Made available in DSpace on 2016-03-15T19:45:06Z (GMT). No. of bitstreams: 1 Karen Stephanie Melo.pdf: 1928912 bytes, checksum: 4589da5d0a8f555ca70574488a1c76a7 (MD5) Previous issue date: 2010-08-09 / The Scottish writer James Matthew Barrie wrote for the first time about Peter Pan in a book called The Little White Bird, in 1902. In 1904, the writer enlarged the character s universe making, this time, a stage play called Peter Pan or The Boy that Wouldn t Grow up; however, the romance as we know it would only be constructed in 1911, when Barrie decided to rewrite and extend his original play. That is how one of the best well known classics of children s literature was born: Peter Pan and Wendy, a book that, today, is part of many people s childhood and life; the story has even created a myth: the myth of the boy who never grows up, the myth of the eternal and adventurous youth. This way, the romance gave origin to many post-texts, gaining numbers of adaptations since it was first published. By making analysis based on Mikhail Bakhtin s dialogism theory, on Julia Kristeva s intertextuality theory and on Gerard Genette transtextuality theory, the present essay intends to study three different readings and/or adaptations of the base-text Peter Pan and Wendy, in order to verify how the historical/cultural context modifies, increases or contradicts this 1911 version.The texts chosen for the proposed analysis are: Peter Pan, by Monteiro Lobato (1930); Peter Pan the animation from Walt Disney Pictures (1950); and Peter Pan the movie, from the Australian director P. J. Hogan (2003). / O autor escocês James Matthew Barrie escreveu sobre Peter Pan pela primeira vez em uma obra intitulada The Little White Bird, em 1902. No ano de 1904, o escritor ampliou o universo de seu personagem, dessa vez, com uma peça teatral de nome Peter Pan ou O Menino que não Queria Crescer; o romance tal qual o conhecemos só seria concebido, no entanto, em 1911, quando o diretor decidiu reescrever e prolongar sua peça teatral. Era assim que surgia, então, um dos clássicos da literatura infantil mais conhecidos atualmente: Peter Pan and Wendy, obra que, hoje, faz parte da infância e da vida de muitas pessoas, tendo até mesmo criado um mito: o mito do menino que nunca cresce, da eterna e venturosa infância. Sendo assim, a obra daria margem a diversos pós-textos, ganhando inúmeras continuações e adaptações desde seu lançamento. Partindo de análises baseadas nas teorias de Dialogismo de Mikhail Bakhtin, de Intertextualidade de Julia Kristeva e de Transtextualidade de Gerard Genette, o presente trabalho visa ao estudo de três releituras e/ou adaptações do texto-fonte Peter Pan and Wendy a fim de se verificar em que medida o contexto histórico-cultural de produção dessas versões modifica, amplia ou contradiz o texto de 1911. Os textos escolhidos para a análise proposta são: Peter Pan, de Monteiro Lobato (1930); Peter Pan a animação dos Estúdios Walt Disney (1950) e Peter Pan o filme, do diretor australiano P. J. Hogan (2003).

This study investigates the extent to which a story written 100 years ago, full of moral, patriotic, heroic and freedom-influences messages, can be used as a teaching instrument to convey the norms and values needed for active participation in society. Two versions of the classic tale of Peter Pan, an illustrated chapter book Peter Pan and Wendy (2013) and a picture book Peter Pan (2014), were analysed with the focus on the character of Peter Pan. The results show that both books can be used very well as teaching aids because Peter Pan is a complex and multifaceted character. The analysis reveals his positive and negative qualities, which can be discussed in the teaching as a way to communicate norms and values. The study shows useful examples of what this work can look like.

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”. / published_or_final_version / English / Master / Master of Philosophy

