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Vol 10 No. 3, December 2011

Permanent URI for this collectionhttps://hdl.handle.net/10222/31223

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    Vittorio Frigerio, Dumas l’irrégulier, Limoges, PULIM, 2011, 191 p. ISBN : 978-2-84287-546-6
    (Dalhousie University. Electronic Text Centre, 2011-12) Anselmini, Julie
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    Contents - Belphégor Vol 10 No 3
    (2011-12) Frigerio, Vittorio
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    Multiples et multiplicationdans Perter Pan
    (Dalhousie University. Electronic Text Centre, 2011) Chassagnol, Monique
    Une fonction émanée de l'art de la guerre, des techniques policières, de quelques uns des grands textes fondant la tradition narrative occidentale ; un mot déjà singularisé par la littérature, mais dans des acceptions bien différentes du sens moderne ; des structures narratives du roman moderne en voie de constitution permettant de mettre en récit un pouvoir souterrain, d'autant plus redouté qu'il agit dans l'ombre)… : conditions nécessaires mais encore insuffisantes. Il s'agit là d'un matériau linguistique et narratif alors dispersé. En fait, on ne sait pas grand chose de l'espionnage prussien et, après la Défaite de 1870, le discours social a besoin de construire le concept d'espion. Ce qu'espionner veut dire, c'est donc aussi une manière de phraser historiquement contingente ; c'est offrir le verbe ambigu à l'interprétation des naïfs et des bons entendeurs.
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    La doble dimensión trágica de Barrie y Peter Pan
    (Dalhousie University. Electronic Text Centre, 2011) Munoz Corcuera, Alfonso
    Most of the works of James Matthew Barrie, Peter Pan in particular, explore the relationship between the adult's world and the child's one, with the death set in a privileged location, since only the dead children (as his older brother David) are able to remain as children forever. The following pages show the way in which Barrie explored through literature the complex relationship he had with the world of children from which, like all of us, one day he was expelled. We will see that the way he lived this traumatic exile from his childhood made him unable to ever join the adult world in a normal way. At the same time we will see the opposite problem his character Peter Pan suffers, as he is trapped in an eternal child and deprived of all the pleasures of the adult world.
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    De Black Lake Island à Neverland
    (Dalhousie University. Electronic Text Centre, 2011) Chassagnol, Monique
    Il comprend une mise en place historique de l'espionnage de papier. Il en rappelle les manifestations dans l'antiquité puis dans la littérature française jusqu'au XVIIe siècle ; il souligne l'importance de L'Espion Du Grand-Seigneur (1684) de Marana, du genre des lettres persanes, d'écrivains aventuriers comme Goudar. Il suit l'extension du sens du mot espion, ses différentes acceptions et ses corrélats discursifs – roman érotique, journalisme de potins et d'indiscrétion mondaine, L'Espion de police (1826) de Lamothe-Langon. Il considère l'idée de faire de L'Espion (1823) de Cooper un ancêtre éponyme mais montre également comment un drame en cinq actes de Dumas et Romand, Le Bourgeois de Gand (1838), des romans de sociétés secrètes (comme l'Histoire des Treize de Balzac dans les années 1830 ou Le Juif errant, 1844-45, de Sue, puis la dimension politique d'Une Ténébreuse affaire (1843) ou des Mémoires d'un médecin de Dumas et Maquet, le succès des Mystères de Londres (1843-1844) de Féval, le croisement d'une thématique d'espionnage et de personnages de journaliste dans Jean Chacal (1868) de Louis Noir, les prémisses d'une idéologie anti-prussienne dans La Terreur prussienne (1867) de Dumas, ont tout aussi bien contribué à préparer l'émergence du genre.
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    Dorian Gray, Dracula, Peter Pan : trois refus de la modernité
    (Dalhousie University. Electronic Text Centre, 2011) Cani, Isabelle
    Dorian Gray, Dracula, Peter Pan : three mythical figures representing the refusal of the passage of time, all show up in London within two decades of each other, between the end of the 19th and the beginning of the 20th century. What if their issue with time was simply a refusal of their own time? Whether they are heroes or anti-heroes, mythical characters are confronted by the same startling modernity – the new reign of money, technology and institutions. However, you just can’t just get away from your own time, and when extreme individualism confronts passive conformism, we find the same type of fight against your own double that appears in all three novels. It’s impossible to decide to renege modernity only because you decide you want to, but Peter Pan’s choice of eternal youth and Neverland represents the most radical of refusals and will never cease to make us dream.
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    Les masques de Jacobus Hook Partie I/II
    (Dalhousie University. Electronic Text Centre, 2011) Barrie, J.M.
