Academic literature on the topic 'Scores; Alice in Wonderland; Carroll, Lewis'
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Journal articles on the topic "Scores; Alice in Wonderland; Carroll, Lewis"
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Weale, Albert. "Universities in Wonderland." Government and Opposition 25, no. 3 (July 1, 1990): 275–86. http://dx.doi.org/10.1111/j.1477-7053.1990.tb00583.x.
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Perhaps the allusions and references contained in the first part of this article might not be readily intelligible to someone whose childhood was not spent listening to stories from Lewis Carroll's Alice in Wonderland or to someone not presently involved in the current debates about the finance of United Kingdom universities. Let me therefore offer a few words of explanation.Alice in Wonderland, and its companion Alice Through the Looking Glass, are children's stories which explore the limits of reason in most creative ways. Their author, the Reverend C. L. Dodgson, a nineteenth-century mathematician at Christchurch, Oxford who wrote under the name of Lewis Carroll, used the stories to discuss the nature of limit processes in mathematics, the phenomenon of relative size and aspects of the absurd. In the stories animals speak, playing cards come to life and the heroine, Alice, undergoes many transformations of bodily size. Since I regard the recent research selectivity exercise of the Universities Funding Council (UFC) as beyond the limits of reason, I have drawn upon the Alice stories by way of satire and I have tried to use some typical Carroll literary devices — plays on words, accounts of physical transformations and the like — to emphasize the relevant points.
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Stefan, Bittmann. "The Real Origin of Alice in Wonderland Syndrome in Childhood is still Unknown: Does Physical Abuse Play a Major Role?" Journal of Clinical Cases & Reports 2, no. 2 (April 30, 2019): 41–42. http://dx.doi.org/10.46619/joccr.2019.2-1036.
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Lewis Carroll wrote in 1864 the novel of Alice in Wonderland “Alice`s Adventures under Ground” [1]. The British psychiatrist John Todd (1914-1987) described the curious condition of micro-and macrosomatognosia, altered perceptions of body image, and described it as Alice in Wonderland Syndrome. John Todd described it 1955 and gave it the literary name in his publication
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Brooker, Will. "Alice's Evidence: Examining the Cultural Afterlife of Lewis Carroll in 1932." Cultural History 5, no. 1 (April 2016): 1–25. http://dx.doi.org/10.3366/cult.2016.0107.
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In the context of recent work on Charles Lutwidge Dodgson/Lewis Carroll, this paper argues that, given the scarcity of new archival information on the author and his life, the cultural ‘afterlife’ of Carroll and his books, such as Alice in Wonderland, provides a rich alternative avenue for scholarly research. It focuses on the 1932 centenary of Lewis Carroll's birth, which marks a key transition point in cultural discourses around the author and Alice. While the Alice books had, by 1932, been incorporated into a society very different from the 1860s Britain in which they were first published, they were also subject to conservative notions of authenticity and fidelity to the original. Carroll was already considered in terms of literary ‘immortality’, and his work associated with a nostalgic past, yet he also remained within living memory, while ‘the real Alice’, Mrs Hargreaves, was still alive, and feted as one of the text's cultural curators. Both Carroll and Alice were, meanwhile, subject to new contemporary discourses such as psychoanalysis, and became key to literary tourism and heritage on both a local and national level.
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Taber, Susan B. "Using Alice in Wonderland to Teach Multiplication of Fractions." Mathematics Teaching in the Middle School 12, no. 5 (January 2007): 244–50. http://dx.doi.org/10.5951/mtms.12.5.0244.
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Alice's adventures in wonderland by Lewis Carroll is a captivating story that appeals to students in the middle grades. It also provides an opportunity to help students develop an understanding of some complex mathematical content, particularly the multiplication of fractions, which is introduced in the middle grades.
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Taber, Susan B. "Mathematics of Alice's Adventures in Wonderland." Mathematics Teaching in the Middle School 11, no. 4 (November 2005): 165–71. http://dx.doi.org/10.5951/mtms.11.4.0165.
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Alice's adventures in wonderland, the captivating book first published in 1865, began as a story told by a young mathematics lecturer to the three Liddell sisters, ages 8 to 13, during an afternoon of rowing on the river. The story might have evaporated into the summer's air but for Alice Liddell, then aged 10, who asked Charles Lutwidge Dodgson to write it down for her. Although Dodgson himself illustrated the first copy, which he gave to Alice as a Christmas gift in 1864, he later expanded the story, had it illustrated by the famous artist John Tenniel, and published it under the name of Lewis Carroll (Cohen 1995).
