Marah Gubar
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195336252
- eISBN:
- 9780199868490
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195336252.003.0007
- Subject:
- Literature, 19th-century and Victorian Literature
This chapter traces how Frances Hodgson Burnett and J. M. Barrie both participated in and resisted the creation of the emerging subgenre of children’s theatre. On the one hand, Little Lord Fauntleroy ...
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This chapter traces how Frances Hodgson Burnett and J. M. Barrie both participated in and resisted the creation of the emerging subgenre of children’s theatre. On the one hand, Little Lord Fauntleroy and Peter Pan drew large numbers of children into the playhouse, and turn-of-the-century commentators credited them with helping to establish the category of “children’s play” as a distinct dramatic genre. On the other hand, when we compare these two dramas to other productions which aimed to attract child playgoers during this time, it becomes evident that Burnett and Barrie were resisting the increasing pressure to cater shows specifically and exclusively to the young. Even as more and more critics began to insist that children needed their own specially simplified and sanitized shows, these playwrights stubbornly continued to include “adult” content in their dramas, clinging to the old pantomime tradition of trying to attract a mixed audience and resisting the idea that children needed to be shielded from such matters and addressed in very different terms from adults. Their plays thus provide a final piece of support for Gubar’s argument that Golden Age authors often resisted the growing pressure to conceive of the young as a race apart.Less
This chapter traces how Frances Hodgson Burnett and J. M. Barrie both participated in and resisted the creation of the emerging subgenre of children’s theatre. On the one hand, Little Lord Fauntleroy and Peter Pan drew large numbers of children into the playhouse, and turn-of-the-century commentators credited them with helping to establish the category of “children’s play” as a distinct dramatic genre. On the other hand, when we compare these two dramas to other productions which aimed to attract child playgoers during this time, it becomes evident that Burnett and Barrie were resisting the increasing pressure to cater shows specifically and exclusively to the young. Even as more and more critics began to insist that children needed their own specially simplified and sanitized shows, these playwrights stubbornly continued to include “adult” content in their dramas, clinging to the old pantomime tradition of trying to attract a mixed audience and resisting the idea that children needed to be shielded from such matters and addressed in very different terms from adults. Their plays thus provide a final piece of support for Gubar’s argument that Golden Age authors often resisted the growing pressure to conceive of the young as a race apart.
Daniel M. Ogilvie
- Published in print:
- 2004
- Published Online:
- April 2010
- ISBN:
- 9780195157468
- eISBN:
- 9780199894024
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195157468.003.0007
- Subject:
- Psychology, Cognitive Psychology
This chapter focuses on J. M. Barrie's Peter Pan. It credits Barrie with discovering the third reason why it is necessary to weigh an infant as soon as possible, aside from weight providing medical ...
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This chapter focuses on J. M. Barrie's Peter Pan. It credits Barrie with discovering the third reason why it is necessary to weigh an infant as soon as possible, aside from weight providing medical information and giving parents the answer to the question often asked by friends and family about the newborn. The third reason why babies are weighed at birth is because they have ability to fly until they have been weighed. The law of gravity does not kick in until the moment that it is physically demonstrated that the dial on a weighing instrument moves when the infant is placed on it.Less
This chapter focuses on J. M. Barrie's Peter Pan. It credits Barrie with discovering the third reason why it is necessary to weigh an infant as soon as possible, aside from weight providing medical information and giving parents the answer to the question often asked by friends and family about the newborn. The third reason why babies are weighed at birth is because they have ability to fly until they have been weighed. The law of gravity does not kick in until the moment that it is physically demonstrated that the dial on a weighing instrument moves when the infant is placed on it.
Richard Locke
- Published in print:
- 2013
- Published Online:
- November 2015
- ISBN:
- 9780231157834
- eISBN:
- 9780231527996
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231157834.003.0004
- Subject:
- Literature, Criticism/Theory
This chapter discusses J. M. Barrie's Peter Pan (1904). The literary and biographical origin of Peter Pan is Barrie's memoir of his mother, Margaret Ogilvy (1896), where he narrates his mother's ...