Este trabalho busca analisar como Monteiro Lobato concretiza seu projeto de construção de uma literatura infantil brasileira, em obras constituintes da coleção do Sítio do Picapau Amarelo, especialmente através do livro Peter Pan, de 1930. A personagem homônima original do escocês James Matthew Barrie apareceu pela primeira vez em uma peça de teatro em 1910, em Londres, e tornou-se um clássico contemporâneo, largamente adaptado e traduzido, inclusive pelos estúdios de animação de Walt Disney. Lobato, que era tradutor, escolheu não apenas traduzir a obra de Barrie, mas apropriar-se dela no universo do Sítio; nos livros do brasileiro, a história do menino que não quer crescer é contada pela personagem Dona Benta a seus netos; a partir daí, diversas propriedades ficcionais do original britânico se manifestam em muitos momentos na obra infantil do paulista. Esse recurso é consoante com uma prática defendida pela geração de escritores do modernismo brasileiro de 1922: a antropofagia. Embora Lobato fosse dissidente do grupo, e apesar de sua prosa para adultos ter sido pouco modernista, sua literatura infantil se mostra extremamente similar àquilo que o grupo de Oswald de Andrade e Mário de Andrade defendia. Com base em Lajolo e Ceccantini (2008), Zilberman (1982), Vieira (2008) e White (2011), este trabalho busca mostrar como se dá o entrecruzamento antropofágico da obra de Barrie com a de Lobato, e como o paulista construiu sua literatura nacionalista para crianças. Em Peter Pan de Lobato, há dois universos mágicos e sobrenaturais que se sobrepõem: o Sítio e a Terra do Nunca; o escopo analítico deste trabalho passa, então, por teóricos do modo literário insólito / fantástico, como Todorov (2007), Roas (2014), García et al. (2007), e outros. Além disso, busca-se analisar a visão do Brasil que o escritor paulista conseguia vincular à sua literatura infantil, pensando em identidade regional, nacional e no contexto de globalização, com base em Hall (2005), Said (2011), e em considerações sobre região e nação. A conclusão é que Lobato era um tradutor cultural que conseguia trazer aos leitores do país, pioneiramente, histórias antigas e novas que eram produzidas no exterior, vestindo-as à brasileira, digerindo-as de maneira antropofágica, e que sua influência ficcional é visível até os dias de hoje, no que diz respeito à formação de uma identidade brasileira moderna. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2016-11-30T15:13:28Z No. of bitstreams: 1 Dissertacao Felipe Teixeira Zobaran.pdf: 2350229 bytes, checksum: e21ade58b573958d1a70ac720aabfacf (MD5) / Made available in DSpace on 2016-11-30T15:13:28Z (GMT). No. of bitstreams: 1 Dissertacao Felipe Teixeira Zobaran.pdf: 2350229 bytes, checksum: e21ade58b573958d1a70ac720aabfacf (MD5) Previous issue date: 2016-11-30 / Conselho Nacional de Desenvolvimento Científico e Tecnológico, CNPq / This thesis aims at examining to what extend Brazilian writer Monteiro Lobato brings out his children's literature project in the books of the Sítio do Picapau Amarelo series, focusing especially on the novel Peter Pan, released in 1930. The original story by Scottish playwright James Matthew Barrie first appeared in a play in London in 1910, and became a contemporary classic, widely adapted and translated, including film versions by Walt Disney studios. Lobato, who was a famous translator, chose not only to translate the work of Barrie, but to absorb it into his own fiction; in the Brazilian books, the story of the boy who does not grow up is told by the character Dona Benta to her grandchildren; from there on, several fictional properties of the original British story manifest in many instances to the children of São Paulo. This feature is in line with Brazilian modernism writers of 1922, who defended Antropofagia (literary cannibalism), that is, a sharp reinforcement of the Brazilian identity in literature, by absorbing foreign aesthetics and transforming them into something original. Although Lobato was a dissident of that group, and even though his prose for adults was not very modernistic, his books for children are similar, in some ways, to what Oswald de Andrade and Mario de Andrade were producing in the early 1920’s. Based on Lajolo and Ceccantini (2008), Zilberman (1982), Vieira (2008) and White (2011), this paper shows the intertwining fiction of Barrie and Lobato, and how the Brazilian books get to defend a sort of nationalism. In Lobato’s Peter Pan, two supernatural worlds converge: Sítio do Picapau Amarelo and Neverland; thus, this paper analyses both fictional worlds based on fantasy literature theories, such as the works of Todorov (2007), Roas (2014) and García et al. (2007). Moreover, this analysis seeks to define Lobato’s view of Brazilian identity, based on Hall (2005), Said (2011) and theories of nationalism. The conclusion is that Lobato was a cultural translator, who could bring to the country's readers old and new stories that were produced abroad, making them very Brazilian, by digesting them in a cannibalistic way. His fictional influence is, actually, visible until today, as it helped in the formation of a modern Brazilian identity.

