Peter Pan

This article traces the literary evolution of the child-wizard archetype from its origins in myth and folklore to its culminating maturity in modern fantasy. Following the journey from the enchanted witness of external magic through experimentation, empowerment, and ethical challenge, to the adult who internalizes and remembers wonder, the study analyzes key figures including the Solomonari, Vasilisa, Nils Holgersson, Goethe's apprentice, Kajtuś the Wizard, Harry Potter, and Edward Darling. Focusing on narrative transformation, it demonstrates how the child-wizard archetype has mirrored-rather than merely illustrated-shifting concepts of childhood, agency, and moral choice. Ultimately, the archetype becomes a literary device for negotiating vulnerability, power, memory, and the everyday magic of the reconciled self.

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.

Makoto Kuroda’s central concern is the relationship between a derivative work (e.g., the 2003 Peter Pan film) and its original source (Barrie’s Peter and Wendy). He examines how these works maintain or diverge in their identity and individuality through the lens of fictional archetypes, equivalence, and the concept of meta-identity across multiple possible worlds. His approach draws on philosophical concepts such as:
* Ontological identity: How fictional entities maintain or lose their identity across different media (novel to film).
* Fictional archetypes: Universal, abstract patterns or essences that characters and narratives embody, transcending specific manifestations.
* Quantum multi-world interpretation: A framework borrowed from quantum physics to conceptualize fictional worlds as parallel universes with shared and divergent properties.
* Narrative persuasion and identification: How audiences engage with and interpret fictional characters across different media.

Taylor Swift é, hoje, a artista feminina mais ouvida da plataforma de streaming Spotify, acumulando a marca de mais de 99 milhões de ouvintes mensais. Além disso, a turnê The Eras da cantora norte-americana já foi registrada pelo Guinness World Records como a maior da história, tendo acumulado mais de 5 bilhões de reais até dezembro de 2023. Destaca-se, também, sua grande influência entre o público infantil e juvenil, visto que Swift sempre foi considerada uma cantora teen, principalmente por tratar de assuntos amorosos em suas letras, sendo considerada como “fútil” por algumas pessoas. Com sua popularidade notória, os olhos de pesquisadores de diversas áreas se voltaram para a cantora. No campo da literatura, muitas oportunidades de pesquisas são possíveis, visto que Swift sempre se declarou leitora e exaltou a importância dos livros para o desenvolvimento de sua habilidade como compositora. Ademais, a cantora já falou abertamente sobre alguns dos livros que inspiraram canções, muitos deles sendo clássicos. Acrescenta-se, também, que, segundo estudo realizado pela College Rover, Taylor Swift foi nomeada como a cantora favorita entre os alunos com coeficiente de rendimento alto, o que pode ter relação direta com a ligação da própria cantora com os estudos. Em vista disso, a presente pesquisa busca traçar os paralelos entre as músicas Cardigan (2020) e Peter (2024) com o romance Peter Pan (1904), de J. M. Barrie, destacando as referências ao livro, contidas nas músicas, e comparando-as com o clássico infantil. A metodologia do trabalho foi embasada a partir de análises textuais, tanto do romance de J. M. Barrie quanto de autores que falam sobre as relações entre música e literatura, como Steven Paul Scher (1982) e Solange Ribeiro de Oliveira (2020). Dessa forma, o estudo examina como a cantora aborda os temas contidos em Peter Pan, principalmente o crescimento pessoal e amadurecimento, tópicos importantes quando fala-se do “menino que não queria crescer”. Além disso, a pesquisa também investiga o papel da música na interpretação contemporânea de narrativas clássicas, demonstrando como a obra de Swift pode proporcionar novas perspectivas sobre a atemporalidade e relevância do romance de J. M. Barrie. Dessa forma, o presente trabalho pode contribuir para o entendimento de como diferentes formas artísticas dialogam e influenciam mutuamente, enriquecendo a compreensão das narrativas literárias e musicais de forma interdisciplinar e apelando para o gosto pessoal dos alunos e para conteúdos que eles já consomem em seu dia a dia.

RESUMO: Partindo de uma perspectiva sociointeracionista de constituição dos discursos, este artigo propõe um estudo metodológico ancorado em categorias linguístico-textuais-discursivas, para examinar os mecanismos enunciativos, os procedimentos metadiscursivos e as estratégias discursivas no processo de re(construção) do ethos. Na análise empreendida, verifica-se que a imagem da presidente Dilma Rousseff, construída numa situação enunciativa particular, sofre (re)definição no e pelo discurso.

