Abstract
This paper examines how both the narratives of "Peter Pan" and "Everyman" revolve around themes of loss and how the losses in both J.M. Barrie's famous children's tale and the medieval morality allegory are both physical and psychological in their nature. It looks at how the "Everyman" of the medieval loses his physical life and sense of emotional and social security in his friends, family, and his worldly goods. In comparison, it shows how, in Barrie's "Peter Pan," the title character experiences, first, the loss of his shadow, which is temporary, and then loses Wendy, the Lost Boys ,and the other Darling children.

From the Paper
"Neither of these tales is depressing, however, because along with loss, both heroes gain something back. But while "Everyman," is stripped bare of his old life and illusions, which are replaced with a truer understanding of the divine, Peter's refusal to grow merely results in him recapturing his youth by associating with the next generation of Darling children. Peter refuses to lose his old illusions, refuses to grow up and lose his old life and childhood appearance, and thus refuses to validate the conventional adult journey of life, learning, and life's termination, as reflected in "Everyman.""

Tags:lost, boys, shadow, wendy

Abstract
This paper briefly discusses how "Peter Pan", written by J. M. Barrie in 1928, is a wonderful example of fantasy. It looks at how the work embodies a strange world that has the hint of familiarity and how although there are many times the characters do seemingly impossible feats, there is a feeling of logic engulfed within the compromises that are made to be able to perform such feats.

From the Paper
"When we first encounter the Darling children, we see the first hint of fantasy with the presentation of Nana, the family dog who takes care of the children. Quickly the character of Peter Pan is introduced suspiciously by Mrs. Darling who claims to see a mysterious figure outside her children's' window. The children are acting a play of their parents at the time, which encompasses a reality-based sense in the story. Mr. and Mrs. Darling discuss the mysterious boy and Mrs. Darling states "I believe he comes back to get his shadow, George" (Zipes, 1314). Because Mrs. Darling is an authority figure, she gives an air of authentication to the shadowy figure. After the parents leave, her theory is justified when Peter himself, "I can't get my shadow to stick on" (Zipes, 1318). We can see the combining of reality and fantasy as the story unfolds from here."

Tags:Nana, Darling, Never, Never, Land

Abstract
This paper examines the preoccupation by J.M. Barrie of Peter Pan's teeth in his novel "Peter Pan" which is based on an earlier story about Peter Pan provided in the work "The Little White Bird" in which Peter is most painstakingly described as a very young child, just seven days old and lives among the fairies and birds in Kensington Gardens, in the center of London. It looks at how in "Peter Pan" there is a preoccupation with Peter's teeth and how they are mentioned five times in the novel and how three of those bring up the fact that they are all his first teeth. It evaluates why it is relevant that he still has his first teeth and how there are three important elements to Peter's teeth. It analyzes how that he does in fact have teeth now and not in Kensington Gardens, indicates a transitional period between the two works. Secondly, that he still has his first teeth indicates how young he still is. Thirdly, that he has not had any knocked out indicates what a brave and talented boy is Peter.

From the Paper
"In Kensington Gardens, Peter is just a baby. He cannot even fly, for he has lost his faith. (It is faith, according to Barrie, that gives a bird the power to fly. Once Peter realizes he is no longer a bird, he looses the ability to fly.) There is much more talk of death and transition in The Little White Bird, and Peter buries the children that sneak into the Gardens and die, guiding their souls as far as he can. Some have speculated that Peter himself dies, and it is this death that enables him to transcend his limitations and go to Neverland. Regardless of that detail, it is evident that between his time in Kensington Gardens and his time in Neverland, the boy who wouldn't grow up did actually grow just a little: he got old enough to have his first teeth. That suggestion of change is enough to cast any number of shadows across the narrative of Peter Pan. "

Tags:kensington, gardens, baby, boy, fly

Abstract
In this article, the writer examines the differences and similarities between the play 'Peter Pan', or 'The Boy Who Wouldn't Grow Up' (1904) and the novel 'Peter (Pan) and Wendy' (1911), the two most famous versions of J. M. Barrie's works. A sentence by sentence comparison of them, made by the essay writer, provides the basis for the comparison. First, the forms of the play and the novel are compared. The main focus of this essay is on differences in content. This part is subdivided into modifications of characters, omissions from the original and the ending of the stories. Lastly, the consequences of these changes on the story line are considered.

