Alice Through the Looking-Glass
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The Return of the Jabber W Ock Graham / Neale
THE RETURN OF THE JABBERWOCK THE RETURN OF A brave little boy sets off on an adventure to find the Jabberwock, just like his great grandfather before him. But what creatures will he encounter in mysterious Tulgey Wood? Illustrated by David Neale Written by Oakley Graham GRAHAM / NEALE RRP £5.99 For more Top That! books visit our website: Published by Top That! Publishing plc www.topthatpublishing.com Tide Mill Way, Woodbridge, Suffolk, IP12 1AP, UK Copyright © 2013 Top That! Publishing plc All rights reserved 0 2 4 6 8 9 7 5 3 1 Printed and bound in China XXX-XXX-XX-XXXX-XX Published by Top That! Publishing plc Tide Mill Way, Woodbridge, Suffolk, IP12 1AP, UK www.topthatpublishing.com Copyright © 2013 Top That! Publishing plc All rights reserved 0 2 4 6 8 9 7 5 3 1 Printed and bound in China Creative Director – Simon Couchman Editorial Director – Daniel Graham Illustrated by David Neale Written by Oakley Graham All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. Neither this book nor any part or any of the illustrations, photographs or reproductions contained in it shall be sold or disposed of otherwise than as a complete book, and any unauthorised sale of such part illustration, photograph or reproduction shall be deemed to be a breach of the publisher’s copyright. ISBN 978-1-78244-171-7 A catalogue record for this book is available from the British Library Printed and bound in China Written by Oakley Graham Illustrated by David Neale For the magnificent seven; Jazz, Amber, Noah, Oakie, Jemima, Isis & Isadora. -
THE LAND BEYOND the MAGIC MIRROR by E
GREYHAWK CASTLE DUNGEON MODULE EX2 THE LAND BEYOND THE MAGIC MIRROR by E. Gary Gygax AN ADVENTURE IN A WONDROUS PLACE FOR CHARACTER LEVELS 9-12 No matter the skill and experience of your party, they will find themselves dazed and challenged when they pass into The Land Beyond the Magic Mirror! Distributed to the book trade in the United States by Random House, Inc. and in Canada by Random House of Canada Ltd. Distributed to the toy and hobby trade by regional distributors. Distributed in the United Kingdom by TSR Hobbies (UK) Ltd. AD&D and WORLD OF GREYHAWK are registered trademarks owned by TSR Hobbies, Inc. ©1983 TSR Hobbies, Inc. All Rights Reserved. TSR Hobbies, Inc. TSR Hobbies (UK) Ltd. POB 756 The Mill, Rathmore Road Lake Geneva, Cambridge CB14AD United Kingdom Printed in U.S.A. WI 53147 ISBN O 88038-025-X 9073 TABLE OF CONTENTS This module is the companion to Dungeonland and was originally part of the Greyhawk Castle dungeon complex. lt is designed so that it can be added to Dungeonland, used alone, or made part of virtually any campaign. It has an “EX” DUNGEON MASTERS PREFACE ...................... 2 designation to indicate that it is an extension of a regular THE LAND BEYOND THE MAGIC MIRROR ............. 4 dungeon level—in the case of this module, a far-removed .................... extension where all adventuring takes place on another plane The Magic Mirror House First Floor 4 of existence that is quite unusual, even for a typical AD&D™ The Cellar ......................................... 6 Second Floor ...................................... 7 universe. This particular scenario has been a consistent ......................................... -
Cweb Study Guide
" " " " " Alice in Wonderland " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " STUDY " GUIDE " " Designed and developed" " " by: Lexi Barnett" " : Meet the Author Lewis Carrol Lewis Carroll was the pseudonym of Reverend Charles Lutwidge Dodgson, a lecturer in mathematics at Christ Church, Oxford, who lived from 1832 to 1898. Carroll’s physical deformities, partial deafness, and irrepressible stammer made him an unlikely candidate for producing one of the most popular and enduring children’s fantasies in the English language. Carroll’s unusual appearance caused him to behave awkwardly around other adults, and his students at Oxford saw him as a stuffy and boring teacher. Underneath Carroll’s awkward exterior, however, lay a brilliant and imaginative artist. Carroll’s keen grasp of mathematics and logic inspired the linguistic humor and witty wordplay in his stories. Additionally, his unique understanding of children’s minds allowed him to compose imaginative fiction that appealed to young people. In 1856, Carroll and met the Liddell family. During their frequent afternoon boat trips on the river, Carroll told the Liddells fanciful tales. Alice quickly became Carroll’s favorite of the three girls, and he made her the subject of the stories that would later became Alice’s Adventures in Wonderland and Through the Looking-Glass. Almost ten years after first meeting the Liddells, Carroll compiled the stories and .1 submitted the completed manuscript for publication. pg If you lived all by yourself,Translating what would your housethe lookJabberwocky! like? Draw your ideal house below: There are many poems recited in Alice in Wonderland- one of the most bizarre is the Jabberwocky! What do you think it means? Write your translation of the words to the right of the poem " ’Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe. -