Este trabalho busca analisar como Monteiro Lobato concretiza seu projeto de construção de uma literatura infantil brasileira, em obras constituintes da coleção do Sítio do Picapau Amarelo, especialmente através do livro Peter Pan, de 1930. A personagem homônima original do escocês James Matthew Barrie apareceu pela primeira vez em uma peça de teatro em 1910, em Londres, e tornou-se um clássico contemporâneo, largamente adaptado e traduzido, inclusive pelos estúdios de animação de Walt Disney. Lobato, que era tradutor, escolheu não apenas traduzir a obra de Barrie, mas apropriar-se dela no universo do Sítio; nos livros do brasileiro, a história do menino que não quer crescer é contada pela personagem Dona Benta a seus netos; a partir daí, diversas propriedades ficcionais do original britânico se manifestam em muitos momentos na obra infantil do paulista. Esse recurso é consoante com uma prática defendida pela geração de escritores do modernismo brasileiro de 1922: a antropofagia. Embora Lobato fosse dissidente do grupo, e apesar de sua prosa para adultos ter sido pouco modernista, sua literatura infantil se mostra extremamente similar àquilo que o grupo de Oswald de Andrade e Mário de Andrade defendia. Com base em Lajolo e Ceccantini (2008), Zilberman (1982), Vieira (2008) e White (2011), este trabalho busca mostrar como se dá o entrecruzamento antropofágico da obra de Barrie com a de Lobato, e como o paulista construiu sua literatura nacionalista para crianças. Em Peter Pan de Lobato, há dois universos mágicos e sobrenaturais que se sobrepõem: o Sítio e a Terra do Nunca; o escopo analítico deste trabalho passa, então, por teóricos do modo literário insólito / fantástico, como Todorov (2007), Roas (2014), García et al. (2007), e outros. Além disso, busca-se analisar a visão do Brasil que o escritor paulista conseguia vincular à sua literatura infantil, pensando em identidade regional, nacional e no contexto de globalização, com base em Hall (2005), Said (2011), e em considerações sobre região e nação. A conclusão é que Lobato era um tradutor cultural que conseguia trazer aos leitores do país, pioneiramente, histórias antigas e novas que eram produzidas no exterior, vestindo-as à brasileira, digerindo-as de maneira antropofágica, e que sua influência ficcional é visível até os dias de hoje, no que diz respeito à formação de uma identidade brasileira moderna. / Conselho Nacional de Desenvolvimento Científico e Tecnológico, CNPq / This thesis aims at examining to what extend Brazilian writer Monteiro Lobato brings out his children's literature project in the books of the Sítio do Picapau Amarelo series, focusing especially on the novel Peter Pan, released in 1930. The original story by Scottish playwright James Matthew Barrie first appeared in a play in London in 1910, and became a contemporary classic, widely adapted and translated, including film versions by Walt Disney studios. Lobato, who was a famous translator, chose not only to translate the work of Barrie, but to absorb it into his own fiction; in the Brazilian books, the story of the boy who does not grow up is told by the character Dona Benta to her grandchildren; from there on, several fictional properties of the original British story manifest in many instances to the children of São Paulo. This feature is in line with Brazilian modernism writers of 1922, who defended Antropofagia (literary cannibalism), that is, a sharp reinforcement of the Brazilian identity in literature, by absorbing foreign aesthetics and transforming them into something original. Although Lobato was a dissident of that group, and even though his prose for adults was not very modernistic, his books for children are similar, in some ways, to what Oswald de Andrade and Mario de Andrade were producing in the early 1920’s. Based on Lajolo and Ceccantini (2008), Zilberman (1982), Vieira (2008) and White (2011), this paper shows the intertwining fiction of Barrie and Lobato, and how the Brazilian books get to defend a sort of nationalism. In Lobato’s Peter Pan, two supernatural worlds converge: Sítio do Picapau Amarelo and Neverland; thus, this paper analyses both fictional worlds based on fantasy literature theories, such as the works of Todorov (2007), Roas (2014) and García et al. (2007). Moreover, this analysis seeks to define Lobato’s view of Brazilian identity, based on Hall (2005), Said (2011) and theories of nationalism. The conclusion is that Lobato was a cultural translator, who could bring to the country's readers old and new stories that were produced abroad, making them very Brazilian, by digesting them in a cannibalistic way. His fictional influence is, actually, visible until today, as it helped in the formation of a modern Brazilian identity.

