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Les Aventures d'Alice au pays des merveilles

https://fr.wikipedia.org/wiki/Alice_au_Pays_des_Merveilles

« Alice au pays des merveilles » redirige ici. Pour les autres significations, voir Alice au pays des merveilles (homonymie). Les Aventures d'Alice au pays des merveilles (titre original : Alice's Adventures in Wonderland), fréquemment abrégé en Alice au pays des merveilles, est un roman publié en 1865 par Lewis Carroll. Il a été traduit en français pour la première fois en 1869 par la même maison d'édition (Macmillan and Co)[1]. Lors de sa première écriture, le livre n'était pas destiné aux enfants. L'écriture fut reprise une seconde fois pour les enfants en conservant les personnages merveilleux qui la rendaient si attrayante pour ce jeune public. Le roman foisonne d'allusions satiriques aux amis de l'écrivain et aux leçons que les écoliers britanniques devaient mémoriser à l'époque. Le pays des merveilles décrit dans le conte joue sans cesse avec la logique. L'ouvrage reste populaire au XXIe siècle, aussi bien auprès des enfants que des adultes. Le livre a connu une suite intitulée De l'autre côté du miroir. Les adaptations cinématographiques combinent souvent des éléments des deux livres. L'écrivain américain Martin Gardner a publié The Annotated Alice, qui regroupe Alice au pays des merveilles et De l'autre côté du miroir accompagnés des poèmes victoriens que Lewis Carroll parodia dans le corps du texte. Le livre a été publié le 4 juillet 1865, trois ans jour pour jour après une promenade en barque sur l'Isis (qui coule à Oxford) effectuée par les révérends Dodgson (Carroll) et Robinson Duckworth[2] en compagnie de trois jeunes filles[3] : L'excursion commença au pont Folly près d'Oxford et finit une dizaine de kilomètres plus loin dans le village de Godstow. Durant le trajet, Dodgson raconta aux sœurs Liddell une histoire qu'il venait d'inventer. Celle-ci fut suivie plus tard par Alice's Adventures Underground et finit par devenir Alice's Adventures in Wonderland. En 1998, un exemplaire de la première édition a été vendu 1,5 million de dollars, ce qui est une vente record pour un livre pour enfants. Seuls vingt-deux exemplaires de la première édition de 1865 auraient survécu. Dix-sept d'entre eux se trouvent dans des bibliothèques et cinq chez des particuliers. Alice s'ennuie auprès de sa sœur qui lit un livre (« sans images, ni dialogues ») tandis qu'elle ne fait rien. « À quoi bon un livre sans images, ni dialogues ? », se demande Alice. Mais voilà qu'un lapin blanc aux yeux roses vêtu d'une redingote avec une montre à gousset à y ranger passe près d'elle en courant. Cela ne l'étonne pas le moins du monde. Pourtant, lorsqu'elle le voit sortir une montre de sa poche et s'écrier : « Je suis en retard ! En retard ! En retard ! », elle se dit que décidément ce lapin a quelque chose de particulier. En entrant derrière lui dans son terrier, elle fait une chute presque interminable qui l'emmène dans un monde aux antipodes du sien. Elle va rencontrer une galerie de personnages retors et se trouver confrontée au paradoxe, à l'absurde et au bizarre… Alice suit un lapin dans son terrier. Puis elle trouve une clé qui mène à un joli jardin. Elle boit une boisson étiquetée "bois-moi" et mange un gâteau étiqueté "mange-moi" qui la fait rétrécir afin qu'elle puisse entrer dans le jardin. Alice rencontre une souris française et elle essaie de converser en français élémentaire. Elle offense alors la souris qui tente de lui échapper. Alice participe à une course avec les animaux du groupe mais elle les fait fuir en parlant de son féroce chat[N 1]. Le lapin blanc réapparaît alors qu'il cherche les gants et l'éventail de la duchesse et demande à Alice de l'aider. Alice boit dans une petite bouteille et commence à devenir géante, mais trouve ensuite des petits gâteaux pour l'aider à se réduire à sa taille normale. Alice trouve un champignon et une chenille qui fume un narguilé. Elle parvient à manger les bonnes quantités de champignon pour qu'elle puisse retrouver sa taille normale parce qu'elle pense qu'elle a perdu son identité[5],[6]. La duchesse donne à Alice un bébé qui se transforme en cochon, puis la petite fille rencontre le chat du Cheshire. Alice assiste à un goûter avec le Lièvre de mars, le Chapelier fou et un Loir très fatigué. Ils donnent à Alice de nombreuses énigmes à résoudre, alors Alice dit que c'est le goûter le plus stupide auquel elle ait jamais assisté. Alice quitte la fête et trouve trois cartes peignant les roses blanches, parce que la Reine de cœur déteste les roses blanches. Alice rencontre alors le roi et la reine et est invitée à jouer au croquet avec eux. Alice est présentée au Griffon qui l'emmène chez la fausse tortue, qui est très triste. Alice récite le quadrille du homard et la danse des fausses tortues et des griffons. Le valet de cœur est accusé d'avoir volé les tartes de la reine. Alice est appelée comme témoin, mais elle est accusée du crime. La reine ordonne « de lui couper la tête », mais avant qu'Alice ne soit tuée, sa sœur la réveille du rêve[7]. Dans 'The Annotated Alice (en)', Martin Gardner fournit des informations générales sur les personnages. Gardner a suggéré que le Chapelier est une référence à Theophilus Carter (en), un marchand de meubles connu à Oxford, et que Tenniel a apparemment dessiné le Chapelier pour qu'il ressemble à Carter, sur une suggestion de Carroll[9]. La fausse tortue est une référence au critique d'art John Ruskin, qui venait une fois par semaine à la maison Liddell pour enseigner aux enfants le dessin, le croquis et la peinture à l'huile[9]. Lewis Carroll réalisa lui-même 37 dessins à la plume dans l'exemplaire manuscrit de l'histoire qu'il offrit à Alice Liddell, le 26 novembre 1864[10]. Une édition en fac similé (avec une traduction française) a d'ailleurs été réalisée par les éditions Frémok en 2006. Les sources divergent sur la question de savoir si c'est Dodgson ou son éditeur qui jugea bon de ne pas garder ses propres images. C'est en tout cas Lewis Carroll qui opta pour John Tenniel, dessinateur alors réputé pour sa participation à la revue satirique Punch. Bien que les illustrations de John Tenniel restent très associées à l'œuvre, le texte de Carroll a inspiré un grand nombre d'illustrateurs au fil du temps. Plusieurs centaines de versions ont ainsi vu le jour. Parmi les plus notables : Carroll a écrit beaucoup de chansons et poèmes pour 'Les Aventures d'Alice au pays des merveilles' notamment : Martin Gardner et d'autres spécialistes ont montré que le livre est rempli de nombreuses parodies de la culture populaire victorienne, suggérant qu'il appartient dans l'esprit à Topsyturveydom de W. S. Gilbert et Alfred Cellier. La plupart des aventures du livre peuvent avoir été basées sur ou influencées par des personnes, des situations et des bâtiments à Oxford et à Christ Church. Par exemple, le "Rabbit Hole" symbolisait les véritables escaliers situés à l'arrière de la salle principale de Christ Church. Une sculpture représentant un griffon et un lapin, telle qu'on peut la voir dans la cathédrale de Ripon, où le père de Carroll était chanoine, a peut-être inspiré le conte. Dans le huitième chapitre, trois cartes peignent en rouge les roses d'un rosier, parce qu'elles avaient accidentellement planté un rosier blanc que la reine de cœur déteste. Les roses rouges symbolisaient la maison anglaise des Lancaster, tandis que les roses blanches symbolisaient leur maison rivale des York, et les guerres qui les opposaient étaient donc les guerres des Roses. Si le livre est resté imprimé et inspire continuellement de nouvelles adaptations, le matériel culturel dont il s'inspire est devenu un savoir largement spécialisé. Le Dr Leon Coward affirme que le livre "souffre" de "lectures qui reflètent la fascination d'aujourd'hui pour le postmodernisme et la psychologie, plutôt que de se plonger dans une interprétation historiquement informée", et suppose que cela est dû en partie au fait que le public découvre le récit à travers une source "de seconde main", expliquant que "nos impressions du texte original sont basées sur une multiplicité de réinterprétations. Nous ne réalisons pas nécessairement que nous