A collection of found poems using the Edwardian text “Peter Pan in Kensington Gardens” by J.M. Barrie. This thesis explores themes of gender, mental health, and queer belonging while theorizing about the materiality of poetry.

This document is a written report that reviews and examines aspects of production involved in the presentation of a full-length ballet based on J.M. Barrie's classic adventure tale Peter Pan presented by Ballet Victoria at the MacPherson Playhouse in Victoria on February 5, 6 and 7, 2004, for which I was commissioned to compose an original musical score and co-direct the stage. This report reviews directorial, compositional, and choreographic strategies and techniques that were empolyed in the process of production. The different methods of collaboration between composer and choreographer are also examined, and a scene-by-scene synopsis, accompanied by details of problems that arose and the manner in which they were solved, is given. The report closes with a section that details the response of cast, critics, and audience that the production elicited. / Graduate

Lic. phil. I Univ. Zürich, 2009. / Zugleich: Lizentiatsarb. Zürich, 2007. Literaturverz.

Esta dissertação de mestrado estuda e analisa edições impressas de Peter Pan publicadas no Brasil, em português brasileiro, de 1930 até o momento. Propõe-se que exista uma norma ao se traduzir Peter Pan entre 1953 e 2011, qual seja, a de se utilizar a versão em desenho animado longa-metragem de Walt Disney como parâmetro, principalmente no que concerne à purificação do texto e ilustrações. Algumas obras receberão maior destaque em função de sua importância referencial e histórica, em especial a obra original de J. M. Barrie, a versão cinematográfica de Walt Disney, a adaptação de Monteiro Lobato e a tradução de Ana Maria Machado. / This dissertation examines and analyses printed editions of Peter Pan published in Brazil, in Brazilian Portuguese, from 1930 to date. It is proposed that there is a norm when translating Peter Pan between 1953 and 2011, which is to use cartoon feature film version by Walt Disney as a parameter, particularly with regard to the purification of the text and illustrations. Some works will receive greater prominence due to its referential and historical importance, especially the original work by J. M. Barrie, the film version by Walt Disney, the adaptation by Monteiro Lobato and the translation by Ana Maria Machado.

Esta dissertação de mestrado estuda e analisa edições impressas de Peter Pan publicadas no Brasil, em português brasileiro, de 1930 até o momento. Propõe-se que exista uma norma ao se traduzir Peter Pan entre 1953 e 2011, qual seja, a de se utilizar a versão em desenho animado longa-metragem de Walt Disney como parâmetro, principalmente no que concerne à purificação do texto e ilustrações. Algumas obras receberão maior destaque em função de sua importância referencial e histórica, em especial a obra original de J. M. Barrie, a versão cinematográfica de Walt Disney, a adaptação de Monteiro Lobato e a tradução de Ana Maria Machado. / This dissertation examines and analyses printed editions of Peter Pan published in Brazil, in Brazilian Portuguese, from 1930 to date. It is proposed that there is a norm when translating Peter Pan between 1953 and 2011, which is to use cartoon feature film version by Walt Disney as a parameter, particularly with regard to the purification of the text and illustrations. Some works will receive greater prominence due to its referential and historical importance, especially the original work by J. M. Barrie, the film version by Walt Disney, the adaptation by Monteiro Lobato and the translation by Ana Maria Machado.

Denna komparativa analys jämför J.M. Barries Peter Pan och Wendy (2013) med Disneys Peter Pan (2015) för att se hur karaktärerna förändrats genom adaptionen av berättelsen. En narrativ analys presenterar berättelsens intrig och följs av en komparativ analys av de två verken där fokus ligger på vad som tagits bort vid adaptionen och hur karaktärerna framställs. Analysen visar hur mycket som vid adaptionen tagits bort och att detta påverkar bilden läsaren får av karaktärerna.

This thesis discusses the ways in which Bret Easton Ellis uses Hamlet and Peter Pan as sources in his novel Lunar Park.

The aim of this study was to examine how the protagonist Peter Pan was portrayed based on gender stereotypes in the adaptation from 2003. Furthermore, the purpose was to study if children may be affected by these stereotypes. The research questions are: How is the protagonist Peter Pan portrayal in a stereotypical way? How can children be affected by the eventual stereotypes?  Peter Pan is a fictive character created by author J.M Barrie. He was first created for the book “The Little White Bird” released in 1902. The story contains several characters, for instance Wendy, John and Michael Darling, Tinkerbell, and the antagonist of the story: Captain Hook. The method that was used was a qualitative content analysis of the movie Peter Pan via the streaming site Viaplay. Seven key scenes and six scenes have been chosen to discuss whether Peter is portrayed in a stereotypical way or not. The approach to complete this study was through semiotics and five different units to analyze the scenes. These were body language, dialog, choice of words, costume, and environment. Information was gathered from reliable sources of articles, websites, and literature. There were two question formulations that were answered in this study. Finally, the analysis was discussed to determine whether Peter is a masculine, feminine or androgynous character. To conclude, Peter mostly is a masculine character with feminine features, therefore an androgynous character. Children may indeed be affected by the stereotypes that is applied on Peter in the adaptation, due to television´s big impact on its spectators.

This investigation is concerned with the analysis of a production of Peter Pan, a large-scale musical play, which was presented at Dallas Repertory Theatre in February of 1975. This analysis is intended to be both an educative discussion of the experimental nature of the show and a practical guide to the production of a typical musical play by a non-professional company. The most outstanding elements examined include the following: (1) casting a teen-age boy, instead of an adult, in the title role; (2) casting children in all children's roles, and adults in all adult roles; (3) modification of the script and score to implement the casting of children in key roles; (4) the utilization of a short motion picture to simulate the flying of actors onstage.

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