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This dissertation explores the ways in which Janice Honeyman’s 2007 Swashbuckling Adventure, Peter Pan, The Pantomime represents notions of nation and identity in post-apartheid South Africa. In order to accomplish this, this study argues that despite the carnivalesque elements of the genre of pantomime and its potential to subvert the status quo, Honeyman’s translation of Peter Pan reinforces the imperialist ideology embedded in the source texts of Barrie’s 1904 and Disney’s 1953 Peter Pan. Through an exploration of colonialism and imperialism, and postcolonial studies with specific reference to the works of Bhabha (1990, 1994), Anderson (1991) and Said (1979, 1994), this discussion follows an examination of white Victorian British masculinity and imperialist ideology as it applies to Peter Pan to support the argument that through a process of translation, achieved through the techniques of Disneyfication and double localisation, the Barrie and Disney texts have been translated from their original contexts into the South African postcolonial and post-apartheid context. The argument concludes that in doing so, Honeyman has neglected to provide counter-discourses to the imperialist ideologies in the source texts and has reinforced the racial and gender stereotypes found therein, supporting the colonial power axis of the original text and colonial re-presentations of identity and nation. / Dissertation (MA)--University of Pretoria, 2013. / Drama / unrestricted

This paper closely examines fairy tale films with road movie components, in particular those films featuring female protagonists. The study’s objective is twofold: first, to further develop existing research on the road movie by exploring one of the lesser known constituents of this broad genre and, second, to address gaps in scholarly literature on road movies when it comes to themes in female-led trips and the characterization of travelling females. Through a detailed analysis of the journeys of female characters in recent voyage-oriented fairy tale films—Peter Pan (P.J. Hogan, 2003), Alice in Wonderland (Tim Burton, 2010) and Tangled (Byron Howard and Nathan Greno, 2010)—the investigation shows that these new heroines significantly differ from those of old. Their travels are portrayed as being less difficult, and the traits that they exhibit while on the road, namely fearlessness, rationality and an undying optimism, are rather favourable when compared to those exhibited by former road heroines. Although these protagonists still face characters who wish to impede their movement away from a domestic setting, it is demonstrated that the protagonists are ultimately successful in not only acquiring power in the surroundings that they find themselves in, but also in carrying over their goals and dreams to their own worlds upon their return, privileges that most former road heroines did not have. Ultimately, the study shows that females can be as efficient travellers as males, and in some cases are portrayed as even more competent than their male counterparts.

In January 2019, Netflix released the unexpectedly popular Conversations with a Killer: The Ted Bundy Tapes. Joe Berlinger, true crime director, compiled interviews with Bundy, law enforcement authorities involved with Bundy’s arrest and trial, and members of Bundy’s community to create a four-part docu-series focusing “on a man whose personality, good looks, and social graces defied the serial-killer stereotype, [which allowed] him to hide in plain sight” (Berlinger). The somewhat romanticized Ted Bundy Tapes serve as an example of modern folklore, in which the archetypal bogeyman has been narrativized for contemporary society as a charming, rather than hideous, monster. This bogeyman trope—a child-snatching, fear-inducing, paranoia-provoking monster—can be traced back through a number of famous folkloric tales, like The Pied Piper, through the fairytale realm, as illustrated with Peter Pan, and into popular contemporary media with productions like the Ted Bundy Tapes and Extremely Wicked, Shockingly Evil and Vile. These folkloresque narratives help to explain how certain trials or traumas were overcome. The Ted Bundy Tapes opened a discourse community surrounding Ted Bundy as more than a historically recorded villain, but as an almost fictive evil hiding behind a “hot” façade. Forming Bundy as a charming child-snatcher and then presenting this character in a widely available docu-series promulgated the surrounding lore, making Bundy into a bogeyman. Instead of romanticizing Bundy now, we have to recognize his form as a bogeyman character in order for this archetype to serve in a truly useful cautionary capacity and to help us work through inevitable trauma.

The aim of this study is to analyse the thematic purpose of death in J.M. Barries play Peter Pan, or The Boy Who Wouldn’t Grow Up. Peter Pan, the Darlings and Neverland each get analysed in separate chapters, to get a fuller understanding of their relation to death. This has been done through the use of copingtheory, and comparisons to earlier myths about catabasis, Pan, and British changelings. Further support has been found through earlier works written about the subject, to deepen the understanding of death’s part in this play for children. The essay concludes that the children in the play are deathly ill – and thus Neverland and Peter Pan are representations of the afterlife, and a spirit which guides children on from this life in to the next.