Materialismos. Cuadernos de psicoanálisis | ISSN: 2966-1579

No es de mi interés hablar hoy de la locura, tampoco me interesa hablar de los locos o su escritura tanto prosa o verso desalienante, por lo que me destino a otra cosa, tal vez, a modo de naufragio: a barrer los zócalos en los que la poética de la locura flirtea con las razones del psicocapitalismo.
Sus agenciamientos relucen por doquier, cada vez más perfumados y viralizados al grado de instalarse en un delirio psiquiatricida o en un software de neuralink, pero también puede ser el anudamiento del RSI, una poética rebelde que invierte los sentidos de la palabra muda a una banda sonorhablante o a un embrujo que hace descarriar a la razón capitalista. La razón es el triunfo sobre la sospecha, y a su vez, el muro que hace distancia entre la verdad y la relación consecuente a uno mismo. El capitalismo afectivo y la psicología capitalista evidentemente son la obra máxima -aunque siempre nos sorprenderá la creatividad de la Hidra- que reduce la potencialidad del pensamiento y el deseo a unos cuantos gramos de carne molida cerebral.

London’s history is deeply intertwined with the occult and mysterious, attracting practitioners of the arcane arts for centuries. From ancient legends associating the city’s founding with Brutus and the protection of the Tower of London by the head of Brennus, to prophecies attributed to Merlin, London’s past is rich in supernatural elements. The city’s reputation as a place of wealth and abundance, akin to the mythical Cockaigne, further contributed to its allure, attracting millions seeking prosperity.

London has a rich history of occult figures, including Dr. John Dee, a scholar and astrologer who believed in both occult sciences and superstition. Robert Fludd, a prominent Rosicrucian, focused on arcane medicine and human magnetism, while Elias Ashmole and John Heydon were associated with alchemy and Rosicrucianism. The city’s occult archives also include traces of fairy beliefs, evident in local legends and historical accounts of fairy frauds.

In Scotland, the Fairy faith, a primitive religion associated with growth, fertilization, and ancestral worship, was driven into remote areas after the Reformation. The Fairy Folk, worshippers of this cult, were confused with the spirits they worshipped, leading to misconceptions about their nature. The author explores the connection between Second Sight and fairyhood, suggesting that Second Sight could be acquired through magical acts and processes, challenging the notion that it was solely an innate gift.

Second sight, distinct from trance and divination, is a gift of sight allowing visions of remote events or people. Evidence from Robert Kirk’s “Secret Commonwealth of Elves, Fauns, and Fairies” suggests initiation rituals, possibly held in faerie hills, were used to attain this gift and communicate with the fairy world. Kirk’s work implies a hereditary cult with a belief in another plane of existence, emphasizing the significance of second sight in fairy lore.

Boys are figured as both too fast and too slow for what’s expected of them. Too action-oriented for the classroom or for happy domestic containment. Too slow to grow up or too stalled by obstacles to their natural energies to embrace manhood. This article considers the widespread perception of boys and boyhood as characterised by a desirable energy and liveliness but, at the same time, by a problematic excess of energy and a reluctance or incapacity to channel this efficiently into mature competencies. To do so, we consider some long discursive precedents for understanding boyishness as simultaneously energetic promise and management problem: from enlightenment discourses on education through to ‘boys work’ organisations like the Boy Scouts and the YMCA; to resonant imaginations of innate boyhood energy at odds with society in popular texts; and to recent scholarship on the current cultural impasse of boys perceived as unable or unwilling to become men. In coming to grips with the resilience of this discourse on the energies of boyhood, we consider its implications for contemporary feminist analyses of boyhood and make an argument for thinking about boyhood as a more mobile designation for orientations, experiences, and bodies.

O objetivo deste trabalho é perceber como determinados filmes voltados ao público infantil e infantojuvenil representam a figura da bruxa/mulher. Para isso, empreendemos uma análise crítica cultural da mídia, tendo como base referenciais dos estudos de gênero/estudos feministas. Com Convenção das Bruxas, Abracadabra, Da magia à sedução e Harry Potter e a Pedra Filosofal, percebemos múltiplas representações. Por entre a figura que incorpora o mal, a que não segue determinada performance e merece ser punida, aquela que percebe a relevância da sororidade e aquela que encarna o gênero de um modo desejável temos, para além do enredo fantástico, uma discussão política sobre modos de ser/de não ser mulher. Bruxa/Mulher. Gênero. Representação. Filmes infantis/infantojuvenis. Análise crítica cultural da mídia. Porque nem toda feiticeira é corcunda: sentidos sobre o ser bruxa/ser mulher em filmes infantis e infantojuvenis

