Adventures In Wonderland Research Articles

Alice in Wonderland Syndrome: The First Case of Arbitrary, Reproducible, Early Childhood AIWS-like Visual Sensations in a Meditation Setting

Alice in the wonderland syndrome (AIWS) was named after the description by Lewis Carroll in his novel. It was in 1955 when John Todd, a psychiatrist, this entity described for the first time. Todd described it as “Alice’s Adventures in Wonderland” of Lewis Carroll. The author Carroll suffered from heavy migraine attacks. The Alicein- Wonderland-Syndrome is a bewildering state of attacks which affect the visual perception.

The Acoustics of Nonsense in Lewis Carroll's Alice Tales

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.1It 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.

Nabokov and Indeterminacy: The Case of ‘The Real Life of Sebastian Knight‘ by Meyer Priscilla (review)

REVIEWS 565 study opens up a new area of Gulag research and adds considerably to our knowledge of the literature of the Soviet labour camps. UCL SSEES Sarah J. Young Meyer, Priscilla. Nabokov and Indeterminacy: The Case of ‘The Real Life of Sebastian Knight’. Studies in Russian Literature and Theory. Northwestern University Press, Evanston, IL, 2018. x + 188 pp. Illustrations. Notes. Bibliography. Index. $39.95 (paperback). When you think of indeterminacy and ambiguous authorship in Vladimir Nabokov’s novels, Pale Fire is usually the first title that comes to mind, but we also know that there are precedents. In Nabokov and Indeterminacy: The Case of ‘The Real Life of Sebastian Knight’, Priscilla Meyer’s analysis spirals outward from Nabokov’s first novel in English to show how it can assist our interpretation of his later novels. The conventional response to the complexity of structure and narrative authorship in much of Nabokov’s work has been to undertake an exercise in solving riddles. Instead, as Meyer demonstrates, this complexity is carefully set to foreground the ‘unattainability of reality’ (p. 131). This is why Nabokov’s indeterminacy differs so much from the so-called postmodern notion with which, after Pale Fire, it has often been associated, for Nabokov’s personal take on indeterminacy is linked to his experience of loss as an exile. The writing of The Real Life of Sebastian Knight, Meyer argues, dramatizes this loss as Nabokov has to relinquish his language and culture and appropriate new canons and techniques to develop his own means of survival through art. The tripartite and progressive structure of Meyer’s book relies on what she identifies as ‘three pairs of parallel binaries’ that Nabokov incorporates into his texts only to subvert them: art and reality; Russian and English; life and death. In each section, The Real Life of Sebastian Knight is discussed through the prism of Nabokov’s work — Despair, Lolita, Pale Fire, ‘The Vane Sisters’— or the work of other writers — Virginia Woolf, Tom Stoppard, Nathaniel Hawthorne, Henry James — which, relying on Kiril Taranovsky’s definition, Meyer calls ‘subtexts’ (p. 15). Meyer’s method relies on her ability to develop extremely rich dialogues between The Real Life of Sebastian Knight and his other works (most notably Despair, Lolita and Pale Fire) from which she retraces Nabokov’s maturing development of his favourite concerns: art and life, immortality and the possibility of an afterlife. The parallel analysis of Despair and Sebastian Knight is the subject of the first chapter, entitled ‘Mirrored Worlds’, in part one (‘Art/Reality’). Through a SEER, 98, 3, JULY 2020 566 detailed analysis of the motifs both novels share, Meyer contrasts the figure of the author and the narrators they develop. While Hermann’s materialism and flawed relation to art precipitate his failure, Sebastian’s idealism enables him to transcend loss and nostalgia. Meyer shows the novels as ‘paired’, Sebastian Knight reading as a positive variant of Despair on art and immortality and ‘the unknowability of what comes after this life’ (p. 35). A second section of this chapter examines Tom Stoppard’s dramatization of The Prismatic Bezel in The Real Inspector Hound to enlighten further the sense of indeterminacy in Nabokov’s novel as viewed from the perspective of this English playwright. Part two, ‘Russian/Anglophone’, focuses on the turning point in Nabokov’s career and the progressive creation of a new set of Anglo-American referents that would inform his later works. In line with Marijeta Bozovic’s contention that Nabokov invented a new literary canon (Nabokov’s Canon: From ‘Onegin’ to ‘Ada’, Evanston, IL, 2016), Meyer argues that Nabokov not only substituted Russian and European settings in his English fiction, but also alluded ‘by quotation and plot parallels to English and American writers to create his own English medium’ (p. 47). In chapter two, ‘British Subtexts’, she first draws a set of very precise connections between Sebastian Knight and Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass that foreground the diverse ontological layers of authorial responsibility in Nabokov’s novel. With a leap forward to European modernism and a focus on Virginia Woolf, a writer rarely acknowledged as a subtext in...

