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Lewis Carroll at Play •}'Y It, -Pjf55 Dhhl )')~, I
CQS€.; RS 3b Lewis Carroll at Play •}'Y It, -PJf55 dhhl )')~, I A Thesis Presented to the Chancellor's Scholars Council of The University ofNorth Carolina at Pembroke In Partial Fulfillment Ofthe Requirements for Completion of The Chancellor's Scholars Program By James Nichols December 4,2001 Faculty Advisor's Approval ~ Faculty Advisor's Approvaldi: Faculty Advisor's APproi :£ Date ~ 296640 Lewis Carroll at Play Chancellor's Scholars Paper Outline I. Introduction A. Popularity ofthe Alice books B. Lewis Carroll background & summary ofAlice books C. Lewis Carroll put Alice books together for insight D. Lewis Carroll incorporated math, logic and games in Through the Looking Glass and Alice's Adventures in Wonderland, which benefits computer scientists and mathematicians. II. Mathematics in Alice books relates to computer science A. Properties 1. Identity 2. Inverses 3. No solution problems (nonsense) 4. Rules not absolute-always an exception B. Symmetry C. Dimensions D. Meaning ofmathematical phrases E. Null class F. Math puzzles 1. Multiplying 2. Alice's running 3. Line puzzle 4. Time 5. Zero-sum game 6. Transformations G. Mathematical puns m. Logic in the Alice books relates to computer science A. Concepts being broken down B. Humpty Dumpty chooses what words mean C. Need for Order D. Alice as a logician E. Logic ofa child F. Don't assume anything G. Symbols N. Games in the Alice books relates to computer science A. Cards B. Chess C. Acrostics D. Doublets E. Syzgies F. Magic Tricks 1. Fan 2. Apple 3. Magic Number G. Mazes H. Carroll's Games V. What Lewis Carroll offers to Computer Science and Mathematics today A. -
Lewis Carroll: Author, Mathematician, and Christian
Lewis Carroll: Author, Mathematician, and Christian David L. Neuhouser Mathematics Department Taylor University Charles Lutwidge Dodgson (1832-1898), better known as Lewis Carroll, is best known as the creative and imaginative author of the Alice stories, but he was also a mathematician at Christ Church College, Oxford University and a devout Christian. His mathematics, especially mathematical logic, contributed much to the charming “nonsense” in Alice’s Adventures in Wonderland and Through the Looking-Glass. However, his Christian thought is not evident in those books. In fact, they contain many parodies of morality poems for children. As a result of reading just these books, one might conclude that he was not even interested in morality. But to those who knew him personally, he seemed to be a rather pious, stodgy person. Also, he wrote essays and letters in defense of morality and Christianity as well as books and articles on mathematics. His writings on morality showed little of his literary imagination and his writings on mathematics give no indication of his Christianity. Only in Sylvie and Bruno and Sylvie and Bruno Concluded did Dodgson attempt to bring his literary creativity, mathematics, and Christianity all together in one artistic creation. This paper will attempt to answer the following questions. What motivated him to make this attempt and how successful was it? The Alice stories were the first really successful children’s stories which did not have obvious moral teachings. They were just for fun. However he wrote articles and letters against “indecent literature,” joking about sacred things, and immorality in plays. Some projects that he planned but never completed were: selections from the Bible to be memorized, selections from the Bible with pictures for children, and selections from Shakespeare with inappropriate content for young girls deleted. -
The Female Rebel in Pan's Labyrinth, Alice's Adventures in Wonderland and Through the Looking Glass