L'un des gages de la fortune d'une oeuvre populaire est sa faculté à se prolonger dans des transpositions médiatiques : romans, films, bandes dessinées, mais aussi toute la gamme des produits dérivés (du cahier au sous-verre en passant par le porte-clefs et la carte postale 1 ) que permettent les caractéristiques de l'univers de fiction. S'il est facile de donner des explications économiques ou sociologiques d'une telle circulation et extension du champ de l'oeuvre, si on peut encore aisément mettre en évidence les relations entre ces pratiques de consommation et les modalités de lecture populaire (à commencer par l'importance donnée à la diégèse et la relative indifférence au style), il faut aussi se demander s'il existe dans l'oeuvre des caractéristiques qui expliquent un tel destin. Pourquoi l'oeuvre de tel écrivain survit-elle là où d'autres sombrent ? La question est connue, mais elle ne se pose pas tout à fait de la même façon lorsqu'il s'agit de légitimation par l'Histoire et de survie à travers des déclinaisons populaires. Qu'est-ce qui est retenu de l'oeuvre adaptée ? Comment l'identifie-t-on dans les différentes interprétations plus ou moins lâches qui en sont offertes ? Qu'en reste-t-il à travers les reformulations de plus en plus stéréotypées qu'on en propose au fil du temps ? Y a-t-il continuité et complémentarité des avatars transmédiatiques ou chaque média génère-t-il un discours spécifique ? Y a-t-il des propriétés de l'oeuvre qui expliqueraient qu'elle connaisse une telle postérité là où d'autres seraient condamnées à décliner ? Il est probablement vain d'espérer répondre à toutes ces questions, et de croire qu'une même analyse puisse être donnée pour l'ensemble des oeuvres. En revanche, on peut aborder plusieurs de ces aspects par le biais d'une oeuvre, ici celle d'Emilio Salgari, en tentant de décrire quelques mécanismes de dissémination médiatiques, leurs conséquences, et ce qu'elles nous apprennent des pratiques d'écriture et de consommation. L'oeuvre d'Emilio Salgari fournit en effet un exemple de cette survivance populaire, à travers les prolongements et déclinaisons qu'ont connus certaines de ses oeuvres. On peut en rappeler succinctement quelques aspects, à commencer par les plus évidents. Ainsi, dans sa Nuova Bibliografia Salgariana, Vittorio Sarti ne comptait pas moins de 57 faux romans de Salgari, écrits par ses fils, par Luigi Motta ou par d'autres, et reprenant pour la plupart ses personnages les plus fameux -Sandokan, Yanez, le Corsaire Noir, Testa di Pietra, etc 2 . Outre ces annexions directes du nom et de l'oeuvre de l'auteur, on ne compte pas les plagiats plus ou moins assumés, non seulement en Italie (où la plupart des romans de Luigi Motta peut être

O texto foi publicado, a 11-7-2013, no jornal digital «Cyberjornal», que se publicava a partir de Cascais e que chegou a estar, por isso, acessivel a partir do endereco http://www.cyberjornal.net/index.php?option=com_content&task=view&id=18603&Itemid=67. Sucede, porem, que o jornal terminou a sua existencia e o texto deixou de estar disponivel; por isso, que me seja permitido disponibiliza-lo agora aqui. Para que conste. A obra foi apresentada, a 3 de Julho de 2013, na Biblioteca Municipal Gustavo Pinto Lopes, de Torres Novas. Explicava-se, no convite, que a obra se constituia «como um exercicio de humor e de ironia, fundado numa permanente inquietacao etica e no drama silencioso, mas caustico, de um pais atavico e recheado de contradicoes».

Edebiyat ve sanatın en önemli kaynaklarından biri olan mitoloji, olağanüstü olaylar aracılığıyla farklı hikâyeler sunmaktadır. Mitolojik anlatılarda edebî metinler ana hikâye olarak kullanılmakta veya eserlerde bir imge olarak yer almaktadır. Mitolojik anlatı barındıran hikâyeler fantastik ögeler ile harmanlanarak dikkat çekici metinleri oluşturmaktadır. Özellikle çocuk yazınında ağırlıklı olarak bulunan düşsel anlatım, çocuk okurun yeni figürlerle, nesnelerle ve simgelerle tanışmasını sağlarken, dikkatini çekerek ilgisini arttırmaktadır. İskoç romancı ve tiyatro yazarı olan James Matthew Barrie, İskoç köylülerinin hayatlarını ve törelerini ince mizah duygusuyla yazılarına yansıtmış ve özellikle Peter Pan (1911) adlı çocuk yazını eseriyle üne kavuşmuştur. Esere ismini veren Peter Pan, büyümek istemeyen ve uçabilen bir çocuktur. Kendisi Düşler Ülkesinde yaşamaktadır, amacı ise gezerken tanıştığı üç çocuğu kendi yaşadığı yere götürmek, oradaki arkadaşlarıyla tanıştırmak ve birlikte mutlu bir hayat sürmektir. Fantastik ögelerin yoğun olarak işlendiği eserin içerisinde yer alan mitolojik
unsurlar, masaldaki karakterlerle benzerlik göstermektedir. Bu nedenle mitolojik ögelerden edebiyata bir yansıma olduğu ve masalın çeşitli unsurlar aracılığıyla daha dikkat çekici bir şekle büründüğü söylenebilir. Bu çalışmada doküman analiz yöntemiyle elde edilen veriler yorumlanarak,
farklı kaynaklar vasıtasıyla, Peter Pan adlı eserde fantastik anlatımın aslında mitolojiden birer figür olarak yer aldığı tespit edilmiş ve benzer özelliklerin farklı isimler ya da karakterler aracılığıyla yansıtıldığı ortaya çıkartılmıştır. Bu durum da mitolojik unsurların değişime uğrayarak edebî
metinlerde yenilendiklerini göstermektedir. Disiplinler arası çalışmaların bir örneği olan bu incelemenin, yapılacak çocuk yazını çalışmaları için örnek olması hedeflenmiş ve edebiyat alanının mitolojiden nasıl beslendiği yansıtılmıştır.

