Tamberelli 1 Laura Tamberelli Master of Arts – Liberal Studies Harry Potter and the Gendering of Hogwarts The Harry Potter novels have become a pivotal collection of literature from the twenty first century, taking their place among some of the most famous literary works of the current generation, appealing equally to both adults and children alike. Since Harry Potter and the Sorcerer’s Stone was first published in 1997, millions of readers have joined Harry on his adventure in a magical world and his constant battle against Lord Voldemort and his evil followers. Through her literary works, J. K. Rowling has done more than create a fantasy world which allows the reader to escape to a land where the impossible may be possible. She also created multidimensional characters that are loved (or hated) by all readers, reinforcing the need for and acceptance of diversity among all people. From the standpoint of a feminist and gender theory scholar, any aspect of a culture or society that has received such universal attention and admiration warrants scrutiny. Through the lens of Judith Butler’s theory of gender performativity, gender is described as an act required by societal expectations and not an innate state of being (Butler 17594). The construct of the heterosexual matrix is also included which depicts the limited nature of a society bound by masculinity, patriarchy, and heteronormativity (Butler 47106). Attention will also be given to the role of the phallus and phallocentrism as originated by Jacques Lacan and elaborated on by Elizabeth Grosz. Finally, for the purposes of literary analysis, the majority of supportive evidence within this paper is based on the author’s dissection and association of
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Tamberelli 1
Laura Tamberelli
Master of Arts – Liberal Studies
Harry Potter and the Gendering of Hogwarts
The Harry Potter novels have become a pivotal collection of literature from the twenty-‐
first century, taking their place among some of the most famous literary works of the current
generation, appealing equally to both adults and children alike. Since Harry Potter and the
Sorcerer’s Stone was first published in 1997, millions of readers have joined Harry on his
adventure in a magical world and his constant battle against Lord Voldemort and his evil
followers. Through her literary works, J. K. Rowling has done more than create a fantasy world
which allows the reader to escape to a land where the impossible may be possible. She also
created multidimensional characters that are loved (or hated) by all readers, reinforcing the
need for and acceptance of diversity among all people.
From the standpoint of a feminist and gender theory scholar, any aspect of a culture or
society that has received such universal attention and admiration warrants scrutiny. Through
the lens of Judith Butler’s theory of gender performativity, gender is described as an act
required by societal expectations and not an innate state of being (Butler 175-‐94). The
construct of the heterosexual matrix is also included which depicts the limited nature of a
society bound by masculinity, patriarchy, and heteronormativity (Butler 47-‐106). Attention will
also be given to the role of the phallus and phallocentrism as originated by Jacques Lacan and
elaborated on by Elizabeth Grosz. Finally, for the purposes of literary analysis, the majority of
supportive evidence within this paper is based on the author’s dissection and association of
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Rowling’s text as compared to numerous gender theorists including, but not limited to, those
previously mentioned.
It is the goal of this paper to demonstrate that despite J.K. Rowling’s adherence to some
traditional gender expectations in the Harry Potter novels, she also went against many of the
norms found within the heterosexual matrix. This analysis will be achieved through an
investigation of character creation, objectification and animalism, presence of humanistic
binaries, heteronormativity, role of the phallus, attention to the nuclear family, educational
opportunities, and mobility in all seven Harry Potter novels: Harry Potter and the Sorcerer’s
Stone (Stone), Harry Potter and the Chamber of Secrets (Chamber), Harry Potter and the
Prisoner of Azkaban (Prisoner), Harry Potter and the Goblet of Fire (Goblet), Harry Potter and
the Order of the Phoenix (Phoenix), Harry Potter and the Half-‐Blood Prince (Prince), and Harry
Potter and the Deathly Hallows (Hallows). Within the world of Harry Potter, there exists
diversity in character creation that has allowed for both female and male characters to step
outside the boundaries of their gender roles while simultaneously encouraging readers to do
the same.
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1. Character Construction and Hogwarts
For those readers who are not as familiar with the Harry Potter series, it is first
necessary to provide a brief overview of the key characters as well as a description of Hogwarts
School of Witchcraft and Wizardry. The characters of the Harry Potter novels are paramount to
its success. The reader is introduced to Harry in the first chapter of Stone, entitled “The Boy
Who Lived.” He is described as “…a baby boy, fast asleep. Under a tuft of jet-‐black hair over his
forehead they could see a curiously shaped cut, like a bolt of lightning,” put there by Lord
Voldemort in his attempt to kill Harry (15). At age eleven, he “… had always been small and
skinny for his age…. Harry had a thin face, knobbly knees, black hair, and bright green eyes”
(Stone 20). Harry is presented both as a boy that escaped death by unknowingly outwitting a
powerful dark wizard and an awkward, ill-‐proportioned child.
In the attack that gave Harry his scar, both of his parents were murdered by Lord
Voldemort. As such, Harry was left to be raised by his mother’s sister Petunia and her husband,
Vernon, who have a son named Dudley. The trio is referred to throughout the novels as “the
Dursleys.” “Mr. Dursley was the director of a firm… which made drills… big, beefy man… very
large mustache. Mrs. Dursley was thin and blonde… [and] spent so much of her time craning
over garden fences, spying on the neighbors” (Stone 1). Mrs. Dursley, who Harry also describes
as “beady-‐eyed,” tends to speak very sharply and snaps repeatedly in much of her dialogue
with Harry (Stone 9; Chamber; Prisoner; Goblet; Phoenix; Prince). Dudley is the pride and joy of
his two parents, although his presence as their only child appears to be the sole reason for this.
All over the Dursleys’ home are “… photographs [showing] a large blond boy riding his first
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bicycle, on a carousel at the fair, playing a computer game with his father, being hugged and
kissed by his mother” (Stone 18).
The Dursleys kept Harry’s wizarding heritage a secret until his eleventh birthday on
which Rubeus Hagrid made his appearance. More affectionately referred to as simply Hagrid,
he is “a giant of a man… long, shaggy mane of hair and a wild, tangled beard” (Stone 46).
However, despite his menacing appearance, “Harry looked up into the fierce, wild, shadowy
face and saw that the beetle eyes were crinkled in a smile” (Stone 47). Hagrid embodies the
notion of a gentle giant and his character is far more of a nurturer than a fighter, despite his
size and appearance. Appearing to have an affinity for all creatures, he serves as the
gamekeeper at Hogwarts and is immediately loyal to and concerned for Harry (Stone 48).
Ronald Weasley becomes Harry’s friend, whom he meets when leaving for his first year
at Hogwarts. Ron is the youngest of six sons, followed only by a younger sister. He is “tall, thin,
and gangling, with freckles, big hands and feet, and a long nose” (Stone 91). The two become
immediately inseparable and provide interesting contrasts to each other. Harry is an only child
who has grown up with virtually no family, as the Dursleys resented his presence; Ron has
always been surrounded by both his siblings and parents. The reader learns a great deal more
about Harry and Ron as the two interact throughout the course of the novels but both are very
similar in their first impressions: ill-‐proportioned, nervous, and awkward boys.