manquons quelque chose dans la compréhension du produit original, parce que nous n'avons généralement jamais affaire au produit original". Plusieurs personnes, dont Martin Gardner et Selwyn Goodacre, ont suggéré que Dodgson s'intéressait à la langue française, choisissant d'y faire des références et des jeux de mots dans l'histoire. Il est plus que probable qu'il s'agisse de références aux leçons de français - une caractéristique commune de l'éducation d'une fille de la classe moyenne victorienne. Par exemple, dans le deuxième chapitre, Alice suppose que la souris est peut-être française. Elle choisit donc de lui dire la première phrase de son livre de cours de français : "Où est ma chatte ?" ("Where is my cat?"). Dans la traduction française d'Henri Bué, Alice suppose que la souris est peut-être italienne et lui parle en italien. L'expression " Digging for apples " de Pat pourrait être un jeu de mots interlinguistique, puisque pomme de terre signifie pomme de terre et pomme signifie pomme. Dans le deuxième chapitre, Alice s'adresse d'abord à la souris en disant " O Souris ", en se basant sur son souvenir des déclinaisons du nom " dans la grammaire latine de son frère, 'Une souris - d'une souris - à une souris - une souris - O souris !' ". Ces mots correspondent aux cinq premiers des six cas du latin, dans un ordre traditionnel établi par les grammairiens médiévaux : mus (nominatif), muris (génitif), muri (datif), murem (accusatif), (O) mus (vocatif). Le sixième cas, mure (ablatif) est absent de la récitation d'Alice. Nilson a plausiblement suggéré que l'absence de l'ablatif d'Alice est un jeu de mots sur le travail de son père Henry Liddell sur le standard A Greek-English Lexicon puisque le grec ancien n'a pas de cas ablatif. De plus, Mousa (signifiant muse) était un nom modèle standard dans les livres grecs de l'époque dans les paradigmes de la première déclinaison, nom court-alpha. En outre, la phrase "O Muse, sing..." ou une variante proche de celle-ci figure dans de nombreuses traductions anglaises d'Homère, la prononciation par Alice de "O Mouse" formant un jeu de mots qui aurait été apparent pour les plus instruits parmi le lectorat victorien de Dodgson, étant donné la relative importance des lettres classiques dans les programmes d'enseignement des classes supérieures britanniques à cette époque. Comme Carroll était mathématicien à Christ Church, il a été suggéré qu'il y a beaucoup de références et de concepts mathématiques dans cette histoire et dans Through the Looking-Glass. La spécialiste de la littérature Melanie Bayley a affirmé dans le magazine New Scientist que Dodgson a écrit Alice au pays des merveilles dans sa forme finale comme une satire cinglante des nouvelles mathématiques modernes qui émergeaient au milieu du XIXe siècle[19],[20]. Voici quelques exemples de références aux mathématiques dans Alice : Chapitre 1 (" Down the Rabbit-Hole ") : alors qu'elle rétrécit, Alice s'interroge avec philosophie sur la taille finale qu'elle atteindra, peut-être " en s'éteignant complètement, comme une bougie " ; cette réflexion reflète le concept de limite. Chapitre 2 ("La piscine de larmes") : Alice essaie d'effectuer une multiplication mais obtient des résultats étranges : "Voyons voir : quatre fois cinq font douze, quatre fois six font treize, et quatre fois sept font... Oh là là ! Je n'arriverai jamais à vingt à ce rythme !" On explore ainsi la représentation des nombres à l'aide de différentes bases et systèmes numéraux positionnels : 4 × 5 = 12 en notation de base 18, 4 × 6 = 13 en notation de base 21 et 4 × 7 = 14 en notation de base 24. En continuant cette séquence, en augmentant de trois bases à chaque fois, le résultat sera toujours inférieur à 20 dans la notation de la base correspondante. (Après 4 × 12 = 19 en base 39, le produit serait 4 × 13 = 1A en base 42, puis 1B, 1C, 1D, et ainsi de suite). Chapitre 7 ("Un Tea-Party fou") : Le Lièvre de mars, le Chapelier et le Loir donnent plusieurs exemples dans lesquels la valeur sémantique d'une phrase A n'est pas la même que celle du contraire de A (par exemple, "On pourrait tout aussi bien dire que "Je vois ce que je mange" est la même chose que "Je mange ce que je vois" !") ; en logique et en mathématiques, on parle de relation inverse. Alice se demande également ce que signifie le fait que le changement de siège autour de la table circulaire les ramène au début. Il s'agit d'une observation de l'addition sur l'anneau des nombres entiers modulo N. Le chat du Cheshire s'estompe jusqu'à disparaître complètement, ne laissant que son large sourire suspendu dans l'air, ce qui amène Alice à s'émerveiller et à noter qu'elle a vu un chat sans sourire, mais jamais un sourire sans chat. L'abstraction profonde des concepts, comme la géométrie non euclidienne, l'algèbre abstraite et les débuts de la logique mathématique, s'emparait des mathématiques à l'époque où Dodgson écrivait. La délimitation par Dodgson de la relation entre le chat et le grin peut être considérée comme représentant le concept même des mathématiques et du nombre. Par exemple, au lieu de considérer deux ou trois pommes, on peut facilement considérer le concept de "pomme", dont les concepts de "deux" et "trois" semblent dépendre. Un saut beaucoup plus sophistiqué consiste à considérer les concepts de "deux" et "trois" par eux-mêmes, tout comme un sourire, qui semblait à l'origine dépendre du chat, séparé conceptuellement de son objet physique. Carina Garland note comment le monde est "exprimé par des représentations de la nourriture et de l'appétit", citant le désir fréquent d'Alice de consommer (à la fois de la nourriture et des mots), ses "appétits curieux". Souvent, l'idée de manger coïncide avec des images macabres. Après l'énigme "Pourquoi un corbeau ressemble-t-il à un pupitre ?", le Chapelier affirme qu'Alice pourrait tout aussi bien dire "Je vois ce que je mange... je mange ce que je vois" et la solution de l'énigme, proposée par Boe Birns, pourrait donc être la suivante : "Un corbeau mange des vers ; un pupitre est mangé par des vers" ; cette idée de nourriture résume l'idée de la vie qui se nourrit de la vie elle-même, car le ver est mangé et devient ensuite le mangeur - une image horrible de la mortalité. Nina Auerbach explique que le roman tourne autour du boire et du manger, ce qui "motive une grande partie de son comportement [celui d'Alice]", car l'histoire porte essentiellement sur les choses qui "entrent et sortent de sa bouche". Les animaux du pays des merveilles sont particulièrement intéressants, car la relation d'Alice avec eux change constamment. En effet, comme le dit Lovell-Smith, les changements de taille d'Alice la repositionnent continuellement dans la chaîne alimentaire, ce qui lui fait prendre conscience de l'attitude "manger ou être mangé" qui règne au pays des merveilles[21]. Article principal : Œuvres basées sur Alice au pays des merveilles En 2015, Robert Douglas-Fairhurst a écrit dans The Guardian, Depuis la première publication des Aventures d'Alice au pays des merveilles il y a 150 ans, l'œuvre de Lewis Carroll a donné naissance à toute une industrie, des films aux manèges de parcs à thème en passant par des produits tels qu'un costume d'Alice "mignonne et insolente" ("jupon et bas non inclus"). La petite fille au visage vide rendue célèbre par les illustrations originales de John Tenniel est devenue une tache d'encre culturelle que nous pouvons interpréter comme bon nous semble. Alice et le reste du Pays des Merveilles continuent d'inspirer ou d'influencer de nombreuses autres œuvres d'art jusqu'à aujourd'hui, parfois indirectement via le film Disney de 1951, par exemple. On trouve des références, des hommages, des remaniements et des œuvres dérivées dans de nombreuses œuvres de littérature, de cinéma, de théâtre, d'art visuel, de musique et de jeux (comme les cartes à jouer). Qualifiée d'"héroïne intrépide et sans état d'âme" par The Guardian, le personnage d'Alice, courageuse mais correcte, s'est avéré immensément populaire et a inspiré des héroïnes similaires dans la littérature et la culture populaire, dont beaucoup s'appellent également Alice en hommage. Alice a connu plusieurs adaptations dont voici les principales : Sur les autres projets Wikimedia :