It is only towards the end of the 20th century that the literary genre of fantasy seems to have gained its rightful citizenship in the field of literary research. For example, it is precisely because Brian Attebery actively evaluated the existence of fantasy literature as one of the established methods of literary expression, that he tried to trace the trajectory of such a thing as "the tradition of fantasy literature in the United States", in The Fantasy Tradition in American Literature: From Irving to Le Guin, (1980). As the subtitle of this study suggests, the scope of the "tradition" covered by this book goes back to Washington Irving, and after Nathaniel Hawthorne and Herman Melville, with L. Frank Baum's The Wizard of Oz, published in 1900, as a turning point, he traces the existence of Ray Bradbury and others after Oz, in the line of "Baum tradition". By acknowledging the existence of Ursula K. Le Guin's works as one of the most complete forms of fantasy in modern times, the study completes the course of the development of fantasy literature in the United States up to 1980. Prior to this, there had been several research books that dealt with fantasy works, but they took the form of genre criticism rather than trying to evaluate the literary value of the works themselves, and regarded the existence of fantasy as a cultural phenomenon, deeming it an object of psychological study. It is an undeniable fact that those who tried to deal with fantasy were doing the job within the framework of social phenomena analysis. It is true that there have been arguments in defense of fantasy for a long time. C. S. Lewis and J. R. R. Tolkien adopted the term "sub-creation" to evaluate the significance of creative activity as a means of positive escapism to observe the real world. But it is safe to say that their arguments were not strictly literary theories based on systematic arguments by literary scholars, but rather were made from the subjective standpoint of those actually involved in the creation of fantasy literature. 1 The trend in literary criticism was to dismiss such views as archaic and inappropriate, expressed in such research as Rosemary Jackson's Fantasy: The Literature of Subversion (1981), Tolkien himself did not use the word "fantasy" to refer to his works. In his lecture "On Fairy-Stories"

En 1902, J. M. Barrie presentaba por primera vez a Peter Pan como protagonista de un cuento autónomo inserto en el volumen 'El pajarillo blanco'. Pero esta primera versión del eterno infante no poseía aún la forma preadolescente, arrogante y voladora que le granjearía la inmensa fama en el teatro, en la posterior novela y en el cine, sino la de un perpetuo recién nacido que vivía (o no vivía) escapado de sus padres en los londinenses jardines de Kensington y que tocaba la siringa a lomos de una cabra, en una original revisión del mito griego del dios Pan. Durante más de un siglo, los especialistas han considerado esta versión primigenia del personaje como una suerte de boceto que Barrie concretaría posteriormente agregándole atributos y situándolo en el contexto fantástico de Nunca Jamás; aquí, sin embargo, se propone una interpretación distinta del vínculo entre ambas versiones. No en vano, el crítico literario Peter Hollindale ha señalado que los textos originales de Peter Pan son tan complejos que aún estamos aprendiendo a leerlos.

El actual trabajo parte de la hipótesis, nunca antes presentada, de que las tres obras fundamentales de Barrie sobre Peter Pan son un todo interconectado e inconcluso —conformando tan solo la mitad de una circular historia—, y de que su autor cifró en el subtexto, de un modo susceptible de ser dilucidado, las circunstancias exactas de su verdadero desenlace, además de su significado más profundo y sobrecogedor. Esta idea de que el cuento "Peter Pan en los jardines de Kensington", la obra teatral 'Peter Pan o el niño que no quería crecer' y la novela 'Peter y Wendy' sean tan solo primera parte de un relato mayor justificaría que los más importantes enigmas planteados quedasen en su día, al menos en apariencia, sin resolver.

No obstante, dicha hipótesis es demasiado extensa para abarcarla en un solo artículo. Por ello el objetivo aquí será demostrar la subhipótesis que permitirá ensamblar el primer conjunto de piezas del rompecabezas, y que pasa por entender la historia del neonato eterno narrada en 1902, no como un bosquejo primitivo del personaje, sino como el legítimo inicio de su aventura vital, que conlleva la posterior migración a Nunca Jamás. Esto implica determinar en la presente investigación, entre otros aspectos, cómo un bebé supuestamente inmutable crece hasta la preadolescencia para detenerse de nuevo en ella, o cuál es el verdadero sentido de la referencia a la lápida de los jardines marcada con las iniciales P. P. Por suerte Barrie dejó una serie de pistas, inteligibles por primera vez gracias a la maniobra de superponer figuradamente los tres textos, permitiendo que lo que se transparenta de los unos complete las faltas de los otros en una curiosa reinvención del palimpsesto. Esta fórmula, junto a un análisis hermenéutico que comprenderá parámetros literarios, mitológicos y psicológicos, permitirá proporcionar respuestas plausibles, y confirmadoras de la circularidad oculta, a algunos de los interrogantes más enigmáticos sobre Peter Pan: ¿Por qué deja de crecer? ¿Por qué apenas tiene memoria ni noción del tiempo? ¿Por qué carece de peso? ¿Por qué prohíbe a todos que lo toquen?

