Relevant bibliographies by topics / Peter Pan (Fictional character)

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  2. Dissertations / Theses
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Academic literature on the topic 'Peter Pan (Fictional character)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Peter Pan (Fictional character)"

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Safira, Alya, Eni Nur Aeni, and Mimien Aminah Sudja’ie. "Deconstruction of Peter Pan’s Character in Edward Kitsis’ and Adam Horowitz’s Once Upon a Time, Season Three (2013)." J-Lalite: Journal of English Studies 1, no. 1 (June 30, 2020): 10. http://dx.doi.org/10.20884/1.jes.2020.1.1.2688.

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The purpose of this research is to find out the deconstruction of Peter Pan’s character in Kitsis’ and Horowitz’s work as described in Barrie’s Peter Pan. Kitsis’ and Horowitz’s Once Upon a Time, Season Three is the first film that deconstructs the character of Peter Pan from Barrie’s Peter Pan. The qualitative method is used in analyzing the main data that are taken from both works, Barrie’s Peter Pan and Kitsis’ and Horowitz’s Once Upon a Time, Season Three. The data analysis starts by selecting the data from re-watching and re-reading the works. Then analyzing them using the theory of deconstruction, character and characterization and cinematography. The theory is used to find the binary opposition and analyzing the characteristics of Peter Pan in both works. The cinematography is also needed to support the analysis and strengthens the argument of the analysis from the character’s deconstruction. The result of the analysis shows that the characteristic of Peter Pan in Barrie’s Peter Pan is deconstructed from hero into villain. It shows that there are four characteristics of Peter Pan as a hero that are deconstructed, namely, honest, fearless, polite and caring. Those characteristics are deconstructed into the character of Peter Pan as a villain who is manipulative, fearful, impolite and selfish. The four characteristics that are deconstructed can be seen from Peter Pan’s action towards other characters, from other characters’ explanation or the character’s emotions through every relevant scene in the film.
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Sokólska, Paulina. "Pan Karol i Pan Optikon." Schulz/Forum, no. 15 (September 24, 2020): 83–93. http://dx.doi.org/10.26881/sf.2020.15.06.

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The relationship between Mr. Charles and the space of his abode is considered analogous to that between Rodyon Raskolnikov and his bachelor apartment. Both cases call for a resolution whether the habitational space has any impact on the character. An analysis of the fictional house’s layout makes it possible to distinguish a particular figure of the bed that, according to Yi-Fu Tuan’s conception of the object denoting place, can be modified into different landscape forms. Dynamic changes of space not only seem to take control over the apathetic, exhausted man, but also visibly influence his physicality. The author focuses on the aquatic and airless atmosphere of Mr. Charles’s house to connect its oppressive influence with the lodger’s mental condition by using symbolic explanations in terms of water and dust. The apartment preserved by still water becomes similar to an aquarium. In such an environment, the only possible form of existence is imitation of life resulting from a constant and acute feeling of imprisonment. The paper describes the position of the main character, referring to Michel Foucault’s concept of the Panopticon and suggests the use of this model to approach space in Schulz’s text.
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Nan, Delia. "Les Enfants perdus de Neverland (Quelques considérations sur J. M. Barrie, Peter Pan et… Michael Jackson)." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 1 (April 25, 2021): 233–43. http://dx.doi.org/10.24193/subbdrama.2021.1.13.

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"The Lost Children of Neverland (Considerations about J. M. Barrie, Peter Pan and... Michael Jackson). This paper proposes a journey into the childhood and youth of J. M. Barrie (the death of an older brother, the relationship with his grieving mother, his unusual marriage), trying to discover the psychoanalitical events that led to the birth of Peter Pan, as well as the true dimensions of his phantasy universe. And nonetheless the surprising influence that this universe had over such an unusual character called Michael Jackson. Keywords: Peter Pan, psychosis, fantasy, children, Michael Jackson. "
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Díaz-Cuesta, José, Mar Asensio Aróstegui, and David Caldevilla Domínguez. "Textual Analysis of the Masculinities Portrayed in Hook (Steven Spielberg, 1991)." VISUAL REVIEW. International Visual Culture Review / Revista Internacional de Cultura Visual 15, no. 3 (March 15, 2023): 1–11. http://dx.doi.org/10.37467/revvisual.v15.4958.

