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Harry Potter and the Christian Church PDF Free Download

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HarryPotterandtheChristianChurch

JillianKiser

OlinCollege:AHSCapstone

DisciplinaryDeliverable

April7th,2010

Contents

Abstract ........................................................................................................................................... 2

Introduction ..................................................................................................................................... 2

Witchcraft ....................................................................................................................................... 4

The nature of magic ..................................................................................................................... 5

Consequences of occult content .................................................................................................. 7

Conclusions on witchcraft ........................................................................................................... 9

Ethics............................................................................................................................................... 9

The negative viewpoint ............................................................................................................... 9

The positive viewpoint .............................................................................................................. 12

Age-Appropriateness .................................................................................................................... 16

Authorial Intent ............................................................................................................................. 17

Phenomenon Summary ................................................................................................................. 18

Analysis......................................................................................................................................... 19

Introduction ............................................................................................................................... 19

Niebuhr’s Christ and Culture .................................................................................................... 20

Summary of approaches ............................................................................................................ 21

The negative response ............................................................................................................... 23

The positive response ................................................................................................................ 25

Conclusion .................................................................................................................................... 27

Bibliography ................................................................................................................................. 29

Disciplinary Deliverable Jillian Kiser

Abstract

The Harry Potter series by J.K. Rowling has provoked a wide variety of responses from

the Christian community. Some feel that it leads children astray into disobedience and occultism,

while others find that it guides them in Christian ideals of love and courage. These varied

responses are rooted in fundamental differences among Christians with regard to how they enter

into dialogue with popular culture. Some Christians refuse to acknowledge that things of God

can be found outside of non-biblical sources, while others are willing to explore ways in which

their faith may be improved and strengthened by ideas expressed in popular media. This paper

will explore different Christian reactions to the Harry Potter series, and will seek to connect

these responses with different Christian approaches to popular culture. Further analysis will

suggest that a Christian’s opinion of a popular culture phenomenon is dependent on their

willingness to enter into dialogue with popular culture, rather than being dependent on an

independent and unbiased analysis of the content. Through this analysis, we can achieve a

greater understanding of how different Christians may approach their interactions with popular

culture.

Introduction

The Harry Potter series by J.K. Rowling has produced two very distinct reactions from

Christian readers, alternating between outright rejection of the books to an enthusiastic embrace

of the Harry Potter universe as an allegory for the Christian faith. Remarkably, both supporters

and critics of the series are highly consistent in their arguments, making very similar arguments

from one author to the next, and consistently offering the same rebuttals to the claims made by

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their positive or negative counterparts. The concerns raised by opponents of the series generally

fall into four broad categories: the centrality of witchcraft, questionable ethics, age-

appropriateness, and authorial intent, each of which will be further explored in the following

pages, along with the positive rebuttal.

With well over 400 million copies sold, and having been translated into 67 languages

(Dammann, 2008), the books of the Harry Potter series are an international phenomenon that is

hard to ignore. But there is even controversy over how much attention Christians ought to be

giving the series. Many negative responses have called for total separation from such a secular

phenomenon, citing Romans 12:2, “Do not conform any longer to the pattern of this world, but

be transformed by the renewing of your mind.” This perspective asserts that scripture require

Christians to stand apart from secular trends, in order to focus more completely on spiritual

matters. As such, the Potter series represents an alluring distraction, leading only to sin and

corruption (O'Brien, 2007). The series is seen as particularly concerning when begins to insert

itself into religious situations. For example, Richard Abanes cites several instances of occult

beliefs being presented as doctrine in mainline Christian churches, often as a part of a Harry

Potter based sermon (Abanes, 2001). The concern that the Harry Potter series distracts from

traditional Christian doctrine is often cited by the negative Christian response as why it is

important to take a stand against the series.

Supporters of the series claim that its opponents are making an uninformed judgment

without truly understanding the series’ content (Brown, 2007). Given a more thoughtful reading

of the series, supporters find a great deal of similarities between the plotline and the story of

Christ, and claim that the success of the series is the result of these parallels resonating with

millions of non-Christians (Granger, 2007). In addition, some Christians see Harry Potter as a

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chance to gain a better understanding of the people they hope to share the gospel with, and fear

that a strongly negative Christian reaction will only serve to alienate non-Christian Harry Potter

fans (Dalton, 2003). Indeed, others point to Acts 17, in which Paul uses Zeus as an allegory for

God, as a biblical example of how non-Christian ideas may be used to engage a culture and

introduce them to the Gospel (Bridger, 2002). This concept of using Harry Potter as an

opportunity for evangelization is a common argument in favor of developing a greater

understanding of the series.

As noted by Connie Neal, the issue of finding appropriate reading material is a disputable

matter; the Bible does not definitively encourage or condemn the reading of secular literature

(Neal, 2001). As will be seen, both sides can draw on biblically based arguments to support their

position. With such disputable matters, Christians are called to make a decision based on their

personal conviction, and should be “fully convinced in their own mind” (Romans 14:5, TNIV)

with regard to his or her decision. In addition, Romans 15 goes on to encourage Christians to

avoid judging each other based on personal convictions regarding disputable matters. This is an

important lesson to remember when controversial topics are addressed, in order to ensure that

both parties be treated with respect and dignity.

Witchcraft

The presence and centrality of witchcraft in the Harry Potter series is an important aspect

of the novels, and particularly concerns many opponents of the series. This aspect can be further

divided into two concerns. First, the nature of witchcraft in Harry Potter is often debated, with a

focus on whether or not the witchcraft described in the series is of the same kind that is biblically

condemned. Second, some commentators have expressed concerns regarding the potential

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negative effects on readers from the occult content, and whether or not this exposure can lead to

a greater interest in the witchcraft.