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Alice in the wonderland syndrome (AIWS) was named after the description by Lewis Carroll in his novel. It was in 1955 when John Todd, a psychiatrist, this entity described for the first time. Todd described it as “Alice’s Adventures in Wonderland” of Lewis Carroll. The author Carroll suffered from heavy migraine attacks. The Alicein- Wonderland-Syndrome is a bewildering state of attacks which affect the visual perception.

Special Features of Idioms Interpretation at the Stage of Eye-Mindedness in the Cognition Process of a Subject (as exemplified in L. Carroll «Alice’s Adventures in Wonderland»).

The article deals with the investigation of the specific features of idiom interpretation at the eye-mindedness stage. The ability of a subject to perceive the external resemblance of objects makes their hidden features invisible. In the cognitive process the subject learns to perceive and to interpret the outside world as the complex of objects, situations as a whole for self-identity and developing the capability to identify himself regarding this reality. It is a matter of common observation that one of the most complex forms of metaphorical thinking is the subject ability to interpret a figurative meaning. In the course of the imagination intentional development the acquired ability to think metaphorically influences the comprehension of many aspects of language, including the correct interpretation of idioms. Integrated meaning of phraseological units and idioms causes serious problems in the process of the child language aquisition. Due to limited background knowledge and corresponding cognitive structures, the child tries to interpret each component separately, losing the figurativeness, but at the same time giving the idiom or phraseological unit an individual and unusual sense. Young researchers, relying on objective thinking, perceive idioms as sentences where words are freely combined. The study revealed that the idioms interpretation depends on a number of internal and external factors, as well as the background knowledge about the reality and the rules of successful speech interaction. Various language means reflect the children’s speech dynamics within the process of formation of the subject’s ability to interpret a figurative meaning. When interacting with the surrounding reality, the subject’s awareness of his personal “Ego” inevitably generates contradictions of the reality cognition priority and new information. Integration of the old and new information results in creation of a problem situation and its comprehension. Scarcely ever new facts fit the framework of known concepts and behavior algorithms. Efforts to resolve the problem situations by search and creation of the new ways and solution methods, images and senses discovering the outworld new features, show the subject’s cognitive activity.

British Hymn Books for Children, 1800-1900: Re-Tuning the History of Childhood, by Alisa Clapp-Itnyre

Reviewed by: British Hymn Books for Children, 1800–1900: Re-Tuning the History of Childhood by Alisa Clapp-Itnyre Naomi Wood (bio) British Hymn Books for Children, 1800–1900: Re-Tuning the History of Childhood, by Alisa Clapp-Itnyre; pp. xviii + 306. London and New York: Routledge, 2016, £120.00, £36.99 paper, $175.00, $48.87 paper. Standard histories of children's literature conventionally have omitted or downplayed overtly religious texts on the grounds that work written to instruct does not meet the definition of literature as a pleasurable leisure occupation. This is the case, or example, in widely circulated and reissued books like F. J. Harvey Darton's Children's Books in England: Five Centuries of Social Life (1932), John Rowe Townsend's Written for Children: An Outline of English-Language Children's Literature (1965), and Patricia Demers's From Instruction to Delight: An Anthology of Children's Literature to 1850 (1982). Accounts of children's religious [End Page 336] texts may mention the episode featuring a rotting gibbeted corpse in Mary Sherwood's The History of the Fairchild Family (1818–47), or footnote Lewis Carroll's parody of Isaac Watts in Alice's Adventures in Wonderland (1865). But serious consideration of the aesthetic, intellectual, or cultural work of religion in children's texts has been limited, with some exceptions, such as J. S. Bratton's study of Evangelical writing in The Impact of Victorian Children's Fiction (1981). In recent years, however, a growing body of scholars has recognized that children are not simply objects to be shaped by their reading, but may embrace didactic literature as pleasurable and as offering opportunities for agency. Marah Gubar's Artful Dodgers: Reconceiving the Golden Age of Children's Literature (2009) and Victoria Ford Smith's Between Generations: Collaborative Authorship in the Golden Age of Children's Literature (2017), to take two recent examples, trace the ways in which golden-age children's literature emerges out of collaborative relationships between adults and children. Mark Knight and Emma Mason in Nineteenth-Century Religion and Literature (2006) have demonstrated how religion informs Victorian writers of all stripes and that understanding religious positions, tropes, and debates is therefore critical to our understanding of Victorian literature and culture. It is no longer sufficient to focus on the five or so of the century's most subversive or radical writers for children to trace the contours of childhood's culture and history, or to repeat unthinkingly the canard that modernity has so disenchanted the world that religion and faith are impossible and therefore irrelevant. Alisa Clapp-Itnyre's British Hymn Books for Children, 1800–1900: Re-Tuning the History of Childhood contributes to this ongoing conversation with an extensively researched study of children's hymns and hymnody as a combination of textual, musical, and performative practices with shifting meanings. The book studies the evolution of children's hymnody alongside the complex relationship between musical form and textual content, and between adult guides and child performers. Attentive to the distinctions made by Victorian editors and compilers between classes, confessional allegiances, and genders, Clapp-Itnyre examines not only the text but also hymnbooks' hymn selections, production values, and uses. She recounts as well contemporary responses by adults and children to children's private and public performance. Her primary thesis is that "nineteenth-century hymns created an empowered child singer," thus extending our understanding of children's culture and ideology during the period (10). As both a pleasurable leisure occupation and a religious practice, hymns and hymn-singing bring into focus the broad area between Romantic ideals and Puritan-Evangelical notions of childhood. The book's six chapters treat (1) the class-based differences between different hymn-books, and what their hymn selections reveal about the implied child readers; (2) the role of religious poetry and hymns in the history of children's literature; (3) the overlap between adult and children's hymnbooks; (4) the representation of childhood through performance and in illustrations to children's hymnbooks; (5) hymns associated with children's reforming organizations (Missionary, Bands of Hope, and Bands of Mercy); (6) and the depiction of death and deathbeds in children's hymns. Most chapters show...