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This chapter discusses J. M. Barrie's Peter Pan (1904). The literary and biographical origin of Peter Pan is Barrie's memoir of his mother, Margaret Ogilvy (1896), where he narrates his mother's inability to recover from his brother's death—her favorite son. For midcentury critic Peter Coveney, Peter Pan represents the late-nineteenth-century “cult of the child,” which “serves not to integrate childhood and adult experience, but to create a barrier of nostalgia and regret between childhood and the potential responses of adult life. The childhood indeed becomes a means of escape from the pressures of adult adjustment, a means of regression toward the irresponsibility of youth, childhood, infancy.” The play thus exhibits ambiguities, encompassing oppositions between life and death, past and eternal present, and time lost and time recovered.Less
This chapter discusses J. M. Barrie's Peter Pan (1904). The literary and biographical origin of Peter Pan is Barrie's memoir of his mother, Margaret Ogilvy (1896), where he narrates his mother's inability to recover from his brother's death—her favorite son. For midcentury critic Peter Coveney, Peter Pan represents the late-nineteenth-century “cult of the child,” which “serves not to integrate childhood and adult experience, but to create a barrier of nostalgia and regret between childhood and the potential responses of adult life. The childhood indeed becomes a means of escape from the pressures of adult adjustment, a means of regression toward the irresponsibility of youth, childhood, infancy.” The play thus exhibits ambiguities, encompassing oppositions between life and death, past and eternal present, and time lost and time recovered.
James Bohn
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496812148
- eISBN:
- 9781496812186
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496812148.003.0008
- Subject:
- Music, Popular
Alice in Wonderland and Peter Pan both originate from beloved British children’s literature. Both stories involve child protagonists that travel to a world of their imagination. Both films were ...
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Alice in Wonderland and Peter Pan both originate from beloved British children’s literature. Both stories involve child protagonists that travel to a world of their imagination. Both films were scored by Oliver Wallace, who underscored dialog from authoritative characters in the same manner as recitative. Dream and celestial imagery in “The Second Star to the Right” is investigated as well as the tune’s relationship to Peter Pan’s leitmotif. The chapter also covers “You Can Fly” in terms of rhymed dialog, foreshadowing, dream imagery, escapism, and Mickey Mousing.Less
Alice in Wonderland and Peter Pan both originate from beloved British children’s literature. Both stories involve child protagonists that travel to a world of their imagination. Both films were scored by Oliver Wallace, who underscored dialog from authoritative characters in the same manner as recitative. Dream and celestial imagery in “The Second Star to the Right” is investigated as well as the tune’s relationship to Peter Pan’s leitmotif. The chapter also covers “You Can Fly” in terms of rhymed dialog, foreshadowing, dream imagery, escapism, and Mickey Mousing.
Karen Dubinsky
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780813049106
- eISBN:
- 9780813046709
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813049106.003.0004
- Subject:
- Society and Culture, Latin American Studies
Between January 1961 and October 1962, over 14,000 Cuban children under the age of 16, unaccompanied by their parents, departed Cuba for Miami. “Operation Peter Pan” was a clandestine scheme ...
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Between January 1961 and October 1962, over 14,000 Cuban children under the age of 16, unaccompanied by their parents, departed Cuba for Miami. “Operation Peter Pan” was a clandestine scheme organized by the Catholic Church in Miami and Havana, working with the CIA and anti-Castro forces in Cuba. Parents sent their children out of Cuba for several reasons. As U.S.-Cuba relations deteriorated, and parents could not rejoin their children, many youngsters—about 7,000—found their way into long-term foster care or orphanages throughout the United States. This chapter agrees that the “emotional economy” of parenting, domestic arrangements, and sexuality helps maintain political and economic authority the world over. Fifty years of child migration conflicts have, like missile crises, bombings, and assassination plots, nurtured profound animosities between Cuba and the United States.Less
Between January 1961 and October 1962, over 14,000 Cuban children under the age of 16, unaccompanied by their parents, departed Cuba for Miami. “Operation Peter Pan” was a clandestine scheme organized by the Catholic Church in Miami and Havana, working with the CIA and anti-Castro forces in Cuba. Parents sent their children out of Cuba for several reasons. As U.S.-Cuba relations deteriorated, and parents could not rejoin their children, many youngsters—about 7,000—found their way into long-term foster care or orphanages throughout the United States. This chapter agrees that the “emotional economy” of parenting, domestic arrangements, and sexuality helps maintain political and economic authority the world over. Fifty years of child migration conflicts have, like missile crises, bombings, and assassination plots, nurtured profound animosities between Cuba and the United States.
Marah Gubar
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195336252
- eISBN:
- 9780199868490
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195336252.003.0001
- Subject:
- Literature, 19th-century and Victorian Literature
This introduction proposes that Golden Age children’s authors and members of the cult of the child were at best ambivalent and often hostile to the growing cultural pressure to conceive of children ...
