To know who we are, where we are, and where we are going, we need stories and storytellers to attain self-consciousness-but not just ordinary stories and storytellers. We need storytellers who are consciousness raisers and stories that are consciousness raising. Otherwise, living in the world is but an illusion and delusion. Otherwise, we are controlled by self-serving masters who are not aware of how blind they are and try to lead us blindly along paths of destruction and self-destruction. Otherwise, we will be controlled by authoritarian magicians who cast spells with words of deception and self-aggrandizement that celebrate nothing but their powers to dominate, if not mutilate and annihilate, other human beings.Bearing this in mind, I continue to ponder why J. K. Rowling's Harry Potter novels and all the similar and imitative narratives, films, plays, and works of art about duels to the death fought between magicians and their apprentices have appealed to millions of readers and viewers throughout the world and why they have achieved such astounding popularity. After much reflection about this popularity, I want to propose that the Harry Potter novels and their variants and imitations hark back to stories told and written about magicians and their apprentices during and before the Greco-Roman period in Europe, the Middle East, and Asia. Such great dissemination was noted already in the nineteenth century by the great British folklorist, William Alexander Clouston (413). Indeed, these tales were widely disseminated over centuries by word of mouth and script until they became memetic. They formed a memeplex in Western cultural memory, expressing and touching upon core human dispositions and drives for self-consciousness, knowledge, and power in struggles related to the adaptation and survival of the human species.1 Underlying my thesis is the notion that black and white magic are two sides of the same coin of knowledge gained from an intense scientific study of the material universe, and the powerful holders of knowledge of the very basic elements of our world-the magicians, sorcerers, wizards, witches, inventors, shamans, scientists, medicine men, priests/priestesses, and politicians-have discovered miraculous ways to use black and white magic to transform themselves and their environments in ways that most people cannot. In seeking to gain total self-consciousness, omniscience, and absolute truth, sorcerers reveal that their success depends morally on whether they will share their magic (knowledge) to benefit the people who serve them and want to learn from them or whether they will use their magic (knowledge) to dominate and destroy the people of the world, especially young people, who are humiliated if they do not comply with the commands of the sorcerers. These sorcerers are all powerful shape-shifters, and they represent what we all want-namely self-consciousness and recognition as independent human beings-but cannot obtain unless we realize how to negate the sorcerers in the stories and fairy tales that we create and project.I focus here mainly on the dialectic in the tale type underlying the Harry Potter novels as a fairy tale, for it is in these novels viewed as a gigantic fairy tale that we can see its relationship to the Aarne-Thompson-Uther (ATU) 325 tale type, Magician and His Pupil, as noted by Hans-Jorg Uther in The Types of International Folktales, a very useful catalogue that helps researchers trace the historical origins and dissemination of tales with similar plots. I briefly note how this tale type of Magician and His Pupil has been deeply rooted in European, Middle Eastern, and Asian folklore since the fourth century BC, if not earlier, and was adapted as part of the staple of children's literature mainly in America and Europe some time during the late nineteenth century, thanks to the transformation of the Grimms' tales as tales for children and later thanks to Disney's 1940 film Fantasia and book version of Sorcerer's Apprentice. …
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