The representations of fascism on lord voldermort character in Harry Potter and deathly hallows by Jk Rowling

By:

PUTRI NURUL AISYAH NIM. 107026001154

ENGLISH LETTERS DEPARTMENT

LETTERS AND HUMANITIES FACULTY

STATE ISLAMIC UNIVERSITY

“SYARIF HIDAYATULLAH” JAKARTA

A Thesis

Submitted to Letters and Humanities Faculty In Partial Fulfillment of the Requirements for

the Degree of Strata One

By:

PUTRI NURUL AISYAH NIM. 107026001154

ENGLISH LETTERS DEPARTMENT

LETTERS AND HUMANITIES FACULTY

STATE ISLAMIC UNIVERSITY

“SYARIF HIDAYATULLAH” JAKARTA

i

Putri Nurul Aisyah, Representation of Fasicism on Lord Voldemord Character in Harry Potter and Deathly Hallows by JK Rowling. Thesis: Letters and Humanities Faculty, State Islamic University “Syarif Hidayatullah” Jakarta, 2011.

In this research, the writer examines the representation of fascism on Lord Voldemort character in Harry Potter and Deathly Hallows novel by JK Rowling. In Harry potter and Deathly Hallows Lord Voldemort has launched a reign of terror and he is replacing the Ministry of Magic with a fascism-style government that will enslave Muggles and Mudbloods alike. This study is aimed at finding out the way Lord Voldemort represents fascism and the level ideology on Harry Potter and Deathly Hallows.

The writer uses literary approach that serves as the departure or base-perspective in analyzing fascism representation in the novel which is built through words, dialogues, narrations, characters and characterizations. The type of research that used in this study is a qualitative and the qualitative research results will be written in a descriptive-analytical. The analysis of fascism representations on Lord Voldemort character in the Harry Potter and Deathly Hallows novel is using the theory of representation by Stuart Hall, seven principal elements of the fascist outlook by Ebenstein and the main level of Fascism ideology on children literature by Holindale.

The analysis result shows that relation of the fascism (base on Ebenstein description) and the fascism on Harry Potter and Deathly Hallows novel undergo shifting and the ways of Lord Voldemort represents it on the novel which is contrast to the theory. This novel can be considered as having the alternative vision to re-value the relation between fascism (base on the theory) and the fascism (on the novel). And the fascism ideology in this children literature is intended surface ideology. The Fascism ideology through Lord Voldemort character is intended to be surface of ideology that conscious exist in Harry Potter and Deathly Hallows. Fascism on Lord Voldemort character is conscious intentionality that expresses an ideological belief but it is not the main ideology on the Harry Potter and Deathly Hallows. The main ideology is Harry Potter’s resistance of Fascism ideology that Lord Voldemort has which is the dominating ideology that presented to young readers.

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knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgment has been made in the text.

Jakarta, July 2011

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ACKNOWLEDGEMENT

In the name of Allah, the Beneficent, the Merciful.

All praises due to Allah SWT, who has bestowed upon the writer completing this paper. Peace and salutation be upon our prophet Muhammad SAW, who has saved the believers from destruction into safety and has guided them to the right way of Islam.

This paper presented to the English Letters Department, Letters and Humanities Faculty, State Islamic University Syarif Hidayatullah Jakarta, as a partial of requirements for the Degree of Strata one.

First and foremost, the writer would like to express her deeply gratitude to Allah SWT for always listen to all her wishes and the writer also want to express her deeply thanks to Mr. Arief Rahman Hakim as her advisor for helping the writer so hard and for truly understanding what this thesis is all about and without his guidance, patience, support and encouragement, this thesis is never be completed.

In this opportunity, the writer also would like to convey her sincere appreciation to the following amazing people:

1. Dr. Abd. Wahid Hasyim, M.Ag. as a Dean of Letters and Humanities Faculty.

2. Drs. Asep Saefuddin, M.Pd. as the Head of English Letters Department and Ms. Elve Oktafiani, M.Hum. as the Secretary of English Letters Department.

3. All of the lectures in English Letters Department who have taught her a lot of things and educated her during her study.

4. The writer’s exceptional parents; her dady Dudung Zulkipli, Bsc and her mommy Keke Surtini for their generosity, faith and superb guidance. “I

am sorry for everything”

5. The writer’s brother and sister , Mochammad Iqbal and Baghea Nurul Mariam who always give the writer support, love and acceptance

6. All the staff of library of Letters and Humanities Faculty, main library of UIN Jakarta.

7. The writer’s friends; NAFAVISYA, The big family of KOMDA ADAB, the Literature fellows, Geng KKN cepe, Anna, Ipes, Novi, Nisa, romah, Juli and Abdul Rofie for their sincere love and friendship.

8. The writer’s Happiness; Victoria unnie, Nichkhun Horvejkul, Kyuhunie, Khuntorian, Park Kyu, 2PM, Hottest, Jung Il woo, Toda Erika, Dean Winchester, Dan Brown, JK Rowling, Sebumi-san, Akiyama-san, Bidam-oppa, trio Gryfindor and cacing for always give a lot of funs, smiles and tears.

Jakarta, July 7th 2011

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ABSTRACT ………... i

APPROVEMENT ………... ii

LEGALIZATION ………...…… iii

DECLARATION ………...……… iv

ACKNOWLEDGEMENT ……… v

TABLE OF CONTENTS ………..…….. vii

LIST OF TABLES ……… x

LIST OF APPENDICES ……… xi

CHAPTER I. INTRODUCTION ……….. 1

A. Background of the Research ……… 1

B. Focus of the Research ………..………….. 8

C. Research Questions ………. 8

D. Objective of the Research ………. 9

E. Significance of the Research ……….. 9

F. Previous Research ………..……. 9

G. Research Conceptual Procedure ……… 11

H. Research Methodology ……….. 12

1. Approach, type and method ……….. 12

3. Technique of collecting data ….….………. 14

4. Process and Data analysis ……… 15

I. Time and Place of Research ……… 15

CHAPTER II. THEORETICAL FRAMEWORK ……… 17

A. Concept of Representation ……… 17

B. Concept of ideology ……… 21

C. Fascism ……… 23

a. Totalitarianism …..……… 25

b. The Distrust of Reason ……… 26

c. The Denial of Basic equality ……… 27

d. Code of Behavior based on lies and Violence …… 27

e. Government by Elite ………... 29

f. Racialism and Imperialism ……….. 30

g. Opposition to International law and order … 32 CHAPTER III. RESEARCH FINDINGS ……… 33

A. Data Description ………. 33

B. Data Analysis ………. 43

1. Analysis of Fascism on Lord Voldemort character ………. 43

2. Analysis the level of ideology in …… Harry Potter and Deathly

Hallows

…………... 66

CHAPTER IV. CONCLUSION AND SUGGESTIONS ………….. 71

A. Conclusions …...……… 71

B. Suggestions ……….………. 74

BIBLIOGRAPHY ……… 75

APPENDICES ……… 77

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1. Fascism Representation on Lord Vordemort character ……..………… 34 2. The Kind of Fascism Ideology on children literature …..……… 41

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1. Synopsis of Harry Potter and Deathly Hallows ...……….……… 77

1 A. Background of Research

Children’s world is about having fun, all day what they have done just play and enjoy the world. They study new things by playing around and they start wondering about the real world, curious about life and adult activities. It becomes parent’s duty to teach them in fun way how they face the world in firsthand, one way to teach children is telling stories. And that makes children’s literature comes up.

In the beginning, children do not have their own literature, they read what adults read. Aesop’s fables in the beginning are not for children but with times Aesop’s fables become the first literature that children have.

Aesop's Fables are a collection of fables credited to Aesop, a slave and story-teller supposed to have lived in ancient Greece between 620 and 560 BCE. The fables remain a popular choice for moral education of children today. Many of the stories, such as The Fox and the Grapes (from which the idiom "sour grapes" derives), The Tortoise and the Hare, The North Wind and the Sun, The Boy Who Cried Wolf and The Ant and the Grasshopper are well-known throughout the world.