En 1902, J. M. Barrie presentaba por primera vez a Peter Pan como protagonista de un cuento autónomo inserto en el volumen 'El pajarillo blanco'. Pero esta primera versión del eterno infante no poseía aún la forma preadolescente, arrogante y voladora que le granjearía la inmensa fama en el teatro, en la posterior novela y en el cine, sino la de un perpetuo recién nacido que vivía (o no vivía) escapado de sus padres en los londinenses jardines de Kensington y que tocaba la siringa a lomos de una cabra, en una original revisión del mito griego del dios Pan. Durante más de un siglo, los especialistas han considerado esta versión primigenia del personaje como una suerte de boceto que Barrie concretaría posteriormente agregándole atributos y situándolo en el contexto fantástico de Nunca Jamás; aquí, sin embargo, se propone una interpretación distinta del vínculo entre ambas versiones. No en vano, el crítico literario Peter Hollindale ha señalado que los textos originales de Peter Pan son tan complejos que aún estamos aprendiendo a leerlos.

El actual trabajo parte de la hipótesis, nunca antes presentada, de que las tres obras fundamentales de Barrie sobre Peter Pan son un todo interconectado e inconcluso —conformando tan solo la mitad de una circular historia—, y de que su autor cifró en el subtexto, de un modo susceptible de ser dilucidado, las circunstancias exactas de su verdadero desenlace, además de su significado más profundo y sobrecogedor. Esta idea de que el cuento "Peter Pan en los jardines de Kensington", la obra teatral 'Peter Pan o el niño que no quería crecer' y la novela 'Peter y Wendy' sean tan solo primera parte de un relato mayor justificaría que los más importantes enigmas planteados quedasen en su día, al menos en apariencia, sin resolver.

No obstante, dicha hipótesis es demasiado extensa para abarcarla en un solo artículo. Por ello el objetivo aquí será demostrar la subhipótesis que permitirá ensamblar el primer conjunto de piezas del rompecabezas, y que pasa por entender la historia del neonato eterno narrada en 1902, no como un bosquejo primitivo del personaje, sino como el legítimo inicio de su aventura vital, que conlleva la posterior migración a Nunca Jamás. Esto implica determinar en la presente investigación, entre otros aspectos, cómo un bebé supuestamente inmutable crece hasta la preadolescencia para detenerse de nuevo en ella, o cuál es el verdadero sentido de la referencia a la lápida de los jardines marcada con las iniciales P. P. Por suerte Barrie dejó una serie de pistas, inteligibles por primera vez gracias a la maniobra de superponer figuradamente los tres textos, permitiendo que lo que se transparenta de los unos complete las faltas de los otros en una curiosa reinvención del palimpsesto. Esta fórmula, junto a un análisis hermenéutico que comprenderá parámetros literarios, mitológicos y psicológicos, permitirá proporcionar respuestas plausibles, y confirmadoras de la circularidad oculta, a algunos de los interrogantes más enigmáticos sobre Peter Pan: ¿Por qué deja de crecer? ¿Por qué apenas tiene memoria ni noción del tiempo? ¿Por qué carece de peso? ¿Por qué prohíbe a todos que lo toquen?

David Friedell has recently discussed the relationship between intrinsic and extrinsic properties of art, specifically in music. Friedell claims that normative social rules dictate who can change the intrinsic or extrinsic properties of a piece of music. I claim that in text-based theater-as a particular art form-the dividing line between intrinsic and extrinsic properties of a play is sometimes tenuous. This tenuousness is due to a play's bifurcated existence as a dramatic text and as many theatrical performances.

The deaths in the Antarctic of Captains Robert Falcon Scott and Lawrence 'Titus' Oates are the most examined in almost all exploration. But one object, until today unknown, gives a clue to the real story of the last 3 days of the Terra Nova expedition leaders. This is the sextant that Captain Scott had with him throughout his career until his death, passed from Kathleen Scott to Peter Scott and thence to its current owner. The sextant, its history and the meaning of the relic are set out before the public for the first time.