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This article focuses on the masculinities shown throughout Steven Spielberg’s Hook, following Pat Kirkham and Janet Thumim’s four sites of masculinities in film.Robin Williams’s character (Peter Banning/Pan) evolves from belonging to the business man prototype (Peter Banning) to becoming an adult-although-rejuvenated Peter Pan. His body is shown in action when BanninG/Pan attempts to behave in a more juvenile way. Banning/Pan’s external world is defined by his fatherhood, which involves both quality and quantity time spent with his children. The internal world is related to Banning/Pan’s fear of flying and death.
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White, Robert S. "Peter Pan, Wendy, and the Lost Boys: A Dead Mother Complex." Journal of the American Psychoanalytic Association 69, no. 1 (February 2021): 51–74. http://dx.doi.org/10.1177/0003065120988763.

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Melanie Klein and André Green offer competing descriptions of primitive mental development. The former emphasizes the need to control internal objects through splitting and projective identification, while the latter emphasizes a narcissistic retreat from objects through progressive deadening of the self. To bridge these theoretical differences a spectrum of fantasies is proposed ranging from reanimation (bringing deadness back to life) to reparation (healing damage caused by paranoid attack). Clinically, alternations between these two defensive patterns occur, acting together to avoid painful anxieties. The interplay of these defenses is illustrated by a dream drawn from clinical practice, from the life of James Barrie, and from his fictional creation Peter Pan.
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Panisello, Claudia. "Aesthetics of the Fantastic in Pan's Labyrinth." Athens Journal of Humanities & Arts 11, no. 3 (May 24, 2024): 341–54. http://dx.doi.org/10.30958/ajha.11-3-5.

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The paper addresses the analysis of aesthetics in Guillermo del Toro's Pan's Labyrinth, a 2006 film in which the fantastic genre predominates. Various aspects are studied: The structure of the plot and composition of the story, which revolve around the presence of two fictional levels: one related to the events of the characters in the mimesis context of the historical and a second fictional level related to the fantastic, producing an understanding of the metaphysical reality of the film. Semiotics of the work in relation to the fantastic regarding the link between Ofelia and the pan. Semiosis of the internal pragmatics of the work in relation to the viewer and the PECMA flow. The acting role of the character Ofelia and her wisdom within the different options presented by the plot. The cultural construction and the attitudinal around gender, are analyzed in relation to their significance. The contribution made by this analysis is an approach to the perceptual process within the film and its relationship with the fantastic. The intervention of the fantastic causes the rupture of the real mimesis, where fantasy allows transgressing the limits of the understanding of the real and generates a character with unusual metaphysical projections.
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Sukalenko, Tetiana. "Verbalization of evaluation in prose and dramatic genres." 89, no. 89 (December 13, 2021): 59–65. http://dx.doi.org/10.26565/2227-1864-2021-89-10.