After Aesop’s fable comes Grimm’s brother stories from Germany. The Brothers Grimm (German: Die Brüder Grimm or Die Gebrüder Grimm), Jacob

Grimm and Wilhelm Grimm, were German academics, linguists and cultural researchers who collected the old folk tales and published several collections of folk- and fairy tales, called Grimm's Fairy Tales, which subsequently became very popular. They are among the best-known story tellers of European folk tales, and their work popularized such stories as "Cinderella" (Aschenputtel), "The Frog Prince" (Der Froschkönig), "Hansel and Gretel" (Hänsel und Gretel), "Rapunzel", "Rumpelstiltskin" (Rumpelstilzchen), "Sleeping Beauty" (Dornröschen), and "Snow White" (Schneewittchen).

Genre of Children’s literature are created because children need their own literature that full of personal values, enjoyment, imagination, vicarious experience, and an insight into human behavior. Therefore they will learn and have enjoyment in same time. And absolutely children’s literature is limited by children’s experience and understanding.

So parents introduce children many literatures to teach and delight them. Children’s introduction to literature comes in the crib as babies listen to mother goose rhymes and songs, in the west. When they bit older, in the night parent will tell stories about fables. Like the mice beat the tiger or the tortoise beat the hare in race. With those stories children begin to understand many values: honest, truth, hard work, etc. And when they grow up and start to learn how to read, they choose or being chosen their own literature. But it is hard to define children’s literature because sometimes some books written for adults are liked by children. And some books written for children are liked by adults. An increasing number of adults have begun reading children's literature, blurring the boundaries between children's and adults literature.

There are some definitions that can be considered as children’s literature; First, children's literature is work written by children and young teens, because the reader is a child so the one who most understand about children is children that why the writer should be children too. Second, the most common definition of children's literature is those books intentionally written for children. Nancy Anderson defines children's literature as all books written for children, "excluding works such as comic books, joke books, cartoon books, and nonfiction works that are not intended to be read from front to back, such as dictionaries, encyclopedias, and other reference material". Third, the most restrictive definition of children's literature are those books various authorities determine are "appropriate" for children, such as teachers, reviewers, scholars, parents, publishers, librarians, retailers, and the various book-award committees. Fourth, the broadest definition of children's literature applies to books that are actually selected and read by children. 1

It can be concluded that Children’s literature is literature for children that can be understood by children and children’s literature will often have less complexity of plot where there are absolute distinctions of good and bad and it will usually have child characters with the happy ending. Children’s literature also are generally less frank than adult. So children’s literature always provides delight and enjoyment, because that what they search.

There are four kinds of children’s literature. First, picture books that intended for children under age five. Second, early reader books appropriate for children age 5–7. These books are often designed to help a child build his or her reading skills. Third, chapter book which appropriate for children ages 7–11.

Fourth, young-adult fiction appropriate for children age 13–18.

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Young adult fiction more sophisticated than others, it is not only providing delight and enjoyment but also reflecting the real world. This can show children how the real world is and give children new perspectives on the world. In young adult fiction, there are mainstreams of genre such as fantasy, adventure, quest, romance and myth. Fantasy creates their own extraordinary world where many magical things happen. Even in the fantasy stories, the authors draw the ideas of life through character. The ideas of life in fantasy stories often lie on the struggle between good and evil. It teaches children about real life which one is good and which one is bad.

Literature tries to have many similarities with the real world because literature is copying the real world. Literature has ideology because ideology always comes up in every single thing in the real world, so there are ideologies even in children’s literature. The ideology can manifest through character and characterization on fantasy stories. Ideology is set of ideas and one of the ideologies is Fascism.

Fascism is a set of ideologies that want to rule society by one people with full authorities and denial the freedom of people. Fascists believe that a nation is an organic community that requires strong leadership, singular collective identity, and the will and ability to commit violence and wage war in order to keep the nation strong.2 They claim that culture is created by the collective national society and its state that cultural ideas are what give individuals identity, and thus they reject individualism. Viewing the nation as an integrated collective community, they see pluralism as a dysfunctional aspect of society, and justify a totalitarian

2

state as a mean to represent the nation in its entire. Fascists advocate the creation of a single-party state. Fascist governments forbid and suppress opposition to the fascist state and the fascist movement.

Although fascism, like communism, is a movement that exists everywhere, it has no such authoritative statement of principles as communism has; moreover, there is no one country, at present, directing a fascist world conspiracy. During the Nazi regime (1933-1945), Germany was the most powerful of the fascist states then in existence, and world fascism was very largely directed, financed, and inspired by German brains and money. Since the defeat of the fascist Axis (Germany, Japan, and Italy) in World War II, however, there has been no really major fascist state; Argentina never possessed anything like the world-wide influence that Nazi Germany had until 1945.

The absence of universally recognize authoritative statement of fascist principles is not total. Hitler has left in Mein Kampf (1925-1927) a trustworthy guide to his thought, and Mussolini’s The doctrine of Fascism (1932), a moderate statement of fascist principle, expresses the Italian brand of fascism. The latter has served as a model for most other fascist movement in the world because it is more universal in outlook; Nazism, especially German brand fascism, has proved for that reason less suitable for.

Although there is no Fascism Manifesto with undisputed authority among fascist according to William Ebenstein, there are seven principal elements of the fascist outlook; distrust of reason, denial of basic human equality, code of behavior based on lies and violence, government by elite, totalitarianism, racialism and imperialism, the last is opposition to international law and order.

A fascist character can be found in many fictional works because the theme of power is so fascinating to tell and we can find those symptoms of fascism in the

character of Lord Voldemort in Harry Potter series. Harry Potter series is one of children favorite of fantasy stories by Joanne Kathleen Rowling, the most popular children author. In the beginning, JK Rowling wrote Harry Potter series for children consumption but by times past Harry Potter series have been claimed as their own by adult. Now the publisher makes an adult and children’s versions with the only difference being the book's cover art.

Harry potter series have seven books; First is Harry potter and the Philosopher's Stone (Bloomsbury 1997), second is Harry Potter and the Chamber of Secret (Bloomsbury 1998), third is Harry Potter and the Prisoner of Azkaban

(Bloomsbury 1999), fourth is Harry Potter and the Goblet of Fire (Bloomsbury 2000), fifth is Harry Potter and the Order of Phoenix (Bloomsbury 2003), sixth is

Harry Potter and Half-blood Prince (Bloomsbury 2005) and the latest is Harry Potter and Deathly Hallows. As of mid 2007, worldwide sales of Rowling’s 7 -book series exceeded 325 million copies. Only the Bible has sold more -books. The Harry Potter titles are available in more than 200 countries and have been translated into 64 languages. The film version of the series has also attracted millions of viewers. By anyone’s measure of success, the Harry Potter series is a true blockbuster, one that is unrivalled in children’s literature.

Harry potter series chronicle the life of the young, orphaned wizard Harry Potter. The series is a coming of age story, beginning when Harry is eleven and following him through adolescence and young adulthood until he is seventeen. Setting of the stories set in a society of witches and wizards which is parallel to the society of Muggles3.

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Muggles are normal human being in Harry Potter world, they do not know the existence of wizard and witches.

Harry potter and Deathly Hallows is the final series about the real last encounter between Harry and Lord Voldemort. In this book Lord Voldemort's Death Eaters have launched a reign of terror and are on the verge of replacing the

Ministry of Magic 4 with a fascism-style government that will enslave muggles and "mudbloods" alike. Anyone who stands in their way will be eliminated. Harry with his two best friends Ron Weasley and Hermione Granger decide do not attend Hogwarts in their last year to search the way to beat Lord Voldemort. And join in the great battle with Lord Voldemort and his allies.

Therefore central storyline of the Harry Potter and Deathly Hallows

revolves around a struggle between good and evil like other fantasy stories for children. In this series Harry Potter is the hero and the evil is Lord Voldemort or He-Who- Must-Not-Be-Named, the leader of the powers of Darkness.

When we read fantasy stories, we focus the attention to the main character; a protagonist, a hero. A character that receives a conflict and become hero in the stories, like in Harry potter, the reader tied up with harry and sometime ignore the antagonist, a character who makes a conflict; Lord Voldemort. According to the writer Harry Potter and Deathly Hallows become interesting because the great evil Lord Voldemort that have ideology of fascism.

Lord Voldemort is the lord of darkness, he wants to rule the world, start from magic world. He has follower “Death Eater” that have mission to clean the wizarding world of “mud-bloods” 5 and to take dictatorial control over the wizarding world and ordinary human world. Voldemort display typically fascist

4_{in wizard’s world there are a ministry of magic that lead by}

a minister.