GOTHIC AGENTS OF REVOLT: THE FEMALE REBEL IN PAN'S LABYRINTH, ALICE'S ADVENTURES IN WONDERLAND AND THROUGH THE LOOKING GLASS Michail-Chrysovalantis Markodimitrakis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2016 Committee: Piya-Pal Lapinski, Advisor Kimberly Coates © 2016 Michail-Chrysovalantis Markodimitrakis All Rights Reserved iii ABSTRACT Piya Pal-Lapinski, Advisor The Gothic has become a mode of transforming reality according to the writers’ and the audiences’ imagination through the reproduction of hellish landscapes and nightmarish characters and occurrences. It has also been used though to address concerns and criticize authoritarian and power relations between citizens and the State. Lewis Carroll’sAlice’s Adventures in Wonderland and its sequel Through the Looking Glass are stories written during the second part of the 19th century and use distinct Gothic elements to comment on the political situation in England as well as the power of language from a child’s perspective. Guillermo Del Toro’s Pan’s Labyrinth on the other hand uses Gothic horror and escapism to demonstrate the monstrosities of fascism and underline the importance of revolt and resistance against State oppression. This thesis will be primarily concerned with Alice and Ophelia as Gothic protagonists that become agents of revolt against their respective states of oppression through the lens of Giorgio Agamben and Hannah Arendt. I will examine how language and escapism are used as tools by the literary creators to depict resistance against the Law and societal pressure; I also aim to demonstratehow the young protagonists themselves refuse to comply with the authoritarian methods used against them byadult the representatives of Power. -
Lewis Carroll's 'Jabberwocky': Non -Sense Not Nonsense 1 Adam Rose, University of Chicago
ARTICLE Lewis Carroll's 'Jabberwocky': non -sense not nonsense 1 Adam Rose, University of Chicago Abstract Although Lewis Carroll's 'Jabberwocky' is traditionally considered to be 'nonsense', such a characterisation ultimately rests on a Western folk notion of language as fundamentally semantico-referential. A more semiotically, and pragmatically, informed view of language and language-use, however, is capable of describing in considerable detail both the means by which a text such as 'Jabberwocky' 'makes sense' and the ends to which such a text can be put. Indeed, such a view shows that some discursive ends are particularly suited to attainment by means of so-called 'nonsense' texts such as 'Jabberwocky'. This article outlines such a view and applies it to 'Jabberwocky', which is thus seen to make both denotational and interactional 'sense'. Keywords: Carroll, Lewis; 'Jabberwocky'; literary pragmatics; poetics: pragmatics; semiotics The analysis of the two closely interconnected synthetic powers of poetry - that of similarity and contiguity and that of selection and combination - is a burning task faced by our science. Any fear of or reluctance about the analysis of poetic transformation of language impairs the scientific program of those linguists who pull back from the pivotal problem of this vital transformation; and likewise it curtails the research of those literary scholars who, in treating poetry, pull back from the innermost problems of language. (Jakobsen and Waugh (1979) The Sound Shape of Langunge, p. 236) I Introduction Since its publication in 1871 as part of Through the Looking Glass, Lewis Carroll's 'Jabberwocky' (see Appendix) has traditionally been considered to be a masterful piece of 'nonsense'. -
Angela Carter, Lewis Carroll, and Beastly Girls
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2012 Fearless Children and Fabulous Monsters: Angela Carter, Lewis Carroll, and Beastly Girls Veronica L. Schanoes CUNY Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/210 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Veronica SchanoeS Fearless Children and Fabulous Monsters Angela Carter, Lewis Carroll, and Beastly Girls Angela Carter’s various revisions of “Little Red Riding Hood” lay open the violent, alluring, and often distressing reality of adult sexuality. Although the relationship between Carter’s stories and the earlier tale has been ably analyzed,1 relatively little attention has been paid to the figure of Lewis Carroll’s Alice in Carter’s work on “Little Red Riding Hood.” I would argue that Alice is an important figure in and that Carroll’s work is a vital intertext to Carter’s short story “Wolf-Alice” and the filmThe Company of Wolves. Carter’s stories are about the animalistic, exploit- ative potential of human sexuality, whereas Alice’s Adventures in Wonderland and Through the Looking-Glass and What Alice Found There use animals to remind us of the seemingly arbitrary, nonsensical rules of the adult world. Both stories con- cern active girls exploring a world that is dangerous because of its unfamiliarity and the power of adults. By invoking both Alice and Little Red Riding Hood, Carter is able to present a more complex vision of female sexual awakening under patriarchy, its pleasures as well as its genuine risks and sufferings. -