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Caron, Vincent. "Alice au pays des merveilles dans le monde juridique." Revue générale de droit 47, no. 2 (January 24, 2018): 433–58. http://dx.doi.org/10.7202/1042929ar.
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L’article démontre comment les deux romans de Lewis Carroll, Les aventures d’Alice au pays des merveilles (Alice’s Adventures in Wonderland) et De l’autre côté du miroir (Through the Looking-Glass, and What Alice Found There), sillonnent la jurisprudence canadienne, et il s’interroge sur les raisons de ce phénomène également observable dans la jurisprudence australienne, britannique, américaine et sud-africaine.
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Kérchy, Anna. "The Acoustics of Nonsense in Lewis Carroll's Alice Tales." International Research in Children's Literature 13, Supplement (July 2020): 175–90. http://dx.doi.org/10.3366/ircl.2020.0345.
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This article explores how Charles Lutwidge Dodgson's fantasies about Alice's adventures in Wonderland and through the looking-glass (1865, 1871), published under the pen-name Lewis Carroll, renewed the genre of children's literature by turning the vocal play of literary nonsense into the organising principle of child-centric, non-didactic, ludic narratives. 1 It shows how his language games strategically undermine tyrannical ideological structures, whether in the form of discursive ‘regimes of truth’ (Foucault 80), the institution of monarchy, the adult–child hierarchy maintained by a pedagogy of fear, or speciesist supremacy of human over animal.
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Arnavas, Francesca. "The Story of Alice: Lewis Carroll and the Secret History of Wonderland." Life Writing 15, no. 1 (February 16, 2017): 145–49. http://dx.doi.org/10.1080/14484528.2017.1289072.
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Jussawalla, Feroza F. "The Red King's Dream or Lewis Carroll in Wonderland, and: The Alice Companion: A Guide to Lewis Carroll's Alice Books, and: Lewis Carroll and Alice: New Horizons (review)." Lion and the Unicorn 24, no. 1 (2000): 157–61. http://dx.doi.org/10.1353/uni.2000.0005.
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Girão, Luis Carlos, and Elizabeth Da Penha Cardoso. "Alice in Wonderland: uma tradução literária em imagens por Suzy Lee." Signo 41, no. 72 (October 25, 2016): 65. http://dx.doi.org/10.17058/signo.v41i72.7160.
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Em 2015, o maior clássico da literatura infanto-juvenil moderna, Alice in Wonderland, celebra seus 150 anos de lançamento. A obra-prima do controverso Lewis Carroll já foi traduzida/retraduzida/adaptada nos mais diversos meios de expressão artística. Em 2002, despontando como um dos nomes revolucionários na contemporânea literatura para crianças e jovens, Suzy Lee publicou sua tradução intersemiótica em livro-imagem (publicação que se utiliza de narrativas pictóricas) para o livro ilustrado original do autor britânico. Em harmonia à ideia de Carroll referente a “um sonho dentro de um sonho”, Lee segue em sua publicação a ideia de “um livro dentro de um livro”, tornando ainda mais clara sua fonte de inspiração para a sua criação/recriação/adaptação. Objetivando realizar uma breve análise comparatista entre as obras literárias de Carroll e Lee, propomos um diálogo entre os pensamentos do linguista Roman Jakobson e os escritos do artista Julio Plaza no que se refere à tradução intersígnica, entre signos do código verbal para o código visual, para as versões de Alice in Wonderland aqui enunciadas. Sugerimos ainda uma aproximação com as ideias de Robert Stam sobre a adaptação literária, no caso da presente proposta, do livro ilustrado para o livro-imagem – narrativa composta por palavras para uma narrativa construída por imagens.
Dissertations / Theses on the topic "Scores; Alice in Wonderland; Carroll, Lewis"
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Goss, Stephen. "Musical composition : 'Dreamchild' and 'Arcadia'." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313725.
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Kizzire, Jessica. "Hearing Wonderland: aural adaptation and Carroll's classic tale." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5538.
