DOCSLIB.ORG

Exploring Harry Potter and Peter Pan and the Ties Between Them

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exploring Harry Potter and Peter Pan and the Ties Between Them University of Iceland School of Humanities English Department Exploring Harry Potter and Peter Pan and the Ties Between Them A Study of Mothers and Motherless Heroes in J. K. Rowling‘s Harry Potter series and J. M. Barrie‘s Peter and Wendy B.A. Essay Lára Dawn Michelsen Kt.: 020996-2349 Supervisor: Anna Heiða Pálsdóttir May 2020 Abstract Among Carl Jung’s twelve archetypes adapted to literary analysis is the Orphan, who for centuries has remained an endearing and relatable character in literature. The archetype’s popularity has grown over time, particularly in children’s and young adult fantasy fiction, with some of the genre’s most famous and beloved stories having orphaned protagonists. An archetype that is arguably not as famous or celebrated in children’s literature is that of the Mother. Despite being a crucial figure in many orphan tales who carry strong themes regarding mothers, the archetype’s influence remains relatively underrated. In this thesis, the role of the Mother in J. K. Rowling’s fantasy book series Harry Potter (1997-2007) and J. M. Barrie’s Peter and Wendy (1911) is examined. It also explores the ties between the protagonists of these novels in the context of the two being motherless heroes to establish the archetype’s influence in their stories. In order to properly examine the impact the role of the Mother has on these novels, the essay first explores the archetype’s history and its importance in the genre of children’s literature. Secondly, it analyses the recurring topics and themes amongst motherless heroes, that is to say, orphaned protagonists whose stories have strong themes regarding mothers. This is to establish the characteristics in tales where the protagonist is an orphan, and the archetype of the Mother is prevalent. Thirdly, the essay analyses and compares the Harry Potter series to Peter and Wendy to establish similarities between the two in the relevant context. By exploring these two novels and mothers in children’s literature, it is evident that the Mother archetype is influential in shaping the orphaned protagonist and their tale. Table of Contents 1. Introduction ................................................................................................................... 1 2. Mothers in Children’s Fantasy Literature ...................................................................... 4 2.1. History of Mothers in Children‘s Fantasy .............................................................. 6 2.2. Features of Motherless heroes in Fantasy Novels .................................................. 9 3. Main Themes in Select Fantasy Novels with Motherless Heroes ............................... 12 3.1. Self-Worth, Rebellion, Selflessness, and Sacrificial Tendencies in J. K. Rowling’s Harry Potter series ..................................................................................... 12 3.2. Insecurity, Loneliness, Facades and Selfishness in J.M. Barrie‘s Peter and Wendy ..................................................................................................................................... 14 4. The Motherly Ties Between Peter Pan and Harry Potter ............................................ 17 4.1. Absent Mothers and Orphanhood ......................................................................... 17 4.2. Motherly Figures .................................................................................................. 19 4.3. Villains and Immortality ....................................................................................... 22 5. Conclusion ................................................................................................................... 25 Works Cited ..................................................................................................................... 27 Michelsen 1 1. Introduction Claudia Mills points out that “[a]s long as there have been novels about children, there have been novels about orphans” (227). The Orphan archetype has been a beloved figure in storytelling for hundreds of years, and their plight has fascinated generations of readers. In these tales, it is through their orphanhood that, unlike children with parents, they can brave any adventure the author has in store for them. The Orphan’s opportunities are seemingly endless, and their stories often speak out on social situations, teach moral lessons, and even inspire. Readers cry and rejoice as they follow the protagonist on their journey from lonely Orphan to brave hero. However, it is important to note that many of these Orphans do not overcome the struggles in their story alone. They receive help from not only their friends but often also adults who serve as parental figures. Many orphan tales feature motherly figures, and their stories even have prominent themes regarding mothers. According to Lisa Rowe Fraustino and Karen Coats, “whether living or dead, present or absent, sadly dysfunctional or happily good enough, the figure of the Mother carried an enormous amount of freight across the emotional and intellectual life of a child” (2-3). Therefore, it can be said that the archetype of the Mother yields incredible influence over child-aged protagonists, particularly orphaned main characters, as they are frequently much more vulnerable than children with parents. Despite many orphan tales featuring strong “Mother” themes, their importance in those tales has often been understated. The influence of the