Knight Letter No. 85
^ ^ KNIGHT LETTER ^ ^^ ^ The Lewis Carroll Society ofNorth America Winter 2010 Volume II Issue 15 Number 85 Knight Letter is the official magazine of the Lewis Carroll Society of North America. It is published twice a year and is distributed free to all members. Editorial correspondence should be sent to the Editor in Chief at [email protected]. SUBMISSIONS Submissions for The Rectory Umbrella and Mischmasch should be sent to [email protected]. Submissions and suggestions for Serendipity and Sic Sic Sic should be sent to [email protected]. Submissions and suggestions for From OurFar-Flung Correspondents should be sent to [email protected]. © 2010 The Lewis Carroll Society of North America ISSN 0193-886X Sarah Adams-Kiddy, Editor in Chief Mahendra Singh, Editor, The Rectory Umbrella Sarah Adams-Kiddy ^ Ray Kiddy, Editors, Mischmasch James Welsch 6^ Rachel Eley, Editors, From Our Far-Rung Correspondents Mark Burstein, Production Editor Andrew H. Ogus, Designer THE LEWIS CARROLL SOCIETY OF NORTH AMERICA President: Mark Burstein, [email protected] Vice-President: Cindy Watte r, [email protected] Secretary: Clare Imholtz, [email protected] www.LewisCarroll . org Annual membership dues are U.S. $35 (regular), $50 (international), and $100 (sustaining). Subscriptions, correspondence, and inquiries should be addressed to: Clare Imholtz, LCSNA Secretary 11935 Beltsville Dr. Beltsville, Maryland 20705 Additional Contributors to This Issue Barbara Adams, Ruth Berman, Angelica Carpenter, Bonnie Hagerman, Alan Tannenbaum, Cindy Watter On the cover: Secret Garden, digital collage by Adriana Peliano. Seepage 21. 1 -^ -^0^ ^ CONTENTS H^ i^y„s^ ^S ^i^"^^^ ^ THe ReCTORY UMBRSLLA OF BOOKS AND THINGS m Livefrom Lincoln Center Evermore Everson 's Everytype! 45 MARK BURSTEIN MARK BURSTEIN Keith Shepard's Wonderland Revisited, Meeting Mr. -
Tea Time at Wonderland. Domestic Models and Family Relationships Over the Looking Glass
Studi sulla Formazione: 20, 83-92, 2017-2 DOI: 10.13128/Studi_Formaz-22172 | ISSN 2036-6981 (online) Tea Time at Wonderland. Domestic models and family relationships over the looking glass MARIA TERESA TRISCIUZZI Ricercatrice di Storia della Pedagogia – Libera Università di Bolzano Corresponding author: [email protected] Abstract. The character of Alice, the English “dream child” of the second half of the 19th century, was born from the fantasy of Charles Lutwidge Dodgson, best known with the nom de plume Lewis Carroll. In her travels Alice does not look for a new family to substitute hers, but for her own freedom of being and knowing herself through an initiation path. Alice – Alice’s Adventures in Wonderland (1865) and Through the Looking-Glass and What Alice Found (1871) – is a masterpiece of non- sense only on its surface, because actually it has an underground, which makes it able to see from a child’s point of view and to understand what being a child means in a world ruled by petulant, unreliable and rude adults. Alice represents the great metaphor of the escape; she leaves her family through escaping to somewhere else, which brings her to an inner adventure in the depths of being. In the novels of Car- roll the reader can find everyday life themes, such as the domesticity, being a mother and taking care, but in an upside-down and paradoxical way. Keywords. Lewis Carroll; Children’s Literature; Pedagogy of Family; History of Pedagogy; Gender Pedagogy; Victorian Age; Domesticity; Under- ground. “Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, ‘and what is the use of a book,’ thought Alice, ‘without pictures or conversations?” (Carroll 2009, p. -
Alice in Wonderland Glossary of Terms for Madge Miller’S Adaptation from Lewis Carroll