Thenatureofmagic

Many arguments against Harry Potter point to Deuteronomy 18:10-12 as a biblical basis

for denouncing witchcraft (Abanes, 2001). The passage states:

Let no one be found among you who sacrifices their son or daughter in the fire,

who practices divination or sorcery, interprets omens, engages in witchcraft, or

casts spells, or who is a medium or spiritist or who consults the dead. Anyone

who does these things is detestable to the LORD, and because of these detestable

practices the LORD your God will drive out those nations before you. (TNIV)

This passage is interpreted by many to condemn witchcraft and occultism of any sort, regardless

of the intent with which it is used. Any communication with spirits is specifically mentioned,

without making allowances for circumstance or intent, and “good” spirits are not excluded. For

example, the Potter series includes a variety of ghosts with which the characters regularly

interact. The representation of these ghosts as positive characters is counter the biblical teaching

that all contact with the spiritual realm should be regarded as evil (Abanes, 2001). Indeed,

Teachers in Focus, an offshoot of Focus on the Family, has warned that the dissociation of magic

with evil, which is common in the Potter series, ignores God’s clear condemnation of occultism

of any kind (Neal, 2001). By portraying magic in a positive light, some fear that the series may

present a stumbling block to Christians, desensitizing them to the dangers of the occult.

Some critics further claim that the occult focus is particularly dangerous for Christian

readers because the theological doctrines often associated with modern occult practices are

distinctly unbiblical. These doctrines include the inherent divinity of all humans, belief in

reincarnation, and support of relativism. When contrasted with common Christian beliefs,

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including the divinity of Jesus, the absolute truth of the Bible, and heavenly resurrection, occult

theological doctrines often stand in direct opposition to the core of Christianity.

In rebuttal to the claim that all magic is biblically condemned, supporters of the series

argue that a more nuanced view of magic must be developed. From this perspective, magic can

be broken down into three main categories. The first category portrays magic as inherent to

certain objects. For example, the study of potions takes advantage of inherent magical properties

in certain ingredients, and focuses on manipulating and combining those properties in unique

ways. This is not unlike chemistry in the non-magical context, and can similarly be used for

either good or evil, though it is not inherently one or the other. The second category utilizes

magic that is naturally occurring in humans. This category may include many of the magical

topics covered in the Harry Potter series, including charms and transfiguration. Some refer to

this type of magic as “natural” magic, and conclude that it, like the first category, may be either

good or evil, depending on how it is used (Dickerson & O'Hara, 2006).

The final category of magic may be called conjuring magic, as it involves the

manipulation of other-worldly spirits or forces. This type of magic functions through slavery and

domination of the conjured spirit, and can only be used for evil. Some have hypothesized that

this is the type of magic that is referred to in Deuteronomy 18:10-12 and other biblical passages

that condemn occult practices (Granger, 2007). It should be noted that this type of magic is never

taught to the students of Hogwarts, but is only used by the evil characters, who use it only for

evil purposes. Because this form of magic is consistently portrayed as evil, some commentators

have suggested that its presence in Harry Potter is consistent with the biblical principles which

condemn magic (Dickerson & O'Hara, 2006).

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The concept that the Bible may only condemn certain kinds of witchcraft is further

supported by several instances of prophets and other biblical figures performing what seem to be

spells and miracles without dire consequences. For example, Elijah performed several miracles

without directly consulting God. In these cases, Elijah performs magical acts that are apparently

independent of God, but are still portrayed in a positive light (Dickerson & O'Hara, 2006).

Consequently, it may be proposed that only certain kinds of magic, such as magic used with evil

intent, is actually condemned by the Bible.

Consequences of occult content

Some commentators have proposed that the magic in the Harry Potter series may be seen

primarily as a literary device, acting as a symbol for a larger idea. Magic can be seen as symbolic

of God’s miraculous power, which men are designed to have as being made in the image of God

(Granger, 2007). Others suggestion that magic can be seen as a symbol for Christian spiritual

gifts, which require practice to develop and can be used well or misused, just like magic

(Dickerson & O'Hara, 2006). If the witchcraft in Harry Potter is viewed as symbolic in nature, it

appropriate for Christian readers.

Still others have suggested that the magic found in the Harry Potter series is ultimately

insignificant, but that it is merely used as a plot device to gain the attention of a younger

audience (Bridger, 2002). In fact, some have suggested that the presence of witchcraft may have

positive results. By addressing occult ideas in a fictional setting, the Harry Potter series may

allow children to acknowledge witchcraft as imaginary, making them less likely to fall into

occult practices (Brown, 2007). By reading about magical beasts such as unicorns and

hippogriffs, readers are unlikely to become convinced that such creatures exist in reality, and are

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more likely to keep an open mind about the world around them (Bridger, 2002). By encouraging

children to read and teaching them important lessons, occult content may be acceptable in a

fictional context.

Alternatively, others have been concerned regarding the potential negative influence on

readers due to the inclusion of occult references. Rowling has openly stated that she researched

folklore and witchcraft in preparation for writing the book, and she estimates that a third of the

witchcraft-related material were genuinely believed at some point in history (Rowling, 1999).

Indeed, there are abundant examples that reinforce this concept. Several subjects that are taught

at Hogwarts are also practiced in modern Wiccan covens, including divination, potions,

herbology, arithmancy, ancient runes, and charms. Pronunciation of spells is taught to be

important in producing consistent results in the Potter universe, just as it is in modern witchcraft.