Hermione Granger is the most diverse character of the Hogwarts students. Shortly after
boarding the train to Hogwarts, Hermione approaches Ron and Harry’s car: “she was already
wearing her new Hogwarts robes…. She had a bossy sort of voice, lots of bushy brown hair, and
Tamberelli 5
rather large front teeth” (Stone 105). Her initial and primary character trait is immediately
demonstrated when Ron was attempting to do a magical spell: “’Are you sure that’s a real
spell?’ said the girl. ‘Well, it’s not very good, is it? I’ve tried a few simple spells just for practice
and it’s all worked for me…. I’ve learned all our course books by heart, of course, I just hope it
will be enough’” (Stone 105-‐6). Hermione quickly becomes known to her fellow classmates as a
“know-‐it-‐all” and teacher’s pet (Stone 164). She is seen “[marching] away with her nose in the
air” when she disagrees with Harry and Ron and often reiterates statements and questions with
phrases such as “did you know” and “you know” (Stone 166; Chamber, Prisoner, Goblet, Order,
Prince, and Hallows).
Albus Dumbledore and Minerva McGonagall are two professors at Hogwarts who serve
important roles in both the novels and Harry’s life. The reader first sees Dumbledore as “… tall,
thin, and very old, judging by the silver of his hair and beard…. He was wearing long robes, a
purple cloak that swept the ground, and high-‐heeled, buckled boots” (Stone 8). McGonagall
transforms from a cat that had been perched on a ledge to “… a rather severe-‐looking
woman…. Her black hair was drawn into a tight bun” (Stone 9). When Harry meets her on his
first night at Hogwarts, he sees “a tall, black-‐haired witch in emerald green robes…. She had a
very stern face and [his] first thought was that this was not someone to cross” (Stone 113). Both
Dumbledore and McGonagall play an active, although secondary, role in the development of
Harry’s character as they provide wisdom, guidance, and the occasional discipline.
The castle of Hogwarts School of Witchcraft and Wizardry serves as the setting for the
vast majority of the novels. Hogwarts is nearly a thousand years old and was founded by four
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witches and wizards. Each of the four wizards named a house of the school in their name:
Gryffindor, Ravenclaw, Hufflepuff, and Slytherin. All students are separated into one of the four
houses once they arrive at Hogwarts and remain with that house for the seven year duration of
their education. Students in each house live in the same wing of the castle, attend lessons
together, eat together, etc. Each house is known for possessing or admiring certain character
traits that were most important to the corresponding founder. Gryffindors are known for their
bravery, Ravenclaws for their intelligence, Hufflepuffs for their loyalty, and Slytherins for their
cunning (Stone 118). The main characters are placed in Gryffindor house. The bullies of the
school are members of Slytherin, a house that is known for creating dark witches and wizards.
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2. Humanistic Binaries
As a function and result of both character creation and interaction, binaries are present
throughout the Harry Potter novels (Cherland). Although binaries may serve a function in this
capacity, they also tend to mark one category as superior to another particularly in the case of
gender and gender performativity, which are also present throughout the novels and may be
internalized by the reader (Hardman, Butler). Of course, not all binaries are problematic. The
theme of good versus evil is a common binary in many literary works. Gryffindor is one of the
good houses, while Slytherin is the ultimately evil one. Albus Dumbledore is the champion of all
good witches and wizards and Lord Voldemort remains the infamous leader of all dark witches
and wizards. Their followers are also named according to this separation of good versus evil:
the Order of the Phoenix versus the Death Eaters. This binary of good and evil is also relevant
situationally. The Dursleys’ home is an evil place where Harry feels trapped, unloved, and
unwanted; Hogwarts allows him to form friendships, find comradery, and develop his magical
skills.
The use of the traditional gender binary of boys versus girls, men versus women, is
abundantly apparent in the novels and is further exemplified by the characters’ performance of
or against their gender. In the Dursleys’ household, Vernon’s word is law and occasionally
Petunia “didn’t dare ask” or would “[suggest] timidly” for fear of his wrath (Stone 41-‐3). In a
few specific cases, Vernon and Petunia are having an argument and her thoughts are either cut
off mid-‐sentence or Vernon asserts his superior intellect, rendering her thoughts useless:
Vernon: “Yes, that’s best . . . we won’t do anything. . . .”
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Petunia: “But – “
Vernon: “I’m not having one in the house, Petunia! (Stone 36)
Petunia: “I’m not sure that’ll work, Vernon”
Vernon: “’Oh, these people’s minds work in strange ways, Petunia, they’re not like you
and me,’ said Uncle Vernon, trying to knock in a nail with the piece of fruitcake Aunt
Petunia had just brought him” (Stone 40)
Vernon: “’Nonsense, Petunia,’… said Uncle Vernon heartily” (Chamber 2)
Similarly, Vernon is seen as the protector of his family, while Petunia is the helpless woman in
need of protection: “Dudley squeaked and ran to hide behind his mother, who was crouching,
terrified, behind Uncle Vernon” (Stone 47). However, when the Dursleys are informed by Harry
of the return of Lord Voldemort, Petunia is forced to admit her knowledge of and connection to
the Wizard world, thereby gaining agency through this knowledge (Phoenix 38-‐41).
This familial distribution of power does, however, vary from family to family. In the case
of the Weasleys, Molly is the mother and homemaker (both her and her husband, Arthur, are
discussed in greater detail in the “Family” section of this paper) but she still exerts significant
power over the family. Her word is law as seen in this exchange:
“Molly, dear -‐-‐-‐“
“No, Arthur -‐-‐-‐“
“I said no, Arthur, not in broad daylight -‐-‐-‐“ (Chamber 67)
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Molly’s authority is felt equally by her children. “All three of Mrs. Weasley’s sons were taller
than she was, but they cowered as her rage broke over them” and is described as “a saber-‐
toothed tiger” when her temper has been tested (Chamber 33, 32).
Even McGonagall, one of the strongest female characters, finds herself seeking
Dumbledore’s confirmation when the news of Harry and his parents first reaches her: “It was
plain that whatever ‘everyone’ was saying, she was not going to believe it until Dumbledore
told her it was true” (Stone 12). In these cases, the women have accepted their role and
performance as submissive while the men are allowed (or expected) to exude dominance. This
does not, however, diminish McGonagall’s role as professor and disciplinarian: “If Snape had
gone to fetch Professor McGonagall, head of Gryffindor House, they were hardly any better off.
She might be fairer than Snape, but she was still extremely strict” (Chamber 80). In this scene,
McGonagall’s power is still evident, as is her lack of emotionality, a typically feminine trait, as
seen in her description as “fair.”
Hermione is also subjected to this gender binary as the good girl who attempts to
control the misbehaving boys: “A lamp flickered on. It was Hermione Granger, wearing a pink
bathrobe and a frown…. Harry couldn’t believe anyone could be so interfering… hissing at them
like an angry goose” (Stone 155). Although her tactics may change throughout the novels, she
still reminds Ron and Harry of her occasional disapproval: “The only person who did not find
these charms amusing was Hermione, who maintained a rigidly disapproving expression
throughout and refused to talk at all if Harry used the Muffliato spell on anyone in the vicinity”
(Prince 238, emphasis original).