Alice in Wonderland Glossary of Terms for Madge Miller’s adaptation from Lewis Carroll Lewis Carroll’s novella Alice’s Adventures in Wonderland, on which Madge Miller’s play is based, begins not with Alice sitting on the grass with her sister, but with the following poem, which recalls the “golden afternoon” when Carroll first began telling the story of Alice’s adventures underground to the three Liddell sisters, Lorina (aged 13), Alice (aged 10), and Edith (aged 8). The date was Friday, July 4th, 1862. W.H. Auden once declared that July 4th, 1862 was “as memorable a day in the history of literature as it is in American history.”1 This quote and, indeed, much of the information in this glossary is culled from The Annotated Alice, a volume of Carroll’s work superbly annotated by Martin Gardner, from which I will be citing frequently. The poem which begins Alice’s Adventures reads as follows: All in the golden afternoon Full leisurely we glide; For both our oars, with little skill, By little arms are plied, While little hands make vain pretence Our wanderings to guide. Ah, cruel Three! In such an hour, Beneath such dreamy weather, To beg a tale of breath too weak To stir the tiniest feather! Yet what can one poor voice avail Against three tongues together? Imperious Prima flashes forth Her edict to “begin it”: In gentler tones Secunda hopes “There will be nonsense in it!” While Tertia interrupts the tale Not more than once a minute. Anon, to sudden silence won, In fancy they pursue The dream-child moving through a land Of wonders wild and new, In friendly chat with bird or beast— And half believe it true. -
Over the Rainbow and Down the Rabbit Hole: Law and Order in Children's Literature
North Dakota Law Review Volume 81 Number 1 Number 1 Article 3 January 2005 Over the Rainbow and down the Rabbit Hole: Law and Order in Children's Literature Sarah Hamilton Follow this and additional works at: https://commons.und.edu/ndlr Part of the Law Commons Recommended Citation Hamilton, Sarah (2005) "Over the Rainbow and down the Rabbit Hole: Law and Order in Children's Literature," North Dakota Law Review: Vol. 81 : No. 1 , Article 3. Available at: https://commons.und.edu/ndlr/vol81/iss1/3 This Article is brought to you for free and open access by the School of Law at UND Scholarly Commons. It has been accepted for inclusion in North Dakota Law Review by an authorized editor of UND Scholarly Commons. For more information, please contact [email protected]. OVER THE RAINBOW AND DOWN THE RABBIT HOLE: LAW AND ORDER IN CHILDREN'S LITERATURE SARAH HAMILTON* It was all very well to say 'Drink me,' but the wise little Alice was not going to do that in a hurry. "No, I'll look first," she said, "and see whether it's marked 'poison' or not": for she had read several nice little stories about children who had got burnt, and eaten up by wild beasts, and other unpleasant things, all because they would not remember the simple rules their friends had taught them: such as, that a red-hot poker will burn you if you hold it too long; and that, if you cut your finger very deeply with a knife, it usually bleeds; and she had never forgotten that, if you drink much from a bottle marked 'poison,' it is almost certain to disagree with you sooner or later.I I. -
UNIVERSITY of CALIFORNIA Los Angeles Literature
UNIVERSITY OF CALIFORNIA Los Angeles Literature and Feminine Singularity: 1850–90 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Ronjaunee Chatterjee 2015 © Copyright by Ronjaunee Chatterjee 2015 ABSTRACT OF THE DISSERTATION Literature and Feminine Singularity: 1850–90 by Ronjaunee Chatterjee Doctor of Philosophy in English University of California, Los Angeles, 2015 Professor Joseph E. Bristow, Chair “Literature and Feminine Singularity: 1850–90” argues for the emergence of a mathematically-defined and serially-oriented vision of femininity that is singular in nineteenth- century literary texts. My project calls attention to feminine singularity as irreducible and not beholden to the structures of liberalism, capitalism, and bourgeois patriarchy that typically frame gender in binary oppositional terms. Singularity has been part of the language of philosophy, physics, and mathematics since Kant’s aesthetic theories. In nineteenth-century literature, singularity vitalizes the political urgency of femininity beyond the limited agenda of suffrage movements. The works