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What does it sound like to fall down a rabbit hole? This was not a question that concerned Lewis Carroll when he wrote Alice’s Adventures in Wonderland, but it has challenged the many individuals who have adapted his story for film, ballet, video games, and other multimedia formats since its creation. In recent decades, the proliferation of adaptations across a variety of new media has offered scholars a renewed opportunity to more closely examine this and other critical issues raised when considering the relationships between adapted texts and their original sources. This dissertation argues for a greater critical emphasis on the aurality of adaptation by examining the narrative potential of sound in adaptations across a variety of media forms. Despite scholarship on adaptations and comparable studies contemplating sound in adapted texts, these two streams of scholarly inquiry have largely remained isolated within adaptation studies and musicology, respectively. Through this dissertation, I provide an examination of sound’s capacity to shape, nuance, or subvert the other parts of a multimedia adaptation, thus bridging these disciplinary discussions.
This dissertation balances a broad survey of Alice adaptations with the highly focused examination of two case studies: Christopher Wheeldon’s ballet, Alice’s Adventures in Wonderland, and Tim Burton’s film, Alice in Wonderland. The survey demonstrates a model for analyzing the aurality of adaptation across media forms, while the case studies provide an in-depth examination of aural adaptation in relation to specific media forms. The analysis undertaken focuses on the intersection of narrative, sound, and adaptation, revealing complex and multifaceted relationships. In this work, I merge score analysis with visual and narrative analyses, using films or filmed versions of stage productions as the primary source materials. From this rigorous comparative analysis, trends in musical interpretation emerge, indicating some of the prevailing expectations concerning Alice and its aural adaptations.
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Lambertson, Jesse A. "Alice K's adventures interroscribing simulandra: of performance through questions in Alice's Adventures in Wonderland and The Trial /." Electronic version (PDF), 2007. http://dl.uncw.edu/etd/2007-1/lambertsonj/jesselambertson.pdf.
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Iché, Virginie. "L’esthétique du jeu dans les Alice de Lewis Carroll." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100156.
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Cette thèse consiste en l’analyse du jeu dans les deux œuvres littéraires majeures de Lewis Carroll, Alice’s Adventures in Wonderland et Through the Looking-Glass, œuvres qui accordent la part belle au jeu, tant au niveau diégétique, narratologique que stylistique et linguistique. Il en ressort qu’une tension entre liberté et règle (entre paidia, l’expression impulsive d’un instinct de jeu, et ludus, le besoin de créer des règles et de s’y plier, pour utiliser les termes de Caillois) traverse les Alice. L’étude des jeux et jouets, des macro- et micro-structures, du style et des intertextes, permet d’affirmer que ces deux volumes sont résolument ludiques, car ils reposent sur une légaliberté, une liberté dans et par une légalité (Duflo). Ils jouent avec et contre les attentes, la langue et les connaissances du lecteur de sens commun. Toutefois, dans le même temps, le champ d’action du lecteur virtuel est considérablement restreint : ses facultés d’idéation sont orientées par l’imbrication du texte et des illustrations, et sa participation à la construction du texte carrollien se borne à compléter les « blancs » textuels, tel que Eco les définit, c’est-à-dire à faire ressurgir les déjà-dits qui ont été effacés. Les œuvres carrolliennes sont ainsi caractérisées par ce paradoxe : alors que la diégèse et l’économie textuelle semblent promouvoir le jeu, le rôle du Lecteur Modèle prévu par le texte est extrêmement réduit. Cependant, il est possible pour le lecteur réel, interpellé par le texte carrollien et son Auteur, d’endosser le rôle de Lecteur Imposteur, de les contre-interpeller, et de devenir, par ce processus de subjectivation, un lecteur pleinement joueur. Il s’avère alors que la légaliberté permet non seulement de saisir l’esthétique du jeu, mais aussi la formation des sujets (personnages, auteurs, lecteurs) à l’œuvre dans les AliceThis thesis consists in an analysis of play and game(s) in Lewis Carroll’s two major literary works, Alice’s Adventures in Wonderland and Through the Looking-Glass, in which diegetic, narratological, stylistic and linguistic games play a significant part. It shows that a tension is at work throughout the Alice books, between freedom and rules (between paidia, the impulsive manifestation of a play instinct, and ludus, the need to invent rules and to abide by them, to state this in Caillois’s terms). The study of games and toys, of the macro- and micro-structures, of the style and the intertexts reveals the playfulness of these texts, as they rely on “legafreedom”, freedom in, and made possible by legality (Duflo). They play with and against the reader’s commonsensical expectations, language and knowledge. Yet, at the same time, the virtual reader’s playing field is considerably limited: his or her faculties of ideation are directed by the interweaving of text and illustrations, and his or her participation (involvement?) in constructing the Carrollian text is restricted to filling in the textual “blanks,” as defined by Eco, i.e. making the “already said” that has been erased reappear. Carroll’s works are, therefore, characterized by this paradoxical idea: while the diegesis and the textual economy seem to promote play, the role of the Model Reader as mapped out by the text is extremely circumscribed. However, the real reader, interpellated by the Carrollian text and its Author, can take on the role of the Impostor Reader, counter-interpellate them, and become, thanks to this process of subjectification, a consummate playing reader. As such, “legafreedom” makes it possible to understand not only the aesthetics of play, but also the formation of subjects (characters, authors, readers) in the Alice books
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Brastow, Katherine A. "Why Ask Alice?" Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/692.