Professor Trelawney’s voice changes when she gives a true prophecy, becoming deeper and

rougher, just as is described in actual occult literature. Even small details, such as a passing

reference to the Hand of Glory in The Chamber of Secrets, have roots in Wiccan tradition.

(Abanes, 2001)

Perhaps more importantly, many of these aspects are described in a positive light.

Centaurs practice astrology on a regular basis, and the conclusions that are drawn from studying

the stars are treated with gravity and respect. Centaurs are presented as wise and mysterious

creatures, contradicting Isaiah 47:13-15, which describes astrologers as being useless and unable

to accurately predict the future (Abanes, 2001). Divination is similarly portrayed to be a highly

accurate science, as Trelawney’s prophesies predict the course of Harry’s journey. These

depictions of magic being used to successfully tell the future may promote a curiosity in readers

and encourage them the explore more of modern witchcraft.

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The idea that Harry Potter can effectively encourage readers to become involved in

modern occultism is somewhat controversial. Several occult organizations, such as the Pagan

Federation, claim to have surging membership, which is often attributed to Harry Potter and

similar works. Some have even created positions such as “youth officer” in order to deal with the

influx of inquiries (Abanes, 2001). Others, however, claim that these groups are exaggerating

these reports for proselytizing purposes, and that membership is actually declining (Granger,

2007). With these conflicting reports, it is unclear as to whether or not many readers are actually

being led to explore modern occultism.

Conclusions on witchcraft

The debate regarding the occult content of the Harry Potter series is centered around two

main concerns: whether or not the content is biblically condemned, and possible affects on the

Christian reader. Opponents of Harry Potter claim that all witchcraft is biblically condemned,

and that the factual content of the books regularly leads Christians astray into modern occultism.

Those in favor of the Potter universe seek a more nuanced view of witchcraft, dividing it into

three categories, only one of which is considered profane, and argue that the magic is merely a

literary device that is unlikely to cause any spiritual harm to readers.

Ethics

Thenegativeviewpoint

In addition to concerns regarding the occult imagery in the Harry Potter series, many

opponents also claim that the books encourage other amoral behaviors, such as cursing,

drunkenness, and lying. The students of Hogwarts occasionally use inappropriate language,

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consisting mostly of the word “git,” but also including more offensive words such as “bitch” and

“damn”. Drunkenness is also evident in several scenes, often with Hagrid, the Hogwarts

groundskeeper, drinking in front of children. This is particularly troubling because Hagrid is

portrayed as a “good” character, and therefore may be considered as a role model for readers

(Abanes, 2001). The books are also replete with gratuitous gore and coarse humor, often related

to body fluids, which may be a poor example to be setting for younger readers (Brown, 2007).

In addition to these relatively mild transgressions, there are several occurrences in the

series that may promote more serious misbehavior. Contrary to Jesus’ words in Matthew 5:44-

45, which state “love your enemies and pray for those who persecute you, that you may be sons

of your Father in heaven,” Harry and his friends rarely show love toward their schoolyard rival,

Draco Malfoy. They rejoice when Draco is punished, and attack him just as frequently as vice

versa (Abanes, 2001). Additionally, Dumbledore himself, portrayed as a paragon of light and

virtue, tells Harry that the truth is only “generally preferable” to lying, and even actively lies

when he is questioned about the D.A. club (Dickerson & O'Hara, 2006). Other main characters,

including Harry, Ron, and Hermione, also lie on a fairly regular basis. In fact, Harry and Ron

first became friends with Hermione when she willingly lied to a professor on their behalf, in

order to get the trio out of trouble. Once again, these transgressions are often committed by

“good” characters, who may serve as role models for Christian readers.

Harry’s propensity for disobedience is also of great concern to opponents of the series.

Not only does Harry break the rules on a regular basis, but this waywardness is treated with great

levity, teaching readers that disobedience can be very funny. The generally negative portrayal of

disciplinarians such as Professor Snape, and positive portrayal of troublemakers such as the

Weasley twins, may teach children that adults merely get in the way of children having fun. In

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the words of one eleven-year-old reader, “I like Harry because he can do whatever he wants”

(Abanes, 2001). This encouragement of disobedience is further complicated by the fact that

Harry often goes unpunished after breaking school rules, or is even applauded or awarded by

adults who find that he has broken a rule. At the conclusion of the second book in the series,

Harry is given a special award for service to the school only a few sentences after Headmaster

Dumbledore acknowledges that Harry had broken many school rules by descending into the

Chamber of Secrets (Abanes, 2001). Indeed, this special leniency to which Harry seems to be

entitled contributes immensely to one interpretation of Rowling’s moral message, as summarized

by Richard Abanes: “The threefold moral message that Rowling presents through her characters

is clear: 1) rules are made to be broken if they do not serve one’s own self-interests; 2) rules need

not be obeyed if no good reason seems to exist for them; and 3) lying is an effective and

acceptable means of achieving an desired end” (Abanes, 2001, p. 38).

In addition to reinforcing what may be interpreted as a nonbiblical moral message, many

opponents of the Harry Potter series feel that the books ultimately provide readers with a

message of moral ambiguity, in that the “good” characters regularly act with dubious morality.

