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Alice's Shadow: Childhood and Agency in Lewis Carroll's Photography, Illustrations, and Alice Texts R Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 Alice's shadow: childhood and agency in Lewis Carroll's photography, illustrations, and Alice texts R. Nichole Rougeau Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Rougeau, R. Nichole, "Alice's shadow: childhood and agency in Lewis Carroll's photography, illustrations, and Alice texts" (2005). LSU Doctoral Dissertations. 3388. https://digitalcommons.lsu.edu/gradschool_dissertations/3388 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. ALICE’S SHADOW: CHILDHOOD AND AGENCY IN LEWIS CARROLL’S PHOTOGRAPHY, ILLUSTRATIONS, AND ALICE TEXTS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by R. Nichole Rougeau B.A., University of Southwestern Louisiana, 1997 M.A., University of Southwestern Louisiana, 1999 May 2005 ©Copyright 2005 R. Nichole Rougeau All rights reserved ii Dedication I dedicate this project to all who have supported my research academically, financially, and emotionally. iii Acknowledgements As I complete this dissertation project, I want to thank all who have contributed to my research and education. I must first begin with those individuals who served as academic mentors for this project. I could not have accomplished such a feat without the guidance of my dissertation director, Dr. Jim Borck. Dr. Borck taught me how to take my bucket of disjointed thoughts and paint a polished central argument. He served as my advocator when others were quick to dismiss my interests, and for that I am deeply appreciative. I would also like to acknowledge the support of my dissertation committee Dr. Sarah Liggett, Dr. Rebecca Crump, Dr. Teresa Buchanan, and Dr. Elena Castro. Each member provided insightful information in the form of literary suggestions, loaned secondary sources, and desperately needed revisions. And I must thank the English department at Louisiana State University who has kept me gainfully employed during the period in which I worked on this project. I would especially like to thank Dr. Irvin Peckham who continually found teaching assignments for me to help defray the costs of this project. Second, I would like to thank Linda Briscoe Meyers, Director of the Photography Collection at the Harry Ransom Humanities Research Center of the University of Texas at Austin, and Karen Schoenwaldt, Registrar of the Rosenbach Museum and Library in Philadelphia, Pennsylvania for their help in locating and giving permission for reprinting some of Lewis Carroll’s photographs. Both women eagerly provided me with the materials I needed for the bulk of my argument on nineteenth century photography of children. A third group of individuals I need to address in these acknowledgements are my fellow classmates at Louisiana State University. I will be forever indebted to the numerous “sounding board” sessions and the useful suggestions for secondary sources and focus they provided on a iv daily basis. I especially would like to thank Liz Beard who endured late night phone calls and offered encouragement no matter how small the accomplishment. Finally, I want to acknowledge those dearest to me, my family. While it is impossible to name every single extended family member who has supported my endeavors throughout the years, I do appreciate your love. However, it is my parents, Jim and Sandy Rougeau, to whom I owe the most thanks. My mother never allowed me to quit no matter how many times I threatened to do so. My dad shared his wisdom, and I thank him for his last minute editing sessions. My parents are my confidants; I could not imagine finishing this journey without them. I must also thank my only sibling, my brother, Specialist Michael Rougeau of the 256th National Guard Brigade, who is currently serving our country in Iraq so that others may share the same freedoms I experience daily. However, none of my academic pursuits would be worth while if I did not share it with my love, Chad Vanderford. Chad is my companion, the one with whom I will spend the rest of my life. He refuses to see and expects nothing but the best from me. His continuing support makes me want to do my best in all that I attempt. Thank you. v Table of Contents Dedication………………………………………………………………………………………...iii Acknowledgements…...…………………………………………………………………………..iv List of Figures……………………………………………………………………………………vii Abstract…………………………………………………………………………………………...ix Chapter 1. Introduction: Shadows, Agency, and Childhood in the Works of Lewis Carroll………………….