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characteristics; a hatred of those with “impure” blood (in this case, mud bloods

and muggles), a fetishism for symbols (in this case, the remark in death eater arms), a disregard of other creatures (giant,goblin,elves,etc) and a will to power. Voldemort also harbors genocidal ambitions. He hopes to purify the wizarding world by exterminating all “mud-bloods” and forcibly unite wizarding community

under his fascism rule.

Fascism is a “heavy” ideology on children literature because it is beyond children knowledge but still Lord Voldemort character has it. Fascism symptoms on character of Lord Voldemort in children’s literature make the writer write this thesis. The writer interested in how the character of Lord Voldemort represents fascism and the kind of Fascism ideology on in the last Harry potter series, Harry potter and Deathly Hallows

B. Focus of the Research

Based on the background of the study, this research will be focus on Lord Voldemort character in Harry Potter and Deathly Hallows novel, the representation of the principal element of fascist outlook and the kind of Fascism ideology in children literature.

C. Research Questions

The Problem of this research can be formulated as follows:

1. How is the fascism ideology represented in Lord Voldemort character on

2. What kind of Fascism ideology in Harry Potter and Deathly Hallows by JK Rowling?

D. Objective of the Research

The objectives of this research are:

1. This research wants to see how the ideology of fascism represents in the Lord Voldemort character on Harry Potter and Deathly Hallows by JK Rowling.

2. This research is conducted to know what kind of Fascism Ideology on

Harry Potter and Deathly Hallows by JK Rowling. E. Significance of the Research

The significances of this research

a. Practical advantage: the research will give the broader knowledge about the kind of Fascism Ideology that represented in the novel to the readers because this research explores the ideology of fascism in the Lord Voldemort character on Harry Potter and Deathly Hallows by JK Rowling

b. Theoretical advantage: In approaching the problem in this research study used an interdisciplinary approach. The approach used is the interpretation, comparison and reflection are very useful in mapping representation of fascism. While the approach to the research is literature approach which is using qualitative analysis to see how representation of fascism is built in the narrative on the character of Lord Voldemort in Harry Potter and Deathly Hallows.

After searching the data, the writer finally finds two previous researches that have similarities with this research. The previous researches below are research on

Harry Potter and Deathly Hallows. The previous studies are:

a) Elim Fitriani Gasong (2006) wrote “A study of Lord Voldemort: an antagonist character in harry potter”, a thesis for S1 degree in Gunadarma University.

On the first research “A study of Lord Voldemort: an antagonist character

in harry potter” by Elim Fitriani Gasong explores the character of Lord

Voldemort using Theory of Psychological Factors (Ambition, Disappointment, Fear and Betrayal) in psychology studies. The research also describes how Lord Voldemort become the great evil and wants to conquer the world. The lack of this research is the unit analysis in this research just using six books in Harry Potter series not included the seventh book. According to the writer the seventh book of Harry Potter (Harry Potter and Deathly Hallows) is the most important one for analyze Lord Voldemort character because in this book Lord Voldemort starts his new regime and achieve his goal. His character is improving to the next level and he will encounter with Harry Potter the main character to finish the core of problem.

b) Justin Murphy (2010) wrote “How Harry Potter Changed Children's Literature” an analysis essay in www.muggle.net

The second research “How Harry Potter Changed Children's Literature” by Justin Murphy studies about the way Harry Potter series changed Children’s literature because the many unusual “adult” aspect in harry potter series. The

research discover that after Harry Potter success many children’s literature have the same darkness that should not be included in children’s literature.

This research is closely related with the first study, because analyzes about Lord Voldemort character from Harry Potter. However, this study analyzes the representation of fascism in Lord Voldemort character not only analyzes from an antagonist character like the first previous study did and in this research the writer digs deeper in the Lord Voldemort character as a Fascist And because Harry Potter is one of children literature this study will also analyze the kind of Fascism ideology in Harry Potter and Deathly Hallows.

G. Research Conceptual Procedures

Research conceptual procedures are needed in this research as the guidelines in formulating the methodology and determining the appropriate method in analyzing and interpreting data, below is the scheme that describes the research conceptual procedures:

H. Research Methodology

1. Approach, type and method

VERBAL DATA

TEXT

WORDS, METAPHORS, NARRATIONS, DIALOGUES,

CHARACTERS, CHARACTERIZATIONS

ANALYSIS OF TEXT

SIGNIFICANCE OF TEXT

REPRESENTATION OF FASCISM IN NOVEL FOUND IN WORDS, METAPHORS, NARRATIONS,

DIALOGUES, CHARACTERS, CHARACTERIZATIONS

This research uses literary approach in a strict sense which is the systematic study of the nature of literature and of the methods for analyzing literature. Literary approach serves as the base-departure or base-perspective in analyzing fascism representation in the novel which is built through words, dialogues, narrations, characters and characterizations.

The type of research that used in this study is a qualitative approach which is analyzing the relation among words or sentences which produces particular meaning. Later the qualitative research results will be written in a descriptive-analytical. Descriptive research means the type of research that provides lengthy description without any treatment to the object of the study.6 The result of the research will be described in analytical description. Meanwhile, qualitative research takes advantage of its own researchers themselves as collectors of data to obtain qualitative data about representation of Fascism on Lord Voldemort character in the novel Harry Potter and Deathly Hallows.

Methodical steps that conducted in this research are the interpretation and reflection. Method of interpretation is reading thoroughly and deeply to Harry Potter and Deathly Hallows in order to summarize and understand Lord Voldemort character. Then reflection method is used for understand the representative of Fascism through Lord Voldemort character and the kind of Fascsim ideology in the children literature Harry Potter and Deathly Hallows with the use of Ebenstein’s theory of principal element of fascist and Peter Hollindale’s main levels ideology in an effort.

2. Resources of data

6

Rony Kontour, Metode Penelitian untuk Penulisan Skripsi dan Thesis (Jakarta: PPM, 2005), p.105.

In this research, resources of data are divided into two: the primary resources and secondary resources. Primary resource in this research is Harry Potter and Deathly Hallows, a novel by JK Rowling that was first published in 2007. While the secondary resources are six other Rowling's book; Harry potter and the Philosopher's Stone (Bloomsbury 1997), Harry Potter and the Chamber of Secret (Bloomsbury 1998), Harry Potter and the Prisoner of Azkaban

(Bloomsbury 1999), Harry Potter and the Goblet of Fire (Bloomsbury 2000),

Harry Potter and the Order of Phoenix (Bloomsbury 2003),, Harry Potter and Half-blood Prince (Bloomsbury 2005),. Because Harry Potter is series and in order to deeply understand about Lord Voldemort character the writer should take the six other Harry Potter novel as the secondary resources then other journals, articles and researches about Harry Potter and Deathly Hallows will also taken as secondary resources.

3. Technique of collecting data

The Technique of collecting data in this research first is reading the novel

Harry Potter and Deathly Hallows (2007) by JK Rowling, second is identifying and underlining each sentences or quotations that are related to the topic of the research. Then data that have been underlined are quoted. For validity and reliability of data, the writer used technique of semantic validity with interrater and intrarater techniques. The semantic of validity is analyzing the context meaning of the text or manuscript. While for the reliability of data, the writer used intrarater technique which is reading over and over again in order to obtain

consistency of data. Interrater techniques applied in this research in the form of discussion and question and answer with colleagues.

4. Process and Data analysis

The writer will explain the data qualitatively. The writer uses the principal element of fascist outlook by Ebenstein and main levels ideology by Hollindale based on critical study and sharp analysis to the qualitative data. Qualitative research is a research that relies on the verbal data and another nonnumeric data as the basic of analysis and the problem solving.7

In the process of data analysis, the writer conducted several steps: First, editing which means the writer is reading the novel Harry Potter and Deathly Hallows in a comprehensive manner to obtain the core of data that relevant to the research. Second, the unit typology which is determining the units of information with dialogue through narrative storytelling. Third, the categorization of data which means data are classified into categories that relate to the topic.