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Hermione is also able to flip the gender binary to her advantage. After a run-‐in with a
troll, Hermione lies to Professor McGonagall in order to prevent Ron and Harry from being
punished after rescuing her (Stone 179). Although Hermione prevents them from being
punished, the gender binary is confirmed as Hermione required rescuing from her two male
classmates as Ron reminds Harry: “’Good of her to get us out of trouble like that,’ Ron
admitted. ‘Mind you, we did save her’” (Stone 179, emphasis original). Hermione does redeem
herself in this binary toward the end of the first novel when the three friends risk their lives in
search of the Sorcerer’s Stone. When they encounter a murderous vine that attempts to
strangle both Harry and Ron, Hermione recalls the plants’ weakness in order to save them:
“’Shut up, I’m trying to remember how to kill it!’ said Hermione… it likes the dark and
the damp –‘ ‘So light a fire!’ choked Harry. ‘Yes – of course – but there’s no wood!’
Hermione cried, wringing her hands. ‘HAVE YOU GONE MAD?’ Ron bellowed. ‘ARE YOU
A WITCH OR NOT?’ ‘Oh, right!’ said Hermione, and she whipped out her wand” (Stone
278)
She does falter, however, as she has to be reminded by Ron that she is a witch and does not
need wood in order to create fire. Later on, Hermione and Harry are confronted by a test of
logic that requires them to analyze a riddle and select the correct potion in order to keep going.
If they choose incorrectly, they may choose a poison instead of an antidote: “Hermione read
the paper several times. Then she walked up and down the line of bottles, muttering to herself
and pointing at them. At last, she clapped her hands… . ‘You are sure which is which, aren’t
you?’ ‘Positive,’ said Hermione” (Stone 286-‐7). Because of her quick wit, intelligence, and
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rational thinking, Hermione prevents her friends’ death twice in the first novel, thusly
contradicting the gender performance binary of irrational and emotional women, as well as the
male protector and protected female binary. She also recurrently saves Harry and Ron
numerous times throughout the other novels by use of her quick wit, knowledge, and practiced
spell-‐casting (Stone, Chamber, Prisoner, Goblet, Phoenix, Prince, and Hallows).
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3. Objectification and Animalism
It is common in the English language, particularly in American English, to describe
women as objects such as food, animals, flowers, etc. (Sutton 279-‐96). To describe Hermione as
a goose, as mentioned in the previous section, is no exception. This serves as another gender
binary in the novel as it objectifies the female characters and thusly reinforces the male as the
subject. Madam Hooch, another professor at Hogwarts, has “eyes like a hawk” (Stone 146).
McGonagall transforms from a cat during the reader’s introduction to her and Hermione
accidentally turns into a cat after adding an incorrect ingredient to a batch of Polyjuice Potion
(Stone 9, Chamber 225). “Madam Pince, the librarian, was a thin, irritable woman who looked
like an underfed vulture” (Chamber 163). Professor Trelawney is often described as a “large
insect” (Prisoner 102, Order 236). There are two secondary female characters who receive the
most negative animalistic objectifications as they are, arguably, two of the most disliked female
characters in the novels; Delores Umbridge (whose last name may be attributable to the
definition of “umbrage” meaning to offend or annoy) and Rita Skeeter. Umbridge is first
described as
… a large, pale toad. She was rather squat with a broad, flabby face, as little neck as
Uncle Vernon, and a very wide, slack mouth. Her eyes were large, round, and slightly
bulging. Even the little black velvet bow perched on top of her short curly hair put him in
mind of a large fly she was about to catch on a long sticky tongue... The witch spoke in a
fluttery, girlish, high-‐pitched voice that took Harry aback; he had been expecting a croak
(Order 146)
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Contrarily, it is not Skeeter’s physical description that is objectifying in this animalistic sense.
She is described as “[a] witch in magenta robes... Her hair was set in elaborate and curiously
rigid curls that contrasted oddly with her heavy-‐jawed face. She wore jeweled spectacles. The
thick fingers clutching her crocodile-‐skin handbag ended in two-‐inch nails, painted crimson”
(Goblet 303). Despite this somewhat stereotypical physical appearance it is the description of
her personality and work ethic that more so reflects objectification: “’That woman, or vulture
might be a more accurate term, positively pestered me to talk to her... interfering trout...”
(Hallows 152).
The veela are perhaps the most interesting example of female objectification in the
series:
“Veela were women . . . the most beautiful women Harry had ever seen . . . except that
they weren’t – they couldn’t be – human. ... their skin shone moon-‐bright... white gold
hair... then the music started and Harry stopped worrying about them not being human
– in fact, he stopped worrying about anything at all. The veela had started to dance, and
Harry’s mind had gone completely and blissfully blank” (Goblet 103)
Veela appear to be Rowling’s version of Odysseus’ sirens and are just as dangerous when
provoked: “... the veela lost control... they didn’t look remotely beautiful now. On the contrary,
their faces were elongating into sharp, cruel-‐beaked bird heads, and long, scaly wings were
bursting from their shoulders...” (Goblet 111). The reader can assume an interesting
commentary regarding beauty from Rowling’s point of view with the introduction of the veela.
They are both the most beautiful creatures any man has ever seen (note creatures, not
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humans) as well as hideous and violent. Does this suggest the irrelevance of external beauty or
the insidious nature of beautiful women? Gilderoy Lockhart, a professor in Chamber, further
suggests that Rowling discredits the presence of mere physical attractiveness as Lockhart
proves himself to be both a fake and a coward (Gupta).
The names of several female characters also reflect either animalism or objectivism.
Harry refers to his occasional babysitter as “old Mrs. Figg” whose name is a literal translation of
a fruit (Stone 31). There is also “Pansy Parkinson, a Slytherin girl with a face like a pug” whose
name and description are equally objectifiable (Prisoner 96). Petunia Harry’s mother, Lily, and
the school nurse, Poppy Pomfrey, all have the names of flowers (Stone 7, 12; Prisoner 391). The
portrait that guards the Gryffindor tower and common room is of a heavyset woman called
“the Fat Lady” (Stone 156). Contrarily, Rowling also gave two of the female characters more
powerful names despite this gender objectification. Minerva McGonagall shares her first name
with the Roman goddess of wisdom. Hermione’s first name is an adaptation of the Greek god
Hermes, who was the messenger to Zeus and represented speed and good luck. But she, too, is
objectified when she is referred to as the unnamed “girl” by the Minister of Magic (Prisoner
387).
Though the vast majority of animalism and objectification is focused on the female
characters of the novels, the main character may be included in this category as well. Harry is
known for the lightning-‐shaped scar on his forehead and often notes that this is the first
physical trait of his noticed by strangers (Stone, Chamber, Prisoner, Goblet, Phoenix, Prince,
Hallows). His fame also makes him something of a trophy for female suitors: “Parvati seemed to
Tamberelli 15
be enjoying herself; she was beaming around at everybody, steering Harry so forcefully that he
felt as though he were a show dog she was putting through its paces” (Goblet 415).