Mother, her absence, her death, and the motherly figures that come in her stead in the lives of these motherless heroes have a powerful impact on the protagonist and the plot. This is evident in many of the most well-known and adored orphan stories in the fantasy genre of children’s literature, such as the novels about Harry Potter and Peter Pan. Therefore, the aim of this thesis is three-fold: to examine the archetype and theme of mothers in children’s literature, explore recurring traits and topics in the stories of the two famous motherless heroes, Harry Potter and Peter Pan, and establish the ties between them in the context of the two being motherless heroes. It is demonstrated that despite the many differences in each story, both protagonists are deeply affected by their mother‘s absence, and her absence also enables the challenges in their life to occur. In order to demonstrate, this thesis relies on two of Carl Jung‘s archetypes: Mother and Orphan, as well as Marjorie McCormick‘s and Melanie Michelsen 2 Kimball‘s interpretation of the two concepts. Interestingly, apart from sharing elements of strong themes of the Mother and Orphan archetypes, both series have another distinctive feature in common: the main character is a male who unconsciously searches for a motherly figure in the women around him. The books featured in this thesis are the Harry Potter series (1997-2007) by J. K. Rowling and Peter and Wendy (1911) by J. M. Barrie. The focus of this thesis is on the seven books of the Harry Potter series, namely: Harry Potter and the Philosopher’s Stone (1997) Harry Potter and the Chamber of Secrets (1998) Harry Potter and the Prisoner of Azkaban (1999) Harry Potter and the Goblet of Fire (2000) Harry Potter and the Order of the Phoenix (2003) Harry Potter and the Half-Blood Prince (2005) Harry Potter and the Deathly Hallows (2007) References will be made to all seven books, and they will be referred to as follows: Harry Potter and the Philosopher’s Stone (1997) will be Philosopher’s Stone and Harry Potter and the Chamber of Secrets (1998) will be Chamber of Secrets, etc. According to Anita C. Tarr and Donna R. White, the character of Peter Pan initially appeared in several chapters entitled Peter Pan in Kensington Garden in Barrie’s adult novel The Little White Bird, which was published in 1902 (vii). As the Orphan and his story grew in popularity, the more Barrie wrote about him. In 1904, two years after the publication of The Little White Bird, Peter’s story was adapted into a play entitled Peter Pan (ix). The play was then novelised in 1911 with the publication of Peter and Wendy with the novel differing considerably in comparison with the play, containing much more in-depth information regarding the characters and author commentary. The focus of this thesis is on the 1911 novel Peter and Wendy. Harry Potter and Peter Pan have many similarities, aside from living quite magical lives, with the Mother archetype having a powerful impact on them both. By examining the Mother’s significance in children’s fantasy fiction, establishing the Michelsen 3 characteristics of the motherless hero, and exploring the similarities between Harry and Peter –the importance of the archetype’s role in these novels can be seen. Michelsen 4 2. Mothers in Children’s Fantasy Literature According to Carl Jung, “children are educated by what the grownup is and not by what he says” (293). What he means by this is that children are primarily shaped by the behaviours of the adults around them, rather than the formal education which they are provided. For most children, these adults are their parents who crucially serve as authority figures and advisers and provide them the guidance they are in dire need of. Traditionally, the Mother spends the most time with the child while the father works outside the home to provide the family with an income. As fiction is frequently shaped by reality, the Mother often plays a crucial yet underrated role in children’s literature. Through the centuries, the role of the Mother in many children’s fantasy tales has resulted in
Load more

Recommended publications
  • Peter Pan As a Trickster Figure 2013
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Teaching English Language and Literature for Secondary Schools Bc. Eva Valentová The Betwixt and Between: Peter Pan as a Trickster Figure Master‘s Diploma Thesis Supervisor: doc. Michael Matthew Kaylor, Ph.D. 2013 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Eva Valentová 2 I would like to thank my supervisor, doc. Michael Matthew Kaylor, Ph.D., for his kind help and valuable advice. 3 Table of Contents Introduction ....................................................................................................................... 5 1 In Search of the True Trickster .................................................................................. 7 2 The Betwixt and Between: Peter Pan as a Trickster Figure .................................... 26 2.1 J. M. Barrie: A Boy Trapped in a Man‘s Body ................................................ 28 2.2 Mythological Origins of Peter Pan ................................................................... 35 2.3 Victorian Child: An Angel or an Animal? ....................................................... 47 2.4 Neverland: The Place where Dreams Come True ............................................ 67 Conclusion ...................................................................................................................... 73 Appendix ........................................................................................................................