Curation as methodology

The term curation was once only utilized by museum professionals. Currently, the term seems to have been borrowed by aesthetically-minded persons looking to collect ideas or objects. Through a detailed account of one curatorial process, this article aims to convey the richness of context, the depth of connection, and the promotion of new ideas classically associated with curation. Drawing on these methods, the author begins to develop an outline of curation as a transferrable methodology, useful for exploration of aesthetic works as they related to sociocultural histories. As an exemplar collection of artworks, illustrations of Lewis Carroll’s Alice’s Adventures in Wonderland provide content to explore the depth and breadth of curation as a methodology.

Counting with Alice

There are many mathematical references in Lewis Carroll’s two tales for children: Alice’s Adventures in Wonderland (1865) and Through the Looking-Glass (1872). Many critics suggested that Carroll inserted hidden meanings in those passages. We rather consider them as part of the story’s setting and narrative. Yet, those passages may be interpreted and used as convenient to illustrate mathematical ideas. In this paper, we consider two passages from the Alice tales that relate to arithmetic, and we discuss them in relation to issues of personal identity, mathematical certainty, the role of notations and the processes of composition and decomposition in mental calculation. Hence, we show how literary texts can be used to convey ideas related to mathematics, mathematical culture and mathematical education. We conclude on the importance of mathematical writings as literary texts.

EXPLORING LINGUISTIC POLARITY DISPLAYED IN ALICE’S “ADVENTURES IN WONDERLAND”: A SYSTEMIC FUNCTIONAL LINGUISTIC PERSPECTIVE

Short story is an interesting texts for promoting linguistic awareness and language acquisition, e.g. English young learners. It is important to introduce them with the linguistics features, e.g. subject-finite in their early ages of language learning especially in second and foreign languages. In respecting to the students character building, short stories are enriched of doctrines and philosophy which are fruitful for their psychological development, e.g. characters. Therefore, this study aims to analyze finites of linguistic polarity found in Alice’s Adventure in Wonderland. This is interesting as it leads to linguistics awareness. Adopting Bustam & Rayhan’s (2012) transitivity analysis model of Systemic Functional Linguistics (SFL) Approach, this exploratory research identified linguistic polarity of the attitudes of the story. The findings show that finite processes realize the polarity of attitudes utterances. Behavioral mental process are realized through finite to sharpen the attitudes in the story.

루이스 캐롤의 『이상한 나라의 앨리스』의 프랑스어 번역본에 나타난 난센스 번역의 창작적 면모

루이스 캐롤의 『이상한 나라의 앨리스』의 프랑스어 번역본에 나타난 난센스 번역의 창작적 면모

“Pig” or “Fig?”: Grimm’s Law, Phonemic Difference, and Linguistic Agency in ALICE’S ADVENTURES IN WONDERLAND

In Lewis Carroll’s Alice’s Adventures in Wonderland, the Cheshire Cat inquires after the screaming baby that the Duchess had left in Alice’s care. Alice replies, “‘It turned into a pig.’” After dis...