Humpty Dumpty's Explanation
Humpty Dumpty’s Explanation Humpty Dumpty’s explanation of the first verse of Jabberwocky from Through the Looking Glass and Alice’s Adventures there. 'You seem very clever at explaining words, Sir,' said Alice. 'Would you kindly tell me the meaning of the poem called "Jabberwocky"?' 'Let's hear it,' said Humpty Dumpty. 'I can explain all the poems that were ever invented--and a good many that haven't been invented just yet.' This sounded very hopeful, so Alice repeated the first verse: 'Twas brillig, and the slithy toves Did gyre and gimble in the wabe; All mimsy were the borogoves, And the mome raths outgrabe. 'That's enough to begin with,' Humpty Dumpty interrupted: 'there are plenty of hard words there. "BRILLIG" means four o'clock in the afternoon--the time when you begin BROILING things for dinner.' 'That'll do very well,' said Alice: and "SLITHY"?' 'Well, "SLITHY" means "lithe and slimy." "Lithe" is the same as "active." You see it's like a portmanteau--there are two meanings packed up into one word.' 'I see it now,' Alice remarked thoughtfully: 'and what are "TOVES"?' 'Well, "TOVES" are something like badgers--they're something like lizards--and they're something like corkscrews.' 'They must be very curious looking creatures.' 'They are that,' said Humpty Dumpty: 'also they make their nests under sun-dials--also they live on cheese.' 'Andy what's the "GYRE" and to "GIMBLE"?' 'To "GYRE" is to go round and round like a gyroscope. To "GIMBLE" is to make holes like a gimlet.' 1 'And "THE WABE" is the grass-plot round a sun-dial, I suppose?' said Alice, surprised at her own ingenuity. -
Audition Pack
AUDITION PACK Production details Our production of Alice in Wonderland will take place at Millers Theatre, Seefeldstrasse 225, 8008 Zürich. Production dates Saturday 2nd March 2019 at 2.30pm and 6.30pm Sunday 3rd March 2019 at 2.30pm and 6.30pm Want to audition? If you are aged between 8 and 18 you can book your audition time by signing up at www.simplytheatre.com/productions/audition Audition details Auditions for Alice in Wonderland will take place on the 8th and 9th December 2018 at Gymnos Studios, Gladbachstr. 119, 8044 Zürich. If you are selected for a CALLBACK, you will need to be available on the afternoon of Sunday 9th December. If you want to audition but cannot make these dates please let us know in advance and we may be able to help. Audition times are: Saturday 8th December Sunday 9th December Session 1: 14.45 – 15.45 Session 4: 11.00 – 12.00 Session 2: 15.55 – 16.55 Session 3: 17.00 – 18.00 Recall auditions: 13.00 – 16.00 (by invite only) Please indicate which audition slot you would like when booking your time. 1 What will I be doing in the audition process? As part of your audition, you will be asked to perform a small monologue. These monologues are listed at the end of this pack. This monologue should be memorised. When learning your monologue, remember to consider where you think your character is at the time of this monologue, who (s)he may be talking to, and what they are feeling. How can you get this information over to your audience (audition panel) through your audition? You may feel free to choose any of the monologues for your audition, as no matter what you perform at audition you will still be considered for all parts. -
Spilplus.Journals.Ac.Za
http://spilplus.journals.ac.za http://spilplus.journals.ac.za THE WORLD OF LANGUAGE 2 ITS BEHAVIOURAL BELT by Rudolf P. BOlha SPIL PLUS 25 1994 http://spilplus.journals.ac.za CONTENTS 2 Language behaviour 2.1 General nature: unobservable action 2 2.2 Specific properties 4 2.2.1 Purposiveness 4 2.2.2 Cooperativeness 13 2.2.3 Space-time anchoredness 16 2.2.4 Nonlinguistic embeddedness 18 2.2.5 Innovativeness 21 2.2.6 Stimulus-freedom 22 2.2.7 Appropriateness 24 2.2.8 Rule-governedness 25 2.3 Kinds of language behaviour 26 2.3.1 Forms of language behaviour 27 2.3.1.1 Producing utterances 28 2.3.1.2 Comprehending utterances 30 2.3.1.3 Judging utterances 32 2.3.2 Means of language behaviour 39 2.3.3 Modes of language behaviour 47 2.4 The bounds of language behaviour 51 Notes to Chapter 2 53 Bibliography 62 http://spilplus.journals.ac.za 1 2 Language behaviour In Carrollinian worlds, all sorts of creatures have the remarkable knack of appearing, as it were, from nowhere. For instance, soon after Alice had entered the world created by Gilbert Adair beyond a needle's eye, she witnessed how kittens and puppies, followed by cats and dogs, fell out of the sky: 'Hundreds of cats and dogs .... were pouring down as far as she could see. Once they landed, they would all make a rush for lower ground, gathering there in huddles --- "or puddles, I suppose one ought to say" --- .... ' [TNE 41] In Needle's Eye World, one could accordingly say It rained cats arui dogs, and mean it literally. -
