“The Romance of the Nursery”: Lost Boys and Deadly Femininity in The Turn of the Screw and Peter Pan

2016 ◽  
Vol 41 (2) ◽  
pp. 142-157 ◽  
Author(s):  
Mary Gryctko
Keyword(s):  
Peter Pan ◽  
Lost Boys

The Peter Pan and Wendy Syndrome: A Marital Dynamic

1982 ◽  
Vol 16 (2) ◽  
pp. 23-28 ◽  
Author(s):  
Carolyn Quadrio
Keyword(s):  
Peter Pan ◽  
Dyadic Relationship ◽  
Lost Boys

A marital system is described which features an unfaithful and narcissistic husband, Peter Pan, and a long suffering and depressed wife, Wendy. The dynamics of their individual adjustments are examined as well as the symbiotic nature of the dyadic relationship. Other characters take their parts—Tinker Bell, Tiger Lily, and Little Lost Boys. Peter's infidelities belie a firm attachment to his Wendy/mother whilst she depends upon him for protection from forbidden impulses.

Peter Pan, Wendy, and the Lost Boys: A Dead Mother Complex

2021 ◽  
Vol 69 (1) ◽  
pp. 51-74
Author(s):  
Robert S. White
Keyword(s):  
Clinical Practice ◽  
Projective Identification ◽  
Mental Development ◽  
The Self ◽  
Melanie Klein ◽  
Peter Pan ◽  
Internal Objects ◽  
Mother Complex ◽  
Lost Boys

Melanie Klein and André Green offer competing descriptions of primitive mental development. The former emphasizes the need to control internal objects through splitting and projective identification, while the latter emphasizes a narcissistic retreat from objects through progressive deadening of the self. To bridge these theoretical differences a spectrum of fantasies is proposed ranging from reanimation (bringing deadness back to life) to reparation (healing damage caused by paranoid attack). Clinically, alternations between these two defensive patterns occur, acting together to avoid painful anxieties. The interplay of these defenses is illustrated by a dream drawn from clinical practice, from the life of James Barrie, and from his fictional creation Peter Pan.

scholarly journals Faces of the Captives: Aesthetic Distance and Emotional Absorption in Young Children's Engagement with Theatre

2021 ◽  
Author(s):  
◽  
Catherine Swallow
Keyword(s):  
Peter Pan ◽  
Protective Function ◽  
Contemporary Theatre ◽  
National Theatre ◽  
Children's Songs ◽  
The Aesthetic ◽  
Aesthetic Distance ◽  
Lost Boys ◽  
Dangerous Level ◽  
Emotion Contagion

<p>When Captain Hook has the lost boys tied up on his ship he cannot recognise that the sparkle on the ‘faces of the captives’ is the thrill of mimesis. It has been suggested that if young children cannot distinguish between reality and illusion then instead of suspending disbelief in the stage world, they will actually believe and therefore experience a dangerous level of emotional absorption.  Using Peter Pan as a frame of reference, this thesis examines responses to three contemporary theatre works, Capital E National Theatre for Children’s Songs of the Sea and Boxes and Scottish company Catherine Wheels’ White to challenge the idea that aesthetic distance provides a necessary protective function. Instead, it will be argued that the imagination, empathy and emotion contagion provide the conditions in which children can capably enter the aesthetic space of fictional worlds on stage.</p>

Wendy, Peter and the Lost Boys—The Gendered Discourses of Welfare Service Practitioners and Their Young Clients

Young ◽  
2016 ◽  
Vol 25 (2) ◽  
pp. 157-173 ◽  
Author(s):  
Päivi Berg ◽  
Sanna Aaltonen
Keyword(s):  
Young People ◽  
Young Men ◽  
Analytical Framework ◽  
Peter Pan ◽  
Welfare Service ◽  
Similar Position ◽  
Welfare Services ◽  
The Right ◽  
Lost Boys

The article examines the discourses related to gender in interviews with welfare service practitioners and their young, 18- to 29-year-old clients using ‘boy discourse’ as an analytical framework and J. M. Barrie’s story of Peter Pan as a metaphorical framework. Those beyond the reach of the welfare services are referred to by the practitioners as ‘lost young people’. Some practitioners see young men in particular as poor creatures, unable to achieve anything without a girlfriend, whose task is to get these Peter Pans ‘on the right track’ as Wendy does. The ‘Lost Girls’ are in a similar position to the ‘Lost Boys’ but the practitioners are more concerned about the boys. Their assumption is that girls can cope but boys need Wendys in order to succeed in life. As a result, the combined efforts of the female staff and nurturing girlfriends are seen as instrumental in steering ‘failing boys’ towards adulthood.

Nissan enjoys life in the fast lane

2004 ◽  
Vol 20 (7) ◽  
pp. 9-12
Keyword(s):  
Peter Pan ◽  
Lost Boys ◽  
Fast Lane

In the fairytale Peter Pan, the Lost Boys are quite content to skip merrily along behind their leader. The extent of their ambition is to emulate him. At Nissan, a somewhat different philosophy prevails. The Japanese automaker has no intention of simply following in the wake of rivals because, according to CEO Carlos Ghosn, those who habitually follow the leader never get to be leader themselves.

scholarly journals Faces of the Captives: Aesthetic Distance and Emotional Absorption in Young Children's Engagement with Theatre

2021 ◽  
Author(s):  
◽  
Catherine Swallow
Keyword(s):  
Peter Pan ◽  
Protective Function ◽  
Contemporary Theatre ◽  
National Theatre ◽  
Children's Songs ◽  
The Aesthetic ◽  
Aesthetic Distance ◽  
Lost Boys ◽  
Dangerous Level ◽  
Emotion Contagion

<p>When Captain Hook has the lost boys tied up on his ship he cannot recognise that the sparkle on the ‘faces of the captives’ is the thrill of mimesis. It has been suggested that if young children cannot distinguish between reality and illusion then instead of suspending disbelief in the stage world, they will actually believe and therefore experience a dangerous level of emotional absorption.  Using Peter Pan as a frame of reference, this thesis examines responses to three contemporary theatre works, Capital E National Theatre for Children’s Songs of the Sea and Boxes and Scottish company Catherine Wheels’ White to challenge the idea that aesthetic distance provides a necessary protective function. Instead, it will be argued that the imagination, empathy and emotion contagion provide the conditions in which children can capably enter the aesthetic space of fictional worlds on stage.</p>

Treating lost boys: Love is necessary and so is understanding

1997 ◽  
Vol 42 (10) ◽  
pp. 951-951
Author(s):  
Frederick H. Berenstein
Keyword(s):  
Lost Boys
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