Hallo! I don't know of too many older translations of the play or novel, unfortunately, but one production in Germany was briefly mentioned in R.L. Green's fabulous Fifty Years of Peter Pan:

   “Peter Pan does not seem to have been seen in France again until 1954, when the first verion to be acted in French, by Claud André Pujet, is promised by the Comédie Française with décor by Canzou, under the title Le Petit Enfant qui ne Voudrait pas Grandir, with a boy playing the name part.
   This follows on the immensely successful production of the play in Germany which opened in May 1952 at Munich and reached Berlin during the Christmas season. It was translated by Erich Kastner* [sic], author of Emil and the Detectives, and to a certain extent adapted to suit German audiences, with Tinker Bell re-christened Kling Klang and accompanied by the sound of a Japanese carillon, Captain Hook interpreted as fat and greasy with no sign of the public school tradition about him, and Peter played for the first time on the professional stage by a young man instead of a girl.” (pgs. 147-148)

I wasn’t able to find much information on that early production, sadly. I was, though, intrigued to find an entry on Barrie (and Peter Pan) in Klassiker der Kinder- und Jugendliteratur: Ein Internationales Lexikon (1999; Band 1, pgs. 72-75). The relevant pages are available via Google Books (I’m guessing you’ve already checked out this book, but I’ll provide the link anyway):
https://books.google.com/books?id=SaAmDgAAQBAJ&pg=PA74&lpg=PA74&dq=1952+%22München%22+%22peter+pan%22&source=bl&ots=F1tbbrh_QG&sig=ACfU3U1uzYf3jOWIspLITsIy7PsP6JQC4g&hl=en&sa=X&ved=2ahUKEwiM1IOnyL3xAhXYl54KHWG7As4Q6AEwEHoECBIQAw#v=onepage&q=1952%20%22München%22%20%22peter%20pan%22&f=false

The list of translations written in the bibliography section of the entry is as follows (the first translation listed was from 1948…):
Übersetzungen: Peter Pan oder Das Märchen vom Jungen, der nicht groß werden wollte. K. Janecke/G. Blöcker. Berlin 1948. – Peter Pan. E. Kästner. Köln 1959 (in: E. Kästner: Gesammelte Schriften. 4.). – Peter Pan. H. Lemke. Düsseldorf 1955. – Peter Pan. E. Kästner. Zürich 1969 (in: E. Kästner: Gesammelte Schriften. 5.).* – Peter Pan und Wendy. E. Constantinescu. Bukarest 1972. – Peter Pan. E. Türk/G. Heppich. Wien/München/Zürich 1975. – Peter Pan. D. Lienerth. Bukarest 1978. – Peter Pan. U. v. Wiese. Düsseldorf 1980. – Peter Pan. dies. Würzburg 1987. – Peter Pan. B. Wilms. Hamburg 1988. – Peter Pan und Wendy. G. Bean. München 1990. – Peter Pan und Wenty. H. Nägele. Frankfurt 1990. – Peter Pan. P. Oliver. Erlangen 1992. – Peter Pan. A. Eisold-Viebig. Stuttgart 1992. – Peter Pan. dies. Würzburg 1996.
*(I’m curious on how the two Kästner translations differ, having been written ten years apart….Very intriguing!)

(As an aside, my personal German copy of Peter Pan (the novel; published 2009) was translated by Adelheid Dormagen. My German copy of Peter Pan in Scarlet (2006) was translated by Anne Brauner.)

Also of note (though I’m not sure if it’s relevant to your research) is Richard Ayres’ Peter Pan, No. 45 opera (2011-2014). The work was commissioned by the Oper Stuttgart and the Komische Oper Berlin, supported by the Ernst von Siemens Musikstiftung. The English libretto was written by Lavinia Greenlaw, the German translation of the libretto was by Adelheid and Jürgen Dormagen. I’ve only ever listened to the English version—I cannot find a recording of the German production (nor a preview of the German score/libretto). The opera wasn’t targeted toward any particular age group, but I recall seeing reviews on it that noted the complex harmonic language might have made it a little challenging for young people to comprehend.
Here's a link to the score with information on performances, etc.: https://en.schott-music.com/shop/peter-pan-no-45-no262547.html

What an absolutely fascinating subject for your thesis! Alles Gute. (As you posted in 2015, I'm supposing you've since finished your research and writing. If not, however, I wish you luck!)

Granted I do live in something of a self-imposed media hole (no television, so no adverts), I haven't heard or seen anything about "Peter and Wendy" airing in the US.
Did it already happen and I missed the boat, is it happening in the future, or will it never air over here? Just curious.

I'm exceptionally excited for this - particularly to see Tucci's triple casting. Does anyone know if/when this will air in the US? Will it eventually be released to DVD?

Summer reading! (there is no emote face to express my excitement)
So exciting! So very, very exciting!

My mental images of each character varies from time to time. As my interpretations and perceptions ebb and flow, so does my understanding of their physique, personality, posture, etc.
    Peter has always stumped me. He states he ran away the day he was born, and we are told by Barrie that he still has all his first teeth, but I don't imagine a very young boy as Peter. For me, Pan invokes an image of wildness - my Peter is savage, arrogant, deceptive, and eccentric. His hair is wild, his eyes are bright, and he constantly holds the air about him. He is savage, wild, free, and dangerous. He regards the world with a crooked smile, knowing nothing of the souls of others.
     I'm quite sensitive about James, and so my understanding of him shifts even more rapidly than Pan or the others. There exists a difference between James and Hook for me. James Hook, as a person, is conflicted within. He is melancholy and proud, sinister and gentile, sensitive and enigmatic - he is a pirate and a gentleman, and it shows. Proud and aggressive, Hook appears as a strong man, tall, fit, and rough. James, on the other hand, is the gentleman, appearing sensitive, groomed, and thoughtful. Dark and brooding, James Hook is marked for death and the knowledge of his coming Fate has affected his mood and so outward appearance. He appears sickly, pale. And yet, his proud nature keeps him moving, and he readies himself for each day as if it is to be his last.
   

(How did I know I'd get the National Theatre of Scotland wrong? .____.' ) Goodness!

I love it...a bunch of Peter Pan nuts, all of whom I'm sure have read the novel and play backwards, forwards, upside down, and we're having an excruciatingly difficult time finding this quote! Goodness!
If I were to put a finger on it, I'd say it's not from anything Peter Pan related. But hey! You never know >.>
(has anyone watched the 2nd Disney version recently? I have a creeping suspicion its in there, but I'm really not sure. I've just got this nagging feeling...   .___. )

A great dissertation topic C: I wish you luck in its completion!
I'd steer clear of stating Neverland represents a heaven for dead children; finding quotes to suggest this could be a little challenging, and making a case that Peter represents death is a much safer route in general. Peter's "To die would be an awfully big adventure!" quote suggests that he is courageous in that he does not fear death (unlike Hook, who, ironically dies as a direct result of his fear of death).
In regards to Peter as death, I'd check out the play as well as the novel, looking into the boy's relationship with Hook. Though I tend to lean toward the idea that the crocodile represents Hook's mortality, you could most certainly make an argument in favor of Peter bringing on Hook's death, thus personifying the boy as death. Indeed, though the crocodile is the one to eventually bring about Hook's end, it is Peter who "controls" the beast. Peter gave Hook's hand to the crocodile, an act that haunted the man until the day he died. Peter is also is never fearful of the message of the ticking (the passage of time; age), and even mimics the creature, much to his advantage (Ch. 15).

I hope my thoughts on your argument are helpful! Best luck with your dissertation.