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• W3146896439 abstract "Neverland sebagai sebuah dunia lain merupakan dunia yang ambigu. Keambiguan tersebut diperlihatkan dari dua sisi Neverland, yang merupakan representasi dari dua fase sukjektivitas, the Imaginary dan Symbolic. Oleh karena itu penelitian ini menggunakan pendekatan psikoanalisis, dari teori subjektivitas Lacan , untuk memperlihatkan Neverland sebagai analogi dari dua fase tersebut. Sisi Imaginary dari Neverland diperlihatkan dari keterpenuhan dan keutuhan, sedangkan sisi Symbolic Neverland diperlihatkan melalui ketidakmampuannya dalam memberikan pemenuhan. Sisi Symbolic, yang disebabkan oleh lackness, menyebabkan Neverland menjadi sebuah dunia yang ambigu, dan keambiguan tersebut akhirnya menunjukkan bahwa Neverland adalah dunia yang tidak sempurna Kata kunci: Other world, keambiguan, imaginary, symbolic, lackness BACKGROUND Children’s literature is often related to fantasy, since many works under this category insert fantasy elements into the story. This fantasy often comes in a form of supernatural beings or magical worlds where impossibility and irrationality occur. Hogwarts, Narnia, Oz, Wonderland, Middle Earth and Neverland are some of those magical worlds, in which some kinds of magical creatures like dragon, elf, unicorn, fairies, and mermaid are to be found. Some unusual occurrences like getting the body shrunk or fighting against monster while flying on broomstick can also happen in these magical lands. So great the portrays of these worlds that fantasy, as Jackson states, has been claimed as ‘transending’ reality, escaping the human condition and constructing superior alternate, ‘secondary’ worlds.(2) Not only having creatures that unlikely exist in reality, these worlds also permit the characters to do things that are forbidden in real world. For instance, Harry Potter, without restriction, can spell magic and cast jinxes in Hogwarts, whereas the real world and his Muggle relatives forbid him to do so. Meanwhile, Peter Pan and the Lost Boys can avoid being grown-ups in real world and instead, fly to Neverland, a land that turns them into eternal children. As it seems, other world, besides working as magical land where impossibility happens, also functions as escapism from the real, often cruel, world. However, the existence of other world, as a super world and a means of escapism, doesn’t automatically turn it into a perfect world. As much as it tries to provide everything with its ability in turning wildest dreams into reality, other world could not help but accepting the fact that there are things that it cannot fulfill, and there are things in life, no matter whichever world a person lives in, that cannot be avoided. This inability in fulfilling needs tarnishes the ‘perfectness’ of those other, super worlds. One of such worlds, about which this research will further discuss, is Neverland. Neverland, a magical world in J.M. Barrie’s Peter Pan, is a fairy land which serves as an other world. Its magical sides are shown in certain ways; it is occupied with supernatural creatures like fairies and mermaids, the characters can fly around using fairy dust, and it can keep people from growing up physically. Besides being a magical land, Neverland also serves as escapism. Peter Pan, the main character in this novel, flies away to this land in order to avoid being grown-ups, something that naturally and normally happens in real world. These magical sides, as well as its ability in permitting the impossibility to take place, have turned Neverland, using Gilead’s words, as “an idealized realm of childhood”. (100) This side of being a means of escapism as well as granting hidden wish mark Neverland as a world of completeness. This especially works for Peter, who wishes to always be a little boy and have fun. In this land, not only he is able to preserve his youth, but he also experiences lots of adventures and fun. Still, there are things that Neverland fails to provide. As much as it tries to supply everything, however impossible it is, it still lacks in certain things. This lackness turns Neverland as an ambiguous world that stands on two states; one side shows that it is actually a representation of a perfect, children world, and another side shows how this ‘perfect’ world fails in providing ‘some things’. These two sides of Neverland reflect those two of three realms in Jacques Lacan’s psychoanalytic theory about human subjectivity stages. The side of Neverland, in which one can find completeness, best reflects the Imaginary, the second realm a person has to go through in his way of finding his subjectivity. Through its reflection of Imaginary, Neverland works as a realm of wholeness, that is, in Peter’s case, a place where a person can find what he wants in a single place. In this case, Peter’s wishes that make Neverland as a place of completeness are youth, fun, and family. The other side of Neverland, in relation with Lacan’s subjectivity phases, echoes the Symbolic, the last stage that a person has to experience in order to become an independent being. In this stage, Lacan said, a child has to undergo a castration, a separation from his mother, to complete his subjectivity and be able to enter the society. This separation is caused by the existence of Law of the Father. Law of the Father, as Mansfield stated, is anything that comes and separates the child from its mother (31). The separation, after all, leaves a lackness in the child’s once complete world. This condition of separation and lackness is what makes Neverland similar to that of the Symbolic realm. As much as it works as a world of completeness for Peter, by being able to grant youth, continuous adventures and fun, as well as a short-lived family, in the end, it fails to stop Wendy’s determination to return to the real world and to her family, resulting in Peter’s being separated from Wendy and his friends, which marks his condition of lackness. Having these two sides seem to make Neverland as" @default.
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• W3146896439 date "2012-01-01" @default.
• W3146896439 modified "2023-09-27" @default.
• W3146896439 title "THE CONCEPT OF OTHER WORLD IN J.M. BARRIE’S PETER PAN" @default.
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