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https://en.wikipedia.org/wiki/Alice%27s_Adventures_in_Wonderland

Alice's Adventures in Wonderland

https://en.wikipedia.org/wiki/Alice%27s_Adventures_in_Wonderland

Alice's Adventures in Wonderland (also known as Alice in Wonderland) is an 1865 English children's novel by Lewis Carroll, a mathematics don at the University of Oxford. It details the story of a girl named Alice who falls through a rabbit hole into a fantasy world of anthropomorphic creatures. It is seen as an example of the literary nonsense genre. The artist John Tenniel provided 42 wood-engraved illustrations for the book. It received positive reviews upon release and is now one of the best-known works of Victorian literature; its narrative, structure, characters and imagery have had a widespread influence on popular culture and literature, especially in the fantasy genre.[1][2] It is credited as helping end an era of didacticism in children's literature, inaugurating an era in which writing for children aimed to "delight or entertain".[3] The tale plays with logic, giving the story lasting popularity with adults as well as with children.[4] The titular character Alice shares her name with Alice Liddell, a girl Carroll knew—scholars disagree about the extent to which the character was based upon her.[5][6] The book has never been out of print and has been translated into 174 languages. Its legacy includes adaptations to screen, radio, visual art, ballet, opera, and musical theatre, as well as theme parks, board games and video games.[7] Carroll published a sequel in 1871 entitled Through the Looking-Glass and a shortened version for young children, The Nursery "Alice", in 1890. Alice's Adventures in Wonderland was conceived on 4 July 1862, when Lewis Carroll and Reverend Robinson Duckworth rowed up the river Isis with the three young daughters of Carroll's friend Henry Liddell:[8][9] Lorina Charlotte (aged 13; "Prima" in the book's prefatory verse); Alice Pleasance (aged 10; "Secunda" in the verse); and Edith Mary (aged 8; "Tertia" in the verse).[10] The journey began at Folly Bridge, Oxford, and ended 5 miles (8 km) upstream at Godstow, Oxfordshire. During the trip, Carroll told the girls a story that he described in his diary as "Alice's Adventures Under Ground", which his journal says he "undertook to write out for Alice".[11] Alice Liddell recalled that she asked Carroll to write it down: unlike other stories he had told her, this one she wanted to preserve.[12] She finally received the manuscript more than two years later.[13] 4 July was known as the "golden afternoon", prefaced in the novel as a poem.[14] In fact, the weather around Oxford on 4 July was "cool and rather wet", although at least one scholar has disputed this claim.[15] Scholars debate whether Carroll in fact came up with Alice during the "golden afternoon" or whether the story was developed over a longer period.[14] Carroll had known the Liddell children since around March 1856, when he befriended Harry Liddell.[16] He had met Lorina by early March as well.[17] In June 1856, he took the children out on the river.[18] Robert Douglas-Fairhurst, who wrote a literary biography of Carroll, suggests that Carroll favoured Alice Pleasance Liddell in particular because her name was ripe for allusion.[19] "Pleasance" means pleasure and the name "Alice" appeared in contemporary works, including the poem "Alice Gray" by William Mee, of which Carroll wrote a parody; Alice is a character in "Dream-Children: A Reverie", a prose piece by Charles Lamb.[19] Carroll, an amateur photographer by the late 1850s,[20] produced many photographic portraits of the Liddell children – and especially of Alice, of which 20 survive.[21] Carroll began writing the manuscript of the story the next day, although that earliest version is lost. The girls and Carroll took another boat trip a month later, when he elaborated the plot of the story to Alice, and in November, he began working on the manuscript in earnest.[22] To add the finishing touches, he researched natural history in connection with the animals presented in the book and then had the book examined by other children—particularly those of George MacDonald. Though Carroll did add his own illustrations to the original copy, on publication he was advised to find a professional illustrator so that the pictures were more appealing to his audience. He subsequently approached John Tenniel to reinterpret his visions through his own artistic eye, telling him that the story had been well-liked by the children.[22] Carroll began planning a print edition of the Alice story in 1863.[23] He wrote on 9 May 1863 that MacDonald's family had suggested he publish Alice.[13] A diary entry for 2 July says that he received a specimen page of the print edition around that date.[23] On 26 November 1864, Carroll gave Alice the manuscript of Alice's Adventures Under Ground, with illustrations by Carroll, dedicating it as "A Christmas Gift to a Dear Child in Memory of a Summer's Day".[24][25] The published version of Alice's Adventures in Wonderland is about twice the length of Alice's Adventures Under Ground and includes episodes, such as the Mad Hatter's Tea-Party (or Mad Tea Party), that do not appear in the manuscript.[26][23] The only known manuscript copy of Under Ground is held in the British Library.[23] Macmillan published a facsimile of the manuscript in 1886.[23] Alice, a young girl, sits bored by a riverbank and spots a White Rabbit with a pocket watch and waistcoat lamenting that he is late. Surprised, Alice follows him down a rabbit hole, which sends her into a lengthy plummet but to a safe landing. Inside a room with a table, she finds a key to a tiny door, beyond which is a garden. While pondering how to fit through the door, she discovers a bottle labelled "Drink me". Alice drinks some of the bottle's contents, and to her astonishment, she shrinks small enough to enter the door. However, she had left the key upon the table and cannot reach it. Alice then discovers and eats a cake labelled "Eat me", which causes her to grow to a tremendous size. Unhappy, Alice bursts into tears, and the passing White Rabbit flees in a panic, dropping a fan and two gloves. Alice uses the fan for herself, which causes her to shrink once more and leaves her swimming in a pool of her own tears. Within the pool, Alice meets various animals and birds, who convene on a bank and engage in a "Caucus Race" to dry themselves. Following the end of the race, Alice inadvertently frightens the animals away by discussing her cat. The White Rabbit appears looking for the gloves and fan. Mistaking Alice for his maidservant, he orders her to go to his house and retrieve them. Alice finds another bottle and drinks from it, which causes her to grow to such an extent that she gets stuck in the house. Attempting to extract her, the White Rabbit and his neighbours eventually take to hurling pebbles that turn into small cakes. Alice eats one and shrinks herself, allowing her to flee into the forest. She meets a Caterpillar seated on a mushroom and smoking a hookah. During the Caterpillar's questioning, Alice begins to admit to her current identity crisis, compounded by her inability to remember a poem. Before crawling away, the Caterpillar says that a bite of one side of the mushroom will make her larger, while a bite from the other side will make her smaller. During a period of trial and error, Alice's neck extends between the treetops, frightening a pigeon who mistakes her for a serpent. After shrinking to an appropriate height, Alice arrives at the home of a Duchess, who owns a perpetually grinning Cheshire Cat. The Duchess's baby, whom she hands to Alice, transforms into a piglet, which Alice releases into the woods. The Cheshire Cat appears to Alice and directs her toward the Hatter and March Hare before disappearing, leaving his grin behind. Alice finds the Hatter, March Hare, and a sleepy Dormouse in the midst of a tea party. The Hatter explains that it is always 6 p.m. (tea time), claiming that time is standing still as punishment for the Hatter trying to "kill it". A conversation ensues around the table, and the riddle "Why is a raven like a writing desk?" is brought up. Alice impatiently decides to leave, calling the party stupid. Noticing a door on a tree, Alice passes through and finds herself back in the room from the beginning of her journey. She takes the key and uses it to open the door to the garden, which turns out to be the croquet court of the Queen of Hearts, whose guard consists of living playing cards. Alice participates in a croquet game, in which hedgehogs are used as balls, flamingos are used as mallets, and soldiers act as hoops. The Queen is short-tempered and constantly orders beheadings. When the Cheshire Cat appears as only a head, the Queen orders his beheading, only to be told that such an act is impossible. Because the cat belongs to the Duchess, Alice prompts the Queen to release the Duchess from prison to resolve the matter. When the Duchess ruminates on finding morals in everything around her, the Queen dismisses her on the threat of execution. Alice then meets a Gryphon and a Mock Turtle, who dance to the Lobster Quadrille while Alice recites (rather incorrectly) a poem. The Mock Turtle sings them "Beautiful Soup", during which the Gryphon drags Alice away for a trial, in which the Knave of Hearts stands accused of stealing the Queen's tarts. The trial is conducted by the King of Hearts, and the jury is composed of animals that Alice previously met. Alice gradually grows in size and confidence, allowing herself increasingly frequent remarks on the irrationality of the proceedings. The Queen eventually commands Alice's beheading, but Alice scoffs that the Queen's guard is only a pack of cards. Although Alice holds her own for a time, the guards soon gang up and start to swarm all over her. Alice's sister wakes her up from a dream, brushing what turns out to be leaves from Alice's face. Alice leaves her sister on the bank to imagine all the curious happenings for herself. The main characters in Alice's Adventures in Wonderland are the following: In The Annotated Alice, Martin Gardner provides background information for the characters. The members of the boating party that first heard Carroll's tale show up in chapter 3 ("A Caucus-Race and a Long Tale"). Alice Liddell is there, while Carroll is caricatured as the Dodo (Lewis Carroll was a pen name for Charles Lutwidge Dodgson; because he stuttered when he spoke, he sometimes pronounced his last name as "Dodo-Dodgson"). The Duck refers to Robinson Duckworth, and the Lory and Eaglet to Alice Liddell's sisters Lorina and Edith.[27] Bill the Lizard may be a play on the name of British Prime Minister Benjamin Disraeli.[28] One of Tenniel's illustrations in Through the Looking-Glass— the 1871 sequel to Alice— depicts the character referred to as the "Man in White Paper" (whom Alice meets on a train) as a caricature of Disraeli, wearing a paper hat.[29] The illustrations of the Lion and the Unicorn (also in Looking-Glass) look like Tenniel's Punch illustrations of William Ewart Gladstone and Disraeli, although Gardner says there is "no proof" that they were intended to represent these politicians.[30] Gardner has suggested that the Hatter is a reference to Theophilus Carter, an Oxford furniture dealer, and that Tenniel apparently drew the Hatter to resemble Carter, on a suggestion of Carroll's.[31] The Dormouse tells a story about three little sisters named Elsie, Lacie, and Tillie. These are the Liddell sisters: Elsie is L.C. (Lorina Charlotte); Tillie is Edith (her family nickname is Matilda); and Lacie is an anagram of Alice.[32] The Mock Turtle speaks of a drawling-master, "an old conger eel", who came once a week to teach "Drawling, Stretching, and Fainting in Coils". This is a reference to the art critic John Ruskin, who came once a week to the Liddell house to teach the children to draw, sketch, and paint in oils.[33][34] The Mock Turtle sings "Turtle Soup", which is a parody of a song called "Star of the Evening, Beautiful Star", which the Liddells sang for Carroll.[35][36] Carroll wrote multiple poems and songs for Alice's Adventures in Wonderland, including: Carroll's biographer Morton N. Cohen reads Alice as a roman à clef populated with real figures from Carroll's life. Alice is based on Alice Liddell; the Dodo is Carroll; Wonderland is Oxford; even the Mad Hatter's Tea Party, according to Cohen, is a send-up of Alice's own birthday party.[5] The critic Jan Susina rejects Cohen's account, arguing that Alice the character bears a tenuous relationship with Alice Liddell.[6] Beyond its refashioning of Carroll's everyday life, Cohen argues, Alice critiques Victorian ideals of childhood. It is an account of "the child's plight in Victorian upper-class society", in which Alice's mistreatment by the creatures of Wonderland reflects Carroll's own mistreatment by older people as a child.[43] In the eighth chapter, three cards are painting the roses on a rose tree red, because they had accidentally planted a white-rose tree that the Queen of Hearts hates. According to Wilfrid Scott-Giles, the rose motif in Alice alludes to the English Wars of the Roses: red roses symbolised the House of Lancaster, and white roses the rival House of York.[44] Alice is full of linguistic play, puns, and parodies.[45] According to Gillian Beer, Carroll's play with language evokes the feeling of words for new readers: they "still have insecure edges and a nimbus of nonsense blurs the sharp focus of terms".[46] The literary scholar Jessica Straley, in a work about the role of evolutionary theory in Victorian children's literature, argues that Carroll's focus on language prioritises humanism over scientism by emphasising language's role in human self-conception.