Hagrid is a good example of this – he is presented as fighting for the morally right side, but is

also seen to break the law by adopting illegal pets, to drink in excess even in front of children,

and to swear regularly. Additionally, Professor Snape is portrayed as an evil character in the

earlier books, but is ultimately revealed to be a spy for the light side, despite his caustic and

unlikable personality. Consequently, lines between good and evil become blurred when

supposedly good characters participate in evil deeds, or supposedly evil characters ultimately

turn out to be good (Abanes, 2001). This inconsistency may lead to moral confusion for less

mature readers.

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Thepositiveviewpoint

In contrast to claims of moral ambiguity, supporters of Harry Potter assert that the series

supports a black and white, good and evil dichotomy (Brown, 2007). This is most clearly

demonstrated in a conversation between Dumbledore and Cornelius Fudge, in which

Dumbledore makes it clear that there are two sides to the coming war with Voldemort, and

everyone must be on one side or the other. Dumbledore tells Fudge, “The only one against whom

I intend to work is Lord Voldemort. If you are against him, then we remain, Cornelius, on the

same side” (Book 4, pg. 709). Indeed, Dumbledore confirms that one side is morally superior to

the other in his year-end speech, saying “if the time should come when you have to make a

choice between what is right and what is easy… remember Cedric Diggory” (Book 4, pg. 724).

This affirmation of the inherently dichotomous nature of morality, in which there is only “right”

and “wrong,” without shades of grey, is consistent with many Christian’s interpretations of the

Bible (Dickerson & O'Hara, 2006).

Supporters of the Harry Potter series often claim that the stories are all about the choices

that are made, rather than specific actions. From this perspective, the good characters either

make the right decision or, if a bad decision is made, they later repent and show remorse for their

mistake. The evil characters, on the other hand, are generally unrepentant regarding their actions

(Granger, 2007). Moreover, it is important to note that Harry, as the protagonist, has both good

and evil elements in his nature – he may break the rules occasionally, but he ultimately feels

remorse when he has done something morally wrong (Neal, 2001). This combination of good

and evil in Harry’s personality is important in demonstrating the importance of free will, which

is a critical concept in Christianity. God gave humankind free will so that each person may

struggle with the same moral quandaries that Harry faces; Harry Potter provides readers with

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encouragement to make the right decisions (Bridger, 2002). Though Harry is born with a destiny,

just as all humans share the destiny to seek God, it is his choices that determine whether or not

he achieves that destiny (Granger, 2007). Though Harry makes mistakes, his perseverance and

earnest effort to do the right thing mimics the common Christian journey.

Many more parallels between a Christian life and the Harry Potter series may be noted.

Though the series includes very few direct references to God and cannot be considered strictly

spiritual reading, these parallels may support a spiritual life as they may remind readers of God’s

truth (Brown, 2007). Harry demonstrates the rewards of faithfulness as early in the series as the

first book, when he must pass through a solid wall to access Platform 9 ¾. Though Harry is

partially convinced that he would slam into what seemed to be a very solid wall, he still tries to

run through it. Though he was imperfect in believing, through faith he was able to accomplish

something that initially seemed quite unlikely (Bridger, 2002). This boldness in faith is

something to which all Christians are called. Similarly, Harry provides a good role model for

Christians to follow in the final book as Harry is confronted with doubts regarding the

truthfulness and sincerity of his deceased mentor, Dumbledore. In the face of these doubts, Harry

continues to move forward in faith:

Harry kept quiet. He did not want to express the doubts and uncertainties about

Dumbledore that had riddled him for months now. He had made his choice while

he dug Dobby’s grave, he had decided to continue along the winding dangerous

path indicated for him by Albus Dumbledore, to accept that he had not been told

everything that he wanted to know, but imply to trust. He had no desire to doubt

again; he did not want to hear anything that would deflect him from his purpose

(Book 7, pg. 563).

Though Harry wasn’t able to fully reconcile all of his doubts, his decision to continue the

journey in faith is a key decision that Christians should seek to replicate (Neal, 2002).

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Similarly, interesting parallels with the Christian idea of afterlife may be drawn,

particularly with regard to the content of the last book of the series. When he willingly sacrifices

his own life to Voldemort, Harry is able to come back to life. The piece of Voldemort’s soul that

was within Harry, however, perishes in the process. This may be paralleled with the Christian

idea of sacrificing the sinful nature, only to be born anew in the Holy Spirit – a process that can

only occur willingly (Neal, 2002). Voldemort, on the other hand, goes to significant trouble to

save his life and become immortal, a goal which is contrary to Mark 8:35-37, “For whoever

wants to save his life will lose it, but whoever loses his life for me and for the gospel will save it.

What good is it for a man to gain the whole world, yet forfeit his soul? Or what can a man give

in exchange for his soul?” (TNIV). Voldemort sought to save his life, and lost it in the process, a

situation consistent with biblical teaching. Even after Harry entreats Voldemort to feel remorse

and be forgiven, Voldemort remains unrepentant, and suffers terrible consequences. Rowling

describes his soul as having “the form of a small, naked child, curled on the ground, its skin raw

and rough, flayed-looking… it lay shuddering under a seat where it had been left, unwanted,

stuffed out of sight, struggling for breath” (Book 7, pg. 706). Because Voldemort refused to

repent and ask forgiveness, his soul was condemned to an afterlife of pain and suffering, which is

also consistent with Christian doctrine (Neal, 2002).