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An introduction to Alice scholarship, including a brief biography of the author Charles Lutwidge Dodgson, under the pseudonym Lewis Carroll, as well as the subject matter. An examination of Alice's Adventures in Wonderland's genre, as well as an in-depth analysis of the text as a children's story.
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Moreira, Lílian Carvalho. "Translation priorities: Lewis Carroll’s Alice seen from different perspectives." Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/1828.
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As Aventuras de Alice no País das Maravilhas e Através do Espelho e o que Alice Encontrou Lá , os livros mais famosos de Lewis Carroll, foram amplamente traduzidos intersemióticamente nos últimos 150 anos. Uma enorme quantidade de ilustrações, peças, balés, músicas, filmes, programas de TV e outros foram feitos por artistas conceituados e menos conhecidos. Não existe, no entanto, uma abordagem sistemática desse fenômeo no campo específico da intermidialidade e da tradução intersemiótica. Dois exemplos notáveis servirão para análise: uma famosa série de TV de Jim Henson, The Muppet Show , que foi ao ar entre 1976 e 1981, estrelando fantoches e uma pessoa convidada em que um episódio da quinta temporada levou Brooke Shields interpretando Alice em 1980; e um filme de 1988 com uma mistura de stop motion e animação pelo muitas diretor tcheco vezes premiado, Jan Švankmajer, intitulado Neco z Alenky . Pretendemos aqui comparar essas duas traduções dos romances de Alice, em que os tradutores escolheram características do livro opostas entre si, porém ambas de importância fundamental para a fonte.
Alice’s Adventures In Wonderland and Through the Looking Glass And What Alice Found There , Lewis Carroll’s most famous books, have been widely intersemiotically translated throughout the last 150 years. A number of illustration, plays, ballets, songs, movies, TV shows and others was made by renowned and lesser known artists. There is not, however, a systematic approach of this phenomenon in a more strict field of analysis of intermediality and intersemiotic translations. Two notable examples will serve for analysis: a famous TV series by Jim Henson, The Muppet Show , aired from 1976 to 1981, featuring puppets and a human guest, in which an episode from the fifth season starred Brooke Shields playing Alice in 1980; and 1988 film with a blend of stop motion animation by multiple prize winner Czech director Jan Švankmajer, called Neco z Alenky . We intend to compare these translations of Alice’s novels, in which translators choose opposingly distinct characteristics of the books, but both of fundamental importance to the source.
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Bourgeois, David C. C. "Making space : the subversion of authoritarian language in Lewis Carroll's Alice books." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33877.
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The works of Lewis Carroll show an abiding interest on the part of the author in the relationship between education, language and authority. In particular, the Alices are the story of a young girl who must learn to deal with a variety of characters in dream-worlds where the power of language reigns. It is therefore necessary for Alice to learn how language is used for authoritarian purposes and to discover ways of defending herself against it. It is the purpose of this thesis to investigate, in many cases for the first time, the ways in which Alice is able to find "spaces" in language where authority breaks down, places where the fundamental nature of language is unable to support authoritarian use. In this way, "space" will become both a metaphor and a figurative model for Alice's growing knowledge of and resistance to authority.
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Muzzioli, Samantha. "Alice in Wonderland: analisi comparata di scelte traduttive in versioni per adulti e ragazzi." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/17333/.