In this research, the writer uses the theories of representation Stuart Hall to analyze Fascism on Lord Voldemort character in Harry Potter and Deathly Hallows. The analysis technique that applied in this research is a representative analysis to see how the Fascist represented by Lord Volkdemort character. Then after find the representation of Fascism on Lord Voldemort character the writer uses main levels ideology by Hollindale to see what kind of Fascism ideology on

Harry Potter and Deathly Hallows.

I. Time and place of the research

7

This research will be conducted in Jakarta from December 2010 to June 2011. The research activities include the preparation, collection and data analysis and report writing.

17 CHAPTER II

THEORETICAL FRAMEWORK

In order to answer research questions, the writer would like to use representation theory by Stuart Hall, principal elements of the fascist outlook by William Ebenstein. Fascism is one of the ideologies so the writer also uses theory of main levels ideology by Peter Hollindale, Ideology in this research will be focused on children literature. Representation uses to show how does fascism are represented in the novel Harry Potter and Deathly Hallows.

A.Concept of Representation

Children fantasy book--as one of the cultural artifact--is a product of certain culture which always represents something in society. It sometimes represents something appropriate to reality or even contradiction. Therefore, to comprehend a meaning of something which is created through the language, people need to see how it is represented through certain codes. People in certain society surely have a same cultural code along with a comprehension so a message which lies in something (cultural artifact) can be understood.

Yet, many society groups make different meanings of something and these different meanings are because of different opinion, interpretation, and representation in their heads. The production and the exchange of meaning of something between the members of a society group are concerned with the culture. A certain culture can produce a meaning to a society through representation system. So something which has meaning in society depends on

how a thing is represented. Representation truly influences a certain society to interpret something which exists around them.

Representation is the production of meaning through language or using language to say something meaningful about, or to represent, the word meaningfully to other people.8 The Shorter Oxford English Dictionary suggests two relevant meanings for the word:

1. To represent something is to describe or depict it, to call it up in the mind by description or portrayal or imagination; to place a likeness of it before us in our mind or in the senses; as for example, in the sentence, “This picture represents the murder of Abel by Cain.”

2. To represent also means to symbolize, stand for, to be a specimen of, or to substitute for; as in the sentence, “In Christianity, the cross represents the suffering and crucifixion of Christ.”

The figure in painting stand in the place of, and at the same time, stand for

the story of Cain and Abel. Likewise, the cross simply consists of two wooden planks nailed together; but in the context of Christian belief and teaching, it takes on, symbolizes or comes to stand for a wider set of meanings about the crucifixion of the Son of God, and this is a concept we can put into words and pictures.

Representation is the production of meaning of the concept in our mind through language. It is the link between concept and language which enables us to refer to either the “real” world of objects, people, or events, or indeed to imaginary worlds of fictional objects, people and events.

8

Stuart Hall, Cultural representation and signifying practices Forth edition (London: sage publications, 1997), p.16.

So there are two processes, two system of representation9, involved. First, there is ‗system’ by which all sorts of objects, people and events are correlated with a set of concepts or mental representations which we carry around in our heads. Without them, we could not interpret the world meaningfully at all. In the first place, then, meaning depends on the system of concepts and images formed in our thoughts which can stand for or ‗represent’ the world, enabling us to refer to things both inside and outside our heads.

The form concepts not only things that can be perceive- people or material objects, like chairs, tables and desks but also form concepts of rather obscure and abstract things, which we can not in any simple way see, feel, or touch.

The second process depends on constructing a set of correspondences between our conceptual map and a set of signs, arranged or organized into various languages which stand for or represent those concepts. The relation between things--people, objects, events, abstract ideas, etc--, concepts and sign lies at the heart of the production of meaning in language. The process which links these three elements together is what we call ‗representation’.

Representation works through language and there are three approaches to explaining how representation through language works.10 First, reflective approach, in the reflective approach meaning is though lie in the object, person or idea in the real world and language function like mirror, to reflect the true meaning as it already exists in the world.

Second, Intentional approach, intentional approach in representation argues the opposite case. It holds that it is the speaker, the author, who imposes

9

Ibid.p. 23.

10

his or her unique meaning on the world through language. Words mean what author intends they should mean.

Third, constructionist approach to meaning in language. This approach recognizes this public, social character of language. It acknowledges that neither thing in them nor the individual users of language can fix meaning in language. Things do not mean: we construct meaning using representational systems – concepts and signs. According to this approach, we must not confuse the material world, where things and people exist, and the symbolic practices and processes through which representation, meaning and language operate. Constructivists do not deny the existence of the material world. However, it is not the material world which conveys meaning; it is the language system or whatever system we are using to represent our concepts. It is social actors who use the conceptual system of their culture and the linguistic and other representational system to construct meaning, to make and to communicate the world meaningful to other.11 So, things do not mean; we construct meaning, using the representational systems, concepts and sings. The constructionist observes the public and social factor which influences the construction of meaning. In other word, we can construct meaning through language.

Representation system consist of the actual sound we make with our vocal chords, the image we make on light sensitive paper with cameras, the mark we make with paint on canvas, the digital impulses we transmit electronically. Representation is practice, a kind of ‗work’, which uses the material objects and effects. But the meaning defends, not on the material quality of the sign but on its

11

symbolic function. It because the a particular sound and word stands for, symbolize or represent a concept that it can function, in language, as a sign and convey meaning or, as the constructionist says, signify (sign.I,fy). The constructionist argues, we use signs, organized into languages of different kinds to communicate meaningfully with others. Languages can use signs to symbolize. But they can also reference imaginary things and fantasy worlds or abstract ideas which are not in any obvious sense part of our material world.12

In constructionist approach, the world is not accurately or otherwise reflected in the mirror of language. Language does not work like a mirror. Language consist of signs organize into various relationship. But sign can only convey meaning if we possess codes which allow us to translate our concept into language. These codes are crucial for meaning and representation. They do not exist in nature but they are the result of social conventions.

From several explanations about representation above, this research uses the constructionist approach to analyze the representation of the Fascism through Lord Voldemort character in Harry Potter and Deathly Hallows. The approach does not reflect a “real” world but rather constructing a new world appropriate for the interest of the representation maker herself.

B.Concept of Ideology

Ideology according to Dictionary of modern politic ideology is:

12

“A systematic scheme of ideas, usu [sic] Relating to politics or society, or to the conduct of a class or group, and regarded as justifying actions, esp [sic] one is held

implicitly or adopted as a whole and maintained regardless of the course of events.”13 As system of ideas of social groups and movements ideologies not only make sense in order to understand the world (from point of view of the group), but also as a basic for social practices of group members. However, although ideologies and social practices of group members are closely related, we shall make clear that these are two different notions and that ideologies cannot simply reduced to ‗ideological practice’.

Then every Language carries ideology whether we are aware of it or not. We absorb ideology as we learn to speak. Then language, with the ideology inscribed in it, shapes our thinking, in part by making some things seem natural, true, or right. And yet ideology has the effect of hiding some aspects of reality, especially the fact that some aspects are hidden.

In children’s literature, there are three main levels ideology according to Peter Hollindale.14 The first is intended surface ideology that made up of the explicit social, political or moral beliefs of the individual writer, and his wish to recommend them to children through the story. Its presence is conscious, deliberate and in some measure ‗pointed’, even when there is nothing unusual or unfamiliar in the message the writer hoping to convey. If the fictional world is fully imagined and realized, it may carry its ideological burden more covertly showing things as they are but trusting to literary organization rather than explicitly didactic guidelines to achieve a moral effect.

13

Michael A Riff, Dictionary of modern politic ideology (New York: St. Martin Press, 1982), p.34.

14

Peter Hunt (ed), Literature for children; contemporary criticism (New York: Routledge, 1992), p.27.

The second category of ideological content is unexamined beliefs of the writer that slip into the text unnoticed. Writers for children (like writer for adult) cannot hide what their values are. Even if beliefs are passive and unexamined, and no part of any conscious proselytizing, the texture of language and story will reveal them and communicate them. The working of ideology at this level is not incidental or unimportant.

The Third is the reality of ideology “hovering over us” that herd’s writers and readers alike toward meanings that are consistent with it. The power of ideology is inscribed within the words, the rule-systems, and codes which constitute with text. As we read it reminds us of what is correct, commonsensical, or ‗natural’. When a text is written, ideology works to make some things more natural to write; when a text is read, it works to conceal struggles and repressions, to force language into conveying only those meanings reinforced by dominant forces of our society.