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The article deals with the study of the peculiarities of linguistic expression of the category of assessment, which as a universal language category operating at different language levels, plays an important role in the choice of native speakers and, consequently, culture, language means of information and is equally important for mental processes of perception, comprehension and acceptance or non-acceptance of this information. The publications in the scientific literature on various aspects of the study of the category of evaluation in terms of language have been reviewed. The analysis of the peculiarities of verbalization of the category of evaluation is carried out on the material of fictional and dramatic discourse, which is a productive language environment for studying the category of evaluation, because through verbalized national-cultural ideas and stereotypes are reflected the conceptual and linguistic pictures of the world. First of all, this category is manifested in the language and characteristics of the characters. Special attention is paid to the characters of a (chynovnyk, pan, a pani, a panna and a cossack, verbalized in the fictional and dramatic discourse of the XIX century. Evaluative characteristics, which are the elements of language modeling of fictional images, served as a basis for distinguishing the following types of evaluation: positive and negative evaluation in the structure of the text narrative, neutral evaluation, hidden positive evaluation, author's evaluation, evaluation by other characters. A positive evaluation in the language of fiction is shown by the linguistic means of creating the character of a cossack. Negative assessment was found in the linguistic means of creating the image of the pan (landlord), the images of the pani and panna are ambivalent. Evaluation is present both in the language of the characters and in the author's characteristics or comments. The object of evaluation in the fictional and dramatic genres can be both internal and external characteristics of the characters, and external characteristics are often marked by positive evaluation, while internal features have either negative or ambivalent evaluation characteristics. It was found that the ways of realization of positive or negative evaluation in the language of fiction are quite diverse. They depend on the literary and fictional methods, the creative manner of the writer and reflect his worldview.
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Szerszunowicz, Joanna. "Imię Piotr jako komponent związków frazeologicznych w ujęciu konfrontatywnym (na materiale wybranych języków europejskich)." Białostockie Archiwum Językowe, no. 7 (2007): 185–94. http://dx.doi.org/10.15290/baj.2007.07.15.

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In the present paper English, German, French, Italian and Polish phraseological units containing the anthroponym Peter are discussed in a confrontative pcrspective with a special focus on the onym. In the phraseologisms the anthroponymic component functions as: the saint's name, the element of the name of a children' s book hero (Peter Pan), the first name followed by a surname (Peter Funk, Peter Jay), the deproprial name of a children's game (der schwarze Peter). The most numerous groups of idioms in the languages compared is composed of the units containing the saint's name. Many of them belong to recessive phraseology, others are of international character. The name of the children's book hero functions as a component of units found in all languages analyzed. The idioms realizing the model 'the first name followed by a surname' are found in English phraseology, while the deproprial name of a children's game is a component of a German idiom.
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Cave, Alfred A. "Thomas More and the New World." Albion 23, no. 2 (1991): 209–29. http://dx.doi.org/10.2307/4050603.

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Despite the extensive critical attention that has been lavished upon Sir Thomas More's Utopia, the influence of the early historical narratives of the discovery and conquest of America on the shaping of his fictional commonwealth remains problematic. Proctor Fenn Sherwin, writing in 1917, declared that “it should go without saying” that “the yet novel discoveries of unknown and unguessed of peoples in America and the tales of Spanish explorers” were a “considerable inspiration” to More. But Sherwin admitted that, apart from a few references to Amerigo Vespucci's Four Voyages, he could find no echo of their writings in the text of Utopia. Subsequent research on the rich literary allusions in More's published works and unpublished correspondence has provided some fascinating insights into his remarkable erudition and complex character. It has also prompted extensive debate about the relative importance of various classical and medieval sources in inspiring More's celebrated but enigmatic fictional account of an imaginary commonwealth. But no new evidence demonstrating that More was in fact steeped in the early literature on the New World has been produced. Claims that he read Columbus and Peter Martyr as well as Vespucci remain unsubstantiated.Some commentators have been untroubled by that lack of evidence. H. L. Donner assumed that More was familiar with Peter Martyr's Decades of the New World and from that source learned that the Indians of the West Indies “had an intuitive knowledge of the most essential moral and philosophical truths.” Donner concluded that More modelled Utopian “morality and religion” in large measure on Peter Martyr's description of the West Indians.
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Schneider, Michael A. "Mr. Moto: Improbable International Man of Mystery." Journal of American-East Asian Relations 22, no. 1 (April 10, 2015): 7–16. http://dx.doi.org/10.1163/18765610-02201002.