Tamberelli 16
4. Heternormativity and Masculinity Reaffirmed
The world of Harry Potter is based on a system of masculinity, heteronormativity, and
traditionalism, also known as the heterosexual matrix (Butler 47-‐106). The heterosexual matrix
is the framework for not only our society but also Harry Potter’s, as it sets the stage for
expected and accepted gender norms. Homosexuality is implicitly ignored, as no references to
its existence are made or suggested (Pugh and Wallace). Rowling later contradicted this
heteronormative assumption by informing readers in an interview that she always thought of
Dumbledore as gay (Irwin and Bassham 143). Additionally, the students are presented as
asexual as “the girls [go] through one door to their dormitory and the boys through another”
(Stone 130). However, it may be more accurate to assume that the school’s founders wanted
the students to be asexual. In one example, Harry and Ron attempt to enter the girls’ dormitory
to speak to Hermione when the staircase turns into a slide that they are unable to climb
(Phoenix 353). Hermione describes this is an “old-‐fashioned rule” and explains that the
founders believed the girl students to be more trustworthy than the boys as the girls are able to
gain entrance to the boys’ dormitory (Phoenix 353). Rowling humorously appears to reiterate
the founders’ desire for asexual students when the Gryffindor common room’s password is
changed to “Abstinence” (Prince 351).
This asexuality is short-‐lived in the novels once the female students learn of the coming
Yule Ball: “... they all seemed to Harry to be obsessed with the coming ball – or at least all the
girls were... Girls giggling and whispering in the corridors, girls shrieking with laughter as boys
passed them, girls excitedly comparing notes on what they were going to wear on Christmas
Tamberelli 17
night. . . .” (Goblet 388). The Yule Ball marks the beginning of “dating” for Harry, Ron, and
Hermione as well as the beginning of romantic tensions between Hermione and Ron (Goblet
403). All three of the main characters are seen exhibiting adolescent, romantic angst common
to anyone who has survived puberty and the boys are particularly confounded by the “mad”
girls, for example: “’Well, wouldn’t it have been easier if she’d just asked me whether I liked her
better than you?’ // ‘Girls don’t often ask questions like that,’ said Hermione. // ‘Well, they
should!’ said Harry forcefully... ‘You should write a book,’ Ron told Hermione... ‘translating mad
things girls do so boys can understand them’” (Order 573).
As Harry’s fame increases with the Wizarding world’s acknowledgement of Lord
Voldemort’s return, so does his appeal to his female classmates. “Large groups of girls tended
to converge underneath the mistletoe bunches every time Harry went past, which caused
blockages in the corridors” (Prince 303). Harry, however, does not find his heart’s desire under
the mistletoe but in a friend, Ginny Weasley, which speaks positively to Rowling’s thoughts on
relationship dynamics. The reader also sees Harry take on the stereotypically feminine role of
obsessing and vying for another’s affection: “Somehow, the game had become inextricably
linked in Harry’s mind with success or failure in his plans for Ginny” (Prince 520).
Within the heterosexual matrix, there are several assumptions that are taken for
granted, such as the supremacy of masculinity and the inferiority of femininity, particularly in
traditionally feminine roles. Madam Malkin, a witch seamstress, “was a squat, smiling witch
dressed in all mauve” and “Madam Pince, the librarian, brandished a feather duster at him”
(Stone 76, 198). These women are diminutized in both their occupations and, in the case of
Tamberelli 18
Madam Pince, their weaponry because of their gender performance requirements within the
heterosexual matrix. The inferiority of some men in feminine occupations, however, is also
demonstrated by Gilderoy Lockhart’s botched attempt at mending Harry’s broken arm:
“Lockhart hadn’t mended Harry’s bones. He had removed them. Madam Pomfrey wasn’t at all
pleased. ‘You should have come straight to me!’ she raged” (Chamber 173). In this scenario,
Rowling reinforces two gender-‐based stereotypes: only women, acting alone, should be
caregivers because men are incapable of performing the job.
Molly Weasley serves as another example regarding occupation. Despite her role as a
member of the Order of the Phoenix, the reader never sees her in a role other than maid or
cook until the final battle against Lord Voldemort and his followers where she exclaims:
“’NOT MY DAUGHTER, YOU BITCH!’ Mrs. Weasley threw off her cloak as she ran, freeing
her arms... ‘OUT OF MY WAY!’ shouted Mrs. Weasley to the three girls, and with a swipe
of her wand she began to duel... ‘No!’ Mrs. Weasley cried as a few students ran forward,
trying to come to her aid. ‘Get back! Get back!’ She is mine!’” (Order 79-‐136; Hallows
736)
Hermione is also pigeon-‐holed into this domestic role when out searching for Horcruxes with
Harry and Ron, a role that she is not happy about: “’Harry caught the fish and I did my best with
it! I notice I’m always the one who ends up sorting out the food, because I’m a girl, I suppose!’”
(Hallows 293). Hermione is also the only female character to draw attention to the female
versus male differences found within the heterosexual matrix, particularly with Harry and Ron’s
tendency to use the masculine generic in language. For example:
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“Or herself,” said Hermione irritably, overhearing Harry pointing some of these out to
Ron in the common room on Saturday evening. “It might have been a girl. I think the
handwriting looks more like a girl’s than a boy’s.”
“The Half-‐Blood Prince, he was called,” Harry said. “How many girls have been Princes?”
(Prince 195)
“Well, what if he did finish it off?” said Ron.
“Or she,” interposed Hermione.
“Whichever,” said Ron” (Hallows 101)
In both of these examples, the boys either argue with or simply dismiss Hermione’s attempts at
equally representative language.
Ginny’s character construction also deviates from her prescribed gender role as she is a
passionate Quidditch player as described by her confrontation with Hermione: “’Oh, don’t start
acting as though you understand Quidditch,’ snapped Ginny, ‘you’ll only embarrass yourself’”
(Prince 530). Ginny is also noted as being one of the most powerful magically: “’Yeah, size is no
guarantee of power,” said George. ‘Look at Ginny.’ // ‘What do you mean?’ said Harry. ‘You’ve
never been on the receiving end of one of her Bat-‐Bogey Hexes, have you?’” (Order 100). In the
latter example, Ginny’s power is confirmed as her brother, George, also points out the bias with
assuming that size and power are always interconnected.
In more general scenarios, Harry observes “... funny little witches from the country, up
for a day’s shopping; venerable-‐looking wizards arguing over the latest article in Transfiguration
Tamberelli 20
Today; wild-‐looking warlocks; raucous dwarfs; and once, what looked suspiciously like a hag,
who ordered a plate of raw liver from behind a thick woolen balaclava,” each of these
characters fulfilling a gendered role (Prisoner 49). Despite the general air of dislike the reader
associates with Rita Skeeter, she is portrayed in a most gendered and “lady-‐like” fashion by
“greeting [a guest] in the hallway of her cozy home, [leading] straight into the kitchen for a cup
of tea, a slice of pound cake and, it goes with saying, a steaming vat of freshest gossip” (Hallows
23). The heteronormative interaction between characters is also emphasized by Remus Lupin
“... hugging the women and grasping hands with the men...” (Hallows 515).