From descriptions above the writer assumes that there is no such thing as an innocent texts, that texts are informed by ideology, some covert but others implicit and often invisible to authors and illustrators.

In this research, the character of Lord Voldemort has shown a symptom of Fascism ideology. The kind of ideology that uses in this research is the first level ideology which is created with conscious intentionality expresses a cultural or ideological belief to the young audience who reads it. It will also be this impression that can assist a political ideology in recruiting young readers into passively accepting members of the dominating ideologies presented to them.

Fascism is known as an ideology that was born and flourished in the 20th century. It spread rapidly across the world in the wake of World War I, with fascist regimes coming to power in Germany and Italy in particular, also in such countries as Greece, Spain and Japan, where the people suffered greatly from the oppressive and violent methods employed by their governments. Against this oppression and violence, they could do little more. The fascist dictator and his administration heading such systems, where brute force, aggression, bloodshed and violence were the rule of the day, sent waves of terror throughout the society with their secret police and fascist militia, paralyzing the people with fear. Furthermore, fascist administration was implemented in almost all levels of society, from education to culture, religion to art, the governmental structure to the military system, and from the policing organizations to peoples' private lives. Ultimately, World War II, initiated by fascists, was one of the gravest calamities in the history of mankind, leaving as many as 55 million dead.

The term fascismo is derived from the Italian word fascio, which means "bundle" or group, and from the Latin word fasces. The fasces, which consisted of a bundle of rods that were tied around an axe, was an ancient Roman symbol of the authority of the civic magistrate. They were carried by his lictors and could be used for corporal and capital punishment at his command.15

To understand the philosophy of fascism, there is description that Mussolini wrote for the Italian Encyclopedia in 1932:

Fascism, the more it considers and observes the future and the development of humanity quite apart from political considerations of the moment, believes neither in the possibility nor the utility of perpetual peace. It thus repudiates the doctrine of Pacifism-born of a renunciation of the struggle and an act of cowardice in the face of sacrifice. War alone brings up to its highest tension all human energy and puts the stamp of nobility upon the peoples who have courage to

15

New World, Websters, Webster's II New College Dictionary (New York :Houghton Mifflin Reference Books ,2005) , p. 123.

meet it. All other trials are substitutes, which never really put men into the position where they have to make the great decision- the alternative of life or death... [The Fascist] conceives of life as duty and struggle and conquest, but above all for others-those who are at hand and those who are far distant, contemporaries, and those who will come after.16

In Fascist, There is no Fascist manifesto with undisputed authority among fascists but according to Ebenstein there are seven principal element of the fascist outlook:17

1. Totalitarianism 2. Distrust of reason

3. Denial of basic human equality

4. Code of behavior based on lies and violence 5. Government by elite

6. Racialism and Imperialism

7. Opposition to international law and order

a. Totalitarianism

The word ‗totalitarianism’ was invented by Italian Fascists to encapsulate their drive to ‗nationalize’ the Italian masses – to incorporate them within a hierarchical, mobilized, militarized community serving the needs of Italy.

Famously, the American political scientist C. J. Friedrich defined totalitarianism as follows: 18

16

Mussolini, Fascism, http://www.fordham.edu/halsall/mod/ mussolinifascism.html., Accessed on 10 March 2011 at 2 am.

17

William Ebenstein, Today’s ISMS Communism, Fasicism, Capitalism, Sosialism fifth edition (New Jersey: Prentice-Hall Inc, 1967), p. 115-124.

18

Kevin Passmore, FascismA very short introduction ( New York, USA: Oxford university press, inc, 2002). p. 19.

1. A single mass party, led by one man, which forms the hardcore of the regime and which is typically superior to or intertwined with the governmental bureaucracy.

2. A system of terror by the police and secret police which is directed against real and imagined enemies of the regime.

3. A monopolistic control of the mass media. 4. A near monopoly of weapons.

5. Central control of the economy.

Fascism is totalitarianism; it employs authority and violence in all kind of social relations, whether political or not. That means fascism is totalitarianism in its objective; to control all phases of human life, political or not, from the cradle to the grave. It begins the control even before the cradle, by pushing definite population policies, and has been known to reach into the grave, so to speak, to decide whether the dead person should have a burial at all, if so, in what form.

Fascism also totalitarianism in its means, it will use any form of coercion, from verbal threats to mass murder, in obtaining its ends.

b. The Distrust of reason

The Distrust of reason is perhaps the most significant trait of fascism. The rational tradition of the West stems from Greece and is one of the three basic components (the other two being Jewish monotheism and Christian love) that have given the west its characteristic culture and outlook. Fascism rejects this Greek root of Western civilization and its frankly antirationalist, distrusting reason in human affairs and stressing the irrational, sentimental, uncontrollable element of the man. Psychologically, fascism is fanatical rather than reflective,

dogmatic rather than open-minded; as a result each fascist regime has its taboo issue that is must be accepted on faith and cannot be critically discussed.

c. The denial of basic human equality

Fascist societies affirm inequality as an ideal. Fascism rejects human equality; in the fascist code, men are superior to women, soldiers to civilians, party members to nonparty members, one’s own nation to others, the strong to the weak, and the victors in the war to the vanquished. The fascist affirmation of inequality is based ultimately on strength. This concept just like social Darwinist, which argue that nations and races must purge themselves of socially and biologically weak or degenerate people, while simultaneously promoting the creation of strong people, in order to survive in a world defined by perpetual national and racial conflict.19

Italian Fascist philosopher Giovanni Gentile in The Origins and Doctrine of Fascism promoted the concept of conflict as an act of progress, stating that "mankind only progresses through division, and progress is achieved through the clash and victory of one side over another".20Italian Fascist Alfredo Rocco claimed that conflict was inevitable:

Conflict is in fact the basic law of life in all social organisms, as it is of all biological ones; societies are formed, gain strength, and move forwards through conflict; the healthiest and most vital of them assert themselves against the weakest and less well adapted through conflict; the natural evolution of nations and races takes place through conflict.

d. Code of behavior based on lies and violence

19

Roger Griffen (ed.), Fascism. (New York:Oxford University Press, 1995), p. 59. 20

Mike Hawkins, Social Darwinism in European and American Thought, 1860–1945: Nature as Model and Nature as Threat (Cambridge: Cambridge University Press, 1997), p. 285.

The fascist code of behavior stresses violence and lies in all human relations, within and between nations. The fascist view is that politics is characterized by the friend-enemy relation. Politics began and ends, in this fascist way of thinking, with the possibility of an enemy. The fascist know only enemies, not opponents, and since enemies represent evil incarnate, total annihilation is the only solution. This doctrine applies to domestic as well as foreign enemies.

Fascist institutionalizing organized mass murder in concentration to demonstrate to the entire population what is in store for anyone in this favor with the men in the power, and at same time they provide the shook troops of the regime with a peacetime outlet for savagery and fanaticism. Immediate death is often considered too humane a penalty by such regime.

Fascist violence has three main functions, namely to weaken the power of opposing movements through physical confrontation, to promote an experience of struggle and solidarity among cadres, and to project a display of strength and order

In addition, fascist violence arrests and captures the public’s attention, creating patriotic ‗martyrs’ and sowing tension. In this sense fascist violence itself

becomes a cognizable commodity, a retributive counter-insurrectionary force in which opponents are perceived only as enemies to be exterminated. As a means to terrorize and silence, fascism constitutes a powerful yet ultimately mythic project to determine through overwhelming force which kinds of identity can legitimately be reproduced in a system of social relations. Fascist violence thus constitutes an anti-praxis – a ritualized mode of political action detached from a reflexive conception of its own purpose, which proceeds by annihilating the redemptive,

emancipatory function of politics through mercenary professionalism and mythic terror.21

Fascists see conflict as a law of nature, and believe that peace, security and comfort impede the progress of mankind. Acts of violence, destruction, assaults and fighting are what keep fascists' morale at a high level. These are the exact opposite of peace, brotherhood, peace and tranquility. The ignorance of the fascists also plays a pivotal role in their tendency towards violence. That is why fascist felt the need for fighters in racist regime, not intellectuals.

