Abstract
Lewis Carroll had imposed full control in the making of Alice’s Adventures in Wonderland, which he published with Macmillan in 1865 (text, illustrations, page layout, translations). This article aims to show both the salient features of Carroll’s iconotextual project and its many accomplishments, but also its failings. Subsequent publications, translations, and reception would break the links between text, images, and page layout established in the original edition. The page layout is neither seen nor reproduced. Tenniel’s illustrations are forgotten. When Jacques Papy reintroduces these in his translation (Paris: Jean-Jacques Pauvert, 1961), he does not abolish the passing of time, he gives it to be seen.
Published Version
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