Fashioning Alice: The Career of Lewis Carroll's Icon, 1860–1901 by Kiera Vaclavik

Reviewed by: Fashioning Alice: The Career of Lewis Carroll's Icon, 1860–1901 by Kiera Vaclavik Jan Susina (bio) Fashioning Alice: The Career of Lewis Carroll's Icon, 1860–1901. By Kiera Vaclavik. Bloomsbury, 2019. Lewis Carroll's Alice's Adventures in Wonderland begins with Alice announcing, "and what is the use of a book, without picture or conversations?" (9). Kiera Vaclavik's study would be very much to her liking, as it includes eighty-seven black-and-white illustrations and plenty of lively discussion concerning the evolving appearance of Carroll's iconic character. Fashioning Alic e, which uses "a dress-based approach" (5), offers an enhanced and revised understanding of Carroll's heroine during the period 1860–1901. Vaclavik effectively provides the first extended analysis of Carroll, Alice, and the fashion indus try; in using a dress-based approach, Vaclavik reverses the usual privileging of word over image. She effectively shows that the nineteenth-century representations of Alice by various artists were many and wide ranging, and that these visual changes were actually initiated with slight variations provided by Tenniel in the two Alice books and, most dramatically, with the addition of color in The Nursery "Alice." Vaclavik's relatively short study is divided into two parts. The first two chapters focus on the Alice books created by Lewis Carroll and John Tenniel. These include Carroll's self-illustrated Alice's Adventures Under Ground (1864), Alice's Adventures in Wonderland (1865), and Through the Looking-Glass (1872), all with black-and-white illustrations. Vaclavik then addresses The Nursery "Alice" (1890), which included the first authorized colored versions of Tenniel's illustrations along with new cover art by Emily Gertrude Thompson. She also discusses the alterations found in The Wonderland Postage-Stamp Case (1890), one of the earliest of the non-book items to feature images of Alice in color, as well as the covers of the People's Editions of the Alice books (1887), which also used a dash of color on the covers. The first two chapters focus primarily on print-based versions of the character found either in books or in cartoons published in magazines. The two chapters that constitute the second half of the book examine a broader range of material produced in the 1890s when the amount of visual Alice material began to increase [End Page 84] dramatically. The second significant wave of new visual Alices appeared with the expiration of the copyright for Tenniel's illustrations in 1907, which is beyond the time frame of this book. Vaclavik's volume feels like an important first step in what could be a much more extensive study that examines the numerous sets of illustrations of the Alice books, in addition to looking at the character's evolving afterlife in a range of venues in print culture and material culture, including illustrations by other artists, stage production, fashion, and various other Alice-inspired products. Given the transnational scope of Alice materials that Vaclavik discusses in the second half of the study, here the analysis lacks some of the specific detail found in the first half, which is more tightly focused on the more limited, canonical versions of Alice created by the collaboration of Carroll and Tenniel. Vaclavik has previously published "Of Bands, Bows, and Brows: Hair, the Alice Books, and the Emergence of a Style Icon" in Colleen Hill's Fairy Tale Fashion (2016), which serves as a useful companion piece to the second half of this volume and picks up where it concludes. Vaclavik convincingly shows in this book that even after the introduction of color in visual representations of Alice in the nineteenth century, there was hardly a uniform version of Carroll's heroine. Very little consensus developed on Alice's style of clothing. She appears in the illustrations wearing a rainbow of shades, although Vaclavik notes that red/dark pink and blue were the most common. Alice consistently is presented as an older figure in the post-Tenniel illustrations and stage productions; she is almost always older than she is described in Carroll's novels. Alice remains extremely mutable in terms of dress and hair styles. While the other characters featured in the two...

The Fabulous Journeys of Alice and Pinocchio: Exploring Their Parallel Worlds by Laura Tosi with Peter Hunt

