Untitled - University of Pretoria

199 Pages·2008·6.71 MB·English

A :
SIGNIFICATION IN STONE
THE LAPIS AS METAPHOR FOR VISUAL HYBRIDISATION
IN THE HARRY POTTER FILMS

by

Vincent Geldenhuys
97076709

Dissertation submitted in accordance with the requirements for the degree of
MAGISTER ARTIUM in the subject VISUAL STUDIES

at the
UNIVERSITY OF PRETORIA
SUPERVISOR: DR AA DU PREEZ

May 2008
Cover image developed from a rendering of Adam
and Eve in the Garden of Eden by Sebald Beharne
(in Black 2007:65), and combined with images
from Harry Potter and Prisoner of Azkaban
(Cuaron 2004), Harry Potter and the Goblet of Fire
(Newell 2005), and Harry Potter and the Order of
the Phoenix (Yates 2007). Border ornamentation
from the cover of The History of Magic (Lévi
2001).

iii
DECLARATION

1. I understand what plagiarism entails and am aware of the University’s policy in this regard.

2. I declare that this dissertation, A Signification in Stone: The lapis as metaphor for visual
hybridisation in the Harry Potter films, is my own, original work. Where someone else’s work
was used (whether from a printed source, the internet or any other source) due acknowledge-
ment was given and reference was made according to departmental requirements.

3. I did not make use of another student’s previous work and submit it as my own.

4. I did not allow and will not allow anyone to copy my work with the intention of presenting it
as his or her own work.

Signature __________________________________ Date __________________

v
“What use are torches, light or eyeglasses, if people
will not see?” Vignette from Heinrich Khunrath,
Amphitheatrum sapientiae (in Klossowski de Rola
1997:23)

vii
SUMMARY

Title of dissertation: A signification in stone: the lapis as a metaphor for visual hybridisation
in the Harry Potter films.

Name of student: Vincent Marcel Geldenhuys
Supervisor: Dr Amanda du Preez
Department: Visual Arts
Degree: Magister Artium (Visual Studies)

This study considers the visual representation of the alchemical idea of the philosopher’s stone
(lapis philosophorum) in the Harry Potter films: Harry Potter and the Philosopher’s Stone
(Columbus 2001), Harry Potter and the Chamber of Secrets (Columbus 2002), Harry Potter
and the Prisoner of Azkaban (Cuaron 2004), Harry Potter and the Goblet of Fire (Newell
2005), and Harry Potter and the Order of the Phoenix (Yates 2007). The lapis philosophorum
was believed to turn base metals into gold and produce an Elixir of Life. As such, it is
envisioned as the ultimate alchemical idea, and this study emphasises how the lapis can function
as a signifier for an alchemical worldview within the Harry Potter films.

Because the concept and symbolism of the Harry Potter films is largely based on JK Rowling’s
(1997; 1998; 1999; 2000; 2003; 2005; 2007) original novels, this study provides a detailed
comparison of how alchemical imagery is used in the novels and contrasts this with the visual
imagery of the films. This study undertakes a hermeneutic analysis of the transmission of
alchemical ideals from the literary to the visual medium. It also provides a detailed analysis of
interrelated visual icons in the Harry Potter films that represent the idea of the lapis as an
embodiment of alchemical perfection.

In addition, by studying the interplay between alchemical imagery in the Harry Potter novels
and films, and comparing the worldviews represented by each, this study is able to analyse the
dynamics of the hermeneutic process. This study concludes with a consideration of how
alchemical theory relates to the discipline of hermeneutics, how it influences the process of
interpretation, and ultimately the relationship between the alchemical worldview and current
perspectives on authorship.

ix
KEY TERMS

Harry Potter; philosopher’s stone; lapis philosophorum; alchemy; astrology; mythology; dying
god; rebirth; resurrection; Messiah; serpent; dragon; winged sphere; phoenix; hermeneutics;
authorship; Christian universalism; visual hybridisation.

xi
ACKNOWLEDGEMENTS

The financial assistance of the University of Pretoria towards this research is hereby acknow-
ledged. The opinions expressed in this dissertation and the conclusions arrived at are entirely
those of the author and are do not necessarily represent the views of the University of Pretoria.