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This introduction proposes that Golden Age children’s authors and members of the cult of the child were at best ambivalent and often hostile to the growing cultural pressure to conceive of children as a separate species from adults. Rather than wholeheartedly embracing the “Child of Nature” paradigm, figures such as Lewis Carroll and Kenneth Grahame conceived of children as socially saturated, highly acculturated beings—and, unlike Dickens and other chroniclers of childhood writing primarily for adults, these and other children’s authors refused to assume that precocious exposure to the civilized world would doom the child to a depressing fate. Contemporary reviews of Golden Age children’s classics and 19th-century discourse about the cult of the child reveal that Golden Age commentators recognized this: ironically, the two groups most strongly faulted by recent critics for portraying childhood as a static, remote, and idealized state—children’s authors and members of the cult—were censured in their own time for failing to promote a Romantic ideal of primitive simplicity.Less
This introduction proposes that Golden Age children’s authors and members of the cult of the child were at best ambivalent and often hostile to the growing cultural pressure to conceive of children as a separate species from adults. Rather than wholeheartedly embracing the “Child of Nature” paradigm, figures such as Lewis Carroll and Kenneth Grahame conceived of children as socially saturated, highly acculturated beings—and, unlike Dickens and other chroniclers of childhood writing primarily for adults, these and other children’s authors refused to assume that precocious exposure to the civilized world would doom the child to a depressing fate. Contemporary reviews of Golden Age children’s classics and 19th-century discourse about the cult of the child reveal that Golden Age commentators recognized this: ironically, the two groups most strongly faulted by recent critics for portraying childhood as a static, remote, and idealized state—children’s authors and members of the cult—were censured in their own time for failing to promote a Romantic ideal of primitive simplicity.
Kenneth B. Kidd
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816675821
- eISBN:
- 9781452947709
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816675821.003.0003
- Subject:
- Literature, Criticism/Theory
This chapter focuses on the psychoanalytic interpretation of and popular case writing around the Golden Age classics Alice, Peter Pan, and The Wonderful Wizard of Oz. Case writing on children’s ...
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This chapter focuses on the psychoanalytic interpretation of and popular case writing around the Golden Age classics Alice, Peter Pan, and The Wonderful Wizard of Oz. Case writing on children’s literature undertakes not only the education of the reader but also a broader critique of innocence, ignorance, or immaturity. With both Alice and Peter Pan, critical case writing takes a cue from psychoanalytic case writing and from broader anxiety about man-child sexuality, discernible in popular retellings and adaptations. The Wizard of Oz has also been assumed as having a repressed adult history. These and other Golden Age texts are addressed to adult as well as child subjects.Less
This chapter focuses on the psychoanalytic interpretation of and popular case writing around the Golden Age classics Alice, Peter Pan, and The Wonderful Wizard of Oz. Case writing on children’s literature undertakes not only the education of the reader but also a broader critique of innocence, ignorance, or immaturity. With both Alice and Peter Pan, critical case writing takes a cue from psychoanalytic case writing and from broader anxiety about man-child sexuality, discernible in popular retellings and adaptations. The Wizard of Oz has also been assumed as having a repressed adult history. These and other Golden Age texts are addressed to adult as well as child subjects.
Jon Krampner
- Published in print:
- 2014
- Published Online:
- November 2015
- ISBN:
- 9780231162333
- eISBN:
- 9780231530934
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231162333.003.0005
- Subject:
- History, Social History
This chapter examines how the Peter Pan brand of peanut butter lost its market dominance. Through the years, Peter Pan has generally recieved favorable reviews from consumer publications such as ...
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This chapter examines how the Peter Pan brand of peanut butter lost its market dominance. Through the years, Peter Pan has generally recieved favorable reviews from consumer publications such as Consumer Reports; it has been lauded variously for its spreadability, sweetness, and having a lot of peanut chunks in its crunchy variety. In 1972, however, two samples of Peter Pan crunchy tested by Consumer Reports contained insect fragments and rodent hairs. Even more objectionable was the first Salmonella outbreak in peanut butter in U.S. history, which happened to Peter Pan in 1971/1972. In 2006/2007, Peter Pan suffered its second Salmonella outbreak at the Sylvester, Georgia plant. In the end, ConAgra Foods, owner of the Sylvester plant, was found responsible for 714 reported cases of Salmonella poisoning in forty-seven states. Peter Pan has since fallen to a distant third behind Jif and Skippy in the race for peanut butter market leadership in the United States.Less
This chapter examines how the Peter Pan brand of peanut butter lost its market dominance. Through the years, Peter Pan has generally recieved favorable reviews from consumer publications such as Consumer Reports; it has been lauded variously for its spreadability, sweetness, and having a lot of peanut chunks in its crunchy variety. In 1972, however, two samples of Peter Pan crunchy tested by Consumer Reports contained insect fragments and rodent hairs. Even more objectionable was the first Salmonella outbreak in peanut butter in U.S. history, which happened to Peter Pan in 1971/1972. In 2006/2007, Peter Pan suffered its second Salmonella outbreak at the Sylvester, Georgia plant. In the end, ConAgra Foods, owner of the Sylvester plant, was found responsible for 714 reported cases of Salmonella poisoning in forty-seven states. Peter Pan has since fallen to a distant third behind Jif and Skippy in the race for peanut butter market leadership in the United States.