Leopoldo María Panero (Madrid 1948 - Las Palmas 2014) ofrece una lectura de la posición como hijo o hija desde una literatura de terror colmada de guiños psicoanalíticos. La familia se nos presenta como un lugar desidealizado y grotesco, donde impera el filicidio como mito y tabú fundantes del lazo social

CÉSPEDES GALLEGO Jaime, «Writers of the Spanish Civil War. The Testimony of their Auto/Biographies», Celia Wallhead (Universidad de Granada, ed.), Berna, Peter Lang, col. «Spanish Perspectives on English and American Literature, Communication and Culture», nº 7, 2013, en "Tonos. Revista Electrónica de Estudios Filológicos", nº 25, 2013.

CÉSPEDES GALLEGO Jaime, «La recepción de la cultura extranjera en La Ilustración Española y Americana (1869-1905)» (Marta Giné, Marta Palenque y José Manuel Goñi (eds.), Berna, Peter Lang, 2013, en "Tonos. Revista Electrónica de Estudios Filológicos", nº 33, 2017.

YA dystopian literature has often been criticised for its reinforcement of the traditional institution of the patriarchal nuclear family. This article argues that such criticism is the result of a reduction of this genre to certain blockbuster titles, such as Suzanne Collins' The Hunger Games series (2008-2010), which do indeed overrepresent the traditional family as the main desirable family ideal. Building on Rebekah Fitzsimmons and Casey Alane Wilson's commitment to expanding the study of YA literature in Beyond the Blockbusters (2020), the article will first explore how a hyperfocus on YA dystopian blockbusters has reinforced the patriarchal nuclear family, consisting of a mother, father, and child or children, as the ideal social form and the main source of physical and emotional support for teenagers. Then, using the case study of an underrepresented YA dystopia, Neal Shusterman's Unwind (2007), this article will reveal the possibilities that teenagers inside and outside the novel have in

‘Walt and the Fairies: 1922-1960’, Fairy Films: Wee Folk on the Big Screen, (ed) Josh Cutchin (Educated Dragon: NP), 213-229.  This essay examines Walt Disney's portrayal of fairies in animated and live-action films from 1922 to 1960. It traces the evolution of fairy depictions through Disney's early Laughograms, Silly Symphonies, feature-length animations like Snow White and Fantasia, and later works such as Peter Pan and Darby O'Gill and the Little People. The author argues that Disney's fairies were more diverse than often credited, ranging from traditional folklore figures to Theosophical nature spirits. The piece explores Disney's possible personal interest in fairies, including his membership in the Fairy Investigation Society. It contends that while Disney incorporated some Theosophical fairy concepts, particularly in portraying fairies as guardians of nature, he maintained a variety of fairy depictions tailored to each film's needs. The essay concludes by considering Disney's influence on modern fairy portrayals in cinema and his pioneering role in popularizing certain fairy concepts.

Cuando una pieza literaria llamada a la posteridad queda concluida, los procesos imaginativos que la forjaron tienden a tornarse nebulosos, repletos de confusas etapas intermedias y de pormenores que devienen, a la postre, irrecuperables. Si la obra en cuestión adquiere además el singular privilegio de trascender a su autor y de elevarse a la categoría de mito, los entresijos de su composición acostumbran a perderse definitivamente. La historia de la literatura registra, no obstante, algunas excepciones al tópico. Una de las más notorias es la de Peter Pan.
Por un lado, su presunto creador, James Matthew Barrie, contribuyó él mismo a la mitificación del personaje jugando siempre a negar la autoría —no en vano, dio el título de 'Anónimo: una obra' al primer manuscrito teatral, donó los derechos al Hospital Infantil Great Ormond de Londres y declaró explícitamente en cierta dedicatoria famosa no guardar «recuerdo alguno de haber escrito la obra de 'Peter Pan'» (Barrie, 1928: VIII)—; pero, por otro lado, también fue él (o acaso su temido doble literario, M'Connachie) quien no se resignó a consagrar las pruebas al fuego y dejó a su muerte, entre sus cuadernos de apuntes, un maremágnum de anotaciones que daban fe de la conformación y evolución del eterno infante, contraviniendo así la inicial renuncia. Esas notas manuscritas, encabezadas por la sencilla palabra "Fairy" ('Hada') se conocen hoy como 'Notas feéricas', y serán el objeto central del presente estudio. La razón de su interés no es difícil de colegir: pese a su lectura laboriosa, que les ha vedado por ahora la publicación impresa, brindan al investigador y al curioso una oportunidad única para profundizar en la creación de uno de los mayores mitos literarios del siglo XX.