Female characters appear to be the most vulnerable when love, loss, or emotional
distress is concerned. Moaning Myrtle, a ghost that lives in the girls’ restroom, is a pivotal
example of the overly emotional female. When first introduced, the reader learns that “[the
girls’ lavatory has] been out-‐of-‐order all year because she keeps having tantrums and flooding
the place” (Chamber 133). Myrtle is particularly sensitive to what others think and say about
her:
“You’re making fun of me,” she said, silver tears welling rapidly in her small, see-‐through
eyes… “Don’t lie to me,” Myrtle gasped, tears now flooding down her face… “D’you
think I don’t know what people call me behind my back? Fat Myrtle! Ugly Myrtle!
Miserable, moaning, moping Myrtle!”… Moaning Myrtle burst into anguished sobs and
fled from the dungeon (Chamber 134-‐5)
As her name suggests, it is quite uncommon to find Moaning Myrtle not crying, upset, or in the
midst of a tantrum. Other secondary female characters are also easily upset, particularly when
Tamberelli 21
their physical appearance is involved. Percy Weasley’s girlfriend had “hidden her face under the
frame because her nose [had] gone all blotchy. . . .” (Prisoner 69). Marietta, a member of
Dumbledore’s Army, was hexed for confessing the group’s activities to Dolores Umbridge “’…
and upon catching sight of her face in [the] mirror the girl became too distressed to tell
[Umbridge] any more’” (Order 613). Although Molly Weasley is never shown to cry over any
imperfections with her appearance, it is a regular occurrence for her to “[dissolve] into tears at
the moment of parting… crying on and off” (Prince 349). Even Hermione allows herself to
become preoccupied with her looks on one occasion when “... at five o’clock said she was going
back upstairs to get ready for the ball. // ‘What, you need three hours?’ said Ron, looking at her
incredulously” (Goblet 411). Hermione later admits to Harry that this preoccupation was a
onetime occurrence: “Hermione’s hair was bushy again; she confessed to Harry that she had
used liberal amounts of Sleekeazy’s Hair Potion on it for the ball, ‘but it’s way too much bother
to do every day,’ she said matter-‐of-‐factly” (Goblet 433).
Like Hermione, most of the main female characters do not appear to be prone to fits of
crying and hysteria. Hermione rarely demonstrates this sort of emotionality until Buckbeak, a
hippogriff in Hagrid’s care, is about to be executed: “’Please, let’s hurry,’ Hermione whispered.
‘I can’t stand it, I can’t bear it. . . . ... ‘Oh, please, Ron,’... Hermione swayed on the spot”
(Prisoner 331). Even when she and Harry are at the mercy of Umbridge’s pending punishment,
“Hermione was sobbing desperately into her hands, there was no trace of a tear. . . .” (Phoenix
747). Here, Hermione uses her gender performance expectations to manipulate Umbridge and
save Harry from her wrath. Ginny is another female character that “was not tearful; that was
one of the many wonderful things about Ginny, she was rarely weepy.” That is until she and
Tamberelli 22
Harry part before he leaves in search of Horcruxes: “he thought that she might have
succumbed, for once, to tears” (Hallows 116-‐7).
With the exception of a few superficial emotional responses, female emotionality is
usually reserved for life-‐altering events such as love or loss. When Tonks, a member of the
Order of the Phoenix, has trouble metamorphosing the other members express concern: “’She
can’t change her appearance like she used to,’ explained Hermione. ‘I think her powers must
have been affected by shock or something’” (Prince 95). Later “the meaning of Tonks’s Patronus
and her mouse-‐colored hair, and the reason she had come running to find Dumbledore when
she had heard a rumor someone had been attacked by Greyback, all suddenly became clear to
Harry,” it was not shock that had upset her, she was in love with Lupin (Prince 624). According
to Dumbledore, this is not an unusual occurrence among wizards: “’Of course, it is also possible
that her unrequited love and the attendant despair sapped her of her powers; that can
happen’” (Prince 262). However, he does not specify if this is more common among witches
than wizards. And though love is an emotion most stereotypically attributed to women,
Dumbledore reiterates it throughout the novels as an absolute necessity and their greatest
weapon against evil. “The ultimate triumph of love and compassion over selfishness and
ambition clearly provides an overarching worldview that is more in line with radical feminism”
(Irwin and Bassham 91).
A painful or traumatic event is also cited as stopping a witch’s power. In the case of
Dumbledore’s sister, Ariana, she refused to use magic after being attacked (and, presumably,
raped) by Muggles who saw her using magic: “’It destroyed her, what they did: She was never
Tamberelli 23
right again. She wouldn’t use magic, but she couldn’t get rid of it; it turned inward and drove
her mad, it exploded out of her when she couldn’t control it, and at times she was strange and
dangerous. But mostly she was sweet and scared and harmless” (Hallows 564). Although there
are a few female characters who express excessive emotional responses to minutia, there are
also significant examples of strong female characters that persevere.
One of the strongest female characters in the novels is Lily Potter, Harry’s mother.
Although her physical presence in the novels is severely limited, when she sacrificed her life to
save her son she provided him with a magical protection that even Lord Voldemort was
incapable of penetrating. During Harry’s encounters with the Dementors, he relives his
mother’s final and heroic act: “... he heard the last moments of his mother’s life, her attempts
to protect him, Harry, from Lord Voldemort, and Voldemort’s laughter before he murdered
her” (Prisoner 184). While Harry does encourage others to “’be brave like my mother,’” it is
important to note that despite the courage of her sacrifice the protection she gave him as a
result was accidental (Prince 490). And when faced again with Lord Voldemort, Harry resolves
himself “... to die upright like his father, and he was going to die trying to defend himself, even
if no defense was possible. . . .” (Goblet 662). Although both of Harry’s parents were murdered
moments before Harry sapped Voldemort of his powers, it is his mother that is given the most
recognition for the (accidental) protection her sacrifice caused. But as Harry faces Voldemort he
thinks instead of his father, not his mother.
Tamberelli 24
5. Tough Guise
By promoting traditional models of masculinity, the need for a tough guise may become
central to life as a boy or man (Reeser 119-‐30). This promotion of masculinity from father to
son begins early for Dudley: “‘Little tyke wants his money’s worth, just like his father. ‘Atta boy,
Dudley!’ He ruffled Dudley’s hair” (Stone 24). Both Vernon and Dudley continually perform the
masculine stereotypes expected within the heterosexual matrix. Dudley does not have friends,
but instead a gang: “Dudley’s gang… Piers, Dennis, Malcolm, and Gordon were all big and
stupid, but as Dudley was the biggest and stupidest of the lot, he was the leader” (Stone 31). It
is also their favorite pastime to beat up younger children, Harry included. This sort of gang
mentality is present amongst three of Harry’s least favorite Slytherins, the leader of which is
Draco Malfoy, flanked by Crabbe and Goyle: “He was looking at the other boys. Both of them
were thickset and looked extremely mean. Standing on either side of this pale boy, they looked
like bodyguards” (Stone 108). Rowling suggests the stupidity of those involved in gangs by
commenting on Crabbe and Goyle’s intelligence:
“How thick can you get?” Ron whispered ecstatically as Crabbe gleefully pointed out the
cakes to Goyle and grabbed them. Grinning stupidly, they stuffed the cakes whole into
their large mouths. For a moment, both of them chewed greedily, looks of triumph on
their faces. Then, … they both keeled over backward onto the floor (Chamber 214)
While Vernon’s actions do not have the same “gang” implications, his character regularly
exhibits an out of control temper and violent tendencies. He threatened Hagrid as he “came
skidding into the room… holding a rifle in his hands” and “let out a bellow like an angry bull and
Tamberelli 25
dived at Harry, grabbing him by the ankle… ‘Petunia!’ roared Uncle Vernon” (Stone 46; Chamber
27).