    [Show full text]
  • Chapter 12 the CHILDREN ARE CARRIED OFF
    PETER PAN (CHAPTER 1 2~ THE CHILDREN ARE CARRIED OFF] Book Unit Credited by [Page 1 © Gay Miller] Gay Miller I’m excited to announce that each Monday; Peter Pan Book Unit will be featured in weekly blog posts. Book Units Teacher Blog http://bookunitsteacher.com/wp/ Saving each lesson for a novel study is a great option. Since students are so familiar with this well-loved American classic, most chapters can be stand-alone lessons. Sir James Matthew Barrie first wrote Peter Pan as a play in 1904. The play was turned into the book Peter and Wendy in 1911 (later called Peter Pan), so it is now in public domain. There is no need to purchase a class set of books because the complete text will be added to the unit plans. The best place to begin is with the introduction found here: https://www.teacherspayteachers.com/Product/Peter-Pan-2150899 [Page 2 © Gay Miller] Chapter 12 THE CHILDREN ARE CARRIED OFF The pirate attack had been a complete surprise: a sure proof that the unscrupulous Hook had conducted it improperly, for to surprise redskins fairly is beyond the wit of the white man. By all the unwritten laws of savage warfare it is always the redskin who attacks, and with the wiliness of his race he does it just before the dawn, at which time he knows the courage of the whites to be at its lowest ebb. The white men have in the meantime made a rude stockade on the summit of yonder undulating ground, at the foot of which a stream runs, for it is destruction to be too far from water.
    [Show full text]
  • Verge 10 Anna Richardson Broken Fragments
    Verge 10 Anna Richardson Broken Fragments of Immortality: Why People Will Always Love Peter Pan Elbow-deep into my research, I asked my fifty-four year old mother why she liked Peter Pan. She was visiting for the weekend, and while discussing my project had expressed her deep sentiments for Peter Pan. I was curious. I simply asked what it was about the story, and about the boy himself, that she found so appealing. She told me that she hadn’t wanted to grow up as a child, that Neverland had been so full of adventure and possibility. Frowning slightly, she said, “You know, I just was Peter Pan.” Chances are that many people, of varying ages, will answer similarly when asked about their feelings for Peter Pan. The boy who wouldn’t grow up has a firm grasp on the hearts and minds of generations of people across the globe who, being human, would give anything to stop time from steamrolling ahead, even if just for a few days. What is so fascinating about this phenomenon is that the story, the play, the movies, and the boy himself are inherently tragic, ridden with dilemmas and life-altering decisions. Peter is a “betwixt and between,” as author J. M. Barrie called him, part boy, part bird, part specter (Wiggins 95). Indeed, Peter Pan was not simply a character inked into being, living only on the page. He first came into existence via the childhood games of Barrie and the five Llewelyn Davies boys with whom Barrie had a strong personal relationship, becoming their main caregiver after their parents died.
    [Show full text]
  • Chapter 7 Peter and Wendy Part 1
    Chapter 7 Peter and Wendy Part 1 Summary Peter Pan was a mischievous young boy who spent his never-ending childhood on the faraway, magical island of Neverland with fairies, pirates and mermaids. He occasionally visited ordinary children too. One night as Peter listened to Mrs. Darling read bedtime stories to her children-Wendy, John and Michael- Nana, their dog entered and sprung at Peter. Peter escaped but his shadow got left behind. Lets read a story that describes how a few days later Peter waited till the children were asleep and then returned with the fairy, Tinker Bell to find his shadow. After the lights were out in the bedroom of the three children, there was another light that glowed thousand times brighter. It went in all the drawers and rummaged the wardrobe turning everything upside down. When the light slowed down we could see that it was a fairy ; no longer than the size of our palm and she wore a leaf gown. Her name is Tinker Bell. Minutes later after her entry, we find that the windows were blown open by the little stars and Peter Pan. He had carried Tinker in her hand because his hands were full of fairy dust. He calls out to her and finds that she was inside the jug which she enjoyed a lot. He asks her to come out of the jug and tell him where his shadow is. She spoke in a voice that resembled the tinkle of golden bells. This was the fairy language that only Peter could understand and not the rest of us.
