stand-ins for good and evil fight for supremacy over a person's soul.The critic of children's literature Joy Farmer sees parallels between Harry and Jesus Christ.Comparing Rowling with Lewis, she argues that "magic is both authors' way of talking about spiritual reality".According to Maria Nikolajeva, Christian imagery is particularly strong in the final scenes of the series: she writes that Harry dies in self-sacrifice and Voldemort delivers an ecce homo speech, after which Harry is resurrected and defeats his enemy.
Themes
Death is Rowling's overarching theme in Harry Potter In the first book, when Harry looks into the Mirror of Erised, he feels both joy and "a terrible sadness" at seeing his desire: his parents, alive and with him.Confronting their loss is central to Harry's character arc and manifests in different ways through the series, such as in his struggles with Dementors.Other characters in Harry's life die; he even faces his own death in Harry Potter and the Deathly Hallows. The series has an existential perspective – Harry must grow mature enough to accept death In Harry's world, death is not binary but mutable, a state that exists in degrees.Unlike Voldemort, who evades death by separating and hiding his soul in seven parts, Harry's soul is whole, nourished by friendship and love.Love distinguishes the two characters. Harry is a hero because he loves others, even willing to accept death to save them; Voldemort is a villain because he does not.

While Harry Potter can be viewed as a story about good vs. evil, its moral divisions are not absolute.First impressions of characters are often misleading. Harry assumes in the first book that Quirrell is good because he opposes Snape, who appears malicious; in reality, their positions are reversed. This pattern later recurs with Moody and Snape.In Rowling's world, good and evil are choices rather than inherent attributes: second chances and redemption are key themes of the series.This is reflected in Harry's self-doubts after learning his connections to Voldemort, such as the ability of both to communicate with snakes in their language of Parseltongue; and prominently in Snape's characterisation, which has been described as complex and multifaceted.In some scholars' view, while Rowling's narrative appears on the surface to be about Harry, her focus may actually be on Snape's morality and character arc.Rowling has enjoyed enormous commercial success as an author. Her Harry Potter series topped bestseller lists,spawned a global media franchise including films and video games,and was translated into at least 70 languages by 2018.The first three Harry Potter books occupied the top three spots of The New York Times bestseller list for more than a year; they were then moved to a newly created children's list.The final four books – Goblet of Fire,Order of the Phoenix,Half-Blood Prince, and Deathly Hallows– each set records as the fastest-selling books in the UK or US. As of 2018, the series had sold more than 500 million copies according to Bloomsbury.Neither of Rowling's later works, The Casual Vacancy and the Cormoran Strike series, have been as successful, though Casual Vacancy was still a bestseller in the UK within weeks of its release.Harry Potter's popularity has been attributed to factors including the nostalgia evoked by the boarding-school story, the endearing nature of Rowling's characters, and the accessibility of her books to a variety of readers. According to Julia Eccleshare, the books are "neither too literary nor too popular, too difficult nor too easy, neither too young nor too old", and hence bridge traditional reading divides

Critical response to Harry Potter has been more mixed.Harold Bloom regards Rowling's prose as poor and her plots as conventional,while Jack Zipes argues that the series would not be successful if it were not formulaic.Zipes states that the early novels have the same plot: in each book, Harry escapes the Dursleys to visit Hogwarts, where he confronts Lord Voldemort and then heads back successful.Rowling's prose has been described as simple and not innovative; Le Guin, like several other critics, considers it "stylistically ordinary".According to the novelist A. S. Byatt, the books reflect a dumbed-down culture dominated by soap operas and reality television.Thus, some critics argue, Harry Potter does not innovate on established literary forms; nor does it challenge readers' preconceived ideas. Conversely, scholar Philip Nel rejects such critiques as "snobbery" that reacts to the novels' popularity,whereas Mary Pharr argues that Harry Potter's conventionalism is the point: by amalgamating literary forms familiar to her readers, Rowling invites them to "ponder their own ideas".Other critics who see artistic merit in Rowling's writing include Marina Warner, who views Harry Potter as part of an "alternative geanology" of English literature that she traces from Edmund Spenser to Christina Rossetti, and Michiko Kakutani, who praises Rowling's fictional world and the darker tone of the series' later entries.

Reception of Rowling's later works has varied among critics. The Casual Vacancy, her attempt at literary fiction, drew mixed reviews. Some critics praised its characterisation, while others stated that it would have been better if it contained magic. The Cormoran Strike series was more warmly received as a work of British detective fiction, even as some reviewers noted that its plots are occasionally contrived.Theatrical reviews of Harry Potter and the Cursed Child were highly positive.Fans have been more critical of the play's use of time travel, changes to characters' personalities, and perceived queerbaiting in Albus and Scorpius' relationship, leading some to question its connection to the Harry Potter canon.