Reviewed by: The Fabulous Journeys of Alice and Pinocchio: Exploring Their Parallel Worlds by Laura Tosi with Peter Hunt Jan Susina (bio) The Fabulous Journeys of Alice and Pinocchio: Exploring Their Parallel Worlds. By Laura Tosi with Peter Hunt. McFarland, 2018. Books speak to other books, both consciously and unconsciously. I frequently pair the reading of texts whose themes or plots overlap: Louisa May Alcott's Little Women and Mark Twain's Tom Sawyer; Lewis Carroll's Alice's Adventures in Wonderland and L. Frank Baum's The Wonderful Wizard of Oz; and Heinrich Hoffmann's Struwwelpeter and Roald Dahl's Charlie and the Chocolate Factory. But, although I often include both Alice and Carlo Collodi's Pinocchio in a history of children's literature course, it has never occurred to me to pair these two novels. After reading Laura Tosi's study that is intended to be "a critical narrative and a parallel reading of two classics, which records mutual interests and avenues of exploration between and across diverse linguistic, historical, and national borders of England and Italy" (2), such a pairing now appears obvious to me. The most useful aspects of this study lie in Tosi's carefully examination of Pinocchio, drawing upon her own scholarship as well as that of other Italian scholars not previously translated into English. As an Italian children's literature scholar, Tosi spends about sixty percent of the book examining Pinocchio and the other forty percent focusing on Alice. While Peter Hunt's name also appears in the title, he contributes just two short sections to this volume—the first in chapter 2, detailing how Alice and Pinocchio function as gendered children's books, and the second in chapter 4, discussing the use of fairies by Carroll, Collodi, George MacDonald, and Charles Kingsley—and in the Appendix his own quirky contemporary fairy tale, "The Strange Meeting in Wonder-Tuscany," in which he imagines the meeting of these two famous protagonists. Tosi acknowledges that Alice and Pinocchio differ in many ways, including their literary sources, authorial intentions, and the widely differing political and cultural backgrounds of the authors, yet she makes compelling claims for similarities between the two distinctive texts. Both books were written by eccentric bachelors who [End Page 192] published under pen names, and both were intended for a dual audience of children and adults. Building on the work of Ann Lucas Lawson, who has previously written on the similar nature of the authors' biographies, their frequent use of talking animals, and the pivotal use of courtroom scenes, Tosi argues that the books are also similar in their structure and composition: both are episodic wanderings of a protagonist who is confronted by a series of odd and somewhat threatening creatures during their travels. Curiously, both authors constructed the stories in two distinct sections. While Carroll intended Alice's Adventures in Wonderland and its sequel Through the Looking-Glass to be separate texts, the strong interlocking and mirroring of characters and episodes between the two volumes has led many publishers and makers of film adaptations to blend them into a single text. Similarly, Collodi produced Pinocchio in two distinct stages. Pinocchio I, initially published in the children's magazine Giornale dei bambini in 1881, originally ended with what is now chapter 15, which features the protagonist's gruesome death. At the request of the magazine's readers, Pinocchio II begins with his revival and chronicles his continuing struggle to become a real boy. Both texts are strongly influenced by the fairy tale and fantasy tradition. In addition, each is lauded as a national literary icon; Alice is considered stereotypically British and Pinocchio is viewed as an embodiment of Italian culture. Both texts are highly theatrical in nature, with Alice being influenced by the British pantomime tradition and Pinocchio growing out the world of puppetry. Alice and Pinocchio experience unexpected and grotesque body changes; after eating, Alice grows either too tall or too short for her environment and experiences an elongated neck, while Pinocchio is famous for his nose that grows when he tells lies. Metamorphosis occurs in both books, with the Duchess's baby transformed into a pig in Alice's arms, and...

The Routledge Companion to Picturebooks ed. by Bettina Kümmerling-Meibauer

Reviewed by: The Routledge Companion to Picturebooks ed. by Bettina Kümmerling-Meibauer Jan Susina (bio) The Routledge Companion to Picturebooks, edited by Bettina Kümmerling-Meibauer. Routledge, 2018. As Bettina Kümmerling-Meibauer writes in the introduction to this massive 500+ page volume, The Routledge Companion to Picturebooks is intended to provide "a critical survey of what is going on and what has already been done in international picturebook research" (5). This collection is divided into five broad and overlapping sections: Concepts and topics; Picturebook categories; Interfaces; Domains; and Adaptations and remediation. The volume includes forty-eight essays on various facets of picturebooks from a range of contributors, including children's literature scholars, psychologists, art historians, linguists, educationalists, film scholars, and media scholars from Europe, North America, Asia, and Australia. In recent years, Kümmerling-Meibauer has established herself as a prolific editor, or coeditor, of collections of essays dealing with children's literature including Maps and Mapping in Children's Literature (2017), coedited with Nina Goga; Canon Constitution and Canon Change in Children's Literature (2017), coedited with Anja Müller; Children's Literature and the Avant-Garde (2015), coedited with Elina Druker; Learning from Picturebooks (2015), coedited with Jörg Meibauer, et al.; Picturebooks: Representations and Narration (2014); Manga's Cultural Crossroads (2013), coedited with Jaqueline Berndt; New Directions in Picturebook Research (2012), coedited with Teresa Colomer and Cecilia Silva-Díaz; and Beyond Pippi Longstocking (2011), coedited with Astrid Surmatz. Some of the topics and issues addressed in these previous collections of essays are revisited in The Routledge Companion to Picturebooks. As noted in the introduction, a picturebook may appear to be a simple text on the initial reading but with reflection can be quite complex. Even the definition and spelling of the term are open to debate. Kümmerling-Meibauer notes in the introduction that while English dictionaries recommend the spelling is two words, "picture book," scholars in the field use the term "picturebook" to show the inseparable unit of pictures and text. Nevertheless, a number of scholars separate the term into two words, "picture book," including Perry Nodelman in the groundbreaking study Words about Pictures: The Narrative Art of [End Page 251] Children's Picture Books (1988), Ellen Handler Spitz in Inside Picture Books (1999), Jane Doonan's entry of "The Modern Picture Book" in Peter Hunt's International Companion Encyclopedia of Children's Literature (1996), Maria Nikolajeva's entry on "Picture Books" and Bettina Kümmerling-Meibauer's own entry on "Illustration" in Jack Zipes's The Oxford Encyclopedia of Children's Literature (2006), as well as William Moebius's entry on "Picture Books" in Philip Nel and Lissa Paul's Keywords for Children's Literature (2011). Kümmerling-Meibauer suggests the common agreement of the characteristics of a picturebook are the medium (a book) and the content (pictures) (3). But from there, this concept becomes a bit more ambiguous, since not all picturebooks include a text—Emma Bosch provides the entry on "Wordless picturebooks"—and there is a generally accepted distinction between illustrated books and picturebooks—Elizabeth Bird and Junko Yokota provide the entry on "Picturebooks and illustrated books." Bird and Yokota consider an illustrated book to be any book that contains at least one illustration, and if one were to remove the illustrations, the writing would stand alone. Given the importance of the illustrations to Lewis Carroll's Alice's Adventures in Wonderland (1865), A. A. Milne's Winnie-the-Pooh (1926), or E. B. White's Charlotte's Web (1952), all of which are illustrated books, this doesn't always seem to be true. Helma van Lierop-Debrauwer argues in her entry on "Hybridity in picturebooks" that "[s]cholars involved in picturebook research unanimously agree that picturebooks are a unique art form" and that the result of the "synergy between verbal and visual language makes picturebooks a hybrid [form]" (81). While picturebooks may be a unique art form, the most compelling section of this collection is "Interfaces," where contributors examine picturebooks in light of other closely aligned forms, such as Johanna Drucker's entry on "Artists' books and picturebooks," Lara Saguisag's "Picturebooks and comics," and Jane Wattenberg's "Picturebooks...