    [Show full text]
  • Open Gencarelli Alicia Peterpan.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ENGLISH “TO LIVE WOULD BE AN AWFULLY BIG ADVENTURE”: MASCULINITY IN J.M. BARRIE’S PETER PAN AND ITS CINEMATIC ADAPTATIONS ALICIA GENCARELLI SUMMER 2017 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in English with honors in English Reviewed and approved* by the following: Garrett Sullivan Liberal Arts Research Professor of English Thesis Supervisor Marcy North English Honors Advisor Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT This thesis discusses the representation of masculinity in J.M. Barrie’s novel, Peter Pan, as well as in two of its cinematic adaptations: Disney’s Peter Pan and P.J. Hogan’s Peter Pan. In particular, I consider the question: What exactly keeps Peter from growing up and becoming a man? Furthermore, I examine the cultural ideals of masculinity contemporary to each work, and consider how they affected the work’s illustration of masculinity. Then, drawing upon adaptation theory, I argue that with each adaptation comes a slightly variant image of masculinity, producing new meanings within the overall narrative of Peter Pan. This discovery provides insight into the continued relevance of Peter Pan in Western society, and subsequently, how a Victorian children’s adventure fiction is adapted to reflect contemporary ideologies and values. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS ......................................................................................... iii Introduction
    [Show full text]
  • J. M. Barrie and Peter Pan
    J. M. Barrie and Peter Pan James Barrie was born in 1860 in Scotland. When he was six his brother David died at thirteen in a skating accident, and his mother retired to her bedroom for months. It is commonly agreed that Barrie decided to comfort his mother by becoming his dead brother, using his clothes, mimicking his habits, and remaining always a boy. Besides, Barrie was very short and thin since childhood. At eighteen he didn’t enjoy the company or the interests of the men of his age, which included women. In his notebooks, he wrote things like “Greatest horror, dream I am married, wake up shrieking ... Grow up and have to give up marbles, awful thought”. He became a successful playwright in London, where he had literary friends like Conan Doyle and was acquainted with Milne, and married an actress, the protagonist of one of his plays, Walker, London (1892). The couple never had children. They bought a St. Bernard who was bigger than any of them and whom they called Porthos. Barrie used to take Porthos for a walk in Kesington Gardens, and it was there that he met the Llewelyn Davies’s , the most glamorous and well-connected family in London, who had five sons. Barrie became a close friend of this family, adored Sylvia, the mother, and regularly took the boys out to play or to the theatre. He also played with them and his dog in Kesington Gardens, where the children spent afternoons with their nanny. Barrie fictionalized his relationship with the Llewelyn children in a book called The White Little Bird (1902).
    [Show full text]
  • Chapter 4 ~ the Flight]
    PETER PAN [CHAPTER 4 ~ THE FLIGHT] ] Book Unit Created by Gay Miller [Page 1 © Gay Miller] I’m excited to announce that each Monday; Peter Pan Book Unit will be featured in weekly blog posts. Book Units Teacher Blog http://bookunitsteacher.com/wp/ Saving each lesson for a novel study is a great option. Since students are so familiar with this well-loved American classic, most chapters can be stand-alone lessons. Sir James Matthew Barrie first wrote Peter Pan as a play in 1904. The play was turned into the book Peter and Wendy in 1911 (later called Peter Pan), so it is now in public domain. There is no need to purchase a class set of books because the complete text will be added to the unit plans. The best place to begin is with the introduction found here: [Page 2 © Gay Miller] Chapter 4 THE FLIGHT "Second to the right, and straight on till morning." That, Peter had told Wendy, was the way to the Neverland; but even birds, carrying maps and consulting them at windy corners, could not have sighted it with these instructions. Peter, you see, just said anything that came into his head. At first his companions trusted him implicitly, and so great were the delights of flying that they wasted time circling round church spires or any other tall objects on the way that took their fancy. John and Michael raced, Michael getting a start. They recalled with contempt that not so long ago they had thought themselves fine fellows for being able to fly round a room.
