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When James Matthew Barrie died, in 1937, his funeral was an occasion for national mourning. Crowds gathered; reporters and newsreel men came to record the day, and many well-known figures followed the coffin to its resting place in the little churchyard up on the hill. In London, a month later at St Paul’s Cathedral a memorial service was held for the Scottish weaver’s son who died Britain’s playwright extraordinaire. A succession of novels and long-running plays had brought Barrie enormous wealth, critical acclaim, an hereditary Baronetcy and the Order of Merit. His public following extended to Hollywood where his work was performed by the stars of the silver screen. Unhappily such achievements did little to ameliorate the strains in Barrie’s private life. Hampered by a stigmatising divorce, he was also struck by a series of tragic bereavements from which he never fully recovered. At the same time as savouring his public image, Barrie gave no more than a handful of interviews. During his lifetime this inscrutable, enigmatic man succeeded in his desire to remain only partially known. Barrie was already famous for sophisticated political satires and social comedies when, with the creation of Peter Pan, his immense artistic gift was displayed at its extraordinary best. In the play, where ‘All children except one grow up’, Barrie had touched on a universal nerve, the problem of growing up. With Peter Pan he created one of the greatest twentieth-century myths and a work of art quite unlike anything that had gone before. It became a part of the common culture of the Western world, and is as relevant today as on that first performance one hundred years ago.

BARRIE (JAMES MATTHEW), 1860-1937 --- BIOGRAPHIE --- BARRIE (JAMES MATTHEW), 1860-1937 --- BIOGRAPHIE

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Celebrating 100 years of Peter Pan, this fourth volume in the Centennial Studies series explores the cultural contents of Barrie's creation and the continuing impact of Peter Pan on children's literature and popular culture today, especially focusing on the fluctuations of time and narrative strategies. This collection of essays on Peter Pan is separated into four parts. The first section is comprised of essays placing Barrie's in its own time period, and tackles issues such as the relationship between Hook and Peter in terms of child hatred, the similarities between Peter and Oscar Wilde, Peter Pan's position as an exemplar of the Cult of the Boy Child is challenged, and the influence of pirate lore and fairy lore are also examined. Part two features an essay on Derrida's concept of the grapheme, and uses it to argue that Barrie is attempting to undermine racial stereotypes. The third section explores Peter Pan's timelessness and timeliness in essays that examine the binary of print literacy and orality; Peter Pan's modular structure and how it is ideally suited to video game narratives; the indeterminacy of gender that was common to Victorian audiences, but also threatening and progressive; Philip Pullman and J.K. Rowling, who publicly claim to dislike Peter Pan and the concept of never growing up, but who are nevertheless indebted to Barrie; and a Lacanian reading of Peter Pan arguing that Peter acts as "the maternal phallus" in his pre-Symbolic state. The final section looks at the various roles of the female in Peter Pan, whether against the backdrop of British colonialism or Victorian England. Students and enthusiasts of children's literature will find their understanding of Peter Pan immensely broadened after reading this volume.

Barrie, James Matthew --- Barrie, J.M. --- BARRIE (JAMES MATTHEW), 1860-1937 --- BARRIE (JAMES MATTHEW) --- ENFANTS --- LITTERATURE POUR LA JEUNESSE --- PETER PAN (PERSONNAGE FICTIF) --- CRITIQUE ET INTERPRETATION --- PETER PAN --- LIVRES ET LECTURE --- GRANDE-BRETAGNE