Others have noted a common theme regarding the power of love, particularly that which

may be labeled as sacrificial. One book review in London’s The Times even went so far as to

claim that “the strongest message… is the power of love” (Bridger, 2002). Though acts of love

may be unaccompanied by any mention of God, they are nevertheless a common and powerful

refrain throughout the series. This is particularly apparent in Rowling’s explanation of how

Harry survived the killing curse as a baby; through the sacrificial love of Harry’s mother, who

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died to protect him, Harry gained a refuge in blood (Granger, 2007). This parallels the Christian

idea of Jesus dying to save and protect those who believe in him, and reinforces the power of

sacrificial love. Throughout the series, it is Harry’s love for his friends and mentors that push

him to boldly confront the evil Voldemort, even to the point of sacrificially offering his own life

to save those he loves. This emphasis on the power of love and self-sacrifice as a recurring theme

of the series may serve as an encouraging reminder to Christian readers (Bridger, 2002).

Supporters of the series claim that, rather than a message of moral ambiguity, the books

provide readers with the assurance that no one is perfect, and that everyone struggles with their

own tendency toward evil (Brown, 2007). With this knowledge, it becomes more important to

seek out characters who struggle with evil and eventually overcome it, so that we may mimic

them and be reassured by their success (Neal, 2001). Just as biblical characters such as Moses

and David struggled with and overcame sin, Harry’s mistakes are followed by remorse and

reform by the end of each novel (Brown, 2007).

The fact that Harry makes both good and bad decisions throughout the series may have

positive consequences for readers, rather than encouraging them to mimic the bad decisions as

opponents of Harry Potter have suggested. Some claim that the avoidance of artificially imposed

moral lessons not only makes for a more exciting tale, but it also creates a realistic environment

that is more likely to encourage significant reflection and learning on the part of the reader

(Bridger, 2002). Additionally, by recognizing humankind’s capacity for evil through interactions

with Harry, the reader may be reminded of the necessity of God’s mercy, as well as learning to

demonstrate the grace and forgiveness through acknowledgement of humankind’s inherent

sinfulness (Dalton, 2003).

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Additionally, proponents of the series rebut the claim that Harry is disobedient by making

a distinction between rules and principles. Although rules are meant to be followed, maintaining

a principle is generally more important. In Luke 6, Jesus taught that breaking the letter of the law

was permissible in order to keep the spirit (Neal, 2001). Similarly, readers will find that Harry

will often choose to prevent an evil deed or save a life rather than strictly following the rules

(Brown, 2007), just as Christians are called to do.

Supporters of Harry Potter acknowledge that Harry breaks rules occasionally and makes

mistakes, but they argue that the overall trajectory of Harry’s moral maturity is positive. Because

he continually seeks to improve, he can be a good role model for Christians and any reader. To

have a protagonist that doesn’t make any mistakes would be unrealistic, making it difficult for

readers to truly identify with him. Supporters of Harry Potter claim that the moral framework of

the series is a positive influence on Christians readers, both child and adult.

AgeAppropriateness

Other critics of the series have asserted that it is especially inappropriate as children’s

literature, and holds significant danger for young readers. Some fear that, when used as

classroom literature, public school teachers may be ill-equipped to address the complicated

moral and religious issues that are raised by the books. Additionally, others assert that children

are particularly vulnerable to the occult themes, and that violent and criminal behavior is likely

to result if children become involved in witchcraft (Abanes, 2001). Though some supporters

have claimed that children should be allowed to read whatever draws their interest, particularly

considering the declining literacy of a video game oriented generation, many Christians assert

that children need their parents to carefully select and approve their reading material. This

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parental guidance may be important in raising children who remain faithful into and throughout

their adulthood (Brown, 2007).

Supporters and opponents of Harry Potter have both noted that the series includes several

mature themes, including violence and death, and that parents should carefully consider their

child’s maturity level before allowing them to read the series. Advocates of the series also claim

that, though parents should proceed with caution, the imaginary world of Harry Potter may be

useful in providing a safe context in which children can encounter and deal with complex issues

(Neal, 2001). Death, for example, is present as early as the fourth book in the series, when Harry

and his friends are only fourteen years old. Though this may seem too young to deal with such a

mature topic, the death of Cedric Diggory is openly discussed by Dumbledore and Harry, and

readers are given significant insight into Harry’s grieving and recovery process. This openness is

rare in children’s literature, and may be particularly beneficial for children who are forced to

confront the death of a loved one at an early age (Brown, 2007). Additionally, young fans have

written numerous essays to Rowling describing how Harry Potter helped them deal with other

common childhood issues, such as low self-esteem, abuse, and bullying (Bridger, 2002). By

addressing common themes of childhood, as well as more mature themes, Harry Potter may be a

useful tool to help children learn about morality and grapple with difficult questions in a safe

context.

AuthorialIntent

In addition to disagreements regarding the actual content of the novels and the possible

implications on a young reader, there has been some amount of debate regarding the author’s

intent. In several public statements, J.K. Rowling has insisted that the books were not written

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with the intent to encourage children to engage in occult activities, and that she has never spoken

with a fan who developed an interest in witchcraft as a result of reading the books (Dalton,

2003). Rowling has also indicated that she enjoys classical literature, and has been particularly

inspired by C.S. Lewis’ Chronicles of Narnia series, as well as J.R. Tolkien’s Lord of the Rings

series. As both of these series have been embraced as classic allegories for the Christian faith,

some supporters of the Harry Potter series have speculated that Rowling intentionally included

Christian themes and references (Granger, 2007).

Some opponents of the series have suggested, contrary to Rowling’s overt statements,

that she may have less noble intentions. Noting that Rowling did significant research into the

occult in preparation for writing the series, and that she has admitted to a fascination with

witchcraft throughout her childhood, some have postulated that Rowling intends to encourage a

similar occult fascination in her young readers (Abanes, 2001). Though Rowling has disowned

all supernatural magic, she has not mentioned natural magic, though it is the type that is most

commonly accepted by occultists. Additionally, she has expressed satisfaction that the covers of

her books resemble actual spell books for Wiccan and other occult organizations (Abanes, 2001).