Outline:
Introduction
Variation in Form
Variation in Content
Characters
Omissions from the Play
The Ending
Consequences
References

From the Paper
"The most obvious differences between the play and the novel are due to belonging to two specific literary genres. Thus, the play consists mainly of dialogues and has a multitude of stage directions, whereas the novel does not have any stage directions and is told by a narrator. Barrie's novel still has many dialogues, probably precisely because it has its source in the play.
"The third-person narrator in Peter Pan is omniscient. For example, he points out that Peter's acorn button will eventually save Wendy's life in chapter 3. This information is not given in the play."

Tags:Neverland, Wendy, Darling, character, make-believe

Abstract
The paper discusses the character Peter Pan in "Peter Pan, The Boy Who Wouldn't Grow Up" and in "The Little White Bird". The paper describes how both books bring Peter Pan and the magical Never Land to life in a world where children are the masters and they can be happy in a life without adults. The paper explains that Edwardian society was full of rules, social castes, and social constructs and the magical Never Land's freedom illustrates just how restrictive and rigid English society was at the time.

From the Paper
"Barrie wrote both these works at the height of the Edwardian Era in England, the period between 1901 and 1910. The country was becoming a bit more open and free than it had been during Victorian times, but there were still societal constraints on how people behaved and appeared. Wealth, birth, and place in society were all extremely important, even though members of the "lower" classes, such as women and laborers, were gaining more rights. Barrie alludes to this in "Peter Pan" when he notes that the Darlings are poor, and yet they have a servant, a maid, but they refer to her as "the servants," as if they can employ an entire crew of maids, butlers, and cooks. They also cannot afford a nurse for the children, so they employ Nana, the dog, another attempt at fitting into respectable Edwardian society."

Tags:Never, Land, Edwardian, society, fantasy

Abstract
The paper focuses on the protagonist's preoccupation with the idea of a post-modern 'oppressed subject' living in a democratic, capitalist society. The personal life and inadequacies of Senor C himself - which inspire in him an 'inner immigration' - are analyzed and contrasted against the framework of Senor C's at times contradictory and unrealistic political beliefs.

From the Paper
"In the post-9/11 geopolitical landscape, to critically engage with the moral and social implications of declaring war on a diffuse and indeterminate idea - on 'terror' itself, which, properly conceived, knows no geographical or national limit - means, inevitably, to confront what one might call the 'paradox of liberalism'. With the apparent 'advent of worldwide democracy' and, in the West, the concomitant resolution of so-called 'big issues' (civil war, overtly totalitarian governance, traditional warfare) there has been a problematic tendency of 'free' democratic states to attempt to launch an aggressive and sometimes ill-conceived abrogation of undemocratic elements (for example, terrorism, rogue states) which seeks, rather paradoxically, to secure, through force and coercion, a system of peace and freedom. In a post-Cold War, firmly capitalist polity, like the Australia in which Senor C, the protagonist of J.M. Coetzee's novel Diary of A Bad Year , lives, 'peace and security' is not just an elusive ideal but in fact is readily enjoyable but lulls, so Senor C leads us to believe, the populace into submission to a watchdog state whose existence is a violence in itself - a necessitation of the dominance of one over another. At its core, Diary of a Bad Year explores the relationship between the state and the subject who both willingly subjects himself state power and who must equally feel intense shame for the abuses and excesses of that power which circumscribes law to accommodate its banditry. In the novel there is no redemption for the oppressed that would, in other so-called 'post-secular' contemporary novels, be presented via supernatural forces or even in the narrative structure itself that pushes towards the resolution of its conflicts and thus implies a possibility for salvation. Predacity and its twins - fear and the subjection it impels - is couched in terms of the contract between the state and the so-called free market and the citizen who must march ineluctably to its drum or else stumble into obscurity, resorting to, as Senor C puts it, a kind of 'inner emigration'. While Senor C may cast this subaltern relationship with the state as inevitable - he points out, for instance, how even those people, like the French after World War II, who have a choice to begin afresh without the state as it is currently conceived cannot resist its pull - he nevertheless speaks of oppression and suffering in firmly political terms, as an extension of sociological processes, and so de-mystifies the source of human pain and suffering. The oppressed subject, therefore, is rendered so by the very forces which it is made to believe will ensure his security and freedom."