…………………………………………1 Chapter 2. In the Shadows of Adults: Lewis Carroll and the Lineage of the Nineteenth Century Child……………………………………….10 Chapter 3. Capturing Childhood: Lewis Carroll’s Fictionalized Child in Nineteenth Century Photography………………………….……..44 Chapter 4. The Agency of Illustrating Childhood: John Tenniel and Lewis Carroll’s Illustrations of the Alice Texts…...……………….…89 Chapter 5. Deciphering Shadows: Language and Childhood in the Alice Texts……………...134 Afterword. Following Alice’s Shadow: Child Identity in Peter Pan, Harry Potter, and Series of Unfortunate Events……..………………….…178 Bibliography…………………………………………………………………………………....186 Appendix: Letters of Permission to Reproduce Images………….…………………………....191 Vita……………………………………………………………………………………………..195 vi List of Figures 3.1 Coates photographed by Lewis Carroll Harry Ransom Humanities Research Center The University of Texas at Austin………………………………………………….……57 3.2 Iphegenia, or Evening Sun photographed by O.G. Rejlander Harry Ransom Humanities Research Center The University of Texas at Austin…………………………………………….…………63 3.3 Beatrice Hatch photographed by Lewis Carroll Rosenbach Museum and Library..……………………………………….………………74 3.4 Evelyn Hatch as gipsy photographed by Lewis Carroll Rosenbach Museum and Library………………………………….……………………..77 3.5 Evelyn Hatch reclining nude photography by Lewis Carroll Rosenbach Museum and Library…………………………….……………………….….79 3.6 Xie Kitchin as a Chinaman photographed by Lewis Carroll Harry Ransom Humanities Research Center The University of Texas at Austin…………………….…………………………………84 3.7 Ethel Hatch in Turkish dress photographed by Lewis Carroll Harry Ransom Humanities Research Center The University of Texas at Austin……………….………………………………………84 3.8 Xie Kitchin as Chinaman watercolor over albumen print Harry Ransom Humanities Research Center The University of Texas at Austin……………………………………………….……....85 3.9 Irene MacDonald photographed by Lewis Carroll Harry Ransom Humanities Research Center The University of Texas at Austin…………………………………………………….…85 4.1 “Alice was beginning to get very tired” Lewis Carroll………………………………………98 4.2 “Alice led the way” Lewis Carroll…………………………………………………………...98 4.3 “She had quite a long argument with the Lory” Lewis Carroll………………………….…102 4.4 “An enormous puppy was looking down at her” Lewis Carroll…………………………....102 4.5 Drawing of Alice Liddell by Lewis Carroll………………………………………………...103 4.6 Alice and the mouse by Lewis Carroll…………………………………………………..…107 vii 4.7 “Serpent Alice” by Lewis Carroll…….………………………………..…………………..108 4.8 Alice grows after eating the cake by Lewis Carroll.……………………..…………………108 4.9 Alice finds the door behind the curtain by Lewis Carroll……………….……………….…110 4.10 Alice talks to the White Rabbit by Lewis Carroll..……………………………………….111 4.11 Alice listens to the Lory by Lewis Carroll……..………………………………………....111 4.12 Alice in the pool of tears by John Tenniel………………………………………………...123 4.13 Alice finds the hidden door by John Tenniel……………………………………………...123 4.14 Alice and the White Rabbit by John Tenniel……………………………………………...124 4.15 Alice grows tall by John Tenniel………………………………………………………….127 4.16 “Why there they are!” John Tenniel……………………………………………………....127 4.17 “Then the words don’t fit you” John Tenniel…………………………………………..…131 viii Abstract The nineteenth century marks the emergence of a new literary market directed at the entertainment of children. However, a dichotomy exists concerning the image of childhood. Adults tended to idolize childhood in literature to reflect on their own lives ignoring the needs of children to possess an identity of their own. Essentially children are shadows of adults. Examinations of the shadows of childhood—children as shadows of adults, children shadowed by adults, the shadows as identifying children, and the shadows children themselves cast—lead to a discussion of agency over childhood. Lewis Carroll, entering this new literary market with his Alice series, identifies the misconceptions of childhood calling attention to the shadowed truth in his photography, illustrations and literature. This dissertation integrates psychological, cultural, visual and linguistic analysis in an effort to create a lens through which we can expand our understanding of children and literature written for and about children. Specifically, Lewis Carroll’s Alice series serves as an exemplary text on which to base discussions of childhood and the child-literary audience in relation to children as muses for poetry,
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