The fascist' acts of violence were carried to that end by specially formed organizations. And The first of these, the SA (Sturmabteilung, or Storm Troopers) were formed in 1920, and in 1921 they took on a paramilitary quality.22 SA is Nazi organization of violence. The SA carried out countless acts of terrorism throughout the 1920s in order to strengthen the Nazi Party. SA units carried out sudden attacks on opponents of the Nazis, spilt blood in street fights, and tortured those opponents they took as "prisoners of war."

e. Government by elite

Government by elite is the concept that only a small minority of the population, qualified by birth, education or social standing, is capable of understanding what is best for the whole community, and of putting it into practice. But this concept not only an invention of twentieth century fascism;

21

Danie woodley, Fascism and political theory, (New York: Routledge, 2010), p. 121. 22

Harun Yahya, Fascism The bloody ideology of Darwinism (Istambul: Kultur Publishing, 2002), p. 108.

Plato, one of the founder of western political philosophy, strongly believed that only one class, the “philosopher-kings” are fit to rule society.

Fascists believe that a nation is an organic community that requires strong leadership, singular collective identity, and the will and ability to commit violence and wage war in order to keep the nation strong.23

The fascist leadership principle expresses the extreme form of the elite concept. It fully reflects the irrational nature of fascist politics; the leader is considered infallible, endowed with mystical gifts and insights. The leader represents the public interest, the way people would think if they knew what was best for the whole community whereas the people express only individual whims and desires not necessarily in harmony with the public good.

The fascist view of a nation is of a single organic entity which binds people together by their ancestry and is a natural unifying force of people.

f. Racialism and Imperialism

Racialism and imperialism express the two basic fascist principles of inequality and violence as applied to the society of nation. Within the nation, fascist doctrine holds, the elite is superior to the rest and may impose its will upon them by force. Similarly, between nations the elite nation is superior to others and is entitled to rule them.

As an ultranationalist ideology, fascism is unabashedly racist. Fascists do not treat all inhabitants of the territory as citizens, or as human beings possessed of equal rights. Citizenship and its benefits are accorded or denied on the basis of conformity to, or possession of, characteristics alleged to be ‗national’, be they

23_{Joseph Grčić,}

biological, cultural, religious, or political. Nationalism and racism pervade all aspects of fascist practice, from welfare provision and family policy to diplomacy. Those deemed to be outside the nation face an uncertain future – extermination in the worst case.

The most inflexible form of racism holds that race is determined biologically. Biological destiny cannot be changed, and assimilation into another nationality is impossible. Biological racism also divides peoples into higher and lower, the latter not clearly distinct from higher animals. These ‗sub-humans’ might be used in the interests of the higher races, or even killed. National identity is not always biologically defined. An individual belonged to a nation if she or he inhabited the nation’s historic territory, spoke the national language, or practised its religion. This racism is less extreme in that it allows for ‗assimilation’ by learning the national language or changing one’s religion.

It can be considered that fascism is a nationalistic and aggressive ideology based on racism. This nationalism is far removed from mere love of country. In the aggressive nationalism of fascism, one aspires to see his own nation dominating others, and utterly humiliating them, and has no compunction about inflicting great suffering upon its own people in the process. Moreover, fascistic nationalism consists of using war, occupation, massacre and bloodshed as tools towards such political aims.

In the same manner as fascist regimes use such means to dominate other nations, they also use force and oppression against their own nation. Fascism's basic social policy is insistence on an idea, and obliging people to accept it. Fascism aims at making individuals and all of society think and behave in the

same way. In order to attain this end, it uses force and violence along all kinds of methods of propaganda. It denounces as an enemy anyone who does not comply with its ideas, even going as far as genocide.

g. Opposition to international law and order

Opposition to international law and order is logical outcome of fascist belief in inequality, violence, racialism, imperialism, and war. The fascist concept of the elite leads, as we have seen, to the leadership of one nation over the society of nations as it does to the leadership of one man within the nation’s government. Fascist states, therefore, shy away from international organizations in which they are expected to abide by majority decisions and in which government is carried on by methods of discussion rather than by force.

Fictional character in literary work cannot be the same as the character of the people in the real life. In the literary work, the existence of character is aimed to represent something or particular individual.

In this research, writer assumes the existence of the character of Lord Voldemort in Harry Potter and Deathly Hallow is aimed to represent Fascism.

Lord Voldemort on Harry Potter and Deathly Hallows is protagonist character who establishes his regime of Fascist on wizarding world. The writer will use the seven principal element of the fascist outlook by Ebenstein to analyzes the way Lord Voldemort character establish his regime.

Because Lord Voldemort is fictional character and he lives in wizarding world, so there are some different in the way Lord Voldemort conducts his Fascist regime with the seven principal element of fascist outlook.

33 CHAPTER III RESEARCH FINDINGS

In this chapter, the writer will explain the representation of fascism on Lord Voldemort character in Harry Potter and Deathly Hallows, as the writer wrote in chapter II, that children literature, fantasy story can reflect something in society, but sometimes it is reflected as appropriate to the reality (a certain theory) or even contrasts with the reality. Then, this chapter intends to find out how Lord Voldemort character represents Fascism and whether its representation appropriate to the theory based on the principal elements of the fascist outlook by William Ebenstein description. So, to show how the principal elements of the fascist outlook are reflected in the novel the writer will choose to analyze words, metaphors, narrations, dialogues, characters and characterizations in Harry Potter and Deathly Hallows novel. The writer will also try to find out what level of ideology in this children literature according to Hollindale. It all will be discussed in detailed explanation below.

A. Data Description

In this part, the writer classifies data into 2 groups:

1. The list of Fascism Representation on Lord Vordemort character. 2. The list of the kind of Fascism Ideology on children literature

1. The list of Fascism Representation on Lord Voldemort character.

No DATA DETAIL PAGE

1 “don’t say the name!” Ron cut across her, his voice harsh. Harry and Hermione looked at each other.

“I’m sorry,” Ron said, moaning a little as he raised himself to look at them, “but it feels like a—a jinx or something. Can’t we call him You-Know-Who—please?”

“Dumbledore said fear of a name—” began Harry.

“In case you hadn’t noticed, mate, calling You-Know-Who by his name didn’t do Dumbledore much good in the end,” Ron snapped back.

“Just—just show You-Know-Who some respect, will you?”

“Respect?” Harry repeated

Totalitarianism 225

2 “Well, Yaxley?” Voldemort called down the table, the firelight glinting strangely in his red eyes. “Will the Ministry have fallen by next Saturday?” Once again, all heads turned. Yaxley squared his shoulders.

“My Lord, I have good news on that score. I have—with difficulty, and after great effort— succeeded in placing an Imperius Curse upon Pius Thicknesse.”

Totalitarianism 2

3 “The Ministry has fallen. Scrimgeour is dead.

They are coming.” Totalitarianism 133 4 “The official version of Scrimgeour’s murder

is that he resigned; he has been replaced by Pius Thicknesse, who is under the Imperius Curse.” _Lupin_

Totalitarianism 170

5 “I wanted to come back the minute I’d Disapparated, but I walked straight into a gang of Snatchers, Hermione, and I couldn’t go anywhere!”

“A gang of what?” asked Harry, as Hermione thew herself down into a chair with her arms and legs crossed so rightly it seemd unlikely that she would unravel them for several years. “Snatchers,” said Ron. “They’re everywhere—gangs trying to earn gold by rounding up Muggle-borns and blood traiter,s,

there’s a reward from the Ministry for everyone captured. I was on my own and I look like I might be school age; they got really excited, thought I was a Muggle-born in hiding. I had to talk fast to get out of being dragged to the Ministry.”

6 A fire danced into life on the other side of the canvas; large shadows passed between tent and flames. The delicious smell of baking salmon wafted tantalizingly in their direction. Then came the clinking of cutlery on plates, and the first man spoke again.

“Here, Griphook, Gornuk.”

Goblins! Hermione mouthed at Harry, who nodded.

“Thank you,” said the goblins together in English.

“So, you three been on the run how long?” asked a new, mellow, and pleasant voice; it was vaguely familiar to Harry, who pictured a round-bellied, cheerfulfaced man.

“Six weeks . . . seven . . . I forget,” said the tired man. “Met up with Griphook in the first couple of days and joined forces with Gornuk not long after. Nice to have a bit of company.” There was a pause, while knives scraped plates and tin mugs were picked up and replaced on the ground. “What made you leave,Ted?” continued the man.