I would like to extend my thanks to the following individuals:

My research supervisor, Dr Amanda du Preez. Your extreme patience, guidance and support
have been overwhelming.

John Granger, author and investigator of all things alchemical and all things Harry Potter.
Many thanks for your communication and aid. Your insight, excitement and support have
been invaluable to my research efforts.

Duncan Reyburn, friend and fellow student. For reading, for questioning, for pondering, for
critiquing: thank you. Neither the Toronto papers nor this dissertation would have been
formed without your help.

And last, but definitely not least, my parents Faan and Eve. Thank you for believing, for
caring, for waiting… and waiting. Without your love and help this research would have
been impossible.

xiii
TABLE OF CONTENTS

List of Figures ………………………………………………………………………………………………x ix

CHAPTER ONE: INTRODUCTION ……………………………………………………………………… 1

1.1. Background and aims of study ………………………………………………………………………1

1.2. Theoretical framework, methodology and literature review ……………………………………… 5

1.3. Outline of chapters ………………………………………………………………………………… 13

1.4. Conclusion ………………………………………………………………………………………… 15

CHAPTER TWO: HARRY POTTER AND THE ALCHEMICAL QUEST …………………………………… 17

2.1. Introduction ………………………………………………………………………………………… 17

2.2. Alchemical death and rebirth ……………………………………………………………………… 2 1

2.3. Alchemy, metallurgy, and the creative fire ………………………………………………………… 26

2.4. Alchemy and divine union ………………………………………………………………………… 30

CHAPTER THREE: THE LABOUR OF ALCHEMY …………………………………………………………3 9

3.1. Introduction ………………………………………………………………………………………… 39

3.2. Alchemical nigredo ………………………………………………………………………………… 41

3.2.1 Death, destruction and the prima materia ……………………………………………………4 1

3.2.2. Sirius Black and the nigredo ……………………………………………………………… 48

3.3. Alchemical albedo ……………………………………………………………………………………52

3.4. Alchemical rubedo ……………………………………………………………………………………55

CHAPTER FOUR: A SIGNIFICATION IN STONE ………………………………………………………… 61

4.1. Introduction ………………………………………………………………………………………… 61

4.2. Interpreting Rowling’s alchemy …………………………………………………………………… 63

4.3. Alchemical imprints …………………………………………………………………………………6 9

4.3.1 The unity of the double serpent ………………………………………………………………72
xv
4.3.2. The serpent and creation ……………………………………………………………………7 7

4.3.3. The serpent and the alchemical soul …………………………………………………………80

4.3.4. The serpent in the window ………………………………………………………………… 87

CHAPTER FIVE: THE SERPENT AND THE STONE ……………………………………………………… 95

5.1. Introduction ………………………………………………………………………………………… 95

5.2. Python and the polyjuice potion ………………………………………………………………………98

5.3. The basilisk ………………………………………………………………………………………… 104

CHAPTER SIX: ORBIS UNUM: THE STONE AS MESSIAH …………………………………………………1 11

6.1. Introduction ………………………………………………………………………………………… 111

6.2. The winged sphere ……………………………………………………………………………………11 5

6.3. The golden Snitch ……………………………………………………………………………………1 20

CHAPTER SEVEN: ESOTERIC ALCHEMY …………………………………………………………………1 29

7.1. Introduction ………………………………………………………………………………………… 129

7.2. Sirius Black and astrology ……………………………………………………………………………13 3

7.2.1 The Leo-lapis ……………………………………………………………………………… 134

7.3. The serpent and the candle ……………………………………………………………………………13 6

7.4. Conclusion ………………………………………………………………………………………… 142

CHAPTER EIGHT: THE ALCHEMY OF AUTHORSHIP …………………………………………………… 145

8.1. Introduction ………………………………………………………………………………………… 145

8.2. Alchemy and cosmology …………………………………………………………………………… 148

8.3. Authorship and cosmology ………………………………………………………………………… 150

8.4. The Phoenix-God ……………………………………………………………………………………1 53

8.5. Influence, interpretation and disputation ……………………………………………………………1 54

xvi