[47] Pat's "Digging for apples" is a cross-language pun, as pomme de terre (literally; "apple of the earth") means potato and pomme means apple.[48] In the second chapter, Alice initially addresses the mouse as "O Mouse", based on her memory of the noun declensions "in her brother's Latin Grammar, 'A mouse – of a mouse – to a mouse – a mouse – O mouse!'" These words correspond to the first five of Latin's six cases, in a traditional order established by medieval grammarians: mus (nominative), muris (genitive), muri (dative), murem (accusative), (O) mus (vocative). The sixth case, mure (ablative) is absent from Alice's recitation. Nilson suggests that Alice's missing ablative is a pun on her father Henry Liddell's work on the standard A Greek-English Lexicon, since ancient Greek does not have an ablative case. Further, mousa (μούσα, meaning muse) was a standard model noun in Greek textbooks of the time in paradigms of the first declension, short-alpha noun.[49] Mathematics and logic are central to Alice.[50] As Carroll was a mathematician at Christ Church, it has been suggested that there are many references and mathematical concepts in both this story and Through the Looking-Glass.[51][52] Literary scholar Melanie Bayley asserts in the New Scientist magazine that Carroll wrote Alice in Wonderland in its final form as a satire on mid-19th century mathematics.[53] Carina Garland notes how the world is "expressed via representations of food and appetite", naming Alice's frequent desire for consumption (of both food and words), her 'Curious Appetites'.[54] Often, the idea of eating coincides to make gruesome images. After the riddle "Why is a raven like a writing-desk?", the Hatter claims that Alice might as well say, "I see what I eat…I eat what I see" and so the riddle's solution, put forward by Boe Birns, could be that "A raven eats worms; a writing desk is worm-eaten"; this idea of food encapsulates idea of life feeding on life itself, for the worm is being eaten and then becomes the eater—a horrific image of mortality.[55] Nina Auerbach discusses how the novel revolves around eating and drinking which "motivates much of her [Alice's] behaviour", for the story is essentially about things "entering and leaving her mouth."[56] The animals of Wonderland are of particular interest, for Alice's relation to them shifts constantly because, as Lovell-Smith states, Alice's changes in size continually reposition her in the food chain, serving as a way to make her acutely aware of the 'eat or be eaten' attitude that permeates Wonderland.[57] Alice is an example of the literary nonsense genre.[58] According to Humphrey Carpenter, Alice's brand of nonsense embraces the nihilistic and existential. Characters in nonsensical episodes such as the Mad Hatter's Tea Party, in which it is always the same time, go on posing paradoxes that are never resolved.[59] Wonderland is a rule-bound world, but its rules are not those of our world. The literary scholar Daniel Bivona writes that Alice is characterised by "gamelike social structures."[60] She trusts in instructions from the beginning, drinking from the bottle labelled "drink me" after recalling, during her descent, that children who do not follow the rules often meet terrible fates.[61] Unlike the creatures of Wonderland, who approach their world's wonders uncritically, Alice continues to look for rules as the story progresses. Gillian Beer suggests that Alice looks for rules to soothe her anxiety, while Carroll may have hunted for rules because he struggled with the implications of the non-Euclidean geometry then in development.[62] The manuscript was illustrated by Carroll, who added 37 illustrations—printed in a facsimile edition in 1887.[24] John Tenniel provided 42 wood-engraved illustrations for the published version of the book.[63] The first print run was destroyed (or sold in the US)[64] at Carroll's request because Tenniel was dissatisfied with the printing quality. There are only 22 known first edition copies in existence.[63] The book was reprinted and published in 1866.[24] Tenniel's detailed black-and-white drawings remain the definitive depiction of the characters.[65] Tenniel's illustrations of Alice do not portray the real Alice Liddell,[6] who had dark hair and a short fringe. Alice has provided a challenge for other illustrators, including those of 1907 by Charles Pears and the full series of colour plates and line-drawings by Harry Rountree published in the (inter-War) Children's Press (Glasgow) edition. Other significant illustrators include: Arthur Rackham (1907), Willy Pogany (1929), Mervyn Peake (1946), Ralph Steadman (1967), Salvador Dalí (1969), Graham Overden (1969), Max Ernst (1970), Peter Blake (1970), Tove Jansson (1977), Anthony Browne (1988), Helen Oxenbury (1999),[66] and Lisbeth Zwerger (1999). Carroll first met Alexander Macmillan, a high-powered London publisher, on 19 October 1863.[13] His firm, Macmillan Publishers, agreed to publish Alice's Adventures in Wonderland by sometime in 1864.[67] Carroll financed the initial print run, possibly because it gave him more editorial authority than other financing methods.[67] He managed publication details such as typesetting and engaged illustrators and translators.[68] Macmillan had published The Water-Babies, also a children's fantasy, in 1863, and suggested its design as a basis for Alice's.[69] Carroll saw a specimen copy in May 1865.[70] 2,000 copies were printed by July, but Tenniel objected to their quality, and Carroll instructed Macmillan to halt publication so they could be reprinted.[24][71] In August, he engaged Richard Clay as an alternative printer for a new run of 2,000.[72] The reprint cost £600, paid entirely by Carroll.[73] He received the first copy of Clay's edition on 9 November 1865.[73] Macmillan finally published the new edition, printed by Richard Clay, in November 1865.[2][74] Carroll requested a red binding, deeming it appealing to young readers.[75][76] A new edition, released in December 1865 for the Christmas market but carrying an 1866 date, was quickly printed.[77][78] The text blocks of the original edition were removed from the binding and sold with Carroll's permission to the New York publishing house of D. Appleton & Company.[79] The binding for the Appleton Alice was identical to the 1866 Macmillan Alice, except for the publisher's name at the foot of the spine. The title page of the Appleton Alice was an insert cancelling the original Macmillan title page of 1865 and bearing the New York publisher's imprint and the date 1866.[2] The entire print run sold out quickly. Alice was a publishing sensation, beloved by children and adults alike.[2] Oscar Wilde was a fan;[80] Queen Victoria was also an avid reader of the book.[81] She reportedly enjoyed Alice enough that she asked for Carroll's next book, which turned out to be a mathematical treatise; Carroll denied this.[82] The book has never been out of print.[2] Alice's Adventures in Wonderland has been translated into 174 languages.[83] The following list is a timeline of major publication events related to Alice's Adventures in Wonderland: Alice was published to critical praise.[100] One magazine declared it "exquisitely wild, fantastic, [and] impossible".[101] In the late 19th century, Walter Besant wrote that Alice in Wonderland "was a book of that extremely rare kind which will belong to all the generations to come until the language becomes obsolete".[102] No story in English literature has intrigued me more than Lewis Carroll's Alice in Wonderland. It fascinated me the first time I read it as a schoolboy. F. J. Harvey Darton argued in a 1932 book that Alice ended an era of didacticism in children's literature, inaugurating a new era in which writing for children aimed to "delight or entertain".[3] In 2014, Robert McCrum named Alice "one of the best loved in the English canon" and called it "perhaps the greatest, possibly most influential, and certainly the most world-famous Victorian English fiction".[2] A 2020 review in Time states: "The book changed young people's literature. It helped to replace stiff Victorian didacticism with a looser, sillier, nonsense style that reverberated through the works of language-loving 20th-century authors as different as James Joyce, Douglas Adams and Dr. Seuss."[1] The protagonist of the story, Alice, has been recognised as a cultural icon.[104] In 2006, Alice in Wonderland was named among the icons of England in a public vote.[105] Books for children in the Alice mould emerged as early as 1869 and continued to appear throughout the late 19th century.[107] Released in 1903, the British silent film Alice in Wonderland was the first screen adaptation of the book.[108] In 2015, Robert Douglas-Fairhurst wrote in the Guardian, Since the first publication of Alice's Adventures in Wonderland 150 years ago, Lewis Carroll's work has spawned a whole industry, from films and theme park rides to products such as a "cute and sassy" Alice costume ("petticoat and stockings not included"). The blank-faced little girl made famous by John Tenniel's original illustrations has become a cultural inkblot we can interpret in any way we like.[7] Labelled "a dauntless, no-nonsense heroine" by the Guardian, the character of the plucky, yet proper, Alice has proven immensely popular and inspired similar heroines in literature and pop culture, many also named Alice in homage.[109] The book has inspired numerous film and television adaptations, which have multiplied, as the original work is now in the public domain in all jurisdictions. Musical works inspired by Alice include the Beatles's song "Lucy in the Sky with Diamonds", with songwriter John Lennon attributing the song's fantastical imagery to his reading of Carroll's books.[110] A popular figure in Japan since the country opened up to the West in the late 19th century, Alice has been a popular subject for writers of manga and a source of inspiration for Japanese fashion, in particular Lolita fashion.[111][112] The first full major production was Alice in Wonderland, a musical play in London's West End by Henry Savile Clarke and Walter Slaughter, which premiered at the Prince of Wales Theatre in 1886. Twelve-year-old actress Phoebe Carlo (the first to play Alice) was personally selected by Carroll for the role.[113] Carroll attended a performance on 30 December 1886, writing in his diary that he enjoyed it.[114] The musical was frequently revived during West End Christmas seasons during the four decades after its premiere, including a London production at the Globe Theatre in 1888, with Isa Bowman as Alice.[115][116] As the book and its sequel are Carroll's most widely recognised works, they have also inspired numerous live performances, including plays, operas, ballets, and traditional English pantomimes. These works range from fairly faithful adaptations to those that use the story as a basis for new works. Eva Le Gallienne's stage adaptation of the Alice books premiered on 12 December 1932 and ended its run in May 1933.[117] The production was revived in New York in 1947 and 1982. A community theatre production of Alice was Olivia de Havilland's first foray onto the stage.[118] Joseph Papp staged Alice in Concert at the Public Theater in New York City in 1980. Elizabeth Swados wrote the book, lyrics, and music based on both Alice's Adventures in Wonderland and Through the Looking-Glass. Papp and Swados had previously produced a version of it at the New York Shakespeare Festival. Meryl Streep played Alice, the White Queen, and Humpty Dumpty.[119] The cast also included Debbie Allen, Michael Jeter, and Mark Linn-Baker. Performed on a bare stage with the actors in modern dress, the play is a loose adaptation, with song styles ranging the globe. The 1992 musical theatre production Alice used both books as its inspiration. It also employs scenes with Carroll, a young Alice Liddell, and an adult Alice Liddell, to frame the story. Paul Schmidt wrote the play, with Tom Waits and Kathleen Brennan writing the music.[120][121] Although the original production in Hamburg, Germany, received only a small audience, Tom Waits released the songs as the album Alice in 2002.[122] The English composer Joseph Horovitz composed an Alice in Wonderland ballet commissioned by the London Festival Ballet in 1953. It was performed frequently in England and the US.[123] A ballet by Christopher Wheeldon and Nicholas Wright commissioned for the Royal Ballet entitled Alice's Adventures in Wonderland premiered in February 2011 at the Royal Opera House in London.[124][125] The ballet was based on the novel Wheeldon grew up reading as a child and is generally faithful to the original story, although some critics claimed it may have been too faithful.[126] Unsuk Chin's opera Alice in Wonderland premiered in 2007 at the Bavarian State Opera[127] and was hailed as World Premiere of the Year by the German opera magazine Opernwelt.[128] Gerald Barry's 2016 one-act opera, Alice's Adventures Under Ground, first staged in 2020 at the Royal Opera House, is a conflation of the two Alice books.[129] In 2022, the Opéra national du Rhin performed the ballet Alice, with a score by Philip Glass, in Mulhouse, France.[130] Characters from the book are depicted in the stained glass windows of Carroll's hometown church, All Saints', in Daresbury, Cheshire.[131] Another commemoration of Carroll's work in his home county of Cheshire is the granite sculpture The Mad Hatter's Tea Party, located in Warrington.[132] International works based on the book include the Alice in Wonderland statue in Central Park, New York, and the Alice statue in Rymill Park, Adelaide, Australia.[133][134] In 2015, Alice characters were featured on a series of UK postage stamps issued by the Royal Mail to mark the 150th anniversary of the publication of the book.[135]

