Güler, Emrah (2005). "Not lost in translation: Harry Potter in Turkish". The Turkish Daily News. Archived from the original on 30 September 2007 . Retrieved 9 May 2007. Rowling stated that she did not reveal Harry Potter 's religious parallels in the beginning because doing so would have "give[n] too much away to fans who might then see the parallels". [30] In the final book of the series, Harry Potter and the Deathly Hallows, Rowling makes the book's Christian imagery more explicit, quoting both Matthew 6:21 and 1 Corinthians 15:26 ( King James Version) when Harry visits his parents' graves. [30] Hermione Granger teaches Harry Potter that the meaning of these verses from the Christian Bible are "living beyond death. Living after death", which Rowling states "epitomize the whole series". [30] [31] [32] Rowling also exhibits Christian values in developing Albus Dumbledore as a God-like character, the divine, trusted leader of the series, guiding the long-suffering hero along his quest. In the seventh novel, Harry speaks with and questions the deceased Dumbledore much like a person of faith would talk to and question God. [33] Themes The novelist, J. K. Rowling

Butler, Catherine (2012). "Modern children's fantasy". In James, Edward; Mendlesohn, Farah (eds.). The Cambridge Companion to Fantasy Literature. Cambridge University Press. doi: 10.1017/CCOL9780521429597. ISBN 978-0-521-42959-7. Kean, Danuta (27 January 2017). "Harry Potter character provides name for new species of crab". The Guardian. Archived from the original on 23 February 2017. Fox, Killian (31 December 2006). "JK Rowling: The mistress of all she surveys". The Guardian. London. Archived from the original on 28 September 2014 . Retrieved 10 February 2007. Harry Potter and the Cursed Child | Melbourne". Harry Potter and the Cursed Child | Melbourne. Archived from the original on 24 October 2017 . Retrieved 25 October 2017.

Harry Potter tour accused of cruelty for use of live 'Hedwigs' ". The Independent. 23 March 2015. Archived from the original on 12 April 2018 . Retrieved 12 April 2018.

C. Mutz, Diana (2016). "Harry Potter and the Deathly Donald". Elections in Focus. 49. Archived from the original on 21 September 2018 . Retrieved 29 September 2018.In Harry Potter, Rowling juxtaposes the extraordinary against the ordinary. [13] Her narrative features two worlds: a contemporary world inhabited by non-magical people called Muggles, and another featuring wizards. It differs from typical portal fantasy in that its magical elements stay grounded in the mundane. [14] Paintings move and talk; books bite readers; letters shout messages; and maps show live journeys, making the wizarding world both exotic and familiar. [13] [15] This blend of realistic and romantic elements extends to Rowling's characters. Their names are often onomatopoeic: Malfoy is difficult, Filch unpleasant and Lupin a werewolf. [16] [17] Harry is ordinary and relatable, with down-to-earth features such as wearing broken glasses; [18] the scholar Roni Natov terms him an "everychild". [19] These elements serve to highlight Harry when he is heroic, making him both an everyman and a fairytale hero. [18] [20] Rowling, JK (2006). "Biography". JKRowling.com. Archived from the original on 21 April 2006 . Retrieved 21 May 2006.

Alton, Anne Hiebert (7 August 2008). "Playing the genre game: generic fusions of the Harry Potter series". In Heilman, Elizabeth E. (ed.). Critical Perspectives on Harry Potter (2nded.). Routledge. Book 'Oscar' for Potter author". BBC News. 30 May 2001. Archived from the original on 27 December 2008 . Retrieved 28 September 2008. Heilman, Elizabeth E., ed. (7 August 2008). Critical Perspectives on Harry Potter (2nded.). Routledge. doi: 10.4324/9780203892817. ISBN 978-1-135-89154-1.

Harry Potter Books (UK Editions) Terms and Conditions for Use of Images for Book Promotion" (PDF). Bloomsbury Publishing Plc. 10 July 2007. Archived from the original (PDF) on 10 July 2007 . Retrieved 7 September 2012. Wilson, Andrew (2006). "Harry Potter in Greek". Andrew Wilson. Archived from the original on 21 June 2008 . Retrieved 28 July 2008. Bell, Christopher, ed. (2012). Hermione Granger Saves the World: Essays on the Feminist Heroine of Hogwarts. Jefferson, North Carolina: McFarland & Company. ISBN 978-0-7864-7137-9. Many of the motifs of the Potter stories such as the hero's quest invoking objects that confer invisibility, magical animals and trees, a forest full of danger and the recognition of a character based upon scars are drawn from medieval French Arthurian romances. [25] Other aspects borrowed from French Arthurian romances include the use of owls as messengers, werewolves as characters, and white deer. [25] The American scholars Heather Arden and Kathrn Lorenz in particular argue that many aspects of the Potter stories are inspired by a 14th-century French Arthurian romance, Claris et Laris, writing of the "startling" similarities between the adventures of Potter and the knight Claris. [25] Arden and Lorenz noted that Rowling graduated from the University of Exeter in 1986 with a degree in French literature and spent a year living in France afterwards. [25]