“Knew they were coming for me,” replied mellow-voiced Ted,

and Harry suddenly knew who he was: Tonks’s father.

“Heard Death Eaters were in the area last week and decided I’d better run for it. Refused to register as a Muggleborn on principle, see, so I knew it was a matter of time, knew I’d have to leave in the end. My wife should be okay, she’s pure-blood. And then I meant Dean where, what, a few days ago, son?”

“Yeah,” said another voice, and Harry, Ron, and Hermione stared at each other, silent but beside themselves with excitement, sure they recognized the voice of Dean Thomas, their fellow Gryffindor.

“Muggle-born, eh?” asked the first man. “Not sure,” said Dean. “My dad left my mum when I was a kid. I’ve got no proof he was a wizard, though.”

7 Harry smoothed out the paper. A huge photograph of his own face filled the front page. He read the headline over it: WANTED FOR QUESTIONING ABOUT THE DEATH OF ALBUS DUMBLEDORE

“So Death Eaters have taken over the Daily Prophet too?” asked Hermione furiously. Lupin nodded

Totalitarianism 177

8 “Harry, look at this.”

He strode to her as quickly as he could through all the clutter. The front of

The Quibbler carried his own picture, emblazoned with the words UNDESIRABLE NUMBER ONE and captioned with the reward money.

“The Quibbler’s going for a new angle, then?” Harry asked coldly, his mind working very fast. “Is that what you were doing when you went into the garden, Mr. Lovegood? Sending an owl to the Ministry?”

Xenophilius licked his lips.

“They took my Luna,” he whispered. “Because of what I’ve been writing. They took my Luna and I don’t know where she is, what they’ve done to her. But they might give her back to me if I—if I—”

“Hand over Harry?” Hermione finished for him.

“No deal,” said Ron flatly. “Get out of the way, we’re leaving.”

Xenophilius looked ghastly, a century old, his laps drawn back into a dreadful leer.

“They will be here at any moment. I must save Luna. I cannot lose Luna.You must not leave.”

Totalitarianism 340

9 “Potterwatch, didn’t I tell you that’s what it was called? The program I keep trying to get on the radio, the only one that tells the truth about what’s going on! Nearly all of the programs are following You-Know-Who’s line, all except Potterwatch, I really want you to hear it, but it’s tricky tuning in. . . ”- Ron

Weasley.

10 “Kill me, then. Voldemort, I welcome death! But my death will not bring you what you seek. … That wand will never, ever be yours!... There is so much you do not understand. . . . ”- Grindelwald-

Totalitarianism 379

11 “These accidents aren’t accidents—the crashes and explosions and derailments and whatever else has happened since we last watched the new. People are disappearing and dying and he’s behind it—Voldemort. I’ve told you this over and over again, he kills Muggles for fun. Even the fogs—they’re caused by dementors, and if you can’t remember what they are, ask our son!” Dudley’s hands jerked upward to cover his mouth. With his parents’ and Harry’s eyes upon him, he slowly lowered them again and asked, “There are . . . more of them?”

“More?” laughed Harry. “More than the two that attacked us, you mean? Of course there are, there are hundreds, maybe thousands by this time, seeing as they feed of fear and despair—”

“All right, all right,” blustered Vernon Dursley. “You’ve made your point—” “I hope so,” said Harry, “because once I’m seventeen, all of them—Death Eaters, dementors, maybe even Inferi—which means dead bodies enchanted by a Dark Wizard— will be able to find you and will certainly attack you. And if you remember the last time you tried to outrun wizards, I think you’ll agree you need help.”

Totalitarianism 34

12 “How come you’re in hiding, then Griphook?”

“Similar reasons,” said the higher voiced goblin. “Gringotts is no longer under the sole control of my race. I recognize no Wizarding master.”

Totalitarianism 244

13 “Naturally many people have deduced what has happened: There has been such a dramatic change in Ministry policy in the last few days, and many are whispering that Voldemort must be behind it. however, that is not the point: They whisper. They daren’t confide in

each other, not knowing whom to trust; they are scared to speak out, in case their suspicions are true and their families are targeted.

14 “Many of our oldest family trees become a little diseased over time,” he said as Bellatrix gazed at him, breathless and imploring. “You must prune yours, must you not, to keep it healthy? Cut away those parts that threaten the health of the rest.”

“Yes, my Lord,” whispered Bellatrix, and her eyes swam with tears of gratitude again. “At the first chance!”

“You shall have it,” said Voldemort. “And in your family, so

in the world. . . we shall cut away the canker that infects us until only those of the true blood remain . . . ”

Totalitarianism 17

15 ‗The great Atrium seemed darker than Harry remembered it. Previously a golden fountain had filled the center of the hall, casting shimmering spots of light over the polished wooden floor and walls. Now a gigantic statue of black stone dominated the scene. It was rather frightening, this was sculpture of a witch and a wizard sitting on ornately carved thrones, looking down at the Ministry workers toppling out of fireplaces below them. Engraved in foot-high letters at the base of the statue were the words MAGIC IS MIGHT’. Harry looked more closely and realized that what he had though were decoratively carved thrones were actually mounds of carved human: hundreds and hundreds of naked bodies, men, women, and children, all with rather stupid,ugly faces, twisted and pressed together to support the weight of the hand somely robed wizards.

“Muggles,” whispered Hermione. “In their rightful place. Come on, let’s get going.”

Denial of basic human equality

198-199

16 “…..last week Professor Burbage wrote an impassioned defense of Mudbloods in the Daily Prophet. Wizards, she says, must accept those thieves of their knowledge and magic. The dwindling of the purebloods is, says Professor Burbage, a most desirable

circumstance . She would have use all mate with Muggles or, no doubt, werewolves

Avada Kedavra……The flash of green light

illuminated every corner of the room. Charity fell, with a resounding crash, onto the table below, which trembled and creaked…”_Voldemort_

17 “My Lord!” Snape protested, raising his wand.

“It cannot be any other way,” said Voldemort. “I must master the wand, Severus. Master the wand, and I master Potter at last.”

And Voldemort swiped the air with the ElderWand. It did nothing to Snape, who for a split second seemed to think he had been reprieved: but then Voldemort’s intention became clear. The snake’s cage was rolling through the air,and before Snape could do anything more than yell, it had encased him, head and shoulders, and Voldemort spoke in Parseltongue.

“Kill.”

There was a terrible scream. Harry saw Snape’s face losing the little color it had left; it whitened as his black eyes widened, as the snake’s fangs pierced his neck, as he failed to push the enchanted cage off himself, as his knees gave way and he fell to the floor.

“I regret it,” said Voldemort coldly.

He turned away; there was no sadness in him, no remorse.

Code of behavior based on lies and violence

519

18 Gellert—

Your point about Wizard dominance being FOR THE MUGGLES’ OWN GOOD—this, I think is the crucial point. Yes, we have been given power and yes, that power gives up the right to rule, but it also gives us responsibilities over the ruled. We must stress this point, it will be the foundation stone upon which we build. Where we are opposed, as we surely will be, this must be the basis of all our counterarguments. We seize control FOR THE GREATER GOOD. And from this it follows that where we meet resistance, we must use only the force that is necessary and no more. (This was your mistake at

Government by elite

Durmstrang! But I do not complain, because if you had not been expelled, we would never have met.) (HDH, Rowling 2007:293)

19 ‗He slid a completed pamphlet from the pile beside a young witch. He examined it beneath the invisibility Cloak. Its pink cover was emblazoned with a golden title: MUDBLOODS and the Dangers They Pose to a Peaceful Pure-Blood Society Beneath the title was a picture of a red rose with a simpering face in the middle of its petals, being strangled by a green weed with fangs and a scowl. there was no author’s name upon the pamphlet’-Harry Potter in Ministry of Magic-

Racialism and Imperialism

205

20 The plaque beneath door read: DOLORES UMBRIDGE SENIOR UNDERSECRETARY TO THE MINISTER Below that, a slightly shinier new plaque read: HEAD OF THE MUGGLE-BORN REGISTRATION COMMISSION

Racialism and Imperialism

206

21 There was a filing cabinet behind the desk: Harry set to searching it. Like Filch’s filing cabinets at Hogwarts, it was full of folders, each labeled with a name. It was not until Harry reached the bottommost drawer that he saw something to distract him from his search:

Mr. Weasley’s file. He pulled it out and opened it.