Tags:terror, post 9/11, oppression

Abstract
The paper argues that Coetzee's barbarism in this sense is more like what Strachey means, a failure to act civilized even if the social order is such that it would normally be characterized as civilized. The paper discusses how this defines the way that barbarism is not a universally accepted means of behavior, since the greater and more powerful Empire is now acting in a barbarous manner toward the enemy.

Tags:language, powers, history

Abstract
This paper looks at "Fishing Boats with Hucksters Bargaining for Fish," by British painter Joseph Mallord William Turner, and focuses on Turner's tendency to paint noble and serious human actions.

From the Paper
"Of the school of English landscape painting during the romantic period, Joseph Mallord William Turner's paintings read nature in its terror and grandeur somewhat more often than in its peace and serenity (Tansey and Kleiner). Turner received little if any general education but, by age fourteen, he was enrolled in the Royal Academy of the Arts (Turner). Turner is considered among the finest of the English romantic painters and is considered a master of watercolor. His 'Fishing Boats with Hucksters Bargaining for Fish'..."

Tags:Romanticism, sacrifice, nature, inhumanity, social injustice, watercolor, abstract, impressionism, landscapes, seascapes, English

Abstract
The paper reviews the dynamics of the "Peter Pan" story in terms of how it has survived and evolved. The paper explains its themes that embrace the fantasy sanctuary where time stops and children never have to grow up to live in the violent world of "mature" adults. The paper maintains that the more cruel the adult world becomes, the more germane "Peter Pan" is to those who want to dream of a idyllic world where children are safe and will always be children. The paper looks at the movie "Finding Neverland", which features popular actor Johnny Depp playing the role of "Peter Pan" author, Sir. J.M. Barrie. The paper concludes that this is a book that has had an undying appeal through the decades.

Outline:
Introduction
Thesis
Why Has Peter Pan Stayed Popular
Finding Neverland
Conclusion

From the Paper
"The recent savage slaughter in Virginia Tech's classrooms will be remembered, discussed and debated for years to come. No doubt some psychologist or psychiatrist and a smooth-talking media type or two will conclude that the killer was a "lost boy" who tried to reach out for help, gave all the signals, but somehow just didn't connect. Some creative shrink may even suggest that the shooter was like a Peter Pan character gone mad, a young man who didn't want to grow up and join the ranks of society, but didn't know where to run and hide. So, the story will continue, this tormented Peter Pan bluffed normalcy, played the grown-up game by going to college but secretly, stealthily, turned into a bloodthirsty version of Captain Hook, who, at the end of the play, made 32 innocent students "walk the plank" of his demonic ship of death."

Tags:fantasy, sanctuary, children, adults, Johnny, Depp, J., M., Barrie

Abstract
An extreme contrast can be observed between the bereaved Peter at the beginning of the film, "Finding Neverland", as opposed to the Peter who once again suffers loss at the end. The pattern of Peter's relationships conforms perfectly to John Bowlby's concepts of attachment, separation and loss. This paper analyzes the relationships of the main character, Peter, in the film "Finding Neverland", a story loosely based on the real life story of J.M. Barrie, the author of "Peter Pan". The analyses are based on John Bolwby's theories of attachment, separation, and loss.

Tags:attachment, separation, loss