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The engaging essays in Second Star to the Right approach Peter Pan from literary, dramatic, film, television, and sociological perspectives and, in the process, analyze his emergence and preservation in the cultural imagination.

This book is a literary analysis of J.M. Barrie's Peter Pan in all its different versions -- key rewritings, dramatisations, prequels, and sequels -- and includes a synthesis of the main critical interpretations of the text over its history. A comprehensive and intelligent study of the Peter Pan phenomenon, this study discusses the book's complicated textual history, exploring its origins in the Harlequinade theatrical tradition and British pantomime in the nineteenth century. Stirling investigates potential textual and extra-textual sources for Peter Pan, the critical tendency to seek sources in Barrie's own biography, and the proliferation of prequels and sequels aiming to explain, contextualize, or close off, Barrie's exploration of the imagination. The sources considered include Dave Barry and Ridley Pearson's Starcatchers trilogy, Régis Loisel's six-part Peter Pan graphic novel in French (1990-2004), Andrew Birkin's The Lost Boys series, the films Hook (1991), Peter Pan (2003) and Finding Neverland (2004), and Geraldine McCaughrean's \"official sequel\" Peter Pan in Scarlet (2006), among others.

In his book The Great Adventure, Michael C. C. Adams traces the genealogy of the myth of manhood, discussing how the sentiment of the late-nineteenthand early-twentieth-century great adventure literature permeated British and American cultures and manifested itself in the journals and letters of soldiers, some real and some fictional.Because this myth was directed at and perpetuated through stories and organizations for young boys, it took on a connotation of innocence.'\"14 Masculinity, then, began to take shape in opposition to the role of women, which, by the 1870s, had taken on a rigid social structure as legislative reforms gave certain legal rights to married women and mothers.15 As the role of women became more clearly defined in the British cultural imagination, both legally and ideologically, the role of men became less clear, as masculinity was constructed in opposition to a changing femininity.[...]myths of masculinity and boyhood-especially adventure stories-were used as tools for understanding and constructing masculinity and boyhood, as the myths created a sense of community among men.[...]the Lusitania was heavily armed: it carried 1,248 cases of 3-inch shells, 4,927 boxes of cartridges (1,000 rounds in each box), and 2,000 more cases of small-arms ammunition.[...]by donating the rights of Peter Pan to the Great Ormond Street Hospital Children's Charity, Barrie made sure Peter Pan would benefit youth in perpetuity.

O género literário conhecido como fanfiction adquiriu uma notável presença entre os leitores mais jovens. Contudo, o seu impacto no meio académico não tem sido igualmente pronunciado. Consequentemente, o propósito subjacente à presente dissertação reside na delimitação do conceito de fanfiction enquanto género literário, por meio de uma análise minuciosa da comunidade de leitores e escritores que o compõe. Este estudo almeja realizar uma investigação exaustiva dos temas mais recorrentes no âmbito deste género, apresentando, assim, uma fundamentação sólida que justifique a sua categorização como género literário. Ademais, a pesquisa em questão propõe examinar as diferentes perspetivas e atitudes adotadas pelos autores em relação à prática da fanfiction . Por fim, esta dissertação representa uma incursão inicial na esfera do género literário em análise, com o propósito de estimular académicos a dedicarem-se a uma investigação mais profunda e abrangente.O meio contemporâneo da fanfiction manifesta-se preponderantemente online,estando integralmente disponível através de qualquer dispositivo que possua conexão à internet. A acessibilidade descomplicada a este conteúdo, aliada à sua gratuidade intrínseca, constituem as principais razões para o alcance significativo de popularidade de que a fanfiction tem desfrutado. Na secção conclusiva deste trabalho académico, proceder-se-á a uma análise detalhada de três amostras de fanfiction amplamente elogiadas: They Say of the Elves(2002) de Brancher inspirada por Senhor dos Anéis(1954) de J.R.R. Tolkien. Subliminal(2011) de Speranza, uma fanfiction da aclamada série da BBC, Sherlock Holmes(2010-2017), e por fim, Honored Promises(2007) de Cherazor, baseado no romance de Jane Austen, Orgulho e Preconceito(1813).

[...]though their titles might seem to indicate a shared intellectual terrain, these two books perform radically divergent tasks, possess varying use- values, and - excepting fairly advanced scholars of Shakespearean cinema - are ultimately written for different audiences. By focusing her critical attentions on what these films contain and display rather than on what they lack, she is able to amplify connections other scholars have ignored or misinterpreted, especially silent cinema's intermediate position between not just live theater and synchronous sound cinema, but also between twentieth- century representational technologies and the visual precursors of the nineteenth century. [...]her reduced focus results in an ability to ground more adequately the techniques and practices of later screen Shakespeares in a medium- specific history that, while eventually re- introducing the spoken word, had to traverse an influential if relatively (in terms of Shakespearean performance histories) short- lived mute variation. [...]the book itself can be a valuable tool for interested scholars in any of these various disciplines. [...]by selecting only Shakespearean texts he has purposefully and effectively chosen a worthy foil to the authorship of the filmmakers and performers he considers.

As a social construct, the view towards childhood remains to change over time. Literary works, such as films or novels from different periods of time which feature children's characters as the protagonists can be the right medium to identify those shifts. This article analyzes Wendy (2020) film as the latest adaptation of J.M. Barrie’s classic children's novel Peter Pan (1911). This film has made some transformations from the original novel to make the story more relevant in today’s context, including how it showcases childhood that is experienced by the children’s characters. Using textual and comparative analysis, this study attempts to see the transformations in the film adaptation and how it shows a different childhood construction from the one appearing in the source novel. Referring to the concept of postmodern childhood, Linda Hutcheon’s adaptation theory, and Bordwell and Thompson’s elements of film analysis, this study reveals how Wendy (2020) has exemplified the concept of postmodern childhood through the portrayal of children’s roles, children’s agency, and children-adults relationship.  

Regarding Dinner With Friends, the local critics agreed that the production showed once again the tight and precise direction of Brian McEleney and the superb ensemble work of four long-time members of the company: Because of the popularity of the production, performances were extended one week. Based on Wolf's interviews with straight, gay, and lesbian military men and women, as well as lawyers, judges, professors, and politicians, this performance piece, for which Wolf received an Obie Award, raises provocative questions about the current \"don't ask, don't tell\" policy of the US military establishment with regard to the sexual orientation of its personnel. [...]the company continued to maintain its award-winning status.

[...]they still feel abandoned when their parents (Deirdre Davis and Colin McCredie) leave for a party one night, Mr Darling sternly putting their dog Nanna (Euan Bennet) out of the house before they go. When they arrive, though, they find Peter and his similarly ageless Lost Boys, Tootles and Slightly (Bennet and Delme Thomas), are regularly menaced by the vindictive Captain Hook, his assistant Smee and a procession of pirates, each amusingly killed off by the irate Hook, who is angered by the crocodile-related loss of his hand. In the character's need for Wood's Wendy - who is wary, but independent and assertive - to be his \"mother\", and his refusal of an innocent kiss or any physical contact, Peter's fear of maturity and loss of innocence is crystallised.

Lyric Theatre, Belfast's production is reviewed.