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    Le mythe de Peter Pan ou l'angoisse du temps qui passe
    (Dalhousie University. Electronic Text Centre, 2011) Maxwell, Amelie
    In literature, it sometimes happens that a story or a character particularly catches our attention, as well as any other person’s attention, no matter what their age, gender, level of education or native culture may be. Such a degree of popularity, a power of seduction and a compelling attraction can translate itself into a single word: myth. Among these unparalleled celebrities is Peter Pan. Whether it is while reading James Barrie’s original novel, Walt Disney’s cinematographic adaptation, or Steven Spielberg’s reinterpretation, the reader/spectator can not miss the fact that Peter Pan each time relates, reveals and explains one of the greatest preoccupations of humanity: What is time? And at the heart of the myth of Peter Pan, an even more haunting question arises: Can we escape time’s hold on us? Through the palliative ways of imagination, we learn that the effects of time on Man are inevitable, but not necessarily all-consuming.
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    Réenchanter le monde : Barrie lu par Rackham
    (Dalhousie University. Electronic Text Centre, 2011) Fievre, Francois
    The first illustrator of Peter Pan has also been, paradoxically, the one who has taken the greatest liberties with the character, in relation to the myth he will become, both iconographically and symbolically. Arthur Rackham has truly appropriated for himself the first episode of Peter Pan’s adventures, Peter Pan in Kensington Gardens, which will be followed by the much better known adventure in Neverland. This appropriation works both in the economic context of the market of book illustration, and for what concerns the artist’s interpretation of the text. The illustrator enhances the poetic value of the story. He focuses on secondary narrative strands, taking some distance from the text itself and from the conventions of literary illustration. Because of that, Rackham’s images constitute an interpretation of Peter Pan’s myth that will be contradicted by the further evolution of the character, but which is still useful to shed light on some important aspects of it.
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    Theatrical aspects in the cinematographic adaptations of Peter Pan: reminders of the initial form of the story
    (Dalhousie University. Electronic Text Centre, 2011) Wensierski, Charlotte
    While Peter Pan celebrates his hundredth birthday in 2011, we all feel like, beyond his existence in a play, a book or a film, the ageless boy Peter now belongs to the popular culture, along with legendary characters such as Alice, Robin Hood or Dracula. It has always been Peter Pan’s quality to be universal and flexible enough to “fly” from one medium to another to eventually become pervasive. Its creator, J.M. Barrie himself had already reconfigured his story from oral tale, to drama and eventually to literature in1911. It did not take long before cinema was also inspired by the colourful adventures of Peter, Wendy, the Lost Boys and Captain Hook. In 1924, as cinema was just taking its first steps, Herbert Brenon directed a silent film. It was to be followed by Disney’s animated film in 1953, Spielberg’s blockbuster with Robin Williams in 1991, P.J. Hogan’s version in 2003 and Marc Forster’s film on the origins of the play in 2004. In the article, I’m dealing with the aesthetics of drama included in the different films. By not only taking into account the content of the story, but including references to the initial format of Peter Pan – factitious settings, the accent laid on props, the emphatic performance of the actor playing Hook– the directors point at the importance of the formal flexibility which contributed to make Peter the myth he is today. In Finding Neverland, Marc Forster seems to go even further and comment on the positive relationship that drama and cinema can entertain without being a threat to one another –at an early stage of its existence, cinema rejected the influence of drama, as it needed to assert itself and prove its worth. Forster also puts into perspective all the work which has been done in the previous adaptations to pass on, not only Barrie’s story and its universal message, but also the way it was originally carried out a hundred years ago.
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    De Kensington Gardens à Neverland : Peter Pan et ses territoires
    (Dalhousie University. Electronic Text Centre, 2011) Orbann, Caroline
    While constantly transforming the character and the adventures of Peter Pan, James Matthew Barrie also modified their setting. The island of Neverland took the place of Kensington Gardens, the original location of Peter in The Little White Bird (1902), which was rightly subtitled Adventures in Kensington Gardens. The goal of this article is to understand how the author created these territories through successive rewritings. The choice of the motif of the island appears to be due to the strong influence of the adventure novels of which Barrie was a constant reader. Neverland was built in several stages. Previous works already showed traces of it. Barry finally took full possession of this island topography marked by amnesia and outside of time in Peter Pan, of course, but also in The Admirable Crichton (1902) and Mary Rose (1920). However, even if the change of location from Kensington Gardens to Neverland seems to radically change the setting of Peter’s adventures, common elements remain that allow us to shed light onto some aspects of Barry’s poetics of space.
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    Salgari, Emilio. Il Ciclo del Corsaro Nero. Introduzione di Luciano Curreri. Torino: Einaudi, 2011. ISBN : 978-88-06-20721-2
    (Dalhousie University. Electronic Text Centre., 2011-12) Frigerio, Vittorio
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