Rowling's Harry Potter and the Acceptance of Werewolves in Society

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The Exception of werewolves in society
In the novel Harry Potter and the Prisoner of Azkaban by J.K. Rowling we are being introduced to a new creature, werewolves. For as long as we can remember werewolves have become a topic that people love, hate, or misunderstand. The werewolf heritage has been exhibited in various books in literary imaginations, and it makes such tales entertaining to read. In several texts and movies, werewolves are shown as terrifying creatures. In other cases, they serve as mediators and serve as a sign of goodwill.
The wolf is typically connected with uncontrolled energy, treachery or deception, and the underside of primitive human drives. The werewolf may be regarded as the fight between (and the merger of) both "good" and "evil" inside a human being - the implacable and uncontrolled nature of our basic emotional drives, whether they be sexual, aggressive, or destructive. Werewolves are shunned by society as a preventative measure to lessen the danger posed by their transformative abilities (Allan and Cheyne 389). It is revealed to us in HBP that Lupin continues to lead a destitute life, hiding underground with other werewolves who are treated in a manner similar to his own. But even in this setting, Lupin has trouble finding acceptance since he exhibits the clear evidence of having attempted to live among wizards and, as a result, is doubly excluded from the community.
Werewolves have played a significant role in the culture of Western societies for the better part of the last few hundred years. There have been many of novels and tales written on werewolves, and several popular movies have been based on these creatures. Werewolves are terrifying to humans on several levels because they are sinister and strong animals. There is a part of the werewolf that we can relate to, despite the fact that they are among the most vicious and heartless beasts that horror has to offer (Haraway 54). Not only can we empathize with the individuals who have been plagued by the curse, but we can also recognize the werewolf for what it is: a monstrous creature and a malevolent power. The werewolf is a metaphor for the darkness that lurks deep inside each and every one of us.
It is necessary to have an understanding of the lycanthrope, which is Greek meaning wolf-man and is synonymous with the term werewolf. This is not a simple undertaking. Both what they are and how they come into existence are subject to change not just from one culture to the next but also nearly entirely from one individual to the next (Dall 127). The archetype of the werewolf that is most recognizable to us is the once-normal human person who, after being bitten by another werewolf, becomes tragically afflicted with the werewolf sickness and transforms into a beast at night or during a full moon. This particular werewolf has earned the nickname "the victimized werewolf." Regularly, an upstanding member of society is coerced into assuming the identity of a monstrous beast that has little relation to their former self, both in terms of their personality and their physical appearance. In its place comes an uncontrollable need to murder without regard for who the victim is.
Specifically within the realms of fantasy and science fiction, narratives revolving on superhumans and characters with augmented powers raise questions about and indirectly criticize the idea of being disabled. Even though some books may caution against the dangers of scientific aspirations of a superhuman race, there is still an aestheticization of superhuman, more-than-able-bodied creatures in today's culture. Such stories have the potential to conjure up the specter of eugenic ideologies. We are alerted that there has been a strain of thought in American medicine that has, for a very long time, asserted for comparable eugenic objectives, suggesting the termination of the pregnancies of babies who are deformed or weak (Weaver 74). This school of thought has been around for a very long time, in regardless of the reality that eugenic plots may appear to be either absolutely unbelievable or restricted to one time in the real history of Nazi Germany. The ongoing debates in the medical community about whether or not to end the lives of newborns who are diagnosed with certain illnesses or about the reproductive choice of people who have disabilities are not, on the other hand, concerns that are exclusive to the modern era.
