童年论述经典研读会.ppt

童年論述經典研讀會 商品童年 Peter Pan and Commercialization of the Child 98年 5月 25日 報告：楊麗中 Questions To address how British culture constitutes and reproduces its image of the child To see the contradictions in the production, promotion, language and reception of Peter Pan (112) Peter Pan as a case in point “one of the most general of British cultural myths about childhood and the most public of childhood institutions” came face to face (112) outline Part I Peter Pan and theater tradition (pp87-102) Part II Peter Pan as book form and its by-products (pp102-112) Why Peter Pan? Money and childhood: not a comfortable association (87) Peter Pan makes a fortune, and Peter Pan breaks a myth. (87) In the case of Peter Pan, money and innocence appear to go hand in hand, endlessly calling each other up and canceling each other out. (88) Peter Pan performed in 1982 (1) He will always return. Peter Pan as an emblem for the durability, or survival of the trades to which it belongs. Reproduction/theatrical reproduction/birth/ revival (89) Thus (89-90) Peter Pan has always managed to glide over its status as a commodity. (90) Peter Pan is elusive in its own history. (91) Peter Pan performed in 1982 (2) 4. Spectacle always signifies money. (93) Peter Pan has been differentiated from the pantomime. (93-96) “Thus Peter Pan comes to be read as both innocence and not extravagant and hence as a new type of theatrical production, theater for the child.” (94) Peter Pan performed in 1982 (3) 5. In 1904 when it was first performed, it merely epitomizes a moment of theater which found one of its chief sources of pleasure and delight in watching children on stage (97). “What Peter Pan gives us better than pantomime, more than pantomime is the right to look at the child.” (98) Peter Pan performed in 1982 (4) 6. problem of child labor/ child prostitute (98-99) “Thus it becomes difficult to see Peter Pan simply as children’s play without interrogat