Through the Looking Glass
THROUGH THE LOOKING GLASS By HateAnon Welcome to Looking-Glass World, my Imperial Kitten. This world is a chessboard you see, split into squares by rivers and hedges. You begin as a Pawn but if you reach the 8th rank you become a Queen and you will throw a fantabulous feast for us. I have already invited all your guests. Take these pounds and avoid all trains! +1000£ This game has been going on for quite a while truth be told so let us first see which square you are on as it is. Roll 1d8 or pay 50£ to choose. 1. Looking-Glass House? What sneaky people live behind the mirror. It is all pretense I say. However there could be a volcano, an invisible giant and a very clever poem here. If only I had made a memorandum of it! 2. The Garden of Live Flowers? Do you know why most flowers do not talk? Because they are planted in soft ground and they tend to fall asleep that way. The Red Queen is here but you must walk backwards to meet her, run all you can to keep in place and run twice as fast to get somewhere. 3. Looking-Glass Insects? I warned you! No word about that train: you have no pounds to spare and they charge a thousand pounds a word you see. The Gnat is worth talking to but it might break your heart to hear of the Bread-and-Butterfly’s sorrow fate. You forget something in the woods as well but I forgot what it is you forget. -
Alice Through the Looking-Glass Is Presented by Special Arrangement with the Estate of James Crerar Reaney
This production was originally produced at the Stratford Festival in association with Canada’s National Arts Centre in 2014. nov dec 26 19 2015 THEATRE FOR YOUNG AUDIENCES GENEROUSLY SUPPORTED BY STUDY GUIDE Adapted from the Stratford Festival 2014 Study Guide by Luisa Appolloni This production was originally produced at the Stratford Festival in association with Canada's National Arts Centre in 2014. Alice Through the Looking-Glass is presented by special arrangement with the Estate of James Crerar Reaney. 1 THEATRE ETIQUETTE “The theater is so endlessly fascinating because it's so accidental. It's so much like life.” – Arthur Miller Arrive Early: Latecomers may not be admitted to a performance. Please ensure you arrive with enough time to find your seat before the performance starts. Cell Phones and Other Electronic Devices: Please TURN OFF your cell phones/iPods/gaming systems/cameras. We have seen an increase in texting, surfing, and gaming during performances, which is very distracting for the performers and other audience members. The use of cameras and recording devices is strictly prohibited. Talking During the Performance: You can be heard (even when whispering!) by the actors onstage and the audience around you. Disruptive patrons will be removed from the theatre. Please wait to share your thoughts and opinions with others until after the performance. Food/Drinks: Food and hot drinks are not allowed in the theatre. Where there is an intermission, concessions may be open for purchase of snacks and drinks. There is complimentary water in the lobby. Dress: There is no dress code at the Royal Manitoba Theatre Centre, but we respectfully reQuest that patrons refrain from wearing hats in the theatre. -
ARTICLE: Jan Susina: Playing Around in Lewis Carroll's Alice Books
Playing Around in Lewis Carroll’s Alice Books • Jan Susina Mathematician Charles Dodgson’s love of play and his need for rules came together in his use of popular games as part of the structure of the two famous children’s books, Alice in Wonderland and Through the Looking-Glass, he wrote under the pseudonym Lewis Carroll. The author of this article looks at the interplay between the playing of such games as croquet and cards and the characters and events of the novels and argues that, when reading Carroll (who took a playful approach even in his academic texts), it is helpful to understand games and game play. Charles Dodgson, more widely known by his pseudonym Lewis Carroll, is perhaps one of the more playful authors of children’s literature. In his career, as a children’s author and as an academic logician and mathematician, and in his personal life, Carroll was obsessed with games and with various forms of play. While some readers are surprised by the seemingly split personality of Charles Dodgson, the serious mathematician, and Lewis Carroll, the imaginative author of children’s books, it was his love of play and games and his need to establish rules and guidelines that effectively govern play that unite these two seemingly disparate facets of Carroll’s personality. Carroll’s two best-known children’s books—Alice’s Adventures in Wonderland (1865) and Through the Looking- Glass and What Alice Found There (1871)—use popular games as part of their structure. In Victoria through the Looking-Glass, Florence Becker Lennon has gone so far as to suggest about Carroll that “his life was a game, even his logic, his mathematics, and his singular ordering of his household and other affairs. -