Daniel M. Ogilvie
- Published in print:
- 2004
- Published Online:
- April 2010
- ISBN:
- 9780195157468
- eISBN:
- 9780199894024
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195157468.001.0001
- Subject:
- Psychology, Cognitive Psychology
Fantasies of Flight invigorates the field of personality psychology by challenging the contemporary academic view that individuals are best studied as carriers of traits. The book ...
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Fantasies of Flight invigorates the field of personality psychology by challenging the contemporary academic view that individuals are best studied as carriers of traits. The book exchanges a heart-to-heart, case study approach to understanding human behavior for the current strategies of categorizing and comparing individuals according to their manifest traits. Its author asks and endeavors to answer questions like “What were the psychological conditions that led Sir James Barrie to create a character named Peter Pan?” and “What were the dynamics behind the Marshall Herff Applewhite's conviction that a space ship, hiding behind the Hale–Bopp comet, would rescue him and his Heaven's Gate followers after they enacted a mass suicide pact in 1997?” Answering these questions requires the author to resurrect “old” ways of thinking about personality and “old” strategies for studying individuals one by one. Early in the book, the author reviews the history of why intensive case studies were discredited in psychology and describes how Sigmund Freud's psychobiographical account of Leonardo da Vinci's fascination with flight inadvertently abetted critics of psychoanalytic psychology. He then performs a partial psychobiography of James Barrie and the origins of Peter Pan, followed by an investigation of Carl Jung, who fashioned the collective unconscious to serve as humankind's link with eternity. Arguing that personality psychology needs to become less insular, the author integrates information from the disciplines of developmental psychology and neuroscience into a theory regarding the latent needs that both Barrie and Jung sought to satisfy. The theory, including its emphasis on the onset of self and consciousness, is then applied to an array of well-known and obscure individuals with ascensionistic inclinations.Less
Fantasies of Flight invigorates the field of personality psychology by challenging the contemporary academic view that individuals are best studied as carriers of traits. The book exchanges a heart-to-heart, case study approach to understanding human behavior for the current strategies of categorizing and comparing individuals according to their manifest traits. Its author asks and endeavors to answer questions like “What were the psychological conditions that led Sir James Barrie to create a character named Peter Pan?” and “What were the dynamics behind the Marshall Herff Applewhite's conviction that a space ship, hiding behind the Hale–Bopp comet, would rescue him and his Heaven's Gate followers after they enacted a mass suicide pact in 1997?” Answering these questions requires the author to resurrect “old” ways of thinking about personality and “old” strategies for studying individuals one by one. Early in the book, the author reviews the history of why intensive case studies were discredited in psychology and describes how Sigmund Freud's psychobiographical account of Leonardo da Vinci's fascination with flight inadvertently abetted critics of psychoanalytic psychology. He then performs a partial psychobiography of James Barrie and the origins of Peter Pan, followed by an investigation of Carl Jung, who fashioned the collective unconscious to serve as humankind's link with eternity. Arguing that personality psychology needs to become less insular, the author integrates information from the disciplines of developmental psychology and neuroscience into a theory regarding the latent needs that both Barrie and Jung sought to satisfy. The theory, including its emphasis on the onset of self and consciousness, is then applied to an array of well-known and obscure individuals with ascensionistic inclinations.
Leonore Davidoff
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199546480
- eISBN:
- 9780191730993
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199546480.003.0013
- Subject:
- History, Social History, Family History
The death of a brother or sister affects the survivors throughout life. Psychoanalysts have focused on ‘the replacement child’ born after the death of a sibling. Parents become overly protective or ...
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The death of a brother or sister affects the survivors throughout life. Psychoanalysts have focused on ‘the replacement child’ born after the death of a sibling. Parents become overly protective or frozen in grief, unable to respond to the living child. The lost sibling becomes a saintly figure impossible to compete with or live up to. In a period of high mortality and large families, the death of a sibling meant rearranging accustomed patterns of seniority and responsibility. Religious belief, mourning rituals, and sharing grief with extended kin helped contain bereavement, but death of siblings in old age wiped out shared memories. James Barrie had lost his brother in boyhood. The ongoing popularity of his hero Peter Pan, the boy like his brother who never grew up, reflects the generations who reduced the numbers of children they bore and then lost so many to the devastation of the Great War.Less
The death of a brother or sister affects the survivors throughout life. Psychoanalysts have focused on ‘the replacement child’ born after the death of a sibling. Parents become overly protective or frozen in grief, unable to respond to the living child. The lost sibling becomes a saintly figure impossible to compete with or live up to. In a period of high mortality and large families, the death of a sibling meant rearranging accustomed patterns of seniority and responsibility. Religious belief, mourning rituals, and sharing grief with extended kin helped contain bereavement, but death of siblings in old age wiped out shared memories. James Barrie had lost his brother in boyhood. The ongoing popularity of his hero Peter Pan, the boy like his brother who never grew up, reflects the generations who reduced the numbers of children they bore and then lost so many to the devastation of the Great War.