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Peter Pan

https://fr.wikipedia.org/wiki/Peter_Pan

Pour les articles homonymes, voir Peter Pan (homonymie), Pan (homonymie) et Enfants perdus (homonymie). Peter Pan est un personnage de fiction britannique créé par l'auteur J. M. Barrie, apparu pour la première fois dans le roman Le Petit Oiseau blanc[1] en 1902, puis dans la pièce du même nom, et ensuite dans la pièce Peter et Wendy (1904), plus connue sous le titre Peter Pan, qui sera publiée en roman en 1911. Le personnage et l'œuvre ont ensuite été adaptés à de nombreuses reprises au théâtre, au cinéma, ou encore en bande dessinée. J. M. Barrie crée Peter Pan en racontant des histoires aux fils de sa grande amie Sylvia Llewelyn Davies, fille de George du Maurier, dessinateur satirique et compagnon de route de Henry James. « Peter » était le prénom de Peter Llewelyn Davies, le troisième fils de Sylvia Llewelyn Davies, et le nom « Pan » rappelait le dieu grec de la Nature. Pour certains commentateurs, le personnage a pu être inventé par Barrie en souvenir de la mort à 13 ans de son frère aîné David, dont sa mère, Margaret, ne s'est jamais remise, faisant porter le deuil à son fils cadet[2]. Peter Pan fait sa première apparition imprimée en 1902 dans le livre The Little White Bird (Le Petit Oiseau blanc)[1]. Barrie développe le personnage de Peter dans sa pièce de théâtre Peter Pan; or, The Boy Who Wouldn't Grow Up (Peter Pan, ou le garçon qui ne voulait pas grandir) dont la première a lieu à Londres le 27 décembre 1904. En 1906, la partie de The Little White Bird concernant Peter Pan est publiée seule : Peter Pan in Kensington Gardens[3], illustrée par Arthur Rackham. Enfin, Barrie adapte sa pièce pour son roman Peter and Wendy, plus connu sous le titre Peter Pan, publié en 1911. Quatre ans après la création de la production originale de Peter Pan, en 1908, Barrie écrit une scène supplémentaire intitulée An Afterthought (Après Coup), qui sera plus tard incorporée au dernier chapitre de Peter et Wendy. Dans cette scène, Peter revient chercher Wendy des années plus tard, mais elle est maintenant une adulte mariée, avec un enfant, une fille appelée Jane. Lorsque Peter apprend que Wendy l'a « trahi » en grandissant, il a le cœur brisé jusqu'au moment où Jane accepte de partir au Pays imaginaire avec Peter. Dans le roman, Barrie raconte qu'une fois Jane devenue grande, c'est sa fille Margaret qui partira au Pays imaginaire. Selon Barrie, ce cycle durera toujours, tant que les enfants seront « innocents et sans cœur ». Au milieu du XXe siècle, le prénom Wendy devient très populaire en Angleterre grâce au personnage du roman. Une statue de bronze réalisée par George Frampton est érigée dans Kensington Gardens à Londres en 1912, Peter Pan y est représenté jouant de la flûte. Une copie de cette statue se trouve dans le Parc d'Egmont à Bruxelles depuis 1924 ; elle a été offerte à la ville par Sir George Frampton, en témoignage de l'amitié qui a lié les enfants anglais et belges pendant la Première Guerre mondiale. Ce vendredi soir, la voie est libre pour Peter Pan, le petit garçon qui refuse de grandir : M. et Mme Darling sont absents et la chienne Nana, qui tient lieu de nurse à leurs enfants Wendy, John et Michael, a été enchaînée dans le jardin. Venu récupérer son ombre abandonnée lors d’une précédente visite, Peter se trouve face à Wendy. Avide des histoires qu’elle pourra lui raconter et du rôle de mère, fantasmé, qu'elle pourrait accomplir, il la persuade de le suivre jusqu’au Pays imaginaire (Neverland). Wendy devra se défendre de la jalousie de la fée Clochette (Tinker Bell) et veiller sur la petite famille des Garçons perdus, jadis tombés de leur landau, dont elle devient la mère. Emmenés par Peter Pan, Wendy et ses frères vivront d’extraordinaires aventures auxquelles seront mêlés les Peaux-Rouges et Lily la Tigresse (Tiger Lily), mais surtout les Pirates et leur chef, le fameux Capitaine Crochet (Captain Hook), qui n’a jamais pardonné à Peter de lui avoir coupé la main avant de la jeter en pâture avec son réveil au crocodile qui le poursuit depuis sans trêve... Au cours d'une embuscade, Crochet enlève Lily la Tigresse, afin de capturer Peter, dont il pense qu'il viendra la sauver. Peter Pan se rend à la Lagune aux Sirènes avec Wendy. Au cours d'une bataille, Lily la Tigresse est libérée et retourne chez les Indiens. À cause de sa jalousie, Clochette révèle la cachette de Peter Pan, où Crochet le trouve endormi et décide de le tuer en empoisonnant la potion que Wendy avait donnée à Peter. Entre-temps, les Enfants perdus, Wendy et ses frères sont capturés. Quand Peter se réveille, Clochette est prise de remords et veut le prévenir que la potion qu'il est sur le point de boire est empoisonnée. Fâché contre elle, Peter Pan ne la croit pas et Clochette boit la potion elle-même. Pour la sauver de la mort, Peter fait appel à tous les enfants qui croient aux fées et Clochette revient à elle. Peter retourne au Jolly Roger et une bataille s'engage. Crochet est vaincu et, poussé par-dessus bord, disparaît dans la gueule du crocodile. Peter devient capitaine du Jolly Roger et ramène Wendy, John et Michael et les Enfants perdus à Londres. Les parents Darling retrouvent leurs enfants et adoptent tous les Enfants perdus. Peter Pan rentre au Pays imaginaire en jurant à Wendy qu'il ne l'oubliera pas, et qu'il reviendra tous les ans pour la ramener au Pays imaginaire. Mais on apprend dans un épilogue écrit quelques années après la pièce qu'il oublie sa promesse et ne revient que bien longtemps après quand il retrouve Wendy grandie et maman. Il emmène alors sa fille Jane, puis, une fois que celle-ci est devenue grande, sa fille à elle, Margaret. L'auteur mentionne que ce cycle continuera pour toujours. Le gouvernement du Royaume-Uni a donné un droit d'auteur perpétuel (with a compulsory licence provision) sur les œuvres du cycle Peter Pan. La déclaration figure dans la section 301 du Copyright, Designs and Patents Act de 1988. Cette loi ordonne de reverser les droits de la pièce Peter Pan de Sir J. M. Barrie à l'hôpital pour enfants malades de Great Ormond Street, à Londres — à qui J. M. Barrie avait donné tous les droits d'auteur de Peter Pan en 1929 — lorsqu'elle est jouée en public, publiée à des fins commerciales, diffusée ou incluse dans des programmes câblés[5]. Cela concerne également toutes les adaptations. Ce droit d'auteur dans le Royaume-Uni et dans la plupart des pays européens avait expiré le 31 décembre 1987, 50 ans après la mort de l'auteur, mais a été rétabli en 1995, quand l'Union Européenne a augmenté la durée du droit d'auteur à 70 ans après la mort de l'auteur. Le Great Ormond Street Hospital a rétabli son droit d'auteur, qui a expiré dans le reste de l'Europe le 31 décembre 2007. Cette loi ne concerne pas The Little White Bird. Ce droit d'auteur cessera à la disparition du Great Ormond Street Hospital, ou à l'abolition de cette section. Peter Pan a été adapté plusieurs fois au théâtre et au cinéma. Depuis la pièce originale de James M. Barrie (Peter Pan; or, The Boy Who Wouldn't Grow Up) de 1904, avec Dorothea Baird dans le rôle de Mrs Darling, Peter était joué par une femme. Un film de 2003 est le premier à voir le personnage joué par un acteur masculin. En 1924, Herbert Brenon réalise le long-métrage Peter Pan pour la Famous Players-Lasky Corporation. Un an plus tard, Walter Lantz réalise Peter Pan Handled pour les J. R. Bray Studios, un court-métrage d'animation plus proche de l'adaptation libre et mettant en scène Dinky Doodle[6]. En 1953, Disney sort un film d'animation (Peter Pan) avec des musiques de Sammy Cahn, Frank Churchill, Sammy Fain et Ted Sears. La même année, Walt Disney produit une émission de télévision pour promouvoir le film, The Peter Pan Story[7]. En 1991, Steven Spielberg réalise Hook, un film où Peter a décidé de grandir et a oublié son passé. Interprété par Robin Williams, il est de nouveau confronté au capitaine Crochet qui a enlevé ses enfants. En 2000, un film de la comédie musicale de Jerome Kern a été déclaré « culturellement important » par la Bibliothèque du Congrès des États-Unis, et a été sélectionné pour être préservé par le National Film Registry. En 2003, P. J. Hogan réalise Peter Pan, dans lequel Peter Pan est joué par un jeune acteur, Jeremy Sumpter et Crochet par Jason Isaacs. En 2015, Joe Wright réalise Pan, un film expliquant comment Peter Pan (joué par Levi Miller) serait arrivé au Pays Imaginaire, faisant la rencontre de Barbe Noire (Hugh Jackman), de Crochet (Garrett Hedlund) et Lily la Tigresse (Rooney Mara). Parmi les comédies musicales, les plus connues ont été celles de Jerome Kern (1924), Leonard Bernstein (1950) ; et celle de 1954 monté par Jerome Robbins et dont les chansons ont été écrites par deux équipes d'auteurs : Mark Charlap et Carolyn Leigh, Jule Styne avec