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In questo elaborato si cerca di illustrare quali sono i problemi principali che il traduttore si trova a dover affrontare quando si approccia alla traduzione di Alice in Wonderland di Lewis Carroll. Allo stesso tempo si cerca di fornire una panoramica delle soluzioni adottate nelle versioni di maggior successo pubblicate in Italia negli ultimi tempi, a partire dal 2010.
Si partirà da un primo capitolo di carattere generale e contestualizzazione storico-biografica, per poi analizzare le particolarità del testo da un punto di vista linguistico nel secondo capitolo e concludere, nel terzo capitolo, con il confronto tra le scelte traduttive dei brani di maggior difficoltà all'interno delle versioni selezionate.
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Karlsson, Jenny. "Alice’s Vacillation between Childhood and Adolescence in Lewis Carroll’s Alice’s Adventures in Wonderland." Thesis, Karlstads universitet, Avdelningen för språk, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-7296.
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In the novel Alice’s Adventures in Wonderland by Lewis Carroll, Alice, the protagonist, is supposed to be seven years of age. However, the reader can perceive her as older than that and get the impression that she has entered adolescence. Alice vacillates between being a child and striving to act like an adult in her various encounters in Wonderland. In this essay, I will examine Alice’s emotional and intellectual phases in her search for identity, and show the different levels according to developmental theory. Erik Erikson’s, Jean Piaget’s and John Dewey’s research together with other studies form the theoretical framework of this paper. I will demonstrate that while the book does not trace her development as such (i.e. it is not a typical Bildungsroman), it nevertheless highlights a child’s development by juxtaposing different developmental stages. The scientific and realistic functions of developmental theory may at first seem haphazard in the analysis of a literary character in a fantasy world. But, this essay illustrates Carroll’s professional familiarity with his child protagonist through the logic and consistency of his depiction of Alice. Alice’s adventures in Wonderland reflect the child-adult conflict of Alice on her inner quest for identity. To her the first steps into adulthood, ie. adolescence, include not only psychological growth as in maturity but also physical growth; to grow is to grow up. Her dramatic alterations in size in Wonderland cause great turmoil and confusion as she senses an obligation to adapt her behavior. Lewis Carroll knew his child protagonist well.
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Lima, NatÃlia Sampaio Alencar. "Alice in Wonderland da literatura para o cinema: um estudo da traduÃÃo da era vitoriana e do nonsense literÃrio de Lewis Carroll para o cinematogrÃfico no estilo burtoniano." Universidade Federal do CearÃ, 2016. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=17909.
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nÃo hÃEsta pesquisa busca analisar os elementos utilizados por Tim Burton para representar a Era Vitoriana atravÃs do figurino, meio de transporte e decoraÃÃo. Trabalharemos tambÃm com a traduÃÃo em imagens do nonsense em sua adaptaÃÃo fÃlmica Alice in Wonderland (2010). Nessa perspectiva, o presente trabalho resulta de um estudo comparativo entre o filme e a obra na qual se baseia, o cÃnone da literatura infantil Aliceâs Adventures in Wonderland de Lewis Carroll (1865). Para tanto, faremos um cotejo entre as duas obras à luz das teorias de Elizabeth Sewell (2015), Wim Tigges, (1988) e Susan Stewart (1980) que alicerÃam o gÃnero literÃrio nonsense. LanÃaremos mÃo da versÃo literÃria Lewis Carroll: The Complete Fully Illustrated Works de 1995 da editora Gramercy, contendo toda a obra de Lewis Carroll com ilustraÃÃes originais. Isso, a fim de viabilizar e facilitar a comparaÃÃo com as figuras presentes no texto literÃrio, quando necessÃrio, para investigar se houve aproximaÃÃo na representaÃÃo visual feita pelo diretor.
Books on the topic "Scores; Alice in Wonderland; Carroll, Lewis"
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Greene, Carol. Lewis Carroll, author of Alice in Wonderland. Chicago: Childrens Press, 1992.
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Hautzig, Deborah. Lewis Carroll's Alice in Wonderland. New York: Grosset & Dunlap, 2010.
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Lewis, Carroll. Lewis Carroll's Alice in Wonderland. Somerville, MA: Templar Books, 2009.
