淺析《哈利-波特》中的敘事特色

ChapterOneIntroductionSincethefirstpublicationofHarryPotterbooksinEnglandin1997,theseriesofnovelshasbeenrapidlyreadwildlyaroundtheworld.Withthepublicationofthesubsequentworksinsuccession,themagicaltrendismoreoverwhelming.Likeallnewthingsinthespotlight,theseven-bookserieshasbeenmiredincontroversyformorethanadecade.Lookatitinthepresentlight,thevoicesofscholars'commentsareroughlydividedintotwokinds.Firstcamethepraiseofthenovel.SomeacademicsintheUKpointtoRowling'suseofclassicalstorytellingtotellusafascinatingandprofoundstory,whileothersintheUSseeitasanotherclassicinthefantasytraditionofAliceinWonderlandandTheLordoftheRings.In2000,thenovelwastranslatedtoourcountrybyPeople'sLiteraturePublishingHouse,whichhasattractedmuchattention.Thepreviousscholarspointedoutthatthenovelembodiestheprofoundthemesandreflectstherequirementsofthetimes.Withthecontinuouspublicationofthenovel,itispraisedthatthenovelhascrossedthefieldofchildren'sliterature,butalsolovedbyadults.Intermsofplotandconnotation,thisnovelisnotonlyafantasycontent,butalsoaworkwiththeconnotationofthetimesandsocialreality.Butwiththis"PotterWind"blowingaroundtheworld,somescholarsarefeelinguneasyandbegintoquestionit:TheycriticizedHarryPotterasbeingjustasimplepatchworkofchildren'sentertainmentnovel,notaclassictemperament.Specifically,oneofthemainreasonstheoppositionaccusesthenovelisthattheHarryPotterstoryisnotoriginal,thatitis"notwhatpoetsexpect",andthatitiswrittenforanunimaginativeaudience.Forexample,writerByattpointedoutinhisarticleWithChildishAdultspublishedintheNewYorkTimesthat"thewritingskillsofgreatchildren'sauthorsarenotseeninthisnovel,anditisonlysuitableforreaderswithimaginationproblemstoread".InthiseraofInternetwhereconsumerismisprevalent,thepopularityofthisnovelisonlyduetothediversifiedcommercialmarketingmeans.CriticsworrythatthehypesurroundingtheHarryPotterbooksislosingreaders'senseoftaste.Theypointoutthatthehypehasturnedanotherwiseplain,rambunctiousstoryintoa"literaryclassic".Atthesametime,theythinkthatthenovellacksuniqueinsights,thattherearenocleverhumorouselementsinthecomedycomponent,andthatthestoryisold-fashionedandpatchworkisobvious.In2002,XiaoXialinpointedoutbitterlythatHarryPotterisacommercialmythofthecontemporaryworldpublishingindustry.Itbasicallyhasnoliterarycharacteristics,anditsonlyfunctionistoentertainandescapeordeceiveandanesthetic.Itisatypicalsorcerynovelandopiumnovelthatdeceivetheworld.Thesenovelsarecriticizedfortheoppositereasonintheeyesoftheiradherents.ScholarswholoveHarryPottersaythestoriesarereadableandthewaytheyaretoldiscompelling,andthatthenovelanditsworldwidepopularityhavebecomeanundeniableliteraryphenomenon.ScholarYeXianlinbelieved:ifaliteraryworkwantstowinreaders,themostimportantthingisthatitscontentmustresonatewithreaders,andatthesametimeitmusthaveaformthatcanexpressthecontentwell.Onbothcounts,thereisnodoubtthattheHarryPotterhavebeenagreatsuccess.Ayoungdirectorsaid,"Adultssometimesfantasizeinthebackoftheirmindsthattheywanttogobacktothestateoftheirchildhood,thestateoftheirnaturalself.Infact,therearemanythingsinchildren'sworldthatfascinateadults.Thevaluesofchildhoodarenaturalandunpretentious.That'sprobablywhyHarryPotterappealstoadults."BingXinoncesaid,"Don'ttreatchildrenasfools.Authorsshouldbeequalswithchildren.Ifyourespectthem,theywillrespectyou."Inthissense,HarryPotterfullytakesintoaccounttheemotionalneedsofyoungreadersandputschildrenonthesamelevelasadultstodevelopthestory.Ontheotherhand,thisalsoexplainswhysomeadultsandchildrenlovethisnovel.Inaddition,researcherssaythatthespiritofplayembodiedinHarryPotterisinlinewithchildren'saestheticpsychology.However,asanadultintellectualwithformalhighereducation,Rowlingnaturallydoesnotjustpositionherworksassimplechildren'sliterature.Shecertainlycontainsconsiderableideologicaledgeandculturalsignificanceinthemagicstoriesshecreates.Fromtheperspectiveofliteraryessencetheory"Theoriginofwitchcraft",Rowling'snovelactuallytranscendsthefieldofchildren'sliterature.Shetriestoprovethedifferenceofvaluesintwodifferentworldsthroughherwork,expressingthecontradictionofthe"Muggleworld"representedbyconsumeristvaluesinmodernsocietyandheryearningfortheancientpureandprimitiveworldofwitchcraftthinking.Judgingfromthecommentsoftheabovesupporters,it'shardtodenythatHarryPotterdoeshaveclassicqualities.Ascanbeseenfromtheaboveanalysis,bothopponentsandsupportersofthenovelmadeconclusionsandevaluationsbasedontheoverallgraspofthenovel,withoutspecificstoryanalysisandtextinterpretation,andwithoutin-depthexplorationofthenovel'snarrativewritingcharacteristicsandreaders'feelings.Therefore,thispapertriestoanalyzethestoryofHarryandhispartnersfightingVoldemortinthenovel,combinethenarrativefunctionlayerofBarth,theconceptualfunctionofHallidayandtherelatedcontentofGenet'snarrativetimetheory.Thispaperdiscusseshowtheauthorbringsthemagicworldtopeoplebyusingthemulti-in-onenarrativestructure,thefastandslowinterweavingnarrativerhythm,theprominentuseofthecombinationofpre-narrationandflashback.ChapterTwoOverviewofNarrativeTechniqueNarrativetechniquereferstothewayawriterorproducertellsastory.Differenttechniquescanhelpmakethestorymoreengaging,aswellasbettercharacter-buildingandtheme-exploring.Commonnarrativetechniquesinnovelsincludenarrativetimeline,narrativestructure,narrativerhythm,narrativeperspectiveandsoon.Inaword,theuseofnarrativetechniquescanmakethestorymoreinteresting,vividandengaging.Theuseofdifferentnarrativetechniquescandeepenthereadabilityoftheplotandthedepthofthestory.2.1TheDefinitionofNarrativeTechniqueNarrativewritingisaformofliteraturethatdescribesstories,events,experiences,orimaginedscenarios.Byplacingthereaderinthecontextofthestory,narrativewritingleadsthemtoexperienceandfeeltheemotions,situationsandconflictsofthestory.Byconstructingplot,characters,languageandotherelements,narrativewritingcanimmersereadersinthestorysituation,createasenseofsceneandanemotionalatmosphere.Itusuallystartswithacorestory,whichunfoldsthroughaseriesofeventsthatleadthereadertounderstandthecharacters,theplot,andthetwistsandturnsofthestoryline.Narrativewritingreliesontheauthor'slanguageskillsanddescriptiveability,aswellasthegraspofnarrativestructureandemotionalelements,soastorealizethevividandprofoundstory.Thekeypointofnarrativewritingistheflexibleuseofnarrativeskills.Thepurposeofnarrativeskillsistopresentcharacters,plots,emotionsandotherelements.Expressingthemthroughartistictechniques.Itshouldtakeintoaccountthestructureoftheplot,thecharacterofthecharacters,theexpressionoflanguageandtherenderingofemotionsandotherfactors.Thispapermainlyintroducesthreenarrativetechniquesinnarrativewriting:narrativestructure,narrativetimelineandnarrativerhythm.Narrativestructurereferstothewayandmethodofnarratingaseriesofevents.Innarrativestructure,keyelementsofastory,suchasplot,theme,characters,andtimelines,areconsciouslyarrangedtogetherforoptimaleffect.Narrativestructuregenerallyincludesstartingpoint,development,climax,turningpoint,endingandsoon.Usually,thestartingpointisthepartofthestorythatbeginstodescribethesituationandeventsofthestory;Thedevelopmentpartofthestoryisthepartthatshowsanddescribesthestory;Theclimaxistheclimaxofthestory,thecoreandturningpointofthestory,andtheimportantmomenttoattractreaders;Aturningpointisaseriesoftransformativemomentsinthenarrativethatproducedramaticdevelopmentsthatsteerthestoryindifferentdirections;Theendingistheconcludingdescriptionofthesituationandeventsofthestory.Narrativestructureiswidelyusednotonlyinliteraryworks,butalsoinvariousformsofworkssuchasmovies,playsandeventextbooks.Understandingtheroleandapplicationofnarrativestructurecanhelpusbetterunderstandthetemporalandformalunfoldingofthevariouselementsofastory.Italsohelpsusunderstandthethemes,emotionsandrelationshipsbetweenthecharactersinthestory.Narrativetimelinereferstothechronologicalorderofstoryplots,eventsorinformation.Itisanimportantelementinastorythatguidesthereaderorviewerthroughaparticulartimelineofthestoryanditsemotionaldevelopment.Innarrativetimeline,differentpartsofastoryarearrangedinacertainchronologicalorder,providingenoughlogicalframeworkandcoherenceforthestory.Innarrativetimeline,manywaysareusuallyusedtodescribestoryevents,suchassequential,non-sequential,simultaneousexistenceandretrospective.Sequencemeansthatthestoryispresentedintheorderofthetimeline;Non-sequentialistodisturbtheorderofthestoryplotintimethroughbacktracking,flashbacks,futuretrailersandotherwaystoattracttheaudience'sattention.Simultaneousexistenceiswhentherearemultipletimelinesinthestoryline;Backtrackingisaretrospectivedescriptionofearliereventsinthestory.Differenttypesofcreationneedreasonabletimingarrangementtoachievethebestnarrativeeffect.Forexample,inthrillersandmovies,non-sequentialnarrationisoftenusedtocreateascaryeffect;Inbiography,itisnecessarytopresentthelifecourseanddeedsofthecharactersinchronologicalorder.Inaword,narrativetimelineisanimportantpartofnarrativestructure.Itsproperarrangementmakesthestorymoreorganized,logicalandcoherent,andalsohelpstocreateastorywithmoreemotionalguidanceanddepthofthought.Narrativerhythmreferstothechangingrhythmpresentedbynarrativeworksintermsoftimeandplotchanges.Thischangeofrhythmcanaffectreaders'senseofrhythmandemotionalexperiencewhentheyreceiveandfeelthestory.Therefore,narrativerhythmisnotonlyaveryimportantaspectofnarrativeskills,butalsoareasonablerhythmchangecandrivethedevelopmentanddeepeningofthestory.Narrativerhythmcanbeachievedthroughavarietyofmeans,suchastheuseoflanguage,scenedescription,characteractionarrangement,etc.Intermsoftimearrangement,astorycanadoptavarietyofdifferentrhythms,suchasslow,fast,soastoachievebetternarrativeeffect.Inthearrangementoftheplot,wecanadjustthenarrativerhythmbysettingclimax,lowtideandconflict.Inanarrative,properpacingnotonlyallowsthereadertobetterimmersehimselfinthestory,butalsoallowsthestorytomorepowerfullyconveytheemotion,atmosphereandtheme.Therefore,narrativerhythmplaysanimportantroleinnarrativecreation,whichrequiresreasonableplanningandcreationbyauthors.2.2TheDevelopmentofNarrativeTechniqueNarratologyisaninterdisciplinaryfieldofstudyconcernedwiththetheoryandpracticeofnarrativephenomena.Italsoexploresthepolitical,culturalandsocialfactorsbehindthenarrative.Thedevelopmentofnarratologydatesbacktotheearly20thcentury,butonlyinrecentyearshasitbeguntoemergeasafieldinitsownright.Intheearly20thcentury,literarycriticsbegantostudynarrativestructuresandtechniquesinnovelsandotherliteraryforms.Inthemid-20thcentury,anthropologistsandsociologistsmadein-depthstudiesofnarrativeandfocusedonnarrativeformsandsocialinfluencesinoralandwrittentraditions.Attheendofthe20thcentury,interdisciplinarynarratologybegantoexertitsinfluenceintheacademicworld.Now,narrativestudieshavebecomeanimportantbranchofculturalstudies,includingdiversefieldssuchashumanities,socialsciences,journalismandcommunication.Asthefocusofnarratology,thenarrativetechniquehasbeenpaidmoreandmoreattentionbyscholars.Inthehistoryofliterature,therehasbeencontinuousdevelopmentandinnovationofnarrativetechniqueinancienttimes.ExamplesincludetheIliadandOdysseyofancientGreekepicsandtheMahabharataofancientIndia.Theseworkshaveacompletenarrativestructure,beautifullanguageandotherfeatures.Withthepassageoftimeandthecontinuousevolutionofculture,narrativetechniqueshaveundergonemanychangesanddevelopments.FromchivalriclegendsintheMiddleAgestohumanismintheRenaissancetothedevelopmentofmodernism,eachperiodhasitsownuniquenarrativemethodsandtechniques.Nowadays,withthedevelopmentofdigitaltechnologyandthediversificationofmediaforms,narrativetechniquesareconstantlychangingandinnovative.Inthedigitalage,withtheemergenceofvirtualrealitytechnologyandinteractivemedia,narrativetechniqueshavedevelopedfromthetraditionallinearnarrativetoadiversifiedandinteractivepattern.Forexample,non-linearnarrationcanberealizedthroughgames.Underdifferentdecisionsandchoices,readersorviewerscangraspmoreinformationandplotdevelopment,andexperiencedifferentstoryprogressionandemotionalresponses.Inshort,thedevelopmentofnarrativetechniquesisaprocessofconstantinnovationandchange.Ithasadaptedtocultural,technologicalandsocialchangeswithTheTimes.Theauthorcangivefullplaytotheimagination,expressionandcharmofthenarrativetomeettheneedsoftheaudienceforcontinuousintimateconnectionandemotionalexperienceofthestory.ChapterThreeNarrativeFeaturesinHarryPotterNarrativewritingisacommontechniqueinnovelwriting.Narrativewritingskillsgenerallyincludenarrativerhythm,narrativeperspective,narrativeperson,narrativesymbolism(metaphor),narrativetimelineandsoon.Asanoutstandingrepresentativeofforeignnovels,HarryPotterhasathird-persontoneandtellsthewholestoryfromtheperspectiveofGod.Intermsofnarrativerhythm,Rowlingdepictsthestoryindetail,andsymbolizesmanythingsinthetextaccordingtothewritingcharacteristicsofwesternnovels.Thischapterwillbeanalyzedaccordingtothenarrativerhythm,narrativestructureandnarrativetimelineinHarryPotter.3.1BalancedNarrativeRhythmTherhythmofthenovelreferstothenaturalrhythmoftheartisticlifeofthenovel,whichreflectstheorderly,measurableandrhythmicalprocessofthevariouselementsoftheartofthenovel,andisthespeedoftheoverallforwardmovementandchangeofthecharacters,eventsandscenesinthenovel[1]51.Therhythmofthenovelmakestheplotofthenovelpresentastateofundulatingmovement,whichnotonlyexistsintheconflict,thestructureofthenovel,thelanguageofthenovelandtheemotionaldevelopmentofthecharacters,butalsointhesubjectiveimageofthenovelistwithsynchroniccharacteristics.Fromtheperspectiveofnarratology,therearethreekindsofrhythminnovels,namely,storyrhythm,narrativerhythmandtextrhythm.Therhythmofthestoryexistsatthelevelofthestory,whichistheupsanddownsofthestoryitself.Thenarrativerhythmexistsinthenarrativelevel,whichisthemovementcurveofnarrativemovementitself.Textrhythmexistsatthenarrativelevel,whichreferstotherhythmofnarrativediscourse.Aslanguageisthecarrierofthestory,thebasisofnarration,andthematerialformofnarrativediscourse,therhythmofthenovelisactuallyreflectedbythegravityandurgencyofthenarrativelanguage.InHarryPotter,thenarrativerhythmofthenoveliscontrolledbyrelaxation,whichbringstheimpactofthepicturetopeople.3.1.1ADetailedDepictionofHarry'sRideontheHolgertsTraininChapterSixofVolumIInHarryPotterandtheSorcerer'sStone,itisdescribedthatHarrysearchesforthetraintoHogwartsschoolatthestation,whichisonlyashortjourneybuttakesthreechapterstodescribe.FromHarry'sconfusioninfindingthestationNineandthree-quarters,andhissuccessinboardingtheAcademytrainwiththehelpofRon'smother,toHarry'sfirstcontactwithRonandHermioneafterboardingthetrain,totheirfirstconversationandplayalongtheway,andfinallytoHagridmeetingthemattheAcademy,ThestorydescribesHarry'spsychologicalandfacialchangesindetailfromhisexpressiontohislanguage,allowingustoslowdownandfeeltheinnocenceoftheMagicalAcademy.3.1.2ARoughDescriptionofFleurandBill'sWeddinginChapterEightofVolumVIITheHarryPotterseriesismainlyaboutHarry'sexperiencefrom11to17yearsold,butitisimpossibletocovereverything,someplaceshavetousesummaryoromittednarrativemethods.InHarryPotterandtheDeathlyHallows,thewholestoryisaboutHarry,whohasstudiedmagicfor6years,andhisgoodfriendsleavetheschooltogethertofindtheHorcruxesofVoldemort.Thewholestorydepictsatenseatmosphere,butintheeighthchapter,thereisanewpicture:FleurandBill'swedding.Thisstoryisinterspersedherebutonlybriefly.Throughthisplot,Harry'sbirthdayislinkedtothepreviousone,whichisalsotheonlydescriptionofthereunionofthebeautifulandrighteouspeopleinthewholestoryofHarryPotter.Ontheotherhand,thequestionofDumbledorekillinghissisterissolvedthroughtheroughdescriptionoftheirwedding.Letthereader'sheartgettemporaryrelaxationbutwillnotreducetheinterestinreadingthearticlebecauseofthechangeofthescene.3.2EmbodimentofUnityandIntegrityofNarrativeStructureNarrativestructureisseenasaframeworkonwhichtheorderandstyleofthestoryornarrativeispresentedtothereader,listener,orobserver.Whentheoristsdescribethenarrativestructureofatext,theywillinvolvestructuralelements,includingpre-narration,flashback,flashbackandsoon.HarryPotterisaseriesofnovelswithstrongnarrative.Althoughthegeneralnarrativefunctionalunitsareassembledverysimply,theplotsareconstantlymovingandclimactic,anditisneverboringtoread.Thischapterwillexploretheunityandintegrityofthenarrativestructureofthisnovel.3.2.1ConstantNarrativeFunctionofthePlotsInhisessayIntroductiontotheAnalysisofNarrativeStructure,RolandBarthborrowedtheviewsandmethodsoflinguisticsandPropptoanalyzenarrativestructure.Heproposedthefunctionallayerofnarrativestructure.Heclassifiesfeaturesintotwocategories:"featuresthemselves"and"flags.""Sign"isnotasupplementaryandconsequentialact,butasomewhatlooseconcept,yetessentialtothemeaningofthestory[2]237.Itcanincludethesymbolofthecharacter'smentalstate,thesymboloftheenvironmentatmosphereandsoon."Functionitself"isfurtherdividedinto:"basicfunction"or"core"and"enabler";"Signs"arefurtherdividedintotwocategories:"signsthemselves"and"informationfactors".Balteralsopointsoutthataunitcanbeamemberofmorethanonecategoryatthesametime,forexample,aunitcanbebothafacilitatorandamarker.Thecoreisthebasicunitthatmakesupthenarrativesequence,andtheotherthreeunitsincludetheenabler,themarkeritself,andtheinformationfactor.Thecoreprovidesthenecessaryframework,andtheotherthreetypesofunitsfillintoenrichit.Asequenceisalogicalsequenceofcores[2]256.HarryPotterisdividedintoeightbooks,includingHarryPotterandthePhilosopher'sStoneandHarryPotterandtheDeathlyHallows,eachofwhichtellsadifferentstory.TakeHarryPotterandtheSorcerer'sStoneandHarryPotterandtheDeathlyHallowsforexample,thecoreoftheformerstoryisthatHarryenterstheWizardingschoolandfindsadarkforceseemstobegrowingsecretlyinHogwartsCollege,Harryandhisfriendsfindtheroomwiththreeevildogs,andfinallypreventtheevilplottoprotecttheSorcerer'sStone.ThecoreofthelatterstoryisthatHarryandhisfriends,aftersixyearsofmagicallearning,setouttofindtheHorcruxthatwilldestroyVoldemort,andfinallydefeathim.Thesequenceofthetwostoriesfitsintothefixednarrativefunctionofgoodovercomingevil,andHarryPotterandtheSorcerer'sStonealoneisthecoreoftheseries,butitisthecatalystforthestoryingeneral.TakingHarryPotterandthePhilosopher'sStoneasanexample,thisseriesofworksallmaintainsuchaconstantnarrativefunction,thatis,itisboththecoreofthestoryandthepromotingfactoroftheoverallstory.Thisstructuregivesthereaderaclearersenseofthestory'shierarchy.3.2.2AFrameworkofMultipleNarrativeUnitsNarrationistheprocessoftellingstoriesandusingwordstomakeupsociallifeevents.Itcanbesaidthatthebasiccomponentofnarrativeisstory,andtheexistenceformofnarrativeisstructure.Thestructureofnarrativeworksisalsotheoverallformoftherelationshipbetweeneachnarrativeunitintheworks[3]118.Theauthordividesthewholesequenceintosevenrelativelyindependentnarrativeunits,eachofwhichisintegratedbymanyindependentsub-units.Whenthesenarrativeunitsareintegrated,themainnarrativeunitbecomesthecoreevent,whichissupportedbythecoreeventtoformacompletenarrativestory.Baltercalledthem"core"and"satellite",andheproposedinIntroductiontoNarrativeStructureAnalysisthatthetwoconceptsarecomplementary,"thesmallestunitsarefirstassembledintoconstituentsubstructures,andthenthesestructuresareintegratedatahigherlevel".Forexample,inthefirstHarryPotterbook,the"core"eventwas"HarryPotterstopsVoldemortfromstealingthePhilosopher'sStone",Relatedindependentnarrativeunitsinclude"TheBoyWhoLived","TheGlassThatQuietlyDisappeared","TheBookofOwls","TheKeeperofKeys","DiagonAlley","TheJourneyfromPlatform93/4","TheSortHat","ThePotionsTeacher","TheDuelatMidnight","Halloween","TheQuidditchMatch","TheMirrorofErise","NicolleLeMay","TheNorwegianRidgeback"TheForbiddenForest,""ThroughtheTrapdoor,"and"Two-FacedMan