Identity and Individuality of Derivative Fictions -- continued

　In contrast to fictional works featuring legendary characters such as Hamlet and Faust, there is no particular precedent for a fantasy story based on the unique character, Peter Pan. The character of pagan god, Peter Pan, a boy who refused to grow up forever, created in the 20th century by the fanciful imagination of Scottish playwright James Matthew Barrie, seems unlikely to find any significant correlation in legends and myths. The same is true of the impossible utopia island Neverland, where he lives, which is also a different dimensional space connected to the hidden realm in the minds of children. Both are the product of pure notions with too modernistic features to look for legendary similarities. However, there are several variations of Peter Pan stories created by Barrie himself, that feature the peculiar character, Peter Pan. Perhaps the most well-known example is the play Peter Pan, which premiered in 1904. This experimental stage production, which followed a style that was too far removed from the conventional wisdom of theater at the time, did not have high expectations for box office success, even though it required a large amount of money for stage sets, such as scenes of children flying in the air. However, contrary to the expectations of the producers, this bizarre extravaganza has become one of the most popular plays in the world, not only because of its long revival but also because it has been performed repeatedly in various countries. The script for this play was not published until 1928, partly due to the rework of the script for each performance, but interestingly, in 1911, seven years after the premiere, a novel version of Peter and Wendy was published in the form of a prose story before the script was published. The novel Peter and Wendy was a conceptual work with a remarkable metafictional motif, not only reconstructing the information about the premise that had been told in the preceding play, but also incorporating as its subject matter various concrete knowledge of the existence of the play and its author, Barrie, which was shared by the readers at the time. This quality is summed up in the presence of the narrator of the story, who is in charge of the story telling, which is contrasted to the narrating function of other characters such as Hook and Wendy. The novel Peter and Wendy is furnished with a complex substance that can be understood as the completion of the fictional work that introduces this striking and compelling character. However, it can be said that this rare quality has been largely forgotten today. In addition, it was in his novel The Little White Bird (1902), which preceded the play Peter Pan, that the author Barrie first introduced the striking character, a child who never grows up. The story depicts an abstract ideational play world that revolves around the first-person narration of a veteran, but the peculiar character of Peter Pan only appears in a dramatic episode inserted in the story. Shortly after the performance of the play, Peter Pan, the author published his short story “Peter Pan in Kensington Gardens” (1906) independently, which consists of the part in which Peter Pan appears in the middle of The White Bird. Reviewed in this way, Peter Pan is a complex character with some contradictions and deviations that run through several of Barrie’s works.
　All of these Peter Pan stories can be considered as each of the variations that embody the representation of the individual work, extracted as a result of coherence through the process of convergence of wave packets revealed in unique combinations of meanings, from the archetypal story base “Meta Peter Pan” that is assumed to be latent in the potential dimension as a continuous and polysemic entity. Naturally, the existence of various isotopes and variants based on permutations of attribute elements are also predicted as myriad of possible manifestations that have not yet had the opportunity to converge and fulfill expression as real beings.
A fictional work fabricated by human mind in the real world positively embodies a set of concrete objects or ideas in the real world as a hypothetical phenomenon in reality, and at the same time, it can be theoretically understood as a concrete example of the act of intercosmic reference to one of the myriad possible universes parallel to the real world. In this context, not only the innumerable variations derived from the individual selection of minute attribute determinants, but also the manifestations of other-dimensional interfaces based on the modification of the cosmological constant and the fundamental substitution of the cosmic constituent axes are understood as variant manifestations of parallel equistasis unfolded in coordinate stages in the continuous transformation process. From the viewpoint of considering the relationship between the interdependent existence characteristics of the conceptual axis itself and the existence of meta-archetypal concepts, which are assumed to exist throughout many worlds, it is possible to consider the informational significance of the protoplasmic dimension inferred through various derivative works as a fictionality theory based on quantum mechanics.