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Magner, Carolyn. Alice in Wonderland: Based on the original story by Lewis Carroll. Fort Salonga, N.Y: Book Club of America, 1993.
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Lewis, Carroll. All things Alice: The wit, wisdom, and Wonderland of Lewis Carroll. New York: Clarkson Potter/Publishers, 2004.
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Weaver, Warren. Alice in many tongues: The translations of Alice in Wonderland. Mansfield Centre, CT: Martino Pub., 2006.
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Fredricks, Leo. Alice in Court: Who wrote Alice in wonderland, Lewis Carroll or Mark Twain : a television screenplay. Calcutta: Writers Workshop, 1993.
Find full textBook chapters on the topic "Scores; Alice in Wonderland; Carroll, Lewis"
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Robson, Lancelot. "‘Mr Alice in Wonderland’." In Lewis Carroll, 207–8. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-08724-2_95.
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Giles, Paul. "Antipodean Alice." In The Planetary Clock, 104–45. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857723.003.0003.
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This chapter discusses how the Alice in Wonderland prototype developed by Lewis Carroll became influential for writers and artists after 1945. It aligns its treatment of sexuality with what Hans Ulrich Gumbrecht called the ‘frozen time’ of the Cold War era, showing how Australian painter Charles Blackman deployed representations of Alice to project a world in which time was reversed. This is linked to Blackman’s interest in Indigenous culture and to explorations of temporality in the work of English film director Nicolas Roeg. Similarly reflexive representations of time in playwright Jean Genet and film-maker Ingmar Bergman are counterpointed with the absurdist style of composer György Ligeti, whose opera Le Grand Macabre frames Cold War politics within a burlesque setting. This chapter concludes with an analysis of Vladimir Nabokov, also much influenced by Carroll, who in his later fictions seeks explicitly to put time and space into reverse.
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Riley, Kathleen. "John Logan’s Peter and Alice (2013)." In Imagining Ithaca, 206–18. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198852971.003.0017.
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This chapter investigates the particular kind of nostalgia at the heart of John Logan’s Peter and Alice, a play inspired by the brief real-life meeting in 1932 between Alice Liddell Hargreaves and Peter Llewellyn Davies (the former muses of Lewis Carroll and J. M. Barrie, respectively). It argues that the same nostalgia permeates (and generated) Peter Pan and Alice’s Adventures in Wonderland—a proleptic nostalgia, fed by uniquely human intimations of adulthood. Logan’s eponymous characters seek to isolate that moment of dawning consciousness. In doing so they demonstrate that it is our capacity to anticipate, as much as our capacity to reflect, that makes the human condition inherently nostalgic. The chapter also shows how Barrie himself traced the genesis of his autarkic and amnesiac hero to an improvised version of that founding epic of nostalgia, Homer’s Odyssey.
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Burt, Stephen, and Tim Burt. "Chronology." In Oxford Weather and Climate since 1767, 273–310. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198834632.003.0025.
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This chapter deals with extreme events and spells of weather in Oxford, some of them before the Radcliffe Observatory was built, but mostly based on the weather observations since 1767. Events such as heat waves, cold spells, severe gales, floods, droughts, snowfall and even the solar eclipse of 11 August 1999 are included. The chapter concludes with coverage of the most recent year, 2018, with its exceptionally hot summer. The description includes more descriptive coverage of some specific events, including the day in July 1862 when Lewis Carroll took Alice Liddell and her sisters boating on the River Thames, a day out which led directly to him writing Alice in Wonderland.
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Gilmore, Lois. "“Where Childhood’s dreams are twined”: Virginia Woolf and the Literary Heritage of Lewis Carroll." In Virginia Woolf and Heritage. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781942954422.003.0017.
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Philadelphia is celebrating 150 years of Alice in Wonderland with public programming and multiple exhibitions beginning in 2015 through 2016. There are lectures, tea parties, hands-on tours at the Rosenbach of the Free Library of Philadelphia, talks of medical oddities of Alice, costume parties, and more. Carroll’s original manuscript is traveling around the East coast in pop-up displays in Philadelphia and New York. This focus on Lewis Carroll’s work provides an intriguing opportunity to examine Woolf’s review, which was written on the occasion of the Nonesuch Press issue of the complete works in 1939. Woolf ‘s response to Carroll’s legacy, in the midst of what she calls “non-war” and “written in barren horror,” hones in on the construction of childhood, the relationship of the child to the adult, and the illusory nature of the author. Woolf’s diary entries, documenting what she calls the many distractions surrounding her, point to the irony of composition and the world Carroll creates. In this paper I will approach these topics and consider the ways in which Woolf reflects on, engages with, and represents the connections and disconnections with the literary heritage of Alice and her enduring appeal.