"are17intotal.Seventeensetsofnarrativeunitsarelinkedtogethertoformthe"core"events,buteachofthese17eventscanbenamedinadifferentway,meaningthatthe17unitsarenotspecificbutentirelydependentonwhatrelationshipisbeingemphasized.Theseuniteventstietogetherastoryfrombeginningtoendinthetimeline,andthesequencestheyformcanbecomefunctionalunitsinthesequencesathigherlevels.Asasequence,"HarryPotterstopsVoldemortfromstealingthePhilosopher'sStone"containssomecore,butatalaterlevel,whentheevent"HarryPotter'sstrugglewithVoldemort"occurs,"HarryPotterstopsVoldemortfromstealingthePhilosopher'sStone"becomesauniteventoftheevent.Asaseparatenarrativeunit,wecancallit"ThePhilosopher'sStone"forshort,soanew,higher-levelsequenceisborn,witha"core"unitcalled"HarryPotterandVoldemort'sStruggle,"Relatednarrativeunitsincludesevenevents:"Sorcerer'sStone","ChamberofSecrets","PrisonerofAzkaban","GobletofFire","OrderofthePhoenix","Half-BloodPrince"and"DeathlyHallows".Specifically,thecentralevent"TheBoyWhoSurvived"introducesustotheprotagonistHarryPotter:hisparentswerekilledby"mysteriousman"Voldemort,buthesurvivedandwassenttoberaisedbyhisMuggleaunt,wherehelivedfortenyearswithoutknowinghisorigin."TheGlassthatQuietlyDisappeared","TheBookofOwls","thekeeperofKeys"and"DiagonAlley"explainthebirthofHarryPotter,uncoverthemysteryofthestrangethingshappeningaroundHarryandintroducethebackgroundofthestoryandtherelationshipbetweenHarryandVoldemort,decidethattheeventwillbecenteredonboth,andalsoburythecluefortheSorcerer'sStoneinthecoreevent.Thefivenarrativeunits:"TheJourneyfromPlatformNineandThree-quarters,""TheSortingHat,""ThePotionsMaster,""TheMidnightDuel,"and"Halloween".Theyprovidethecentrallocationoftheevent,whichisalsowherethePhilosopher'sStoneiskeptHogwartsSchoolofWitchcraftandWizardry."Ifyouwanttohidesomething,Gringottsisthesafestplaceintheworld,exceptprobablyHogwarts",acluethatisalsousedonceinDiagonAlley:"Ifyou'relookingforasafeandsecureplacetostoreyourthings,well,Iguessit'sGringottsafterHogwarts".Atthesametime,manyconflictsandcontradictionswereburied,whichmadetheeventtortuous,complicatedandconfusing."QuidditchMatch","TheMirrorofEris","NicolasFlamel","NorseRidgeback"TheForbiddenForest"infivenarrativeunits,HarrydiscoversthesecretofthePhilosopher'sStone,learnsthatVoldemortwantstostealthestone,andexplainswhyhestoleit:toberebornandtoriseagain.Thetwonarrativeunitsof"ThroughtheTrapdoor"and"Double-Face"setofftheclimaxofthecoreevent,inwhichHarryandhispartnersmadeactionstopreventVoldemortfromstealingthePhilosopher'sStone,andalsotheendoftheevent,inwhichHarrypreventedVoldemortfromstealingthePhilosopher'sStone,andallthepreviouscontradictionsweresolved.Thesearelinkedtogethertoformthecomplete"HarryPotterStopsVoldemortfromStealingtheSorcerer'sStone"sequence,whichiscombinedwithothersequences"HarryPotterUnlockstheSecretsoftheChamberofSecrets","ThePrisonerofAzkaban","HarryPotterenterstheGobletofFireCompetition","HarryPotterandtheOrderofthePhoenix","theHalf-BloodPrince","HarryPotterSearchesfortheDeathlyHallows"toformnewsequences,"HarryPotter'sStrugglewithLordVoldemort",thissequenceisdifferentfromtheothers.Thecoreeventsoftheothersequencesherebecomenarrativeunits(hereinafterreferredtoas"Sorcerer'sStone,""ChamberofSecrets,""PrisonerofAzkaban,""GobletofFire,""O