Though these concerns are purely based on speculation, they represent an alternative view

regarding J.K. Rowling’s intent when she wrote the series.

PhenomenonSummary

Christian readers of the Harry Potter series have developed a wide variety of arguments

that either support Harry Potter as literature from which Christians can learn and grow, or

condemn the series as morally ambiguous and steeped in occultism. Interestingly, both sides of

the argument have many of the same concerns, but feel differently about whether or not the

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series effectively addresses those concerns. Both want literature to encourage good moral

choices, and clearly show the consequences of sinfulness. Neither would support literature that

may cause Christians to get involved in true witchcraft and occultism. Both want their children to

be strengthened in their faith.

Though the two sides of this argument share many of the same motivations, the resulting

conclusions are drastically different. Opponents of Harry Potter insist that all witchcraft is

condemned by God, regardless of fictional status, and that Harry is a disobedient and vengeful

boy. Supporters of Harry Potter distinguish between different forms of witchcraft, make

allowances for its use as a literary device, and find Harry to be an excellent role model for

themselves and their children. These differences in perception, given similar motivations, point

to a deeper level of interaction between Christians and popular culture. This interaction goes

beyond addressing the actual content of the media and focuses on the intent of the reader, as will

be examined further in the following section.

Analysis

Introduction

The ways in which Christian life and secular culture may appropriately intersect vary

greatly among individuals. Some may choose to isolate themselves as fully as possible from

secular media in order to focus more purely on spiritual development. Such Christians may forgo

having a television in their house, and may read only explicitly Christian publications. They may

home school their children and limit contact with non-Christians. On the other side of the

spectrum, other Christians may look for Christ in every aspect of secular life. They tend to

surround themselves with modern media, and are equally likely to spend time with non-

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Christians as with Christians. Between these two extremes are many shades of grey, in which

Christians interact with popular culture at various levels, and are more or less intentional about

seeking Christian lessons from secular media. These different Christians have different

motivations for interacting with popular culture, leading to different ways in which they

approach the culture, which leads to different conclusions regarding the popular media. (Lynch,

2005).

Niebuhr’sChristandCulture

H. Richard Niebuhr developed one method of classifying the different ways in which

Christians may view the intersection of their faith and popular culture. He defined five different

classifications: Christ against culture, Christ of culture, Christ above culture, Christ and culture

in paradox, and Christ the transformer of culture. Those Christians who may be classified as

“Christ against culture” believe that there is an either/or choice between popular culture and

faith; the two concepts are entirely opposed to one another. Those falling into the classification

“Christ of culture” are at the opposite end of the spectrum; they tend to look for ways in which

Christ’s truth is embodied in different cultural institutions (Lynch, 2005). These two

classifications may be particularly relevant in explaining the drastically different reactions that

the Harry Potter series has precipitated, as will be further discussed.

Additionally, those Christians who may be classified as “Christ above culture” believe

that Christ is the ultimate goal of human culture. Though there are significant positive aspects to

modern culture, additional progress must be made to achieve all that Christ planned. The

classification of “Christ and culture in paradox” divides the human experience into two separate

and distinct spheres, with the belief that religious and civic life need never to engage in

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significant interaction with one another. Finally, the classification “Christ the transformer of

culture” mimics the “Christ against culture” classification in asserting that human culture is

fundamentally flawed, but differs in that it advocates engagement with the culture in hopes of

transforming it through Christ’s truth (Lynch, 2005). All of these classifications influence how a

Christian might approach popular culture. Not only do the classifications affect whether a

Christian views the culture as inherently good or evil, but they also determine the depth with

which Christians are willing to examine the media in search of positive or negative messages.

Summaryofapproaches

Different perspectives regarding the intersection of Christianity and popular culture lead

to different ways in which a dialogue between Christians and popular culture may be conducted.

These approaches expand upon Niebuhr’s classifications and help to identify more concrete ways

in which Christians may interact with popular culture.

In an applicationalist approach, popular culture may be critiqued using a fixed set of

values and standards. The value of the popular media is judged based on how well it conforms to

Christian doctrine. For example, an applicationalist Christian may read Harry Potter, having

already decided that any occult presence is evil, and thereby determine that the Harry Potter

series is inherently evil due to the presence of occult influences. In an applicationalist approach,

there is no dialogue between the media and the standard by which it is judged; when the media

conforms to the standard, it is good, and when it fails to do so, it is evil.

In a correlational approach, the goal of dialogue between faith and popular culture is to

correlate the questions raised in the cultural media with answers provided by the Christian faith.

This one-directional dialogue allows more interaction between the Christian and the media, but

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still does not allow for flexibility regarding the values and standards of the faith. This approach

creates a less judgmental attitude toward popular culture, shifting the focus to how Christianity

addresses the needs of the culture (Lynch, 2005). A Christian engaging in the correlational

approach may note that Harry often struggles to determine the right path in Book 7, and suggest

the ways in which God may guide us with his will. This approach allows a Christian to see how a

stronger faith may affect the media, but leaves the essence of faith unchanged.