'Twas Brillig, and the Slithy Toves Did Gyre and Gimble in the Wabe: All Mimsy Were the Borogoves, and the Mome Raths Outgrabe
The Jabberwocky By Lewis Carroll 'Twas brillig, and the slithy* toves* Did gyre* and gimble in the wabe: All mimsy* were the borogoves*, And the mome raths outgrabe*. "Beware the Jabberwock, my son! The jaws that bite, the claws that catch! Beware the Jubjub bird, and shun The frumious* Bandersnatch!" He took his vorpal sword in hand: Long time the manxome foe he sought- So rested he by the Tumtum* tree, And stood awhile in thought. And, as in uffish* thought he stood, The Jabberwock, with eyes of flame, Came whiffling through the tulgey wood, And burbled as it came! One, two! One, two! And through and through The vorpal blade went snicker-snack*! He left it dead, and with its head He went galumphing* back. "And hast thou slain the Jabberwock? Come to my arms, my beamish* boy! O frabjous day! Callooh! Callay!" He chortled* in his joy. 'Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe. slithy: is a variant of "sleathy", meaning slovenly (untidy, messy, lazy); a combination of 'lithe and slimy' - lithe meaning flexible, graceful. toves: rhymes with "groves” (like the pine grove in Bridge to Terabithia). Humpty Dumpty says toves are 'something like lizards and something like corkscrews. They make their nest under sundials and live on cheese.’ gyre: means to turn or whirl around. mimsy: is a nonsense word. Humpty Dumpty says it is a combination of "flimsy and miserable". borogoves: the first O is said like the O in worry. -
Nursery Rhymes and Fables
Kindergarten Core Knowledge Language Arts® • Listening & Learning™ Strand Nursery Rhymes and Fables and Rhymes Nursery Tell It Again!™ Read-Aloud Anthology Read-Aloud Again!™ It Tell Nursery Rhymes and Fables Tell It Again!™ Read-Aloud Anthology Listening & Learning™ Strand KiNdeRgaRteN Core Knowledge Language Arts® Creative Commons Licensing This work is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. You are free: to Share — to copy, distribute and transmit the work to Remix — to adapt the work Under the following conditions: Attribution — You must attribute the work in the following manner: This work is based on an original work of the Core Knowledge® Foundation made available through licensing under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. This does not in any way imply that the Core Knowledge Foundation endorses this work. Noncommercial — You may not use this work for commercial purposes. Share Alike — If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. With the understanding that: For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link to this web page: http://creativecommons.org/licenses/by-nc-sa/3.0/ Copyright © 2013 Core Knowledge Foundation www.coreknowledge.org All Rights Reserved. Core Knowledge Language Arts, Listening & Learning, and Tell It Again! are trademarks of the Core Knowledge Foundation. Trademarks and trade names are shown in this book strictly for illustrative and educational purposes and are the property of their respective owners. -
Annihilating Nihilistic Nonsense Tim Burton Guts Lewis Carroll’S Jabberwocky
Annihilating Nihilistic Nonsense Tim Burton Guts Lewis Carroll’s Jabberwocky Alice in Wonderland seems to beg for a morbid interpretation. Whether it's Marilyn Manson's "Eat Me, Drink Me," the video game "American McGee's Alice," or Svankmajer's "Alice" and "Jabberwocky," artists love bringing out the darker elements of Alice’s adventures as she wanders among creepy creatures. The 2010 Tim Burton film is the latest twisted adaptation, featuring an older Alice that slays the Jabberwocky. However, unlike the other adaptations, Burton’s adaptation draws most of its grim outlook by gutting Alice in Wonderland of its fundamental core - its nonsense. Alice in Wonderland uses nonsense to liberate, offering frightening amounts of freedom through its playful use of nonsense. However, Burton turns this whimsy into menacing machinations - he pretends to use nonsense for its original liberating purpose but actually uses it for adult plots and preset paths. Burton takes the destructive power of Alice’s insistence for order and amplifies it dramatically, completely removing its original subversive release from societal constraints. Under the façade of paying tribute to Carroll’s whimsical nonsense verse, Burton directly removes nonsense’s anarchic freedom and replaces it with a destructive commitment to sense. This brutal change to both plot and structure turns Alice into a mindless juggernaut, slaying not only the Jabberwock, but also the realm of nonsense, non-linear narrative and real world empires. At first, nonsense in Lewis Carroll’s books seems to just a light-hearted play with language. Even before we come into Wonderland, the idea of nonsense as just a simple child’s diversion is given by the epigraph.