Jon Krampner
- Published in print:
- 2014
- Published Online:
- November 2015
- ISBN:
- 9780231162333
- eISBN:
- 9780231530934
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231162333.003.0004
- Subject:
- History, Social History
This chapter charts the history of the Peter Pan brand of peanut butter and the hydrogenation process. The 1920s saw progress in the peanut butter industry with the introduction of hydrogenation. ...
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This chapter charts the history of the Peter Pan brand of peanut butter and the hydrogenation process. The 1920s saw progress in the peanut butter industry with the introduction of hydrogenation. Hydrogenation raises the melting point of peanut oil so that it is solid at room temperature, preventing it from separating from the peanut solids. This is why peanut butter with hydrogenated oil doesn't need to be refrigerated. Joseph Rosefield of Alameda, California is widely acknowledged for the first patent to hydrogenate peanut butter. But it was Pittsburgh inventor Frank Stockton who filed a patent for hydrogenating peanut butter on March 17, 1921—almost three weeks before Rosefield. Peter Pan is ordinarily credited as the first hydrogenated peanut butter, but that's not accurate; credit goes to Heinz, whose hydrogenation pedigree dates to 1923.Less
This chapter charts the history of the Peter Pan brand of peanut butter and the hydrogenation process. The 1920s saw progress in the peanut butter industry with the introduction of hydrogenation. Hydrogenation raises the melting point of peanut oil so that it is solid at room temperature, preventing it from separating from the peanut solids. This is why peanut butter with hydrogenated oil doesn't need to be refrigerated. Joseph Rosefield of Alameda, California is widely acknowledged for the first patent to hydrogenate peanut butter. But it was Pittsburgh inventor Frank Stockton who filed a patent for hydrogenating peanut butter on March 17, 1921—almost three weeks before Rosefield. Peter Pan is ordinarily credited as the first hydrogenated peanut butter, but that's not accurate; credit goes to Heinz, whose hydrogenation pedigree dates to 1923.
Ethan Mordden
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780195140583
- eISBN:
- 9780199848867
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195140583.003.0006
- Subject:
- Music, Popular
The fifties musical was in its vigor and maturity, and getting newer all the time. We see this particularly in its treatment of old subjects, in effect reinventing them. For instance, Jerome Robbins, ...
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The fifties musical was in its vigor and maturity, and getting newer all the time. We see this particularly in its treatment of old subjects, in effect reinventing them. For instance, Jerome Robbins, in his first job as director-choreographer, made Peter Pan the musical (1954) seem like the newest show yet, not just about youth but made of it. While Peter Pan marks the musical's passéiste side, its love of old things, House of Flowers (1954) shows off its need for innovation: a musical written by a composer and a fiction writer, featuring a mostly black cast at a time when the musical was routinely all-white and on a subject so sexy Cole Porter and Herbert Fields would have said no. Other musicals during the period are discussed.Less
The fifties musical was in its vigor and maturity, and getting newer all the time. We see this particularly in its treatment of old subjects, in effect reinventing them. For instance, Jerome Robbins, in his first job as director-choreographer, made Peter Pan the musical (1954) seem like the newest show yet, not just about youth but made of it. While Peter Pan marks the musical's passéiste side, its love of old things, House of Flowers (1954) shows off its need for innovation: a musical written by a composer and a fiction writer, featuring a mostly black cast at a time when the musical was routinely all-white and on a subject so sexy Cole Porter and Herbert Fields would have said no. Other musicals during the period are discussed.
Richard Locke
- Published in print:
- 2013
- Published Online:
- November 2015
- ISBN:
- 9780231157834
- eISBN:
- 9780231527996
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231157834.001.0001
- Subject:
- Literature, Criticism/Theory
This book analyzes ten books in which children feature as critical characters and assesses the ways the children in these novels have been used to explore and evade large social, psychological and ...