By appearance and his giant heritage, Hagrid has the potential to be an overly masculine
character as seen when he makes his first appearance to Harry and the Dursleys. When Vernon
confronts Hagrid, Hagrid responds violently by “… [reaching] over the back of the sofa, [jerking]
the gun out of Uncle Vernon’s hands, [bending] it into a knot as easily as if it had been made of
rubber, and [throwing] it in the corner of the room” (Stone 47). After discovering that the
Dursleys had hidden the wizard world from Harry, “… Hagrid thundered…. He leapt to his feet.
In his anger he seemed to fill the whole hut” (Stone 49). Harry, Ron, and Hermione also witness
the tough side of Hagrid when they come “… face-‐to-‐face with him aiming a crossbow at them.
Fang the boarhound barked loudly behind them (Chamber 260). They also see him react with
fury when discussing Sirius Black’s escape: “’I COMFORTED THE MURDERIN’ TRAITOR!’ Hagrid
roared” (Prisoner 206).
It is noteworthy that while Hagrid is physically capable of harm, he does not act on it. It
is far more common for Hagrid the giant to express love, sadness, compassion, and worry than
physical acts of violence or domination (Wolfgram 130). When Hagrid first dropped off the baby
Harry at the Dursleys, “he bent his great, shaggy head over Harry and gave him what must have
been a very scratchy, whiskery kiss” before sobbing loudly and burying his face in a
handkerchief (Stone 15). Hagrid also reacts emotionally when visiting Harry in the hospital:
“[Hagrid] sat down next to Harry, took one look at him, and burst into tears... he sobbed…
shaking with grief and remorse, great tears leaking down into his beard” (Stone 303). He is,
Tamberelli 26
ultimately, known not for his physical strength or temper but for his care of animals, his
pumpkin patch, and tendency to cry loudly and publicly (Chamber 122; Prisoner 93; Prisoner
217). However, it may be a contrived aspect of Hagrid’s character that he is a giant, as his sheer
size and power provide equilibrium to his more stereotypically feminine qualities. As the
decorum of the heterosexual matrix demands a masculine gender performance from all men,
Hagrid may have been an unacceptable or unbelievable character without some aspect of his
masculinity appropriately performed.
Like Dudley, Ron also feels the weight of living up to male family members’
expectations, as he is the sixth boy in his family to attend Hogwarts; even if he is successful,
“it’s no big deal, because they did it first” (Stone 99-‐100). He does, however, manage to
distinguish himself by making the Gryffindor Quidditch team, being appointed prefect, and
helping to end Lord Voldemort’s rule. He first asserts himself by proclaiming “’I’m going to be a
knight’” during a game of live-‐action wizard’s chess (Stone 282). As the game progresses, it
becomes apparent to Ron that his knight must fall in order for them to win the game: “’Yes . . . ‘
said Ron softly, ‘it’s the only way . . . I’ve got to be taken” (Stone 283). As he sacrifices himself,
he affirms that through his strength and suffering the others may continue. Ron also performs
his role within the tough guise by acting out his anger violently especially if Draco Malfoy is
involved or Hermione is being insulted. In one such case, “… Ron had leapt off his stool… ‘Let
me at him,’ Ron growled as Harry and Dean hung onto his arms. ‘I don’t care, I don’t need my
wand, I’m going to kill him with my bare hands’” (Chamber 267). He and Harry also tend to
demonstrate that “boys will be boys” whether it is flying a car without parental permission,
Tamberelli 27
acting recklessly despite their better judgment, or continuing a Quidditch match while being
attacked by a rogue bludger (Chamber 69; Phoenix 780; Chamber 170).
But neither Harry nor Ron is without their fears. Ron is terrified of spiders and both are
frightened when going into the Forbidden Forest (Chamber 154-‐5, 269, 274). As the protagonist
of the novels, Harry’s fears are always put aside to the task at hand, whether that is slaying a
Basilisk in the Chamber of Secrets or rescuing Sirius from Voldemort (Chamber, Phoenix). While
Dudley, Vernon, Malfoy, and even Ron may act out their tough guises in a traditionally
masculine way, Harry’s tough guise is in his hero mentality or, in Hermione’s words, his “saving-‐
people-‐thing” (Phoenix 733, emphasis original). Among the three protagonists, this is most
evident in Prisoner when they confront a still-‐presumably-‐guilty Sirius Black: “His eyes flickered
over Ron, lying on the floor, over Hermione, cowering next to the door, to Harry, standing there
with his wand covering Black, and then to Black himself, crumpled and bleeding at Harry’s feet”
(Prisoner 343). The only character still standing is Harry, demonstrating his place as the male
protagonist. The reader also sees that Harry approaches violence and death grimly and avoids
them whenever possible. When he is informed by Dumbledore that he must be the one to kill
Voldemort, the news is not lightly received (Prince). And when Harry uses the unknown Sectum
Sempra spell on Malfoy he is shocked and deeply remorseful for the damage caused (Prince
522-‐3).
Harry and Ron are not alone in performing the tough guise. Hermione gets into a fist
fight with a Slytherin girl during a dueling lesson (Chamber 192). She also confronts Malfoy
head on when he insults Hagrid: “Harry and Ron both made furious moves toward Malfoy, but
Tamberelli 28
Hermione got there first – SMACK! She had slapped Malfoy across the face with all the strength
she could muster” (Prisoner 293). Her most volatile reactions, however, usually involve Ron.
When Hermione sees Ron kissing another girl, “Harry spun around to see Hermione pointing
her wand at Ron, her expression wild: The little flock of birds was speeding like a hail of fat
golden bullets toward Ron, who yelped and covered his face with his hands, but the birds
attacked, pecking and clawing at every bit of flesh they could reach” (Prince 302). Ron also feels
her wrath when he returns to Harry and Hermione after abandoning them on the search for
Horcruxes: “’Hermione!’ said Harry. ‘ Calm –‘ ‘I will not calm down!’ she screamed. Never
before had he seen her lose control like this; she looked quite demented. ‘Give me back my
wand! Give it back to me! ... Don’t you dare tell me what to do, Harry Potter!’ she screeched”
(Hallows 380). Through her depiction of the tough guise among the Harry Potter characters,
Rowling demonstrates that not all guys live up to tough guise and the girls are just as capable.
Tamberelli 29
6. Phallus
In connection to the masculinity associated with the tough guise, one must
acknowledge the presence of the phallus in Harry Potter. A phallus is a signifier of power as well
as the source of identity and certainty (Grosz, A Feminist Introduction 71, 79). A phallus is only
powerful is there are those who lack it (Grosz, A Feminist Introduction 122). The most
recognizable of these being the wand: a witch’s or wizard’s wand is the source of their power.
Although they may possess magic without a wand, they are incapable of using it. Those in the
Wizarding world who were born without magical abilities are known as Squibs; Argus Filch, the
caretaker at Hogwarts, is one example (Chamber 142). Squibs do not have wands because they
have no magical powers.