The revised correlational approach allows for a two-way dialogue between the media and

faith. Not only can the questions raised by popular culture be answered through theological

doctrine, but popular culture can also inform and deepen an individual’s understanding of their

own faith. This approach grants that popular culture may act as a moderator of truth and

goodness in its own right, and can affect an individual in positive ways that are unachievable

through religion alone (Lynch, 2005). A Christian using the revised correlational approach may

read Harry Potter and not only see ways in which Christianity answers Harry’s questions and

doubts, but also find ways in which the novels answer his or her own doubts in the faith. Perhaps

a particular scene resonates with a reader, resulting in a truthful insight that had not been

obtained through daily Bible readings or prayer. The revised correlational approach

acknowledges that this is possible through popular culture, and that popular media is able to

contribute true wisdom and motivation to a Christian’s life.

Finally, the praxis approach judges the value of both popular culture and religion based

on just one criterion: how well the media promotes right action. Generally, right action is defined

through liberation theology as that which advances liberation and supports the well-being of

others. In this approach, the theological doctrine and popular culture are treated as equal partners

in conversation, providing critical scrutiny to each set of beliefs (Lynch, 2005). A reader of

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Harry Potter, therefore, may find that Harry’s behavior may be out of line in a biblical

framework, but seems to promote liberation and freedom. In such a case, a Christian working

under the praxis approach may conclude that the Harry Potter series is morally preferable to

religious doctrine, thereby critiquing the relevant religious doctrine in favor of Harry’s moral

framework. The praxis approach encourages Christian readers to analyze their faith critically

with regard to works of popular culture.

These approaches may be utilized by different Christians depending on how they see

Christ interacting with culture. Those who envision Christ as being in conflict with our culture

are likely to adopt a more severe applicationalist approach, while those who see Christ as

existing within or working through culture may choose a revised correlational or praxis

approach. Because different Christians have formed diverse theological frameworks for

reconciling religion and popular culture, their approaches when interacting with popular culture

are equally varied. Through an understanding of these differences, the conflicting Christian

responses to a single piece of media are more easily understood.

Thenegativeresponse

The negative Christian response to the Harry Potter series was characterized by concerns

regarding the occult content and the perceived moral ambiguity. Concerning the moral

ambiguity, many critics of Harry Potter feared that Harry may be a poor role model for younger

readers as he struggles with disobedience and other sinful behavior. Additionally, the crude

humor and occasionally gory content of the novels were often cited as inappropriate for children,

though the young readers seem to enjoy such content immensely. As one critic notes, “Rowling

obviously understands what children like to read and has delivered it to them. But are these

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images appropriate for children? Parents must ask themselves if this is the kind of humor that a

child should be encouraged to develop” (Abanes, 2001, p. 105). By making the distinction

between what may be culturally acceptable and what is desirable for teaching Christian youth,

this viewpoint mimics the “Christ against culture” classification, in which Christian values are

seen as primarily in conflict with popular culture. Because “Christ against culture” requires

adherents to choose either the cultural media or their religion, the conflict regarding ambiguous

morality in Harry Potter leads to condemnation of the series as being inherently opposed to

Christianity, and therefore inappropriate reading material.

The presence of witchcraft in the series was also a contentious point, conflicting with the

set of standards which the critics determined were biblically imposed. When critics measured

Harry Potter against predetermined biblical standards and found the series to be in opposition

with those values, the opponents of the series established that it was inappropriate reading

material for Christians. This process, in which the media is judged against an inflexible set of

predetermined standards, is very similar to the applicationalist approach, as detailed above. With

regard to witchcraft, the opponents of the series were unwilling to enter into dialogue with the

media, instead choosing to condemn it as evil because it did not meet the standards of their

biblical interpretation.

In the negative response to Harry Potter, the connection between “Christ against culture”

and the applicationalist approach becomes clear. When Christians believe that one must choose

between following Christ and engaging in contemporary culture, it becomes impossible to enter

into meaningful dialogue with popular media. Such a conversation would require Christians to

accept occasional inconsistencies between Christian doctrine and the media to look for deeper

meanings and lessons. The perceived conflict between Christianity and modern culture does not

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allow for the presence of any truth or wisdom in the Harry Potter series, but instead requires that

it rigidly conform to biblical truths. Any apparent deviation from Christian doctrine, including

lying, cursing, and the use of magic, results in the categorical rejection of the series as unfit for

Christian use. Because of this strict separation of Christ and culture, it becomes much more

difficult for the Christian to approve of a popular culture phenomenon, as doing so would often

require them to reject or revise their understanding of Christian doctrine.

Thepositiveresponse

Though there are striking differences between the positive and negative responses to the

Harry Potter series, both can provide important information regarding how different Christians

interact with popular culture. Supporters of Harry Potter assert that the novels provide Christians

with a positive example, helping them to develop a more mature faith. They acknowledge

various types of witchcraft, only some of which are biblically condemned, and assert that Harry’s

imperfections make him a more realistic role model and his ultimate triumph to be more

meaningful. These aspects of the positive Christian response reflect a “Christ in culture”

perspective, which leads to a revised applicationalist approach to evaluating of the series.

Supporters of the series often note that Christian themes and messages are found

throughout Harry Potter, even in the absence of any mention of God. For example, some

supporters have observed that redemption through the power of blood is a central theme of the

plotline. Harry’s mother died sacrificially to protect him when he was a baby, and it is because of

that sacrifice that Harry survives Voldemort’s attack in his first year. The importance of that

protection is reiterated in each book, and some have correlated it with the sacrificial love of

Christ, which protects Christians from slavery to sin. This is one example of how some

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Christians have inferred Christian meaning in a popular culture phenomenon which makes no

explicit mention of God or Christ. This perspective mimics the “Christ of culture” classification,

in which Christians may seek biblical truths through engagement with the popular media

regardless of explicit religious content of the media.