A Vexed Pharmacopeia: Musings on Two Thousand Years of Scholarship Regarding the Ancient Spice Trade

A Vexed Pharmacopeia: Musings on Two Thousand Years of Scholarship Regarding the Ancient Spice Trade ROGER MICHEL ALEXY KARENOWSKA GEORGE ALTSHULER MATTHEW COBB Alice went back to the table. She found a little bottle on it, and round the neck of the bottle was a paper label, with the words “DRINK ME” beautifully printed on it in large letters. 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.” However, the bottle was not marked “poison,” so Alice ventured to taste it, and finding it very nice, (it had, in fact, a sort of mixed flavour of cherry-tart, custard, pine-apple , roast turkey, toffee, and hot buttered toast), she very soon finished it off. “What a curious feeling!” said Alice. —Lewis Carroll, Alice’s Adventures in Wonderland (1865) যে ব্যামোর দেখবেন সাতান্ন রকমের ওষুধ, বুঝে নেবেন, সে ব্যামো ওষুধে সারে না।1 —Syed Mujtaba Ali, চাচা কাহিনী (1955) introduction Mankind’s fascination with spice dates back at least 8,000 years—both culinary and medicinal herbs are referenced in the Vedas, Hinduism’s oldest religious text. Spice is also peppered throughout the Old Testament.2 The Song of Solomon recites: “Thy plants are an orchard of pomegranates, with pleasant fruits; camphire, with spikearion 28.1 spring/summer 2020 2 a vexed pharmacopeia nard and saffron; calamus and cinnamon, with all trees of frankincense; myrrh and aloes, with all the chief spices.”3 Every one of these fruits, plants and spices remained popular in the West throughout antiquity, into the Middle Ages, and beyond. As early as 3000 bc, trade routes had connected the Mediterranean to the near east. Courtesy of this “Spice Road,” ancient Mediterranean civilizations had access to a wide range of horseradishes, mustards, peppers, gingers and other spices. The Greeks and Romans had a special relationship with black pepper—so much so that four out of five recipes in Apicius’s famous 1st century cookbook4 called for a sprinkling of this sometimes-costly commodity. It is perhaps not coincidental that black pepper contains heat-producing alkaloids very similar to those found in New World chili peppers. Much has been written about the important role of chilis in South and Central American culture—a region that, by the Middle Ages, was in many respects the equal of Europe in “artistic sensibility, social complexity, and political organization.”5 The habanero and its capsainoid cousins were at the heart of the culinary and ceremonial customs of Mesoamerica, their biting heat and florid livery an apt metaphor for the “extravagant feats of human butchery”6 —very much in the tradition of the spectacular venationes of ancient Rome—for which the Aztecs at least were well known. To what extent was hot spice also a significant part of the culinary , medical and cultural landscape of the Old World? At a conference hosted by the Institute for Digital Archaeology at the University of Oxford last December, experts from Europe and North America examined the literary, historical, archaeological and scientific evidence around these questions . Their inquiry received a boost from new and rapidly developing techniques for examining the physical evidence of ancient diet and food production—laboratory techniques not available even five years ago. There was also fresh medical evidence to consider: significant research is being done in the area of chemosensation in the context of spicy foods. This Roger Michel, Alexy Karenowska, George Altshuler, Matthew Cobb 3 includes trying to understand how different so-called “TRP channels” in the nervous system process spice information— in particular, the connection between spice and endorphin levels. It appears that many of the hot spices available in antiquity could potentially trigger the same TRP channels as the capsaicin-charged Mesoamerican peppers. This creates a nice connection between old and new world spice that helps to explain and contextualize both. However, in the end, firm conclusions at the Oxford conference were scarce. It quickly became clear that more work, a greater diversity of viewpoints , better refined questions, and a change of venue were required to make additional progress. To paraphrase William Boot, the accidental protagonist of Evelyn Waugh’s autobiographical Scoop (wherein events around...