ARTHUR WEASLEY

BLOOD STATUS: Pureblood, but with unacceptable pro-Muggle leanings. Known member of the Order of the Phoenix

FAMILY: Wife (pureblood), seven children, two youngest at Hogwarts. NB: Youngest son currently at home, seriously ill, Ministry inspectors have confirmed.

SECURITY STATUS: TRACKED. All movements are being monitored. Strong likelihood Undesirable No. 1 will contact (has stayed with Weasley family previously)

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22 “A wand was taken from you upon your arrival at the Ministry today, Mrs. Cattermole,”

Umbridge was saying, “Eight

Racialism and Imperialism

quarter inches, cherry, unicorn-hair core. Do you recognize that description?”

Mrs. Cattermole nodded, mopping her eyes on her sleeve.

“Could you please tell us from which witch or wizard you took that wand?”

“T—took?” sobbed Mrs. Cattermole.

“I didn’t t-take it from anybody. I b-bought it when I was eleven years old. It—it—it— chose me.”

She cried harder than ever. Umbridge laughed a soft girlish laugh

“No,” said Umbridge, “no, I don’t think so, Mrs. Cattermole. Wands only choose witches or wizards. You are not a witch. I have your responses to the questionnaire that was sent to you here—Mafalda, pass them to me.”

23 “And what would you say, Royal, to those listeners who reply that in these dangerous times, it should be ’Wizards first’? asked Lee. “I’d say that it’s one short step from ’Wizards first’ to ’Purebloods first,’ and then to ’Death Eaters,”’ replied Kingsley.

“We’re all human, aren’t we? Every human life is worth the same, and worth saving.”

Opposition to international law and order

357

2. The list of the kind of Fascism Ideology on children literature

No DATA DETAIL PAGE

1 “And his knowledge remained woefully incomplete, Harry! That which Voldemort does not value, he takes no trouble to comprehend. Of house-elves and children’s tales, of love, loyalty, and

innocence, Voldemort knows and understands nothing. Nothing. That they all have a power beyond his own, a power

beyond the reach of any magic, is a truth he has never grasped._Albus Dumbledore_

Lord Voldemort lackness

568

2 “Master of death, Harry, master of Death! Was I better, ultimately, than

Voldemort?”

“Of course you were,” said Harry. “Of course—how can you ask that? You

The way Lord Voldemort conquers death

74

were. He is humble who want to sacrifice himself for everyone. He is the symbol of Fascist resistance.

It is clearly Harry Potter and Deathly Hallows is intending to deny the Fascism ideology. Fascism is an ideology about power. The power with force is deny in this novel. Albus Dumbledore words explain that

“Power is curious thing which can be dangerous and those who are best suited to power are those who have never sought it. Those who like Harry have leadership thrust upon them, and take up the mantle because they must, and find to their own surprise that they wear it well.” (HDH, Rowling 2007:575)

So, Fascism on Lord Voldemort character is conscious intentionality that expresses an ideological belief but it is not the main ideology on the Harry Potter and Deathly Hallows. The main theme is the Harry Potter’s resistance of Fascism ideology that Lord Voldemort has. That is the dominating ideology that presented to young readers.

B. Suggestions

After conducting this research, the writer would like to give some suggestion: First is to all of the student of Faculty of Letters to read many kinds of literature works like novels, short stories, etc, because it can help us to know more about literature and also can increase our ability in analyzing the works.

Second is to the next research based on the Harry Potter series, the researcher can analyze the ideology of Harry Potter because during the making of this research, the writer found that Harry's character is have ideology that different than ideology fascism of Lord Voldemort. If the next researcher wants to re-analyze this research, the writer suggests adding the source of data and the theories.

75

BIBLIOGRAPHY

Books

Anderson, Nancy. Elementary Children's Literature. Boston: Pearson Education, 2006.

A Riff, Michael. Dictionary of modern politic ideology. New York: St. Martin Press, 1982.

Ebenstein,William. Today’s ISMS Communism, Fasicism, Capitalism, Sosialism fifth edition. New Jersey: Prentice-Hall Inc, 1967.

Farkhan,Muhammad. Proposal Penelitian Bahasa dan Sastra. Jakarta: Cella Jakarta,2007.

Grčić, Joseph. Ethics and political theory. Maryland: University of America, 2000.

Griffen, Roger (ed.). Fascism. New York:Oxford University Press, 1995.

Hall,Stuart. Cultural representation and signifying practices Forth edition. London: sage publications, 1997.

Hawkins,Mike. Social Darwinism in European and American Thought, 1860– 1945: Nature as Model and Nature as Threat. Cambridge: Cambridge University Press, 1997.

Hunt (ed), Peter. Literature for children; contemporary criticism. New York: Routledge, 1992.

Kontour,Rony. Metode Penelitian untuk Penulisan Skripsi dan Thesis. Jakarta: PPM, 2005.

Luxemburg, Jan van, Pengantar ilmu sastra Jakarta : PT Gramedia, 1986.

New World Websters, Webster's II New College Dictionary. New York :Houghton Mifflin Reference Books ,2005.

Passmore, Kevin. Fascism A very short introduction. New York, USA: Oxford university press, inc, 2002.

Rowling, JK. Harry Potter and Deathly Hallows. London, Great Britain: Bloomsburry, 2007.

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Woodley, Danie. Fascism and political theory. New York: Routledge, 2010. Yahya,Harun. Fascism The bloody ideology of Darwinism .Istambul: Kultur

Publishing, 2002.

Websites

http://www.fordham.edu/halsall/mod/ mussolinifascism.html. http://www. muggle.net.

77 APPENDICES

Synopsis of Harry Potter and Deathly Hallows Harry Potter and the Deathly Hallows

Author J. K. Rowling

Country United Kingdom Language English

Series Harry Potter

Genre(s) Fiction Publisher Bloomsbury Released 21 July, 2007

ISBN ISBN 0545010225

78

Harry has finally come of age, and finally started on his final journey to defeat Voldemort for good. The Dursely’s are forced to go into hiding so that Voldemort’s Death Eaters will not torture them for information, and Harry sets off with Ron and Hermione on a difficult quest to find and destroy the last of Voldemort’s Horcruxes. Only once those have been destroyed, Harry knows, can Voldemort truly be killed.

It’s not easy. Harry is plagued with rumors of Dumbledore’s past, and begins to wonder if the Headmaster he so long revered might have had a much darker past than he ever let on. The three are frequently without food, and with winter coming their journey is no day at the beach. Because of their lack of plan, lack of food, and lack of progress, their spirits are often low, and Ron especially becomes argumentative. One night he and Harry get into an epic fight and Ron leaves to go back home.

Harry and Hermione are devastated that he’d abandoned them. They finally decide to revisit Godric’s Hollow in search of clues, and once again they’re almost caught by Voldemort. Every step they make, it seems, he is there anticipating them. They’ve almost died too many times to count, and their spirits sink even lower when Harry discovers his wand was broken in the battle.

Ron redeems himself a few weeks later by coming back and saving Harry’s life in the nick of time. They manage to destroy another Horcrux with Gryffindor’s sword, and they become excited again as they begin to learn about a mysterious trio of magical objects called the Deathly Hallows. Whomever possesses the three

objects will be a master of death, and to Harry, it’s his one chance to beat Voldemort and live to tell the tale.

As his adventures and the danger he’s in increases, Harry begins to truly understand what Dumbledore intended him to do. He realizes, almost at the last minute, that his own life will have to be sacrificed in order for Voldemort to truly be vanquished. Filled with love for his friends, he willingly gives his life so that they may live.

His last act of heroism, however, saves his life. He meets Dumbledore again in death, and Dumbledore answers many of his questions. He is given a choice to stay or to go back, and he chooses to go back and fight.

It’s all over between Harry and Voldemort with just one spell. Harry is left alive, the true master of the Hallows, and Voldemort is killed for good. He now understands more than he ever has about love (which he loves Ginny), and life, and sacrifice, and in spite of the loss of many of his friends during the last battle, is grateful for the second chance he’s been given at life, and love.