    [Show full text]
  • Peter Pan and Wendy Kindle
    PETER PAN AND WENDY PDF, EPUB, EBOOK J M Barrie,Robert Ingpen,David Barrie | 216 pages | 03 Aug 2010 | STERLING | 9781402728686 | English | New York, NY, United States Peter Pan and Wendy PDF Book Darling's harmless bluster and Captain Hook's pompous vanity. Wendy shares a nursery room with her two brothers, Michael and John. Avon Books. According to Barrie's description of the Darlings' house, [4] the family lives in Bloomsbury, London. She would regularly tell the boys stories of Peter's various adventures in the supposedly fictitious isle of Neverland , most notably the stories of his battles with the villainous Captain Hook. There is also a degree of innocent flirtation with Peter which incites jealousy in Peter's fairy Tinker Bell. While her age isn't specified, she is usually portrayed as a preteen on the brink of adolescence. Some time later, despite Wendy's previous escape from Neverland, she had somehow become Peter's prisoner when she and her brothers had returned to Neverland. However, the opening line of the novel, "All children, except one, grow up", and the conclusion of the story indicates that this wish is unrealistic, and there is an element of tragedy in the alternative. However, Wendy and her father do love each other and when Wendy comes back from Neverland, she seems to have a better understanding of her father. According to the narrator of the play "It has something to do with the riddle of his being. The most recent member of the cast to be added is Yara Shahidi. Wendy kisses Peter, and this breaks the spell cast over him.
    [Show full text]
  • Enjoy the Magic of Walt Disney World All Year Long with Celebrations Magazine! Receive 6 Issues for $29.99* (Save More Than 15% Off the Cover Price!) *U.S
    Enjoy the magic of Walt Disney World all year long with Celebrations magazine! Receive 6 issues for $29.99* (save more than 15% off the cover price!) *U.S. residents only. To order outside the United States, please visit www.celebrationspress.com. To subscribe to Celebrations magazine, clip or copy the coupon below. Send check or money order for $29.99 to: YES! Celebrations Press Please send me 6 issues of PO Box 584 Celebrations magazine Uwchland, PA 19480 Name Confirmation email address Address City State Zip You can also subscribe online at www.celebrationspress.com. Cover Photography © Tim Devine Issue 43 Romance in World Showcase: The 42 Contents France Pavilion Calendar of Events ............................................................ 8 Disney News ...........................................................................10 MOUSE VIEWS ......................................................... 15 Guide to the Magic by Tim Foster............................................................................16 Walt & Lilly: Hidden Mickeys by Steve Barrett .....................................................................20 A Fairytale Romance 50 Disney Legends by Jamie Hecker ....................................................................22 Disney Cuisine by Allison Jones ......................................................................24 Disney Touring Tips by Carrie Hurst .......................................................................26 Disney Secrets by Jamie Hecker ....................................................................28
    [Show full text]
  • Peter and Wendy: Cultural References from British Literature and Beyond
    PETER AND WENDY: CULTURAL REFERENCES FROM BRITISH LITERATURE AND BEYOND Author: Isabel Lopes Coelho Source: English Studies in Latin America, No. 19 (September 2020) ISSN: 0719-9139 Published by: Facultad de Letras, Pontificia Universidad Católica de Chile This work is licensed under the Creative Commons Attribution-Non Commercial-No Derivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. Your use of this work indicates your acceptance of these terms. English Studies in Latin America ISSN: 0719-9139 Issue 19 (September 2020) Peter and Wendy: Cultural References from British Literature and Beyond Isabel Lopes Coelho1 ABSTRACT Peter and Wendy, written by J. M. Barrie and published as a novel in 1911, is one of the most iconic works of English literature. This article aims to elucidate references that appear in Barrie’s Peter and Wendy which make it so fantastic and unpaired: the literary and the sociocultural references, which contribute to tag this book as an English “modern classic”. The references that are well-known by the British reader provoke an immediate sense of belonging and recognition. For instance, sociocultural mentions can easily be noticed throughout the narrative, especially the ones that bring to the reader aspects from Edwardian and Victorian everyday life of British families. Regarding the literary references, the reader might find aspects from Defoe’s Robinson Crusoe, Stevenson’s The Treasure Island, Shakespeare’s Midsummer Night’s Dream and Alice in Wonderland (Lewis Carroll).