The Harry Potter Generation: Essays on Growing Up with the Series ed. by Emily Lauer and Balaka Basu

Reviewed by: The Harry Potter Generation: Essays on Growing Up with the Series ed. by Emily Lauer and Balaka Basu Michele D. Castleman (bio) The Harry Potter Generation: Essays on Growing Up with the Series. Edited by Emily Lauer and Balaka Basu. McFarland, 2019. The Harry Potter Generation speaks to the impact Rowling's book series has had upon readers and serves as a good companion to Gierzynski and Eddy's Harry Potter and the Millennials. Lauer and Basu's prologue introduces a myriad of topics in quick succession, drawing comparisons among Harry Potter, Alice's Adventures in Wonderland, and the works of C. S. Lewis, before turning to focus on the Harry Potter Phenomenon. The editors have organized this collection of essays to address the phenomenon from readers' perspectives, its impact upon cultural memory, and its use within educational settings. The essays in each section of the collection complement one another nicely and will hold wide appeal. In "Yours to Keep," Vayo describes the franchise's impact on the lives of its film stars, discussing how Emma Watson's and Daniel Radcliffe's acting careers have evolved based upon their roles within the Potter film franchise, as Hermione Granger and Harry Potter respectively. Vayo notes how gender impacted their career trajectories and self-creation within the public sphere. McLeod and Payne's chapter turns its attention to Luna Lovegood and Neville Longbottom, examining these supporting characters within the book series and movies to assert the major impact the characters have had on fans. In the chapter "Harry Potter and the Book Burners' Mistake," Lauer examines two of the six times that Harry Potter novels have been burned in protest. She explores the underlying ideology of burning books within historical contexts, noting that both willingness to burn and outrage at book burning draws upon the "shared belief in the power of books" (60). She then discusses the founding of the Harry Potter Alliance (HPA), a real-world organization that works for progressive social justice, citing the power of the book series to spur people into action. The convergence of the topics feels a bit forced, but since the HPA is not addressed in other essays, I welcomed its mention. Yee's chapter on "The Disenchantment of Harry Potter" examines the [End Page 294] battle between Harry and Voldemort as a conflict between magic and modernity, discussing how magic is treated in scholarship when contrasted with science and religion. She describes how Hogwarts provides official and standardized education contrasting this with Voldemort's pursuit of marginalized and unauthorized magic. She asserts that since education helps to shape the future of a society, the battle over Hogwarts is "a battle to save the modern world that Hogwarts stands for" (79). Lohorn's "Cloaked in History" pairs nicely with Yee's preceding chapter. Lohorn examines magical heritage sites that would define the common experience of being a witch or wizard in Britain. She considers how industrial muggle technologies, such as trains, and clocks are able to interact with these magical locations while more recent technological advancements do not fare as well. She also examines the magical sites within Diagon Alley, and the memorials within Godric's Hollow as community institutions. The following chapter, "Wizarding World Tourism," extends this thoughtful consideration of place to the muggle realm. Siler conducted a survey of 100 responders about visiting Harry Potter tourist sites to determine to what extent visiting such places was a numerous experience in terms of escapism, feeling connected, and experiencing an authentic wizarding adventure. He uncovered interesting ramifications in terms of how the responders' ages contributed to clear patterns of preferences for why they visited a Harry Potter site. Urbanski examines how Harry Potter is represented on Tumblr in the chapter "Filling in Memory Gaps with Love." She explores how fans actively write between the lines of the franchise's canon, creating "headcanon" or a "private and personal mini-story" that "doesn't change the established narrative." Urbanski focuses on the stories shared by three Tumblr accounts and categorized the stories according to the content they explored: the events in the lives of characters between the conclusion of the battle for Hogwarts and the...