However, the greatest insult a witch or wizard can face is to have their wand taken from
them: “’You lost your authority when you lost your wand, Lucius!’” (Hallows 460). Hagrid also
experiences this loss when he was falsely accused of committing a crime while a student at
Hogwarts. He never receives another wand but is given a pink umbrella instead which allows
him to perform a minimal amount of magic. In Hagrid’s case, he is doubly insulted by having his
wand taken and replaced by a pink umbrella (a stereotypically feminine color and the color of
many physical phalluses). Harry, too, feels the loss of his wand after it is broken: “...never, until
this moment, had he felt himself to be fatally weakened, vulnerable, and naked, as though the
best part of his magical power had been torn from him” (Hallows 350). Harry’s description is by
far the most telling regarding the power of this phallus for all witches and wizards. It is also an
example of phallocentrism which represents two sexes, male and female, with a single,
Tamberelli 30
masculine identifier (Grosz, Sexual Subversions 25). In the world of Harry Potter, this is the
wand.
The phallus is present in other objects as well. Harry comes across a book entitled
“Broken Balls: When Fortunes Turn Foul” which seems to poke fun at this phallocentrism
(Prisoner 53). The appearance and description of the Sword of Gryffindor during Harry’s battle
with a Basilisk further exemplifies powerful phallic symbols: “Stars winking in front of his eyes,
he grabbed the top of the hat to pull it off and felt something long and hard beneath it. A
gleaming sword had appeared inside the hat, its handle glittering with rubies the size of eggs”
(Chamber 319-‐20, emphasis mine).
The Basilisk leads to another category of phallus in Harry Potter: animals. Though not
accurate to Muggle (non-‐wizard) biology, the Basilisk found in the Chamber of Secrets is a
gigantic snake (Chamber). Its venom is extremely deadly and if it is looked directly in the eyes,
death is immediate. Both of these descriptions ring reminiscent of anti-‐masturbation
propaganda. Another phallic animal is Lord Voldemort’s pet Nagini (Goblet 12). Nagini is a snake
described as at least ten feet long and as thick around as a man’s thigh (Goblet 12). In addition
to Nagini’s role as a pet, she is also one of Voldemort’s Horcruxes. As such, Voldemort has two
phallic sources of power and domination: his wand and Nagini. In relation to the heterosexual
matrix, it is intriguing that the villain has no power that is not phallic in nature.
Tamberelli 31
7. Family Dynamics
Just as masculinity and heteronormativity are facets of the heterosexual matrix, so too
is the concept of a traditional nuclear family model. Families in the Harry Potter novels hardly
transcend from ideas of a “traditional” family. There is a husband and father figure who serves
as the breadwinner, a stay-‐at-‐home mother, and whatever children they have between the two
of them. There is no divorce to speak of in the books, so any children present are also whole
siblings. The Dursleys are the most obvious example of this as “Mr. Dursley hummed as he
picked out his most boring tie for work, and Mrs. Dursley gossiped away happily as she wrestled
a screaming Dudley into his high chair” (Stone 2). The salutations “Mr.” and “Mrs.” also play a
critical role in this traditional family dynamic as they work to reinforce and perhaps aid the
performance of the couple’s heteronormative marital and familial status; this is the case with
Mr. and Mrs. Dursley, Mr. and Mrs. Weasley, and Mr. and Mrs. Mason (Stone, Chamber 5,
Prisoner, Goblet, Phoenix, Prince, and Hallows).
As Dudley grows older, the family model remains much the same. “As he looked at
Dudley in his new knickerbockers, Uncle Vernon said gruffly that it was the proudest moment of
his life. Aunt Petunia burst into tears and said she couldn’t believe it was her Ickle Dudleykins,
he looked so handsome and grown-‐up” (Stone 32). Here, the father figure expresses reserved
and respectful pride as his son grows into a man who will one day earn his own living, while the
mother figure dotes endlessly on her baby boy. Each family member, especially Petunia, is
aware of their role within the family, as seen when Vernon is expecting company: “’We should
all be in position at eight o’clock. Petunia, you will be -‐-‐-‐?’ ‘In the lounge,’ said Petunia
promptly, ‘waiting to welcome them graciously to our home’” (Chamber 5). She also fulfills her
Tamberelli 32
expected role as the homemaker always reassuring her son that “’there’s more in the frying
pan, sweetums,’ said Aunt Petunia, turning misty eyes on her massive son” and bursts into
tears and hugs Dudley over the smallest accomplishment or concern (Chamber 2, 6).
The Weasleys are also painted as a traditional, albeit wizard, family. Through Ron’s
conversations with Harry, the reader learns that he has five brothers and one sister. While it is
implied that his family is not wealthy, his parents appear to be very happily married. Mr.
Weasley is the sole breadwinner and works at the Ministry of Magic. Mrs. Weasley, like
Petunia, is a homemaker usually found in a “flowered apron” and quickly “[conjures] up a
sumptuous dinner” (Chamber 33, 65). The reader also sees Mrs. Weasley as the primary
caregiver who seems to tend to most everything while Mr. Weasley’s role is more symbolic:
“They found Mr. Weasley sitting in the bar, reading the Daily Prophet. ... Mrs. Weasley entered
the bar, laden with shopping bags and followed by the twins, Fred and George, who were about
to start their fifth year at Hogwarts; the newly elected Head Boy, Percy; and the Weasleys’
youngest child and only girl, Ginny” (Prisoner 61). Mrs. Weasley alone is present when sending
off her children to Hogwarts: “Their mother had just taken out her handkerchief. ‘Ron, you’ve
got something on your nose.’… she grabbed him and began rubbing the end of his nose” (Stone
95). In addition to maintaining their cleanliness, Mrs. Weasley also knits sweaters for all seven
of her children and Harry as Christmas presents and sends them home-‐cooked food and sweets,
thus performing the ideal mother and homemaker roles (Stone 200-‐1). The only counter
example given in the Harry Potter series to the ideal mother is Hagrid’s description of his
mother: “’Anyway, she don’ seem ter have liked him much more’n she liked me. . . . See, with
Tamberelli 33
giantesses, what counts is producin’ good big kids, and he’s always been a bit on the runty side
fer a giant – on’y sixteen foot –” (Order 691).
Rowling does offer a glimpse into the lives of nontraditional families. It is implied that
Neville Longbottom, a fellow Gryffindor, has been raised by his grandmother, but there is
initially no explanation given as to why or if this is a permanent situation (Stone). The reader
later learns that Neville’s parents live in the psychiatric ward of St. Mungo’s Hospital after being
tortured into insanity by Death Eater Bellatrix Lestrange (Goblet 603). Harry himself comes from
a nontraditional family, as he has been raised by the Dursleys. In addition to being a wizard, this
disruption to the Dursleys’ performance of “normal” and “traditional” lives furthers their
resentment of Harry. The reader sees several new nontraditional families develop throughout
the novels: the friendship of Harry, Ron, and Hermione becomes the closest relationship Harry
has ever known, far more so than his familial relationship with the Dursleys; Harry’s bond with
his godfather Sirius Black; and Harry’s acceptance in the Weasley family.