The social model of disability has its opposition, including Shakespeare, who argues that it creates the impression that people's bodies are meaningless to whether or not they are intoxicated by society. This is one of the main criticisms leveled against the social model of disability. According to him, this may indicate "rejecting medical prevention, rehabilitation, or cure of disability." He offers this interpretation. Shakespeare argues that a better perspective would take into consideration the fact that individuals are hindered not just by their bodies but also by society. With all of these considerations in mind, I will now examine what we may loosely refer to as the social model of werewolves, which is the process of figuring out how the fictitious society responds to the werewolf character. Due to a wide range of possible interpretations, this discussion will instead focus on the use of werewolves as metaphors for society's attitudes toward disability and illness in Harry Potter and Jatta (Weaver 75). This is because werewolves are used in both of these works.
Professor Remus Lupin is one of the supporting characters who makes a few appearances in J.K. Rowling's Harry Potter series. Observations of Lupin in both the scholarly and public realms have included interconnections between the werewolf personality and Rowling's mother's multiple sclerosis, the sophistication of good and evil, queer theory, and the Other. Interpretations of Lupin in both the academic and popular spheres have also included making connections between Lupin and the Harry Potter series. On the other hand, the way I see it is tied to problems with diseases and incapabilities. This is not only due to the fact that Rowling herself makes references to these subjects; rather, it is because to the fact that there is a growing propensity to tie the werewolf to a number of individuals who have been underrepresented.
Lupin is a werewolf who makes his debut in Book Three, Harry Potter and the Prisoner of Azkaban. His introduction takes place in this book. In this book, the readers discover that he was bitten as a kid and could not be cured of his condition as a werewolf. Lupin's first appearance in the Harry Potter series. He goes through a transformation at the same time as the traditional werewolf does, which occurs under the full moon. During this time, he poses a threat to any human that is near him and is unable to maintain his human consciousness. He refers to this time as being "a fully fledged monster once a month." Lupin says that the changes are "awful." [Note: The transformation into a werewolf is a torturous ordeal. In order to keep Lupin company while he was a werewolf, his buddies learnt how to turn into animals while they were adolescents. This allowed Lupin to preserve part of his human mentality even though he was transforming into an animal.
Although the opioid crisis has expanded to rural and deindustrialized areas of North America in recent years, it doesn't seem to be the primary cause of the characters' pain in Werewolf. What it really represents is their vulnerable position in life. Viewers of the film may not be aware that the action takes place in Cape Breton, a former industrial island in Nova Scotia, Canada.
The tourist business on Cape Breton Island, which is striving to make up for the loss of industrial and mining employment, has made the island famous for its natural beauty. A rusting lawn mower is all that two homeless addicts in New Waterford, a former mining town, have to get by, as seen in Werewolf. There is little left to do except mow the grass and pass time between methadone doses for Blaise and Nessa, as she is called. Until the couple's rising tensions force them apart.
In light of Brenner and Arrighi's hegemonic cycles theory and the succeeding phase of economic stagnation and hegemonic unraveling, Marx's critique of value is used to separate the present recession from past eras of hegemonic shift. After that, I will talk about Werewolf, analyzing how the movie deals with issues of deindustrialization, precarity, and gender in order to trace the logic of separation that underlies it. Werewolf, on the other hand, is considered an art house picture, which separates it from the category of spectacle, despite the fact that commercial cinema is often considered to be a spectacular product.
As a kind of art, cinema is never only a form of entertainment; rather, it is always an experiment in sensory perception that provides a window into the hidden structures that support the surface of reality. Expulsion and its debris are subjected to "the ideological covers machinery of power cast on the process," according to Nicolas Bourriaud. Waswolf is a fantastic illustration of this since it shows how economic stagnation affects society, history, politics, and narrative all at the same time. However, Werewolf does not suggest ways to escape from our ever-present reality; instead, he muses about what it is like to be "stuck" in order to get a greater understanding of the causes that keep us fixed in the present moment.. Thus, McKenzie's movie serves as a powerful example of what I call the aesthetics of stagnation.
Every sign of precarious existence is there in "Werewolf," from the protagonists' lack of security to their inability to plan for the future, to their lack of political power and their vulnerability to the state's inattention to their well-being. Despite the collapse in the fo...