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This book analyzes ten books in which children feature as critical characters and assesses the ways the children in these novels have been used to explore and evade large social, psychological and moral problems. The novels the book explores portray children so vividly that their names are instantly recognizable. The book traces the 130-year evolution of these iconic child characters, moving from Oliver Twist, David Copperfield, and Pip in Great Expectations to Tom Sawyer and Huckleberry Finn; from Miles and Flora in The Turn of the Screw to Peter Pan and his modern American descendant, Holden Caulfield; and finally to Lolita and Alexander Portnoy. The book highlights the fact that many classic English and American novels focus on children and adolescents not as colorful minor characters but as the intense center of attention. It shows that, despite many differences of style, setting, and structure, all these novels enlist a particular child's story as part of a larger cultural narrative. The book demonstrates the way these great novels work, how they spring to life from their details and how they both invite and resist interpretation and provoke rereading. It conveys the variety and continued vitality of these books as they shift from Victorian moral allegory to New York comic psychoanalytic monologue, from a child who is an agent of redemption to one who is a narcissistic prisoner of guilt and proud rage.Less
This book analyzes ten books in which children feature as critical characters and assesses the ways the children in these novels have been used to explore and evade large social, psychological and moral problems. The novels the book explores portray children so vividly that their names are instantly recognizable. The book traces the 130-year evolution of these iconic child characters, moving from Oliver Twist, David Copperfield, and Pip in Great Expectations to Tom Sawyer and Huckleberry Finn; from Miles and Flora in The Turn of the Screw to Peter Pan and his modern American descendant, Holden Caulfield; and finally to Lolita and Alexander Portnoy. The book highlights the fact that many classic English and American novels focus on children and adolescents not as colorful minor characters but as the intense center of attention. It shows that, despite many differences of style, setting, and structure, all these novels enlist a particular child's story as part of a larger cultural narrative. The book demonstrates the way these great novels work, how they spring to life from their details and how they both invite and resist interpretation and provoke rereading. It conveys the variety and continued vitality of these books as they shift from Victorian moral allegory to New York comic psychoanalytic monologue, from a child who is an agent of redemption to one who is a narcissistic prisoner of guilt and proud rage.
Daniel M. Ogilvie
- Published in print:
- 2004
- Published Online:
- April 2010
- ISBN:
- 9780195157468
- eISBN:
- 9780199894024
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195157468.003.0009
- Subject:
- Psychology, Cognitive Psychology
The image of Peter Pan pounding on the window trying to get his mother's attention as her arms are wrapped around another child and Barrie's account of his childhood project of begging Margaret to ...
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The image of Peter Pan pounding on the window trying to get his mother's attention as her arms are wrapped around another child and Barrie's account of his childhood project of begging Margaret to answer the question “What about me?” are so clearly alternative versions of the same story that they require little comment. At this juncture, however, objections can be raised about having located and latched onto a childhood memory that happens to coincide with a plot in a story and exaggerating it far beyond its true importance. This chapter discusses the convening of a diagnostic council, described in Chapter 5, whose members were charged with the task of studying case materials and arriving at a consensus regarding critical components of a person's life.Less
The image of Peter Pan pounding on the window trying to get his mother's attention as her arms are wrapped around another child and Barrie's account of his childhood project of begging Margaret to answer the question “What about me?” are so clearly alternative versions of the same story that they require little comment. At this juncture, however, objections can be raised about having located and latched onto a childhood memory that happens to coincide with a plot in a story and exaggerating it far beyond its true importance. This chapter discusses the convening of a diagnostic council, described in Chapter 5, whose members were charged with the task of studying case materials and arriving at a consensus regarding critical components of a person's life.
Daniel M. Ogilvie
- Published in print:
- 2004
- Published Online:
- April 2010
- ISBN:
- 9780195157468
- eISBN:
- 9780199894024
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195157468.003.0008
- Subject:
- Psychology, Cognitive Psychology
This chapter focuses on J. M. Barrie's childhood. Jamie Barrie was born in 1860 in a small cottage in Kirriemuir, Scotland. For his first three years, Jamie was the youngest of seven living children. ...
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This chapter focuses on J. M. Barrie's childhood. Jamie Barrie was born in 1860 in a small cottage in Kirriemuir, Scotland. For his first three years, Jamie was the youngest of seven living children. In 1866, his brother David, seven years older than little Jamie and barely known to him, was killed in a skating accident. His mother, Margaret Ogilvy never recovered from the tragedy. Over the ensuing days, weeks, and months (lifetime one could say), Jamie spent much of his time trying to make his mother forget about David. Both Margaret and Jamie discovered a way to periodically escape the emotional turmoil that had been triggered by the family tragedy. Throughout the many days that Jamie spent at his mother's bedside, an opening into a conversational safety zone emerged that involved Margaret reminiscing about her childhood.Less
This chapter focuses on J. M. Barrie's childhood. Jamie Barrie was born in 1860 in a small cottage in Kirriemuir, Scotland. For his first three years, Jamie was the youngest of seven living children. In 1866, his brother David, seven years older than little Jamie and barely known to him, was killed in a skating accident. His mother, Margaret Ogilvy never recovered from the tragedy. Over the ensuing days, weeks, and months (lifetime one could say), Jamie spent much of his time trying to make his mother forget about David. Both Margaret and Jamie discovered a way to periodically escape the emotional turmoil that had been triggered by the family tragedy. Throughout the many days that Jamie spent at his mother's bedside, an opening into a conversational safety zone emerged that involved Margaret reminiscing about her childhood.