Questo volume nasce dall’intento d’interrogarsi sulle potenzialità e le risorse della fantascienza e sul suo rapporto con il femminismo. Se il genere fantascientifico ha largamente dimostrato la sua capacità di creare nuovi spazi e nuovi immaginari, esso riesce a mettere in discussione gli stereotipi di genere e a produrre nuove rappresentazioni in cui le relazioni siano più giuste e paritarie? Nell’epoca contemporanea, in cui l’evoluzione tecnologica ha colonizzato buona parte del nostro immaginario, le possibilità sembrano ampliarsi. Le frontiere tra umano, organico e meccanico si confondono sempre più, portando così a un ripensamento delle categorie e dei ruoli di genere. Numerosi i punti trattati dai saggi contenuti nel volume: dalle considerazioni sulle categorie e i generi letterari di appartenenza alle questioni centrali del corpo, della parola, del linguaggio all’interno di una più ampia riflessione sulla violenza di genere e sul ruolo della scienza e della tecnologia. Le riflessioni delle autrici e degli autori qui proposte ci spingono a sperare che l’auspicio di Virginia Woolf, che incoraggiava a pensare e scrivere liberamente, senza costrizioni e conformismi canonici, possa realizzarsi.

The absolute norm that governs Hook’s behavior is good form, but good form is a really troublesome thing that as soon as you try to observe it consciously, it becomes a vain illusion and disappears from your eyes. For Hook, who despises upstarts, the measure of his own integrity rests on the reflection on good form, but the concept of good form unfolds solemnly beyond the self-sufficient illusion of fair play. There is a gap that cannot be bridged by the power of logic between the nobility of the intellect, which compels him to grasp the correct objective situation, and the vulgarity of reason, which must be conscious of his own superiority. This dilemma about the gap between knowledge and virtue proves that Hook is an educated man provided with a strong grasp of modern scientific thinking. This is an all-too-formidable paradox brought about by the struggle between ethics and reason that Westerners have come to experience in modern times.

In the process of examining the ignorance and mysterious wisdom that Peter embodies, it has been discovered that Peter’s existence hides more mystery than imagined.  A mystery is not a superficial discrepancy that arises from a mere lack of information, nor is it a deliberate concealment of information or a cunning substitution of words that immediately establishes a mystery.  A mystery continues to be one because it is an exceptionally peculiar discourse that is meticulously equipped with a fundamental incomprehensibility that can never be deciphered by any analysis method or by any system transformation, but if it manifests itself in the conceptual space in the form of a “mystery” that is called by the name “riddle”, it is also something that can be introduced into the thought system and incorporated into the procedure of discussion.

A s a significant but often overlooked cultural institution, theater supplies a communal yet ephemeral space in which actors perform dramatic material for spectators who complete the circle of interpretative and emotional reception. Yet as Steven Mintz prefaces, "Children are rarely obvious historical actors," and, in a literal sense, even rarer still as not-so-obvious spectators who helped shape the very cultural formations of US theater. As I first explicated some years ago, early US theater was not categorized by the ages of its spectators but by British laws of legitimate literary dramas and non-legitimate forms of music and dance entertainments that included adapted nursery tales. Contrary to Mark Twain's oft-repeated claim that "children's theatre" was "invented" in the twentieth century, I argued that child actors and their child spectators were primarily responsible for popularizing, and thereby legitimizing, pantomimes, fairy extravaganzas, minstrelsy, melodramas, and vaudeville over the course of the nineteenth century. Therefore, "children's theatre" (redefined as Theatre for Young Audiences in 1978) should not be defined and historicized as a separate "genre" unto itself but simply as theater in all its historically varied forms of performance without distinction of age. 1 Rather than define theater "for" children by the attendance of child spectators, this twentieth-century construct and its associated ideologies of childhood "innocence" needs to account for earlier producers' intentions and their explicitly gendered and largely economic practices that emerged quite gradually during the early nineteenth century. The present essay unravels these interdependent factors and analyzes how, when, where, and why children entered men's cultural domain of theater. As more children experienced the same repertoire as adults, they subsequently drove theater managers and critics to recognize, accommodate, and consequently differentiate their aesthetic tastes by the 1820s.

Adaptations of English literature have thrived in the last decade to cope with the ever-expanding market of teaching English. The reading public seems to endorse it as a pedagogic device to increase children's interest in reading and improve their language. Whether it has increased language proficiency remains a matter of debate. Our main concern, however, is the cultivation interest in literature through abridgement and to impact young learners' imagination. At first glance, abridgement seems to open the door to the world of the classics so that children may have first-hand experience of literature, yet to achieve its ultimate purpose one needs imagination vis-à-vis the reading text. Does the abridgement which favours less demanding verbal dexterity operate at the expense of children's imagination? Pertaining to the question, we conducted a comparative study of J. M. Barrie's Peter Pan (1911), the unabridged version, and G. Clemen's abridged version (2000), their contexts and lexicons, in particular the deletion of some famous lines and passages, the replacement of some significant expressions and, eventually, how all these impact children's imagination. While it can be argued that the abridged text makes reading easier for learners, its characters have largely been flattened and the recurring theme of not growing up has been disparaged. The interplay of sexuality becomes banal. A visible example is the omission of the poignant start "All children, except one, grow up". Our assertion is that abridgement should be executed and refined not only for the advantage of lightening the linguistic burden but, more importantly, of nurturing the imagination in the young minds. To unleash their imagination, light but purposeful and exuberant reading with a fine adjustment of authenticity and aesthetics is deemed necessary and beneficial. Ultimately, children will improve their language and develop a lifelong interest in English literature.