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Mr. Moto, a fictional Japanese detective, achieved mass popularity through a series of 1930s films starring Peter Lorre. Moto was the creation of successful writer John P. Marquand (1893–1960), whose novels depicted a Japanese international spy quite different from the genial Mr. Moto of film. Revisiting the original Mr. Moto novels illuminates a Japanese character who rationalized Japan’s 1930s continental expansionism in ways that might have been acceptable to many Americans. Although Marquand intended to present Mr. Moto as a “moderate” and reasonable Japanese agent and generally present East Asians in a positive light, it is difficult to see the novels as doing anything more than buttressing prevailing racial and ethnic stereotypes.
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Dissertations / Theses on the topic "Peter Pan (Fictional character)"

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Griswold, Amy Herring Simpkins Scott. "Detecting masculinity the positive masculine qualities of fictional detectives /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3971.

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Griswold, Amy Herring. "Detecting Masculinity: The Positive Masculine Qualities of Fictional Detectives." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3971/.

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Detective fiction highlights those qualities of masculinity that are most valuable to a contemporary culture. In mysteries a cultural context is more thoroughly revealed than in any other genre of literature. Through the crimes, an audience can understand not only the fears of a particular society but also the level of calumny that society assigns to a crime. As each generation has needed a particular set of qualities in its defense, so the detective has provided them. Through the detective's response to particular crimes, the reader can learn the delineation of forgivable and unforgivable acts. These detectives illustrate positive masculinity, proving that fiction has more uses than mere entertainment. In this paper, I trace four detectives, each from a different era. Sherlock Holmes lives to solve problems. His primary function is to solve a riddle. Lord Peter Wimsey takes on the moral question of why anyone should detect at all. His stories involve the difficulty of justifying putting oneself in the morally superior position of judge. The Mike Hammer stories treat the difficulty of dealing with criminals who use the law to protect themselves. They have perverted the protections of society, and Hammer must find a way to bring them to justice outside of the law. The Kate Martinelli stories focus more on the victims of crime than on the criminals. Martinelli discovers the motivations that draw a criminal toward a specific victim and explains what it is about certain victims that makes villains want to harm them. All of these detectives display the traditional traits of the Western male. They are hunters; they protect society as a whole. Yet each detective fulfills a certain cultural role that speaks to the specific problems of his or her era, proving that masculinity is a more fluid role than many have previously credited.
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Sze, Tin Tin, and 施福田. "Mapping Neverland: a reading of J.M. Barrie'sPeter Pan text as pastoral, myth and romance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B4787000X.

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This thesis is prompted by a curiosity about the popularity of the image of Peter Pan. Realising that the familiar and ubiquitous image is as much a product of consumer culture as it is the result of multimodal adaptations and reinterpretations of J. M. Barrie?s Peter Pan, this study attempts to shovel aside present-day conceptions of Peter Pan stories, so as to unearth the bedrock, to see Peter Pan as it was when it was new, back in its own time. To do so, this study goes back to the original Peter Pan texts. Picking out elements that signal the presence of certain literary modes, this thesis explores how the Peter Pan narratives engage with these modes, genres and traditions. One of the motives of the thesis is to rescue Peter Pan from ghettoization in the cosy category of “children?s literature”, and through critical attention to take it seriously as an important work in the literature of the early twentieth century. Chapter I situates Peter Pan in the pastoral tradition. Adducing William Empson?s concept of the pastoral as the process of “putting the complex into the simple”, this thesis argues that Peter Pan portrays two competing pastoral spaces and lays claim to the tradition by challenging its parameters of innocence. The chapter also invokes Bakhtin?s idea of carnival, asserting that the Peter Pan texts are “carnivalesque” in both their self-referential play with narrative and generic conventions, and with various more or less satirical and transgressive themes. Chapter II traces elements of Pan myths in the texts, and argues that the texts engage with the late-Victorian and Edwardian interest in myth by re-envisioning an avatar of Pan that would take its place amongst other literary Pans of the era, such as those of E. M. Forster, Kenneth Grahame, Elizabeth Browning, and Arthur Machen. The final chapter sets Peter Pan in the midst of a battle of modes of representation and vision, with R. L. Stevenson championing romance and Henry James politely standing for realism. The chapter argues that while the Peter Pan texts belong more to romance, they play with the boundaries of each by critiquing both modes, all the time showing up and relishing the artificiality of narration. The chapter then picks up on the sense of play, pervading Peter Pan’s engagement with every literary mode that has been discussed, and examines the social meanings and aesthetic instances of play against the backdrop of Edwardian England. Throughout the chapters, by dint of its spirit of play, Peter Pan problematizes the modern family and deconstructs the hierarchy of generations, along with the fundamental anthropological categories of childhood and adulthood, categories which were coming under scrutiny and pressure from the modernizing forces at work at the beginning of the twentieth century. With its sustained exploration of the structure of generations, Peter Pan addresses a problem of modernity in spite of its fantasy setting, and there is a case therefore for considering it under the rubric, elaborated by Nicholas Daly, of “popular modernism”.
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Books on the topic "Peter Pan (Fictional character)"