Betty Comden et Adolph Green. En 1994, pour les fêtes de fin d’année, Del Diffusion propose le spectacle Peter Pan mis en scène par Bruno Bulté. Fort du succès du spectacle (25 000 spectateurs en moins d’un mois[réf. nécessaire]), le groupe Walibi s’associe à Del Diffusion et propose un show Peter Pan pour l'été 1995 avec une nouvelle histoire et une mise en scène enlevée et visuelle, la création d’effets spéciaux inédits (laser, son, lumières et autres effets pyrotechniques, scènes de combat en live) ainsi que des comédiens-acrobates-jongleurs. En 2008, une adaptation contée, Le Secret de Peter Pan a été créée par la conteuse Paule Latorre[8]. En 2012, Luc Petit met en scène Peter Pan dans le plus grand spectacle de mapping intérieur au monde, une production de Music Hall Group sous la direction artistique de Geert Allaert[9]. En 1989, la série animée Peter Pan (Peter Pan no Bouken) voit le jour au Japon. Elle débarque en France en janvier 1990. Au cours des années 1990, une série américaine de dessins animés intitulée Peter Pan et les Pirates a été diffusée. En décembre 2011, une mini série intitulée Neverland (mini-série) a été créée par Nick Willing, racontant la genèse de Peter Pan, à savoir comment Peter a découvert le Pays Imaginaire, rencontré Clochette et apprit à voler. On y retrouve Mouche (Smee), Lily la Tigresse (Lis Tigrée), les indiens et les pirates. Crochet, surnommé Jimmy au début du film, apparaît aux côtés de Peter comme son mentor, puis il se laissera séduire par Bonnie, la capitaine du Jolly Roger. Peter et lui se disputeront, ce qui déclenchera leur rivalité telle que décrite dans le livre de J.M.Barrie. La série comporte deux épisodes, qui forment un film de 2h47. En 2012, DQ Entertainment et Method Animation produisent une série animée en image de synthèse Les Nouvelles Aventures de Peter Pan, qui se se passe au XXIe siècle. La série à destination des enfants de 6 à 10 ans. En 2013, la saison 3 de la série américaine Once Upon a Time met en scène le Pays imaginaire comme un lieu effrayant, avec pour chef un Peter Pan (Robbie Kay) dit « redoutable ». On y découvre que Peter Pan est le père de Rumplestiltskin et qu'il a rajeuni il y a des siècles grâce à un pacte avec une mystérieuse ombre. Dans la saison précédente, les enfants perdus, la famille Darling et le Capitaine Crochet ont été introduits. Rumplestiltskin jouant le rôle du Crocodile en lui coupant la main gauche après que le pirate lui ait volé sa femme. La série Le Monde des Winx fait référence et met également en scène ce personnage de Peter Pan et son univers avec la fée Clochette notamment. Publiée à partir de 1990, la série de bandes dessinées Peter Pan, créée par Régis Loisel, est une adaptation plus sombre et destinée à un public plus adulte[10]. La série en six volumes a été achevée en 2004. En 2012 sort la bande-dessinée Fairy Quest, transposition de tous les contes de fées dans le même monde. Peter Pan et les autres personnages apparaissent dans le premier tome. En 2013 sort University Ever After, une web-série créée par Julia Seales[11] reprenant les personnages de conte de fées à l'époque contemporaine et allant tous à la même fac. Dans la première saison, Clochette est la seule introduite. Ce n'est que dans la seconde saison que Crochet et Peter Pan sont présents. En 2014, une autre web-série, The new adventures of Peter and Wendy, créée et interprétée par Kyle Walters[12], reprend les personnages de l'histoire, plus âgés et vivant dans la ville de Neverland[13]. En 2015, une autre web-série, So the story goes, sur les contes de fées replacés à l'ère moderne met en scène l'histoire de Peter Pan dans la 2de et 3e saison. La seconde saison est consacrée uniquement à l'Équipe d'Enquête Paranormale du Jolly Rogers, une compagnie qui se charge des événements paranormaux menés par Jane Crochet. Alors que cette saison a un ton comique et divertissant, la suivante est plutôt du genre dramatique, mystérieux et policier. C'est dans cette saison que Peter Pan et la famille Darling entrent en scène, ce qui va requérir l'intervention de Jolly Rogers. Plusieurs artistes ont tenté de créer des suites aux aventures de Peter Pan inspirées de l'histoire de Barrie. En 1987, Gilbert Adair imagine dans Peter Pan and the Only Children que Peter reforme un nouveau gang sous l'océan, à partir des enfants tombés des navires. En 1991, dans Hook ou la Revanche du Capitaine Crochet, Steven Spielberg met en scène un Peter Pan devenu adulte (Robin Williams) qui est ramené au Pays imaginaire par la fée Clochette (Julia Roberts) pour un ultime combat contre le Capitaine Crochet (joué par Dustin Hoffman). En 1993 : Les Ailes de Peter Pan, par François Rivière, Françoise Balibar, éd. Seuil Jeunesse, illustré par René Follet. En 2002, Disney sort le film d'animation Peter Pan 2 : Retour au Pays Imaginaire (Return to Neverland), suite de son précédent film de 1953. L'action se déroule pendant le Blitz allemand sur Londres pendant la Seconde Guerre mondiale et traite du problème des enfants forcés de grandir trop vite. Le 5 octobre 2006 une suite officielle, L'Habit Rouge de Peter Pan de Geraldine McCaughrean, sortie avec l'accord de l'hôpital de Great Ormond Street de Londres, paraît aux Éditions Pocket. En 2009, Sébastien Perez et Martin Maniez publient Le journal de Peter aux éditions Milan. Sous forme d'un journal intime illustré, les auteurs racontent le long cheminement psychologique d'un jeune orphelin qui fuit la réalité jusqu'à devenir Peter Pan, l'enfant qui veut rester à jamais dans son monde de fantaisie... En 2021, l'éditeur spécialisé Magic Mirror publie Tant que vole la poussière de Cameron Valciano. Dans une ambiance très sombre, le roman relate les aventures de James Hook et Wendy Darling, laquelle cherche à retrouver sa fille Jane. Cette quête les emmènera au Pays du Jamais où ils retrouveront le Jolly Roger, Peter Pan, Lily la Tigresse et les sirènes... La Fée Clochette (Tinker Bell) est un long-métrage d'animation des studios Disney sorti directement en vidéo à l'automne 2008 sauf dans certains pays (Argentine, Mexique, Russie, Japon) où il a été exploité dans les salles. Réalisé entièrement en images de synthèse, il est le premier film d'une grande saga Disney Fairies destinée aux enfants d'environ 6 à 10 ans, longue production qui contient de nombreux films, livres et autres produits dérivés, tous centrés sur le personnage de la fée Clochette accompagnée de nombreux nouveaux personnages dont la plupart sont des fées très diverses et de personnalités très différentes afin que tous les enfants se reconnaissent à coup sûr au moins dans l'une d'entre elles. Peter Pan n'apparaît pas comme personnage dans cette production. Le film a eu plusieurs suites que sont Clochette et la Pierre de lune en 2009, Clochette et l'Expédition féerique en 2010, Clochette et le Secret des fées en 2012, Clochette et la Fée pirate en 2014 et Clochette et la Créature légendaire en 2014. Un dessin animé, La vallée des fées, a été diffusée sur Disney Channel. Le 14 février 2011, une série de dessins animés pour enfants du nom de Jake et les Pirates du Pays imaginaire est diffusée aux États-Unis. Elle suit les aventures des enfants de Peter Pan qui sont Jake, Izzy et LeFrisé (Cubby en version originale) qui sont accompagnés de leur perroquet Skully. Ils doivent affronter au Pays Imaginaire (Neverland en version originale), Captain Crochet et ses acolytes Monsieur Mouche, Sharky et Bones qui tenteront par tous les moyens de voler leur trésor. Peter Pan apparait de façon récurrente dans certains épisodes pour rendre visite à ses enfants, les sauver ou pour se faire sauver par ces derniers. Wendy Darling, John et Michael apparaissent dans un épisode spécial de la quatrième saison et dans le dernier épisode de la série qui compte 116 (114 pour réduire le dernier épisode en deux parties) et non 104 épisodes ainsi que quatre et non trois saisons. La Fée Clochette apparait également de façon récurrente pour aider ses amis ou pour se faire aider. À part l'épisode spécial Capitaine Jake et les Pirates du Pays imaginaire, la quatrième saison semble ne pas avoir été diffusée en France, quatrième saison qui a pris le nom de Captain Jake et les Pirates du Pays imaginaire, nom qui est aussi pour les produits commerciaux et les marchandises. Dans le dernier épisode de la troisième saison, Jake commence par se faire appeler Capitaine Jake pour des raisons inconnues (surement pour son changement d'habit étant beaucoup plus capitaine d'équipage, parce qu'il doit sauver son bateau et que le dernier épisode de la troisième saison et la quatrième saison sont les épisodes d'actions de la série aimés autant des adolescents que des enfants, ceci jusqu'à la fin de la série. Sur les autres projets Wikimedia :

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https://en.wikipedia.org/wiki/Peter_Pan