In addition to finding thematic parallels between faith and Harry Potter, many supporters

of the series have discussed ways in which the books and faith may interact with one another in

more direct ways. In Book 7, Harry questions the path that Dumbledore led him down,

wondering if it would be wiser to pursue the Deathly Hallows, rather than Voldemort’s

Horcruxes. When he makes the decision to trust Dumbledore’s intentions and continue on his

intended path, Christian supporters have described how that decision provided them with support

and encouragement to continue to follow God’s plan for their life, rather than turning aside to a

path that may seem more logical. Later in Book 7, Harry entreats Voldemort to feel remorse for

his actions, motivated by the pitiful state of Voldemort’s soul in the afterlife, and Dumbledore’s

suggestion that only remorse will cure the soul. Not only can Christians use this scene as an

encouragement to forgive one’s enemies, but it also serves as a warning for failing to repent of

sin.

The identification of practical ways in which Harry Potter may affect a Christian’s faith

indicate a high level of engagement with the literature, suggesting that the revised-correlational

approach was used. Dialogue between the media and religion involves questions raised in the

literature being answered through the lens of faith, as seen in the analysis of Harry’s decision to

continue on Dumbledore’s path. To further distinguish the approach as revised correlational,

rather than simply correlational, supporters of Harry Potter also claim that, through dialogue

with the literature, their faith was strengthened and encouraged, having gained insight that faith

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alone could not provide. This two-way dialogue is characteristic of the revised-correlational

approach, and is common in the positive Christian response to Harry Potter.

Conclusion

A Christian’s approach to Harry Potter is strongly influenced by how they view Christ’s

place in popular culture. A “Christ of culture” perspective allows for engagement with popular

media, often resulting in a two-way dialogue which allows Christians to seek God’s truth in a

secular context. As a result, Christians using the revised correlational approach may find that

popular culture encourages and supports their faith without making any direct references to God.

By finding these connections between faith and popular culture, Christians may be more likely to

develop a positive view of the media, as demonstrated by the positive Christian response to the

Harry Potter series.

This can be contrasted with the “Christ against culture” perspective, which depicts

religion and popular culture as entirely incompatible, forcing a Christian to choose either their

religion or the popular culture phenomenon. This perspective can be correlated with the

applicationalist approach, which judges a popular culture phenomenon based on how well it

conforms to Christian doctrine, without allowing significant dialogue between Christians and

culture. By applying such inflexible standards to popular culture, it becomes more likely that the

popular media is rejected, and less likely that valuable Christian truths will be detected from

within their secular context. Applicationalist Christians consistently reject Harry Potter on the

basis of ambiguous moral messages and occult content, without engaging with the literature

deeply enough to uncover Christian themes and lessons.

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Both supporters and opponents of Harry Potter share a common motivation as they

interact with popular culture – to maintain and strengthen their faith and to encourage the faith of

their children. However, because Christians have developed different perspectives on Christ’s

role in popular culture, the same motivation often leads them to develop very different

conclusions. By limiting dialogue with popular culture, a reader’s openness to Christian

messages in a secular context may be restricted, often resulting in a more negative portrayal of

the literature. Alternatively, encouraging an open dialogue between Christianity and popular

culture permits parallels between the two systems to come to light, which may result in a more

positive conclusion. As seen in different Christian reactions to Harry Potter, the depth of

dialogue between Christians and popular culture ultimately contributes significantly to the

overall conclusions drawn regarding the popular media.

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Bibliography

Abanes, R. (2001). Harry Potter and the Bible: The Menace Behind the Magick. Camp Hill, PA:

Horizon Books.

Bridger, F. (2002). A Charmed Life: The Spirituality of Potterworld. New York City: Image

Publishing.

Brown, N. C. (2007). The Mystery of Harry Potter: A Catholic Family Guide. Huntington, IN:

Our Sunday Visitor Publishing Division.

Dalton, R. W. (2003). Faith Journey through Fantasy Lands: A Christian Dialogue with Harry

Potter, Star Wars, and The Lord of the Rings. Minneapolis, MN: Augsburg Books.

Dammann, G. (2008, June 18). Harry Potter breaks 400m in sales. Retrieved March 22, 2010,

from Guardian News

http://www.guardian.co.uk/business/2008/jun/18/harrypotter.artsandentertainment

Dickerson, M., & O'Hara, D. (2006). From Homer to Harry Potter: a Handbook on Myth and

Fantasy. Grand Rapids, MI: Brazos Press.

Granger, J. (2007). Looking for God in Harry Potter. Goodale, AZ: SaltRiver Publishing.

Hess, M. (2008). Resisting the Human Need for Enemies, or What Would Harry Potter Do?

Word and World , 47-56.

Lynch, G. (2005). Understanding Theology and Popular Culture. Malden, MA: Blackwell

Publishing.

McVeigh, D. (2002). Is Harry Potter Christian? Renascence , 197-215.

Neal, C. (2002). The Gospel According to Harry Potter: Spirituality in the Stories of the World's

Most Famous Seeker. Louisville, KY: Westminster John Knox Press.

Neal, C. (2001). What's a Christian to do with Harry Potter? Colorado City, CO: WaterBrook

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Press.

O'Brien, M. D. (2007). Harry Potter and 'the Death of God'. Retrieved November 29, 2009, from

studiobrien : http://www.studiobrien.com/writings_on_fantasy/harry-potter-and-the-

death-of-god.html

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