    [Show full text]
  • Study Guide Prepared by Catherine Bush Barter Playwright-In-Residence
    Study Guide prepared by Catherine Bush Barter Playwright-in-Residence Peter Pan Adapted by Catherine Bush from the book by J.M. Barrie *Especially for Grades K-6 The Barter Players, touring Jan. thru March 2020 Barter’s Smith Theatre– April, 2020 (NOTE: Standards listed below include those for reading the story Peter Pan, seeing a performance of the play, and completing the study guide.) Virginia SOLs English – K.1, K.5, K.7, K.8, K.11, K.12, 1.1, 1.7, 1.8, 1.9, 1.12, 1.14, 2.1, 2.6, 2.7, 2.10, 2.12, 3.1, 3.2, 3.4, 3.5, 3.8, 3.10, 4.1, 4.2, 4.4, 4.5, 4.7, 4.9, 5.1, 5.2, 5.4, 5.5, 5.7, 5.9, 6.1, 6.2, 6.4, 6.5, 5.7, 5.9 Theatre Arts – 6.5, 6.7, 6.10, 6.18, 6.21 Tennessee /North Carolina Common Core State Standards English/Language Arts - Reading Literacy: K.1, K.2,K.3, K.5, 1.1, 1.2, 1.3, 2.1, 2.2, 2.3, 3.1, 3.2, 3.3, 3.4, 3.5, 3.10, 4.1, 4.2, 4.3, 4.4, 4.5, 4.7, 4.10, 5.1, 5.2, 5.3, 5.4, 5.10, 6.1, 6.2, 6.3, 6.4, 6.7, 6.10 English Language Arts – Writing: K.1, K.3, K.4, K.5, K.8, 1.1, 1.3, 1.5, 1.8, 2.1, 2.3, 2.5, 2.8, 3.1, 3.2, 3.3, 3.7, 3.8, 4.1, 4.2, 4.3, 4.7, 4.8, 4.9, 5.1, 5.2, 5.3, 5.7, 5.8, 5.9, 6.2, 6.3, 6.7, 6.9 Tennessee Fine Arts Curriculum Standards Theatre – K.T.P1, K.T.Cr2, K.T.R1.A, K.T.R2, K.T.R3, 1.T.Cr2, 1.T.Cr3, 1.T.R1, 1.T.R2, 1.T.R3, 2.T.Cr2, 2.T.Cr3, 2.T.R1, 2.T.R2, 2.T.R3, 3.T.Cr2, 3.T.Cr3, 3.T.R1, 4.T.Cr2, 4.T.Cr3, 4.T.R1, 5.T.Cr2, 5.T.Cr2, 5.T.R1, 6.T.Cr2, 6.T.R1, 6.T.R2, 6.T.R3 North Carolina Essential Standards Theatre Arts – K.A.1, K.AE.1, 1.A.1, 1.AE.1, 1.CU.2, 2.C.2, 2.A.1, 2.AE.1, 3.C.1, 3.C.2, 3.A.1, 3.CU.1, 3.CU.2, 4.C.1, 4.A.1, 4.AE.1, 5.C.1, 5.A.1, 5.AE.1, 5.CU.2, 6.C.2, 6.A.1, 6.CU.2 Setting A children’s nursery in London and the island of Neverland… Characters Wendy – a young girl with an imagination John– Wendy’s brother Michael – Wendy’s youngest brother Mrs.
    [Show full text]
  • Finding Neverland Study Guide
    STUDY GUIDE FINDING NEVERLAND CONTENTS FILM SYNOPSIS 1. Synopsis/Teachers’ Notes/ Finding Neverland explores the relationship between JM Barrie Glossary/Bibliography (played by Johnny Depp) and the fatherless Llewelyn Davies family 2. Genre that led to the creation of children’s favourite Peter Pan. 3. Biography Set in London in 1904 the film begins with the meeting of Barrie 4. The Legacy of Peter Pan and the Llewelyn Davies family in Kensington Gardens which marks 5. Themes the beginning of their imaginative friendship. Still bereaved from the 6. Adaptation loss of their father, the boys take refuge in the imaginative world that Barrie helps them create through play. As his relationship with the boys and their mother Sylvia (Kate Winslet) becomes increasingly GLOSSARY important to him, his marriage to Mary (Radha Mitchell) is sidelined. Taking inspiration from the imaginary play of the boys, Barrie Genre – the type of film, book or play. imagines a place where children do not have to grow up and, with Examples of different genres could be: the support of an American producer (Dustin Hoffman), creates romance, thriller, horror, comedy etc. Peter Pan for the London stage. Bildungsroman – a growing up tale of Dealing with issues of death, creativity and belief Finding Neverland which The Catcher in the Rye by JD Salinger is an uplifting and inspirational tale for all ages. is an example. Symbolism – images that are used to represent broad concepts (hearts symbolising love etc.) Metaphor – a figure of speech in which TEACHERS’ NOTES something is described in terms of Finding Neverland is suitable for Key Stages 2/3/4 and 5 as an something else.
    [Show full text]