Harry also forms a bond with Dumbledore, who slowly takes on a parental role in the
first novel. The reader sees this during their first one-‐on-‐one interaction after Harry has
discovered the Mirror of Erised (Stone 212-‐14). Dumbledore offers advice and provides insight
that Harry needs after deeply missing his parents and the relationship they never had. They
share another intimate moment when Dumbledore visits Harry in the hospital after he sustains
injuries while searching for the Sorcerer’s Stone (Stone 295-‐301). Their second dialogue is far
longer than the first as Dumbledore describes to Harry the secret of the Stone, ensures his well-‐
being, promises to answer more of his questions as he grows older, extols the power of love,
Tamberelli 34
and jokes about flavored jelly beans. In each subsequent novel, Harry and Dumbledore
continue to bond and each novel concludes with a heart-‐to-‐heart conversation between the
two of them. Dumbledore offers a listening ear to Harry when he is in need as any good parent
would (Chamber 209).
As the two grow closer, Dumbledore’s love of Harry becomes more apparent: “’I cared
about you too much,’ said Dumbledore simply. ‘I cared more for your happiness than your
knowing the truth, more for your peace of mind than my plan, more for your life than the lives
that might be lost if the plan failed. In other words, I acted exactly as Voldemort expects we
fools who love to act” (Phoenix 838). Dumbledore is also brought to tears by Harry’s courage
and loyalty (Phoenix 844; Prince 358). In Rowling’s world of Harry Potter, only two factors
appear to separate traditional families: death or psychosis. However, several nontraditional
families are then brought together by adversity, friendship, and love. Though nontraditional,
Harry’s relationships with Ron, Hermione, Sirius, the Weasleys, and Dumbledore become the
most powerful and important in his life despite their contradiction to the traditional family
model.
Tamberelli 35
8. Education and Opportunity
Hogwarts is a co-‐educational institution. There appear to be equal amounts of boys and
girls in attendance. This is also reflected in the professors of the school, as well as its founders.
McGonagall and Dumbledore each represent the highest-‐ranking professors at the school.
Rowena Ravenclaw and Helga Hufflepuff represent the female founding members of Hogwarts,
while Godric Gryffindor and Salazar Slytherin represent the male founding members. The only
gendered difference amongst the founders appears to be in Hufflepuff’s reputation as loyal but
unintelligent. As Harry notes, “...Hufflepuff House very rarely got any glory” (Goblet 293).
Students’ classes do not appear to be affected by their sex, as all students are expected to
complete the same classes in order to move onto the next year’s lessons and all students are
encouraged to decide upon future professions without consideration to their sex. It does
appear, however, in similar fashion to Muggle society that while girls and women may have
“access” to all types of employment the highest ranking officials are most often male, such as
the Minister of Magic, Cornelius Fudge (Prisoner 42).
Although there are no notable differences in the treatment of the students on the basis
of sex or gender, Professor Snape (Head of Slytherin House and potions professor)
demonstrates a common occurrence in real-‐life classrooms (Wolfgram 131). This first occurs
when Snape attempts to embarrass Harry by asking him questions to which he clearly does not
know the answers. Hermione, trying to intervene, attempts to answer them instead:
“Hermione’s hand had shot into the air…. [Snape] ignored Hermione’s hand…. Hermione
stretched her hand as high into the air as it would go without her leaving her seat…. Snape was
Tamberelli 36
still ignoring Hermione’s quivering hand…. ‘I don’t know,’ said Harry quietly. ‘I think Hermione
does, though, why don’t you try her?’…. ‘Sit down,’ he snapped at Hermione” (Stone 137-‐8).
Snape ignores Hermione on another occasion when he is substituting for Professor Lupin:
“Which of you can tell me how we distinguish between the werewolf and the true
wolf?” said Snape. Everyone sat in motionless silence; everyone except Hermione,
whose hand, as it so often did, had shot straight into the air. “Anyone?” Snape said,
ignoring Hermione. ... “Please, sir” said Hermione, whose hand was still in the air...
“That is the second time you have spoken out of turn, Miss Granger,” said Snape coolly.
“Five more points from Gryffindor for being an insufferable know-‐it-‐all.” Hermione went
very red, put down her hand, and stared at the floor with her eyes full of tears... Ron...
said loudly, “You asked us a question and she knows the answer! Why ask if you don’t
want to be told?” (Prisoner 171-‐2).
As most gender scholars will attest, this may not be far from the truth, as girls tend to receive
less attention in classrooms than their boy classmates and may well be a factor of the resulting
performance standards.
Undoubtedly, Hermione is the most interested in academic pursuits of all the characters
(Croft). When first arriving at Hogwarts, she immediately begins discussing upcoming lessons in
earnest hope that they will begin right away (Stone 125-‐6). While Hermione’s gender may not
have affected her academic achievements at Hogwarts, she receives a significant amount of
ostracism as one of the smartest students. One might argue that this was partly her fault as she
Tamberelli 37
did not attempt to disguise that she is correct, knows better, or defers to her male classmates
as her gender performance would dictate:
“’You’re saying it wrong,’ Harry heard Hermione snap…. ‘You do it, then, if you’re so
clever,’ Ron snarled. Hermione rolled up the sleeves of her gown, flicked her wand, and
said, ‘Wingardium Leviosa!’ Their feather rose off the desk and hovered about four feet
above their heads. ‘Oh, well done!’ cried Professor Flitwick, clapping. ‘Everyone see
here, Miss Granger’s done it!’” (Stone 171, emphasis original)
Others may argue that there is no reason for Hermione to have concealed her intelligence.
Would it have mattered if she was a boy know-‐it-‐all instead, as this would have been an
affirmation of a male superiority rather than a contradiction? One can only speculate, but it
may not inspire other young girls to reach their full academic potential if their favorite story
character is friendless and hated because of her intelligence: “’It’s no wonder no one can stand
her,’ he said to Harry as they pushed their way into the crowded corridor, ‘she’s a nightmare,
honestly’…. ‘She must’ve noticed she’s got no friends’…. Hermione didn’t turn up for the next
class… [she] was crying in the girls’ bathroom” (Stone 172).
Ultimately, Hermione finds the balance between books and friends though continues to
sound “as though she had swallowed the textbook” (Chamber 92). Harry and Ron come to
revere her for her performance of spells and quick wit admitting that she knows “loads more
than [they] do” (Chamber 255). Though Harry may be the action-‐based character who is
ultimately revered for his successes and triumphs, his success is often rooted in information
given to him by Hermione. This is arguably something that Harry is conscious of because
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“trying to imagine a stupid Hermione” would be “simply odd” and during an argument says,
“’How can I have hung around you for five years and not think girls are clever?’ said Harry,
stung by this” (Hallows 21, 538). Though she may have gotten off to a rocky beginning,
Hermione becomes as famous and loved as Harry for being the “know-‐it-‐all” she was once
mocked as.
Quidditch, the most popular wizarding sport, also maintains gender balance. The coach
and referee is a woman, Madam Hooch (Stone 185). Each house has their own team that is
comprised of both girls and boys, which the girls remind the boys as necessary: “’Okay, men,’