Notice bibliographique
Résumé
Peter Pan at 100 Michel W. Pharand Donna R. White and C. Anita Tarr, eds. J. M. Barrie’s Peter Pan’ In and Out of Time: A Children’s Classic at 100. Lanham: The Scarecrow Press, 2006. xxvi + 339 pp. $39.95 The wide range of interpretations in this collection mirrors Peter Pan's own infinite variety: born in J. M. Barrie's 1902 novel The Little White Bird, he returned in the 1904 play Peter Pan, or The Boy Who Would Not Grow Up—novelized in 1911 as Peter and Wendy (later retitled Peter Pan)—and resurfaced in 1928 when the play was finally [End Page 226] published. As a result of Barrie's incessant revisions, Peter and his story underwent numerous transformations, many of them discussed in this book's fifteen essays (sixteen counting the introduction). The book is divided into four sections: five essays contextualizing the Peter Pan story in its Edwardian era, two on "Peter Pan in America," six on the book's "timelessness and timeliness" (from video games and androgyny to a Lacanian Peter as "maternal phallus"), and two recent feminist approaches. Peter Pan speaks to us in ways Barrie never dreamed of. Following a very fine editorial introduction that uncovers the (critically neglected) origins of Peter Pan in the popular Victorian pantomine genre—Harlequin Peter, Pantaloon Hook, Columbine Wendy—the first essay examines Peter Pan in the context of Victorian and Edwardian schadenfreude and "outright hatred of otherness." The author contrasts Peter Pan's jouissance to Captain Hook's "good form," arguing that "Hook represents our societal need to manage our general hatred of children." Then comes an essay on the play's affinities with Wilde's The Picture of Dorian Gray (like Dorian, Hook is "an example of unethical and failed aestheticism") and Walter Pater, the play asserting a Paterian "reiteration of life in its variance, as being constituted from moment to moment as all that there is and has been and will ever be." The next essay deals with the Edwardian cult of the girl child, where Wendy, Tinker Bell, and Tiger Lily create "a paradoxical construction of femininity: corrupted and corrupting, victims of vicious attack and agents of degenerative (and violent) adulthood." The section closes with an essay on pirate lore—Hook's origins in Gilbert and Sullivan's The Pirates of Penzance (1880) and R. L. Stevenson's Treasure Island (1883)—and one on fairy lore: Peter as "fertility god and fairy lover"—other essays also pause to interrogate satyrlike Peter's mythic origins—in Peter Pan and two other Barrie plays, Dear Brutus (1917) and Mary Rose (1920). The next section opens with a linguistically challenging essay examining, via Derrida, how Barrie "encodes the native Neverlanders with deconstructive meaning, articulating them as graphemes within a pedagogy designed to problematize racialist categories." The author concludes that Barrie "advances a pedagogy that disrupts drives toward normalizing conventional racial categories as pre-discursive and natural by emphasizing their rhetorical and artificial origins." The second, longer essay seeks to demonstrate how Willa Cather drew upon motifs, imagery, symbols, metaphors, and characters from Peter and Wendy for her novel The Professor's House. Although the premise is interesting [End Page 227] and the essay well documented with examples, not all parallels are totally convincing. The third section contains essays on the contrast between the illiterate Peter and Hook the raconteur (orality vs. print literacy); on how Barrie's story is successfully retold in video game form such as Kingdom Hearts (despite Wendy's reduction to a damsel in distress); on the ambiguities of Peter Pan as an "unstable and irresolute" text, due in part to Barrie's constant revisions; on Peter Pan "as a cultural trope for signifying resistance to narratives of heteronormativity" in his questioning of "the binary distinctions of late Victorian/Edwardian heterosexuality"; and on the influence of Peter Pan on J. K. Rowling's Harry Potter books and Philip Pullman's His Dark Materials series. The last and most provocative essay in this section uses Lacan's psychoanalytic theory to explain how Peter exhibits "the clinical structure of a psychotic … someone who is trapped in the imaginary order," concluding that Peter...
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,002 | 0,001 |
| Communication savante | 0,005 | 0,005 |
| Science ouverte | 0,001 | 0,003 |
| Intégrité de la recherche | 0,002 | 0,003 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,250 | 0,101 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».