The Way to Rio Luna by Zoraida Córdova

Reviewed by: The Way to Rio Luna by Zoraida Córdova Natalie Berglind Córdova, Zoraida The Way to Rio Luna. Scholastic, 2020 [336p] Trade ed. ISBN 9781338239546 $17.99 Reviewed from galleys Ad Gr. 4-7 Eleven-year-old Danny is passed from home to home in foster care, always getting in trouble for his unwavering belief in magic. Two years ago, his sister disappeared without a word; when Danny takes a school trip to the New York library, he is led by golden arrows to the original copy of The Way to Rio Luna, a book of fairy tales his sister repeatedly read him. With the help of Glory, an archeologist’s niece, Danny must enter the tales of the story and collect the last page from each in trials that could lead him back to his sister, if the Shadow Queen doesn’t stop him first. Córdova lovingly references other fantasy fiction—Danny is obsessed with Peter Pan and Alice’s Adventures in Wonderland, and Leigh the Bard (a hat tip to YA author Leigh Bardugo) is one of the characters Danny meets from the fictional fairy tale book. Unfortunately, the plot logic is strained at times, and Córdova struggles to breathe life into the tropes of the well-worn storyline. Names like Shadow Queen and Forever Gardens give the story a generic feel, failing to distinguish it from other fantasy portal worlds like Collins’ Gregor the Overlander (BCCB 1/04) or book-based fantasies such as Funke’s Inkheart (BCCB 3/04). Readers already passionate about magic may still want to add this to their collections of portal fiction, wherein kids can necessarily escape from some of the pressures of the real world. Copyright © 2020 The Board of Trustees of the University of Illinois

FOREIGNIZING OR DOMESTICATING ENGLISH CHILDREN’S LITERATURE TRANSLATED INTO ARABIC: THE CASE OF ALICE’S ADVENTURES IN WONDERLAND

This study investigated two significant translation methods, namely foreignization and domestication, when translating children’s literature from English into Arabic. The purpose of the study is to find answers for two questions. First, do the norms regulate the translation of English children’s literature into Arabic. Second, to which method do translators opt for when translating English children’s literature into Arabic. The current paper attempts to identifying whether translating English children’s literature into Arabic is regulated by norms or not. The translator has one option when translating a text, either to domesticate or to foreignize the text based on Schleiermacher’s method of translation. Two translated versions of Alice’s Adventures in Wonderland were analysed at the level of diction and discourse. A descriptive analysis of the norms was used to analyse this study and specific theoretical frameworks were used by the researchers in order to classify the selected items. The classification included ten major categories proposed by Klingberg (1986). After spotting the selected items based on the mentioned theoretical framework, each item translated in both versions was classified based on the two main methods that consist the centre of the current study i.e., domestication and foreignization Pedersen (2005). The results of the analysis show that the translations of these two Arabic versions are not systematically regulated by norms; examples of both foreignization and domestication were found in both versions. However, the analysis shows that either domestication or foreignization is more prevalent in each version.

STRATEGIES FOR LITERARY TRANSLATION INTO UKRAINIAN BY AN ANALYSIS OF ALICE’S ADVENTURES IN WONDERLAND BY LEWIS CARROLL

The article deals with lexical, phonetic, phraseological and grammatical puns in the novel Alice’s Adventures in Wonderland, as components to realize the author’s conception, and also analyzes some translations in which the content was partially of fully lost. The article studies several translations of the canonical novel, presented already this millennium: the translations by O. Koretska and S. Sulima (2007, «Аліса в країні чудес»), by V. Narizhna (2008, «Аліса в дивокраї») and by V. Panchenko (2019, «Аліса в країні див»). The article touches some translation strategies for full and partial realization of the author’s conception, which can be further implemented in translation practices. Stages in the translation strategy should be determined for a deeper understanding of the whole text, as well as its content-related components. The following stages in the text analysis are distinguished: preparatory, detailed analytical study into the translated text, and final stage, at which the text is evaluated and edited. The analysis into translations of different genres is proposed for a comprehensive theoretical approach to the term ‘translation strategy’; the findings can further be considered in training professional translators. The strategy chosen will influence the quality and equivalence of translation.

Corporate Governance and Company Directors: Are They Alice in Wonderland?

Corporate governance is not a new concept. In fact the last 15 years has seen a surge in academic publications and case law in relation to the lack of corporate governance. Research Gap is that Company Directors are attending a “mad hatters’ tea party” when it comes to the implementation of governance codes, with the recent spate of court cases involving breaches of directors fiduciary duties. Methodology used was review of case law using archival data. This research looks at the type of case law issues of corporate governance in Australia and in particular accountability, and relates the case law to the Corporations Act (2001) to find where company directors are getting corporate governance wrong. The findings indicate that perhaps the “if not why not” prescription, should not be an option for corporate governance for some Boards. For some Boards the invitation from Alice to jump down the rabbit hole into creative accounting and bad board behaviour at the “mad hatters’ tea party” is just too great an incentive. Implications show that this review of important corporate governance case law will assist Boards to concentrate their efforts on improving the environment they operate in, as good governance equates to good business. “In another moment down went Alice after it, never once considering how in the world she was to get out again.” Carroll, Lewis (1865) Alice’s Adventures in Wonderland.