I analyze—Lewis Carroll’s Alice books, Christina Rossetti’s poetry and short fiction, Wilkie Collins’ The Woman in White , and Charles Baudelaire’s poetry and prose— imagine a form of feminine radicalism that is an explicit counterpoint to emerging Continental ii theories of liberal individualism and the modern citizen-subject. My project thus concentrates on the ways in which lateral affiliations of likeness (such as the minimal, non-reproductive difference between sisters) and numerical lines of thinking generate feminine singularity. In participating in alternative conceptions of counting a “one,” or conceiving of the many, these works consider femininity outside the oscillation between particulars and universals that has been the defining paradigm for understanding the self and the other. -
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3e:fe:8te:d BBf10gl'ap8i Abeles, Francine. 1 994. The Mathematical Pamphlets oj Charles Lutwidge Dodgson and Related Pieces. New York: The Lewis Carroll So ciety of North America. Bartley III, William W 1977. Lewis Carroll's Symbolic Logic. New York: Clarkson Potter. Carroll, Lewis. 1958. Pillow Problems and a Tangled Tale. New York: Dover. Carroll, Lewis. 1958. Symbolic Logic and the Game oj Logic. New York: Dover. Carroll, Lewis. 1960. The Humorous Verse oJLewis Carroll. New York: Dover. Carroll, Lewis. 1965. The Works oj Lewis Carroll. Roger Lancelyn Green (ed.). London: Paul Hamlyn. Carroll, Lewis. 1971. The Rectory Umbrella and Mischmasch. New York: Dover. [ 1 51] THE UNIVERSE IN A HANDKERCHIEF Carroll, Lewis. 1982. The Complete Illustrated Works of Lewis Carroll. Edward Guiliano (ed.). New York: Avenel. Carroll, Lewis. 1988. Sylvie and Bruno. New York: Dover. Clark, Anne. 1979. Lewis Carroll:A Biography. New York: Schocken. Clark, Anne. 1981. The Real Alice. New York: Stein and Day. Cohen, Morton (ed.). 1979. The Letters oj Lewis Carroll. London: Oxford University Press. Cohen, Morton. 1989. Lewis Carroll: Interviews and Recollections. Iowa City: University of Iowa Press. Cohen, Morton. 1995. Lewis Carroll:A Biography. New York: Knopf. Collingwood, Stuart Dodgson. 1898. The Life and Letters of Lewis Carroll. New York: Century. Collingwood, Stuart Dodgson. 1961. The Lewis Carroll Picture Book. New York: Dover. Fisher, John. 1973. The Magic of Lewis Carroll. New York: Simon and Schuster. Gardner, Martin. 1960. The Annotated Alice. New York: Clarkson Potter; 1993. Revised edition, 1993. New York: Wings. Gardner, Martin. 1990. More Annotated Alice. New York: Random House. -
Larissa Guimarães Averbug
LARISSA GUIMARÃES AVERBUG “ALICE” Uma dinâmica criativa irreversível Tese de Doutorado Tese apresentada ao Programa de Pós-Graduação em Design da PUC-Rio como requisito parcial para obtenção do título de Doutor em Design. Orientadora: Luiza Novaes Rio de Janeiro Abril de 2021 2 LARISSA GUIMARÃES AVERBUG “ALICE” Uma dinâmica criativa irreversível Tese apresentada como requisito parcial para obtenção do grau de Doutor pelo Programa de Pós- Graduação em Design da PUC-Rio. Aprovada pela co- missão examinadora abaixo. Profa. Luiza Novaes Orientadora Departamento de Artes & Design – PUC-Rio Profa. Denise Berruezo Portinari Departamento de Artes & Design – PUC-Rio Profa. Rosana Kohl Bines Departamento de Letras – PUC-Rio Profa. Claudia Mendes Escola de Comunicação – UFRJ Profa. Aline Frederico Faculdade de Filosofia, Comunicação, Letras e Artes – PUC-SP Rio de Janeiro, 13 de abril de 2021. 3 Ficha Catalográfica Averbug, Larissa Guimarães “Alice” : uma dinâmica criativa irreversível / Larissa Guimarães Averbug ; orientadora: Luiza Novaes. – 2021. 283 f. : il. color. ; 30 cm Tese (doutorado) – Pontifícia Universidade Católica do Rio de Ja- neiro, Departamento de Artes e Design, 2021. Inclui bibliografia 1. Artes e Design – Teses. 2. Alice no país das maravilhas. 3. Lewis Carroll. 4. Processo criativo. 5. Transmidialidade. 6. Nonsense. I. No- vaes, Luiza. II. Pontifícia Universidade Católica do Rio de Janeiro. De- partamento de Artes e Design. III. Título. CDD:700 4 À memória de Lewis Carroll, Alice Liddell e todos os artistas que os mantêm vivos. 5 Agradecimentos O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior – Brasil (CAPES) – Código de Financiamento 001.