Peter Pan

https://en.wikipedia.org/wiki/Peter_Pan

Peter Pan is a fictional character created by Scottish novelist and playwright J. M. Barrie. A free-spirited and mischievous young boy who can fly and never grows up, Peter Pan spends his never-ending childhood having adventures on the mythical island of Neverland as the leader of the Lost Boys, interacting with fairies, pirates, mermaids, Native Americans, and occasionally ordinary children from the world outside Neverland. Peter Pan has become a cultural icon symbolizing youthful innocence and escapism. In addition to two distinct works by Barrie, The Little White Bird (1902, with chapters 13–18 published in Peter Pan in Kensington Gardens in 1906), and the West End stage play Peter Pan; or, the Boy Who Wouldn't Grow Up (1904, which expanded into the 1911 novel Peter and Wendy), the character has been featured in a variety of media and merchandise, both adapting and expanding on Barrie's works. These include several films, television series and many other works. Barrie commissioned a statue of Peter Pan by the sculptor George Frampton, which was erected overnight in Kensington Gardens on 30 April 1912 as a surprise to the children of London.[1] Six other statues have been cast from the original mould and displayed around the world. In 2002, Peter Pan featured on a series of UK postage stamps issued by the Royal Mail on the centenary of Barrie's creation of the character.[2] Peter Pan first appeared as a character in Barrie's The Little White Bird (1902), a novel for adults. In chapters 13–18, titled "Peter Pan in Kensington Gardens", Peter is a seven-day-old baby and has flown from his nursery to Kensington Gardens in London, where the fairies and birds taught him to fly. He is described as "betwixt-and-between" a boy and a bird. Barrie returned to the character of Peter Pan, putting him at the centre of his stage play titled Peter Pan, or The Boy Who Wouldn't Grow Up, which premiered on 27 December 1904 at the Duke of York's Theatre in London.[3] Following the success of the 1904 play, Barrie's publishers, Hodder and Stoughton, extracted the Peter Pan chapters of The Little White Bird and published them in 1906 under the title Peter Pan in Kensington Gardens, with the addition of illustrations by Arthur Rackham.[4] Barrie later adapted and expanded the 1904 play's storyline as a novel, which was published in 1911 as Peter and Wendy. J. M. Barrie may have based the character of Peter Pan on his older brother, David, who died in an ice-skating accident the day before his 14th birthday. His mother and brother thought of him as forever a boy.[5] Barrie never described Peter's appearance in detail, even in his novel, leaving it to the imagination of the reader and the interpretation of anyone adapting the character. In the play, Peter's outfit is made of autumn leaves and cobwebs. In the book and the play, he also carries a dagger for cutting and a sword for fighting, although in some versions he only has one of the two. [6] His name and playing the flute or pan pipes suggest that he is based on the Greek god and mythological character Pan. Barrie mentions in Peter and Wendy that Peter Pan still had all his "first teeth".[7] He describes him as a "lovely boy, clad in skeleton leaves and the juices that ooze out of trees".[7] In The Little White Bird (1902) and Peter Pan in Kensington Gardens (1906), he is seven days old.[8] Traditionally, the character has been played on stage by a female, but can also be played by a male.[9] In the original productions in the UK, Peter Pan's costume was a reddish tunic and dark green tights, such as that worn by Nina Boucicault in 1904. This costume is exhibited at Barrie's Birthplace.[10] The similar costume worn by Pauline Chase (who played the role from 1906 to 1913) is displayed in the Museum of London. Early editions of adaptations of the story also depict a red costume [11][12] but a green costume (whether or not made of leaves) becomes more usual from the 1920s,[13] and more so later after the release of Disney's animated movie. In the Disney films, Peter wears an outfit that consists of a short-sleeved green tunic and tights apparently made of cloth, and a cap with a red feather in it. He has pointed elf-like ears, brown eyes, and reddish hair. In Hook (1991), the character is played as an adult by Robin Williams, with blue eyes and dark brown hair; in flashbacks to him in his youth, his hair is light brown. His ears appear pointed only when he is Peter Pan, not as Peter Banning. His Pan attire resembles the Disney outfit (minus the cap) and he wields a gold bladed sword. In the live-action 2003 Peter Pan film, he is portrayed by Jeremy Sumpter, with blond hair, green eyes, bare feet and a costume made of leaves and vines. In the prequel to the main story 2015 Pan film, he is portrayed by Levi Miller, a young boy who was left as a baby by the orphanage until he gets captured by Blackbeard's pirates and taken to Neverland. Here he wears just simple clothes. Peter is an exaggerated stereotype of a boastful and careless boy. He claims greatness, even when such claims are questionable (such as congratulating himself when Wendy re-attaches his shadow). In the play and book, Peter symbolises the selfishness of childhood, and is portrayed as being forgetful and self-centred. Peter has a nonchalant, devil-may-care attitude, and is fearlessly cocky when it comes to putting himself in danger. Barrie writes that when Peter thought he was going to die on Marooners' Rock, he felt scared, yet he felt only one shudder. With this blithe attitude, he says, "To die will be an awfully big adventure." In the play, the unseen and unnamed narrator ponders what might have been if Peter had stayed with Wendy, so that his cry might have become, "To live would be an awfully big adventure!", "but he can never quite get the hang of it".[14] Peter's archetypal quality is his unending youth. In Peter and Wendy, it is explained that Peter must forget his own adventures and what he learns about the world in order to stay childlike. Peter's ability to fly is explained, but inconsistently. In The Little White Bird, he is able to fly because he is said to be part bird, like all babies. In the play and novel, he teaches the Darling children to fly using a combination of "lovely wonderful thoughts" and fairy dust. In Barrie's Dedication to the play Peter Pan, The Boy Who Wouldn't Grow up,[15] the author attributes the idea of fairy dust being necessary for flight to practical needs: ...after the first production I had to add something to the play at the request of parents (who thus showed that they thought me the responsible person) about no one being able to fly until the fairy dust had been blown on him; so many children having gone home and tried it from their beds and needed surgical attention. – J. M. Barrie Peter has an effect on the whole of Neverland and its inhabitants when he is there. Barrie states that although Neverland appears different to every child, the island "wakes up" when Peter returns from his trip to London. In the chapter "The Mermaids' Lagoon" in the book Peter and Wendy, Barrie writes that there is almost nothing that Peter cannot do. He is a skilled swordsman, rivalling even Captain Hook, whose hand he cut off in a duel. He has remarkably keen vision and hearing. He is skilled in mimicry, copying the voice of Hook and the ticking of the clock in the crocodile. Peter has the ability to imagine things into existence and he is able to sense danger when it is near. In Peter and Wendy, Barrie states that the Peter Pan legend Mrs. Darling heard as a child, was that when children died, he accompanied them part of the way to their destination so they would not be frightened. In the original play, Peter states that no one must ever touch him (though he does not know why). The stage directions specify that no one does so throughout the play. Wendy approaches Peter to give him a "kiss" (thimble), but is prevented by Tinker Bell. However, John Caird and Trevor Nunn's introduction to the script for the 1997 Royal National Theatre production, states that this was never Barrie's original intention, and was only added for a production in 1927, where Jean Forbes-Robertson took the title role, and played the part with a lighter, more fairy-like, physicality. Robertson was to play the part almost every year until 1939. Peter Pan is a free spirit, being too young to be burdened with the effects of education or to have an adult appreciation of moral responsibility. As a "betwixt-and-between", who can fly and speak the language of fairies and birds, Peter is part animal and part human. According to psychologist Rosalind Ridley, by comparing Peter's behaviour to adults and to other animals, Barrie raises many post-Darwinian questions about the origins of human nature and behaviour. As "the boy who wouldn't grow up", Peter exhibits many aspects of the stages of cognitive development seen in children and can be regarded as Barrie's memory of himself as a child, being both charmingly childlike and childishly solipsistic.[16] Peter Pan ran away from his parents when he was a baby as told in Peter Pan in Kensington Gardens and Peter and Wendy. Finding the window closed and seeing a new baby boy in the house when he returned some time later, he believed his parents no longer wanted him and never came back. This younger sibling is referred to in the chapter "Lock-Out Time" in Peter Pan in Kensington Gardens but is not mentioned again. While in Kensington Gardens, Peter meets a lost girl named Maimie Mannering and the two quickly become friends. Peter proposes marriage to Maimie. While Maimie wants to stay in the Gardens with Peter, she comes to realise that her mother is so worried that she must return to her. Maimie promises to always remember Peter and goes back to her mother. When Maimie grows up, she continues to think of Peter, dedicating presents and letters to him. To remember Maimie, Peter rides the imaginary goat that Maimie created for him. She is considered to be the literary predecessor of Wendy Darling.[17] It is hinted that Wendy may have romantic feelings for Peter, but unrequited because of his inability to love. In the original novel, Peter later befriends Wendy's daughter Jane (and her subsequent daughter Margaret), and it is implied that this pattern will go on forever. From time to time, Peter visits the real world, and befriends children. Wendy Darling, whom he recruited to be his "mother", is the most significant of them; he also brings her brothers John and Michael to Neverland at her request. It is mentioned that Wendy was the only girl who captured his attention. In the 1991 film Hook, an older Wendy implies that she used to (and perhaps, still does) have feelings for Peter, saying that she was shocked that he did not prevent her wedding day. In the 2002 sequel to the 1953 Disney film, Return to Neverland, Peter and a grown-up Wendy are briefly, but happily, reunited after many years and continue to show feelings for each other. In the 2003 film Peter Pan, the feeling is mutual. Captain Hook can only take away Peter's ability to fly by thoughts of Wendy leaving him, growing up, and replacing him with a husband. Wendy saves Peter by giving him her hidden kiss which gives him the will to live, signifying she is his true love. In some versions, he marries her or her grandaughter Moira. John is the middle child of the Darlings, and plays father and mother with Wendy. On the Neverland, he serves as the boldest of the Lost Boys and the only one who is not entirely convinced by Peter's games. "'Do be more polite to him,' Wendy whispered to John...'Then tell him to stop showing off,' said John."[18] Michael, the youngest of the Darlings, is the least prepared for the bloodthirsty life on the Neverland. When Michael kills a pirate in Act V, Wendy is mortified because he is so happy about it.[14] Peter Pan In Scarlet reveals that Michael died in World War I. The parents of Wendy, John and Michael. Mr. Darling works as a clerk in the City, and is named after George Llewelyn Davies. Mrs. Darling is named after Mary Ansell, Barrie's wife. Tiger Lily is the daughter of Great Big Little Panther, the chief of the Native American tribe that resides in Neverland. Barrie refers to her as "a princess in her own right", and she is often described as such. She is kidnapped by the pirates and left to die on Marooners' Rock but is rescued by Peter. It is hinted later that she may have romantic feelings for Peter but he does not return them, as he is completely oblivious to other people's feelings. In the Disney film, Tiger Lily shows her gratitude by performing a dance for Peter and kissing him. The kiss makes him turn bright red and makes Wendy jealous of Tiger Lily. Tinker Bell is a common fairy who is Peter Pan's best friend and is often jealously protective of him. He nicknames her "Tink". She is the friend who helps him in his escapades. Tink's malicious actions are usually caused by her jealousy; these lead to the Lost Boys shooting arrows at Wendy, and eventually revealing Peter's hideout to Captain Hook, in the hope that Wendy will be captured rather than Peter. When Tink realises her serious mistake, she risks her own life by drinking the poison Hook has left for Peter. Her extreme loyalty and dedication to Peter are everlasting. Peter is the leader of the Lost Boys, which include Tootles, Nibs, Slightly, Curly, and The Twins. The Lost Boys is a band of boys who were lost by their parents after they "fall out of their perambulators" and came to live in Neverland. In Barrie's novel Peter and Wendy (but not the original play Peter Pan), it is stated that Peter "thins them out" when they start to grow up. In the song "I Won't Grow Up" from the 1954 musical, the boys sing "I will stay a boy forever", to which Peter replies "And be banished if I don't". In Peter Pan in Scarlet (2006), the official sequel to Barrie's Peter and Wendy, what happens to the Lost Boys when they begin to grow up is revealed when Slightly starts to grow older, as Peter banishes him to Nowhereland (which means that he and all his allies will ignore the banished person's existence), the home of all the Long Lost Boys whom Peter has banished in times past. The crocodile is Captain Hook's nemesis. After Peter Pan cut off Captain Hook's hand in a fight and threw it into the sea, the crocodile swallowed it and got a taste for Hook, so it now seeks to consume him whole. It also swallowed a ticking clock, which alerts Hook of its presence. Captain Hook, whose right hand was cut off in a duel, is Peter Pan's arch-enemy who leads a large group of pirates. Captain Hook's two principal fears are the sight of his own blood (which is supposedly an unnatural colour) and one saltwater crocodile. His name plays on the iron hook that replaced his hand cut off by Peter Pan and eaten by the aforementioned crocodile, which continues to pursue Hook. In the 1991 film Hook Captain Hook kidnaps the children of Peter Banning (the adoptive identity of Peter Pan) when he left Neverland to grow up and married Moira Darling (the Granddaughter of Wendy Darling) with whom he would have the two children whom Hook would kidnap: Maggie and Jack. Hook in this film is also shown to questioning his existence due to the fact Banning/Pan has been away from Neverland so long does not remember anything when he first returns to Neverland . At Smee's suggestion Hook conjures up plan to defeat plan Pan by having his own children turn against him. Although Maggie is never swayed by this plan Jack initially sides with the pirates due to the prior broken promises of his father . However upon realising that his dad is Peter Pan Jack has a change of heart and betrays Hook . Hook is eventually defeated by Pan eaten by the crocodile which the pirate himself had killed in Pan's prior absence and had converted into clock. Mr. Smee is Captain Hook's boatswain ("bo'sun") and right-hand man in J. M. Barrie's play Peter Pan and the novel Peter and Wendy. Mr. Smee is Captain Hook's direct confidant. Unlike the other pirates, Smee is often clumsy and incapable of capturing any of the Lost Boys. Rather than engaging in Hook's evil schemes, Smee finds excitement in bagging loot and treasures. The name Peter Pan has been adopted for various purposes over the years: Barrie commissioned a statue of Peter Pan by the sculptor George Frampton, which was erected overnight in Kensington Gardens on 30 April 1912 as a May Day surprise to the children of London. Seven statues have been cast from the original mould.[35] The other six are located in: Other statues are:

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Robin des Bois

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https://en.wikipedia.org/wiki/Robin_Hood

Robin Hood

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Mulan

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https://en.wikipedia.org/wiki/Mulan

Hua Mulan

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Pocahontas

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https://en.wikipedia.org/wiki/Pocahontas

Pocahontas

https://en.wikipedia.org/wiki/Pocahontas

"Pocahontas (US: /ˌpoʊkəˈhɒntəs/ ⓘ, UK: /ˌpɒk-/; born Amonute,[1] also known as Matoaka an(...TRUNCATED)

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Le Livre de la jungle (film, 1967)

https://fr.wikipedia.org/wiki/Le_Livre_de_la_jungle_(film,_1967)

"Pour les articles homonymes, voir Le Livre de la jungle (homonymie).\n Vous lisez un « article de(...TRUNCATED)

"Accueil; Portails thématiques; Article au hasard; Contact; Débuter sur Wikipédia; Aide; Communau(...TRUNCATED)

"Catégories; Film américain sorti en 1967; Film d'animation américain; Film d'aventure américain(...TRUNCATED)

"/static/images/icons/wikipedia.png; /static/images/mobile/copyright/wikipedia-wordmark-fr.svg; /sta(...TRUNCATED)

https://en.wikipedia.org/wiki/The_Jungle_Book

The Jungle Book

https://en.wikipedia.org/wiki/The_Jungle_Book

"The Jungle Book is an 1894 collection of stories by the English author Rudyard Kipling. Most of the(...TRUNCATED)

"Main page; Contents; Current events; About Wikipedia; Help; Learn to edit; Community portal; Upload(...TRUNCATED)

"Categories; The Jungle Book; 1894 short story collections; Short story collections by Rudyard Kipli(...TRUNCATED)

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Bambi (film, 1942)

https://fr.wikipedia.org/wiki/Bambi_(film,_1942)

"Pour l’article homonyme, voir Bambi.\n Vous lisez un « article de qualité » labellisé en 20(...TRUNCATED)

"Accueil; Portails thématiques; Article au hasard; Contact; Débuter sur Wikipédia; Aide; Communau(...TRUNCATED)

"Catégories; Film américain sorti en 1942; Film d'animation américain; Film d'aventure américain(...TRUNCATED)

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https://en.wikipedia.org/wiki/Bambi

Bambi

https://en.wikipedia.org/wiki/Bambi

"Bambi is a 1942 American animated drama film produced by Walt Disney Productions and released by RK(...TRUNCATED)

"Main page; Contents; Current events; About Wikipedia; Help; Learn to edit; Community portal; Upload(...TRUNCATED)

"Categories; 1942 films; 1942 animated films; 1942 children's films; 1942 drama films; 1940s America(...TRUNCATED)

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Le Roi lion (film, 1994)

https://fr.wikipedia.org/wiki/Le_Roi_Lion

"Pour les articles homonymes, voir Le Roi lion (homonymie).\n Série Liste des Classiques d'animatio(...TRUNCATED)

"Accueil; Portails thématiques; Article au hasard; Contact; Débuter sur Wikipédia; Aide; Communau(...TRUNCATED)

"Catégories; Film américain sorti en 1994; Film d'animation américain; Film d'aventure américain(...TRUNCATED)

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https://en.wikipedia.org/wiki/The_Lion_King

The Lion King

https://en.wikipedia.org/wiki/The_Lion_King

"The Lion King is a 1994 American animated musical coming-of-age drama film[3][4] produced by Walt D(...TRUNCATED)

"Main page; Contents; Current events; About Wikipedia; Help; Learn to edit; Community portal; Upload(...TRUNCATED)

"Categories; 1994 films; The Lion King (franchise); 1990s adventure films; 1990s American animated f(...TRUNCATED)

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Les Aventures d'Alice au pays des merveilles

https://fr.wikipedia.org/wiki/Les_Aventures_d%27Alice_au_pays_des_merveilles

"« Alice au pays des merveilles » redirige ici. Pour les autres significations, voir Alice au pa(...TRUNCATED)

"Accueil; Portails thématiques; Article au hasard; Contact; Débuter sur Wikipédia; Aide; Communau(...TRUNCATED)

"Catégories; Alice au pays des merveilles; Roman britannique du XIXe siècle; Roman paru en 1865; R(...TRUNCATED)

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https://en.wikipedia.org/wiki/Winnie-the-Pooh

Winnie-the-Pooh

https://en.wikipedia.org/wiki/Winnie-the-Pooh

"Winnie-the-Pooh (also known as Edward Bear, Pooh Bear or simply Pooh) is a fictional anthropomorphi(...TRUNCATED)

"Main page; Contents; Current events; About Wikipedia; Help; Learn to edit; Community portal; Upload(...TRUNCATED)

"Categories; Winnie-the-Pooh; Anthropomorphic bears; Bears in literature; East Sussex in fiction; Fi(...TRUNCATED)

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La Princesse et la Grenouille

https://fr.wikipedia.org/wiki/La_Princesse_et_la_Grenouille

"Pour les articles homonymes, voir La Princesse-Grenouille et La Princesse grenouille.\n Anika Noni (...TRUNCATED)

"Accueil; Portails thématiques; Article au hasard; Contact; Débuter sur Wikipédia; Aide; Communau(...TRUNCATED)

"Catégories; Film américain sorti en 2009; Film d'animation américain; Comédie fantastique amér(...TRUNCATED)

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https://en.wikipedia.org/wiki/The_Princess_and_the_Frog

The Princess and the Frog

https://en.wikipedia.org/wiki/The_Princess_and_the_Frog

"The Princess and the Frog is a 2009 American animated musical romantic fantasy comedy film produced(...TRUNCATED)

"Main page; Contents; Current events; About Wikipedia; Help; Learn to edit; Community portal; Upload(...TRUNCATED)

"Categories; 2009 films; The Princess and the Frog; 2000s American animated films; 2000s children's (...TRUNCATED)

"/static/images/icons/wikipedia.png; /static/images/mobile/copyright/wikipedia-wordmark-en.svg; /sta(...TRUNCATED)