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Barrie, J. M. Peter Pan. Bath, U.K: Parragon, 2010.

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1860-1937, Barrie J. M., ed. Peter Pan. Chicago: Masterwork Books, 1994.

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Barrie, J. M. Peter Pan. New York: Sandy Creek, 2010.

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Disney Enterprises. Pixar Animation Studios. Peter Pan. Bath: Parragon, 2009.

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Collins, Joan. Peter Pan. Loughborough: Ladybird Bks., 1994.

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José, Eduard, and Eduard José. Peter Pan. [Elgin, IL]: Child's World, 1988.

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ill, Gool Van, and Barrie J. M. 1860-1937, eds. Peter Pan. Owings Mills, Md: Ottenheimer Publishers, 1999.

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Johnstone, Michael. Peter Pan. New York: DK Pub., 2002.

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Disney Enterprises. Pixar Animation Studios. Peter Pan. Bath, UK: Parragon, 2013.

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Barrie, J. M. Peter Pan. Sioux Falls: NuVision Publications, 2004.

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Book chapters on the topic "Peter Pan (Fictional character)"

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Di Summa, Laura T. "Clouds of Sils Maria." In Metacinema, 155–72. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190095345.003.0008.

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In a way that is reminiscent of Luigi Pirandello’s take on character impersonation, Clouds of Sils Maria (2014, dir. Olivier Assayas) plays with the history of film, with the layering of performances, crossing theater and film, actors and characters. This chapter focuses on how the duo Binoche / Maria Enders encourages a reflection on metacinema by questioning what it means to be a character, to create one for ourselves, and to assess the very viability of such a creation. More narrowly, the chapter argues that Clouds of Sils Maria is capable of adding a significant contribution to the debate, within analytic aesthetics, on the advantages and the dangers of seeing our lives as narratives. For while watching the feature may prompt an agreement with Peter Lamarque’s criticism of the “narrative view,” which highlighted how a “story-like” narration of our lives might transform nonfictional, factual events into fictional ones, we are also reminded of how such a crafted and constructed rendition of facts may ultimately be inevitable.
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Wdowińska, Monika. "Postaci zwierzęce w artystycznej kreacji świata powiastek Beatrix Potter." In Motywy fauny i flory w literaturze i kulturze, 245–52. Wydawnictwo Uniwersytetu Łódzkiego, 2018. http://dx.doi.org/10.18778/8142-192-8.19.