Kenneth B. Kidd
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816675821
- eISBN:
- 9781452947709
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816675821.001.0001
- Subject:
- Literature, Criticism/Theory
Children’s literature has spent decades on the psychiatrist’s couch, submitting to psychoanalysis by scores of scholars and popular writers alike. This book turns the tables, suggesting that ...
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Children’s literature has spent decades on the psychiatrist’s couch, submitting to psychoanalysis by scores of scholars and popular writers alike. This book turns the tables, suggesting that psychoanalysts owe a significant and largely unacknowledged debt to books ostensibly written for children. In fact, the text argues, children’s literature and psychoanalysis have influenced and interacted with each other since Freud published his first case studies. This book shows how psychoanalysis developed in part through its engagement with children’s literature, which it used to articulate and dramatize its themes and methods, turning first to folklore and fairy tales, then to materials from psychoanalysis of children, and thence to children’s literary texts, especially such classic fantasies as Peter Pan and Alice’s Adventures in Wonderland. It traces how children’s literature, and critical response to it, aided the popularization of psychoanalytic theory. With increasing acceptance of psychoanalysis came two new genres of children’s literature—known today as picture books and young adult novels—that were frequently fashioned as psychological in their forms and functions.Less
Children’s literature has spent decades on the psychiatrist’s couch, submitting to psychoanalysis by scores of scholars and popular writers alike. This book turns the tables, suggesting that psychoanalysts owe a significant and largely unacknowledged debt to books ostensibly written for children. In fact, the text argues, children’s literature and psychoanalysis have influenced and interacted with each other since Freud published his first case studies. This book shows how psychoanalysis developed in part through its engagement with children’s literature, which it used to articulate and dramatize its themes and methods, turning first to folklore and fairy tales, then to materials from psychoanalysis of children, and thence to children’s literary texts, especially such classic fantasies as Peter Pan and Alice’s Adventures in Wonderland. It traces how children’s literature, and critical response to it, aided the popularization of psychoanalytic theory. With increasing acceptance of psychoanalysis came two new genres of children’s literature—known today as picture books and young adult novels—that were frequently fashioned as psychological in their forms and functions.
Andy Propst
- Published in print:
- 2019
- Published Online:
- March 2019
- ISBN:
- 9780190630935
- eISBN:
- 9780190630966
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190630935.003.0009
- Subject:
- Music, Popular
After a false start on one project for MGM (which did ultimately resurface for them a few years later), Comden and Green discovered that Gene Kelly loved an idea they had had for a follow-up to the ...
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After a false start on one project for MGM (which did ultimately resurface for them a few years later), Comden and Green discovered that Gene Kelly loved an idea they had had for a follow-up to the stage musical On the Town, and that scenario (about three guys reuniting ten years after their service together in World War II) became the basis for their newest film. With music by André Previn, the movie, It’s Always Fair Weather, starred Kelly, along with Dan Dailey and Michael Kidd. Before they completed work on the screenplay a call from Jerome Robbins had them at work on their next stage project; they contributed additional songs to the new version of Peter Pan he was staging. It was the classic that starred Mary Martin.Less
After a false start on one project for MGM (which did ultimately resurface for them a few years later), Comden and Green discovered that Gene Kelly loved an idea they had had for a follow-up to the stage musical On the Town, and that scenario (about three guys reuniting ten years after their service together in World War II) became the basis for their newest film. With music by André Previn, the movie, It’s Always Fair Weather, starred Kelly, along with Dan Dailey and Michael Kidd. Before they completed work on the screenplay a call from Jerome Robbins had them at work on their next stage project; they contributed additional songs to the new version of Peter Pan he was staging. It was the classic that starred Mary Martin.
Jon Krampner
- Published in print:
- 2014
- Published Online:
- November 2015
- ISBN:
- 9780231162333
- eISBN:
- 9780231530934
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231162333.001.0001
- Subject:
- History, Social History
This book is a popular history of peanut butter, the all-American comfort food that is found in the pantries of at least seventy-five percent of American kitchens. The book shows that, to a ...
