Cover

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Title Page, Copyright

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pp. i-ii

Contents

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pp. iii-iv

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Acknowledgements

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pp. v-v

...We would like to acknowledge the formal support of the School of Interdisciplinary Studies of the University of Glasgow, and the Association of Scottish Literary Studies (ASLS), which made possible the 2010 Dumfries conference upon which this volume is based...

Abbreviations

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pp. vi-vi

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Introduction

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pp. vii-xxii

...J. M. Barrie is a writer of elusive depth and complexity, whose life and literary creations continue to inspire writers, readers and theatre-goers worldwide. In 2010, the one hundred and fiftieth anniversary of his birth was celebrated with events around the world, from library...

Part I. Drama and Film

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1. Barrie and the New Dramatists

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pp. 1-16

......Initially it might appear that Barrie and the ‘protestants’ had little in common. Advocates of radical revision of both current theatrical conventions and the conservative consumerist ideology that the bourgeois drama promoted, the reformers sought to establish an ‘alternative’ theatre, independent of commercial considerations...

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2. 'The odd, odd triangle': Barrie's Metatheatrical Critique of the Victorian Dramatic Tradition

ANNA FARKAS

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pp. 17-29

...he has been manoeuvred into the narrow niche of whimsical fantastical comedy. As a result, the important role played in the upheavals of the British stage in the early twentieth century by the playwright to whom George Bernard Shaw ascribed ‘the final relegation of the Nineteenth Century London theatre to...

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3. Barrie's Later Dramas: The Shakespearean Romances

R. D. S. JACK

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pp. 30-48

...Hollindale traces the early stages of that belated critical reaction which not only opposed this view but did so in an exactly polarised manner. Far from being childish, in love with his mother and simply read on the surface, that group argued that Barrie had a complex mind, that he was only in love with art and that his layered...

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4. The Boy Who Never Grew Up? J. M. Barrie and Cinema

JONATHAN MURRAY

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pp. 49-67

...Were it ever to be pitched as a film project itself, the story of J. M. Barrie’s relationship with cinema might be justly described as a tale blessed with a little bit of everything: an abundance of amusing and intriguing incident, abrupt and unlooked-for reversals of fortune, and a cast list comprising...

Part II. Barrie and Literary Traditions

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5. Barrie's Farewells: The Final Story

DOUGLAS GIFFORD

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pp. 68-87

...with its accounts of social life in nineteenth century Angus, uses fiction lightly (through the schoolmaster of Glenquharity as teller, and some invented names for remembered locals). Hardly ‘Kailyard’ or fictional are its substantial descriptions of absolute rural penury, or the bothy system, or the meal riots of the early nineteenth century. It is true that...

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6. 'Frae Anither Window in Thrums': Hugh MacDiarmid and J. M. Barrie

MARGERY PALMER McCULLOCH

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pp. 88-102

...MacDiarmid’s attitude to him was perhaps not so negative as these public statements would appear to communicate. It will also discuss how Barrie inspired one of MacDiarmid’s most witty and self-mocking accounts of the frustrations and harassments that beset him in his attempts to revitalise Scotland’s literary culture. In a chapter on Barrie in...

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7. Barrie, Sentimentality, and Modernity

ANDREW NASH

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pp. 103-120

...greater consequence for understanding the distinctiveness of his work and its place within literary history. This essay points towards new ways of understanding the importance of Barrie’s fiction, both in terms of the shift from Victorian to modern fictional modes, and in terms of the tradition of modern Scottish literature...

Part III. Peter Pan's Connections

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8. Betwixt-and-Between: Peter Pan in Kensington Gardens and the Decadent Moment

PAUL FOX

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pp. 121-132

...name landmarks according to their fellows’ experiences upon those sites. The boundaries of the Gardens might be clearly marked, both internally and externally, by gates and stones, paths and persons, but the markers within the gates alter the readers’ understanding of the physical space...

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9. Peter Pan's Make-Believe: Place, Uncertainty, and Wonder

RALPH JESSOP

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pp. 133-154

...Barrie’s childhood and education. Through considering these topics the play fittingly becomes a participant in broader literary and intellectual oppositions to some dreaded aspects of modernity, especially with regard to an identification of uncertainty with stasis/death...

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10. Barrie and Bloomsbury

ROSEMARY ASHTON

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pp. 155-166

...Frampton’s famous statue of Peter Pan was installed in Kensington Gardens in 1912; Barrie lived in the area when he wrote the play; and it was in the Gardens that he befriended the family of boys, the Llewelyn Davies children, to whom the printed text was dedicated. Of the five boys, John (known as Jack), Peter, and Michael contributed their...

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11. 'A love that is real': Children's Responses to Wendy

VALENTINA BOLD

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pp. 167-185

...There is certainly blurring of personal and external experience, then, in the children’s minds, probably related to their developmental stage; for the youngest writers, in particular, there is a sense that the actors’ gaze is directed outwards, just as theirs is directed towards the stage. For the older correspondents...

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12. Dumfries Academy: Responses to Peter Pan

HUGH McMILLAN

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pp. 186-190

...Just after the Moat Brae Trust was formed in Dumfries to preserve the house and garden that had, in Barrie’s own words, inspired the story of Peter Pan, Flora Burns, then Deputy Head of Dumfries Academy, approached me with the idea of raising funds for the Trust by putting...

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Contributors

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pp. 191-193

...is an independent scholar whose research involves late nineteenth and early twentieth century Decadent aesthetics. He has published on a variety of Aesthetic, Decadent, and Edwardian writers, including Beerbohm, Huysmans, Pater, d’Annunzio, Machen, and J. M. Barrie. He is currently writing a monograph on the relationships existing between...

Index

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pp. 194-204

Back Cover

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