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The aim of the article is an attempt to report the behaviour of the animal character and the variety of fauna which is a background of events in Potter’s Tales. The attention will be drawn on unusual animal characters embodying particular behaviour and manners of, most frequently, absurd and shallow people. The issue of real places — captured on original illustrations — which inspired the process of creating a fictional world will be traced. In the following part of the lecture the formation process of the character will be traced. Beatrix Potter was an excellent writer — strayed from fairy tale’s canon and common stereotype, in which given animal represents a certain feature, either positive or negative. Individual stories of Peter Rabbit, his cousin Benjamin Bunny, Squirrel Nutkin, Mittens and Mr. Jeremy Fisher will be finally tracked and proved. In the contemporary world it is worth doing some reflection on the humanity nature and on the role of values in the life of homo sapiens representative. The 21 st century, which is marked by superficiality, mental, but unreal process of aging, incapacity of creating, but first of all, caring about interpersonal relationships, encourages us to think about the “quality” of everyone’s existence.
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Baldick, Chris. "Childhood and Youth." In The Modern Movement, 349–63. Oxford University PressOxford, 2004. http://dx.doi.org/10.1093/oso/9780198183105.003.0017.

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Abstract As we noted in Chapter 2, modern literary culture echoed and amplified the grievances of the young against the old, especially in the aftermath of the Great War, when many writers presented that calamity as a massacre of youth perpetrated by bloodthirsty elders. By the late 1920s, the blaming of the older generation and the praising of youth for youth’s sake had been identified by Wyndham Lewis as central problems of post-War life. Lewis’s long satire The Apes of God (1930) diagnoses the pseudo-bohemian culture of contemporary art and literature as a bogus ‘Revolt of the Children’ against imaginary ogrish father-figures, and as a melodramatic ‘child-parent-war- game’ (pp. 412, 578). Retarded by self-pitying vanity, the typical modern writer—and reader—is in Lewis’s view deeply infantilized, a Peter Pan refusing to assume adult responsibility. One minor character in Apes of God is a journalist who makes a lucrative profession from’sucking-up to the Young ‘ in articles with titles like ‘Youth at the Helm!’ (p. 290). Whether or not we follow Lewis all the way in his interpretation of the youth cult as the central illusion of his time, we must concede that the period was dazzled by the young, as a few book titles may indicate.
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"in the manner of Hitchcock, across a corridor at Watermouth University in The History Man. John Barth corresponds with his characters in Letters. He explains as ‘J.B.’ his role along with the computer WESAC in producing the novel Giles Goat-Boy (1966) in the first few pages of the novel. B. S. Johnson foregrounds autobiographical ‘facts’, reminding the reader in Trawl (1966): ‘I . . . always with I . . . one starts from . . . one and I share the same character’ (p. 9). Or, in See the Old Lady Decently, he breaks off a description in the story and informs the reader: ‘I have just broken off to pacify my daughter . . . my father thinks she is the image of my mother, my daughter’ (p. 27). Steve Katz worries in The Exaggerations of Peter Prince (1968) – among many other things – about the fact that he is writing the novel under fluorescent light, and wonders how even this aspect of the contemporary technological world will affect its literary products. Alternatively, novelists may introduce friends or fellow writers into their work. Thus, irreverently, in Ronald Sukenick’s 98.6 (1975) the ‘hero’ decides to seduce a girl and her roommate: ‘Besides the roommate is a girl who claims to be the lover of Richard Brautigan maybe she knows something. . . . I mean here is a girl saturated with Richard Brautigan’s sperm’ (p. 26). Federman, Sukenick, Katz and Doctorow make appearances in each others’ novels. Steve Katz, in fact, appeared in Ronald Sukenick’s novel Up (1968) before his own first novel, The Exaggerations of Peter Prince, had been published (in which Sukenick, of course, in turn appears). Vladimir Nabokov playfully introduces himself into his novels very often through anagrams of variations on his name: Vivian Badlock, Vivian Bloodmark, Vivian Darkbloom, Adam von Librikov (VVN is a pun on the author’s initials). Occasionally authors may wish to remind the reader of their powers of invention for fear that readers may assume fictional information to be disguised autobiography. Raymond Federman writes:." In Metafiction, 142. Routledge, 2002. http://dx.doi.org/10.4324/9780203131404-12.

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