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This book is a popular history of peanut butter, the all-American comfort food that is found in the pantries of at least seventy-five percent of American kitchens. The book shows that, to a surprising extent, the story of peanut butter is the story of twentieth-century America. It details the wide variety of ways in which Americans enjoy peanut butter, shows just how much of the product is consumed each year and provides an explanation for why it is such a deeply ingrained staple of an American childhood. It draws on anecdotes and facts culled from interviews, research, travels in the peanut-growing regions of the South, personal stories and recipes. It covers the stories of Jif, Skippy, Peter Pan, the plight of black peanut farmers, the resurgence of natural or old-fashioned peanut butter, the reasons why Americans like peanut butter better than (almost) anyone else and the five ways in which today's product is different from the original. It also looks at the role of peanut butter in fighting Third World hunger and details the Salmonella outbreaks of 2007 and 2009, which threatened peanut butter's sacred place in the American cupboard.Less
This book is a popular history of peanut butter, the all-American comfort food that is found in the pantries of at least seventy-five percent of American kitchens. The book shows that, to a surprising extent, the story of peanut butter is the story of twentieth-century America. It details the wide variety of ways in which Americans enjoy peanut butter, shows just how much of the product is consumed each year and provides an explanation for why it is such a deeply ingrained staple of an American childhood. It draws on anecdotes and facts culled from interviews, research, travels in the peanut-growing regions of the South, personal stories and recipes. It covers the stories of Jif, Skippy, Peter Pan, the plight of black peanut farmers, the resurgence of natural or old-fashioned peanut butter, the reasons why Americans like peanut butter better than (almost) anyone else and the five ways in which today's product is different from the original. It also looks at the role of peanut butter in fighting Third World hunger and details the Salmonella outbreaks of 2007 and 2009, which threatened peanut butter's sacred place in the American cupboard.
Susan F. Beegel
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780813033556
- eISBN:
- 9780813038353
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813033556.003.0008
- Subject:
- Literature, 20th-century Literature and Modernism
The second part of this book focuses on To Have and Have Not. The perceived flaws of Hemingway's third novel have been so elaborated upon that the elements that truly make it interesting, especially ...
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The second part of this book focuses on To Have and Have Not. The perceived flaws of Hemingway's third novel have been so elaborated upon that the elements that truly make it interesting, especially its historical and literary background, have garnered little if any attention. Noting that Sir Henry Morgan was a famous seventeenth-century pirate, this chapter explores the rich tradition of maritime piracy the novel intertextually engages, including Treasure Island, Peter Pan, The Pirates of Penzance, and many others.Less
The second part of this book focuses on To Have and Have Not. The perceived flaws of Hemingway's third novel have been so elaborated upon that the elements that truly make it interesting, especially its historical and literary background, have garnered little if any attention. Noting that Sir Henry Morgan was a famous seventeenth-century pirate, this chapter explores the rich tradition of maritime piracy the novel intertextually engages, including Treasure Island, Peter Pan, The Pirates of Penzance, and many others.
Cynthia Brideson and Sara Brideson
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780813160887
- eISBN:
- 9780813165530
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813160887.003.0015
- Subject:
- Film, Television and Radio, Film
Ziegfeld’s pessimistic mood changes when he and Eddie Cantor reunite after years of estrangement and Ziegfeld produces Kid Boots, with Cantor as the star. Even more than Sally, the success of Kid ...
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Ziegfeld’s pessimistic mood changes when he and Eddie Cantor reunite after years of estrangement and Ziegfeld produces Kid Boots, with Cantor as the star. Even more than Sally, the success of Kid Boots proves that Ziegfeld can keep up with changing audience tastes in the 1920s. Next, the narrative returns to Ziegfeld’s marital difficulties. To prove his devotion to his wife, Ziegfeld decides to find a book musical for Burke. Annie Dear, in which the middle-aged Burke plays a young girl, is only a minor success. This chapter parallels Burke’s faltering career with Marilyn Miller’s. Now under Charles Dillingham’s management, Miller stars as Peter Pan. The failures of Annie Dear and Peter Pan have to do with the waning popularity of fantasy-themed shows. A new show by George Gershwin, Lady Be Good, signifies a shift toward jazz-inspired musicals. The chapter concludes with Ziegfeld seeking escape from his fear that, despite the success of Kid Boots, he will never produce another hit.Less
Ziegfeld’s pessimistic mood changes when he and Eddie Cantor reunite after years of estrangement and Ziegfeld produces Kid Boots, with Cantor as the star. Even more than Sally, the success of Kid Boots proves that Ziegfeld can keep up with changing audience tastes in the 1920s. Next, the narrative returns to Ziegfeld’s marital difficulties. To prove his devotion to his wife, Ziegfeld decides to find a book musical for Burke. Annie Dear, in which the middle-aged Burke plays a young girl, is only a minor success. This chapter parallels Burke’s faltering career with Marilyn Miller’s. Now under Charles Dillingham’s management, Miller stars as Peter Pan. The failures of Annie Dear and Peter Pan have to do with the waning popularity of fantasy-themed shows. A new show by George Gershwin, Lady Be Good, signifies a shift toward jazz-inspired musicals. The chapter concludes with Ziegfeld seeking escape from his fear that, despite the success of Kid Boots, he will never produce another hit.