Peter Pan is the embodiment of the collective unconscious and also the embodiment of instinctive intuition. Naturally, therefore, this boy has nothing to do with social common sense or worldly knowledge. However, though Peter retains this kind of ignorance, at the same time, he also exhibits mysterious wisdom that seems to be connected to the source of the universe. In this article, we will examine these two points in a faithful reading of the progression of the text.

The world of philosophical reflection that can only be enjoyed by educated adults with a kind of peculiar entertainment with a perspective that looks at the children's world from a distant outside, which these children have no way of knowing, is unfolded in this work in a subtle and exquisitely poisonous manner.

Sinopse: Malu mora no orfanato da tia Teresa, sonhando que um dia seus pais voltarão para buscá-la. Malu tem uma característica única: ela só consegue falar com trava-línguas. Porém, durante o Natal tudo muda: ela conhece um gato que falava finlandês. O gato diz para a menina que conhece a sua história e precisa da ajuda dela para salvar o reino de Púrpura, que foi tomado por uma bruxa que transformou toda a população em animais. De repente, Malu se vê em uma aventura para salvar um país que não existe no mapa.
Detalhes: Literatura infantil | 20 x 20 cm | 50 páginas | ISBN: 9786500886481
Temáticas cidadãs emergentes: orfandade; trabalho em equipe; relações socioafetivas

Neverland is an impossible world where all the contradictory phenomena coexist and also annihilate each other. It is a purely conceptual phase space of fictionality in which a psychological manifold that transcends the constraints of topological conditions unfolds. Peter Pan, a master of make believe, is able to live in a speculative game world consist of delusions as his real life. Its thematic nature lies in the mechanism of metafiction, in which the author, disguised as one of the characters, goes on constructing a world of abstract ideas through peculiar narration consisting of interactive dialogue with a virtual reader, thereby revealing the process of describing the fictional world as a bundle of hypothetical propositions.

Captain Hook, an intelligent observer who has a bird’s-eye view of the world of Peter and Wendy, senses the a turning point taking place, that would bring about a revolution in the history of the world. The aspect of the continuum of space-time and mind that was manifested centered upon Peter, the deity who has the superposed phase of space and consciousness, is about to undergo a new transition as the universe develops and the persona that has been assuming the aspect of infancy has reached the limit of its phase shift brought about by the arrival of Wendy Moira Angela Darling, who was named after the Goddess of Fate.

Há cerca de 200 anos, Jacob e Wilhelm Grimm publicaram sua coletânea de contos de fada intitulada Kinder- und Hausmärchen, fruto de uma busca do registro linguístico e cultural de seu povo. Nos dias atuais, não podemos pensar na literatura infantil sem remeter ao trabalho dos dois irmãos, que se proliferou de maneira fértil no Brasil. Com o passar do tempo, as adaptações tomaram conta do cenário brasileiro, e hoje pouco do material original é amplamente conhecido. Os contos populares, de fadas ou maravilhosos são muitas vezes compreendidos como manifestações, nas quais reverberam questões existenciais humanas e sociais, mas também são concebidos como formas de entretenimento; narrativas que carregam e projetam arquétipos; romanticamente são concebidos usualmente como portadores de conceitos idealizados e promessas de finais felizes, chocando seus leitores a partir dessas concepções, quando se deparam com violência e distopia. Esta pesquisa propõe-se a explorar essas narrativas alemãs, revisitando o espaço reservado a atos de violência e como tais atos dinamizavam narrativas através de uma leitura sistemática da violência nos 200 contos dos irmãos Grimm, e a partir dessas constatações, uma análise aprofundada de três contos selecionados: Branca de Neve, O Alfaiatezinho Valente e João e Maria. Estes três contos foram selecionados por sua relevância na cultura moderna e por representarem temas recorrentes na coletânea de contos, principalmente quanto ao papel de seus protagonistas. A reflexão sobre suas trajetória se dará com o intuito de, ao analisar a movência desses contos, depreender em suas adaptações, notadamente, as mais recentes, a ocorrência de alterações na dinâmica da história, mais especificamente no que se refere aos atos de violência, em razão de um imaginário que se forma sobre o jovem leitor.

In the original novel, Peter and Wendy, Wendy's father, Mr. Darling, was caricatured to the extreme, portraying him as an eccentric figure with a latent infantilism that was not inferior to Peter's, rather than an overly common-sense adult like a typical bank clerk. He was set in axial symmetry of three striking characters adding Peter's arch enemy, Captain Hook, who was in many ways contrasted with Peter but also had many similarities with the boy and struggled in contention against him in Neverland. However, in the movie Peter Pan, this character is replaced by Mrs. Darling's portrayal of a father in front of her three children.