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Golden, Catherine J. "Caricature." In Serials to Graphic Novels. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062297.003.0003.
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In its theatricality, caricature-style book illustration approximates the tableau style popular in the nineteenth century. This chapter examines book illustrations by George Cruikshank, Phiz, Richard Doyle, John Leech, and Robert Cruikshank that, like tableaux, capture a dramatic moment in works by Dickens, Ainsworth, and Thackeray. With lighting, props, clever casting, and detail-laden backdrops, the caricaturists staged scenes ranging from the sensational to the sentimental, from the deeply psychological to the broadly comic. “Caricature: A Theatrical Development” adds two Victorian author-illustrators to this list of recognized caricaturists. Better known as an author than an illustrator, William Makepeace Thackeray designed theatrical pictorial capital letters, vignettes, tailpieces, and full-page engravings for his best-known Vanity Fair (1848) and cast his heroine Becky Sharp in various stage roles. To dramatize Alice’s transformations, Lewis Carroll recalled popular caricature techniques in his illustrations for the first version of Alice in Wonderland (1865) entitled Alice’s Adventures Underground(1864) at a time when realistic illustration held sway. This chapter also examines artistic limitations and scandals (e.g. Robert Seymour’s suicide, Cruikshank’s claim of authoring Dickens’s works) that led to a dismissal or devaluation of the caricaturists and a privileging of the Academy trained artists who entered the field of illustration in the 1850s.
Conference papers on the topic "Scores; Alice in Wonderland; Carroll, Lewis"
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Schiavoni, Flávio Luiz, Adilson Siqueira, Rogério Tavares Constante, Igino De Oliveira Silva Junior, Thiago De Andrade Morandi, Fábio Dos Passos Carvalho, João Teixeira Araújo, et al. "O Chaos das 5." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10457.
Full textAbstract:
“O Chaos das 5” is an audiovisual digital performance. The guideline of the performance is inspired by Alice, from Lewis Carroll book - Alice in the Wonderland, as a metaphor to take the audience to a synthetic and disruptive wonder world. The concept of the performance is to conceive the possibility to the audience to interact through digital interfaces creating an immersive and participatory experience by combining three important layers of information (music, projections and gestures) through their cellphones. Once that the audience members take part of the show on an immersive aspect, there is no stage or another mark to limit the space of the performers and the audience.
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Villanueva Cajide, Beatriz. "Rem Koolhaas: Le Corbusier through the Looking-Glass." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.931.
Full textAbstract:
Abstract: The present work aims to recover the part of Le Corbusier´s theoretical production that can be defined as Manifesto to analyze it since its comparison with the analogue written by Rem Koolhaas. Due to the brevity of the present paper it will be focus on the analogies between two main Manifestoes: Towards an Architecture (Le Corbusier, 1923) and Delirious New York (Rem Koolhaas, 1978). The dialectic between these two Manifestoes is summarized in four main points: the intention of the text -rasion d´être-, its structure, the tone they used for the correspondent Manifesto and the relationship with the architectonic work of the authors. As we will see, theoretical and audiovisual strategies are duplicated from the master to the pupil who, on top of that, is able to reinterpret and manipulate them in a way that makes possible for his Manifesto to be considered even more efficient than Le Corbusier´s, at least, in its intention to involve the largest number of people. This is possible thanks to the knowledge that Koolhaas has over media, cinema and latests technologies that allows him to express what could be identified with Le Corbusier´s original ideas but in a contemporary way, so they seem to be brand new and much more understandable for today´s society. In this way, Koolhaas could be understood also as a kind of Le Corbusier living in the world Through the Looking-Glass organized as Lewis Carroll did in his famous book Alice´s Adventures in Wonderland. Through the Looking-Glass and What Alice Found There. Keywords: Manifesto; Le Corbusier; Koolhaas; theory; architecture; communication. DOI: http://dx.doi.org/10.4995/LC2015.2015.931