Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

This thesis makes cross-cultural comparisons between various British and Japanese illustrated versions of Alice's Adventures in Wonderland and Through the Looking-Glass, and explores the ways in which these different versions of Carroll's two masterpieces can throw light on the social and cultural changes that have taken place in these two countries since Carroll's time. My focus is, however, unambiguously on the Japanese reception of Alice, as narrative texts and as visual texts. The modern Japanese translations and illustrations of the two Alice books from 1899 to 1933, ranging over Meiji (1868-1912), Taisho (1912-1926) and Showa (1926-1989) Japan are dealt with. It is the first large-scale historical study of this kind, especially on Japanese illustrations, and the first to make detailed comparisons of different Japanese Alice translations and illustrations from a woman's perspective. It explores the ways in which Japanese translators, confronted by Carroll's nonsense fantasy, unprecedented in Japanese culture, attempted to achieve a new blend in language from Meiji to Showa Japan. It examines how Japanese translators and illustrators have interpreted Carroll's nonsense and how his nonsense has been transplanted into Japanese culture. Furthermore, particular attention is paid to the viewpoint of a young reader who is in the transitional stage from the little girl of Wonderland Alice to the early adolescent of Looking-Glass Alice and who is forced to make "Japanese sense" out of "Victorian sense". It explores how the Alice texts, both Carroll's and those of Japanese translators and illustrators, reflect women's and children's education, prevailing moral codes, and their general social and cultural circumstances, both in England and in Japan, and how particularly English elements have been transformed in the process of creating a Japanese Alice throughout the history of Japanese Alice translations.

Este trabalho tem como base os aportes da teoria psicanalítica, mais precisamente, a idéia de nonsense situada nos três registros desenvolvidos por Lacan: o imaginário, o simbólico e o real. Para isso, procede uma articulação entre a Psicanálise e a Arte, destacando a literatura de Lewis Carroll em seus dois livros: As aventuras de Alice no País das Maravilhas e Através do espelho. A obra de Carroll foi endereçada às meninas, e sua relação com elas foi objeto de estudo de muitos pesquisadores, os quais buscaram destacar um possível desvio de seu comportamento sexual. Sem nos pautar em qualquer patologia, percorremos a relação de amor transferencial como sendo a condição para o surgimento da obra. Carroll, em sua escrita, evidencia uma série de verdades sólidas, embora não evidentes, como bem aponta Lacan. A verdade, na obra de Carroll, é da ordem do nonsense, pois se refere ao Real. Desse modo, Lacan avança sobre uma tendência da Psicanálise que buscava encontrar uma verdade por trás dos sintomas e de outras formações do inconsciente. Essa tendência vinha transformando a Psicanálise em um psicologismo analítico. A verdade apontada por Lacan se apresenta como um fundo opaco, sobre o qual toda a realidade se constrói como um anteparo fantasmático erguido contra a inconsistência do Outro. O País das Maravilhas que Alice encontra é repleto de seres estranhos e de situações bizarras, sobre os quais ela tenta impor o seu saber adquirido previamente, até perceber que o nonsense é a variável estável. O nonsense comparece nos registros que constituem o sujeito, mostrando que as identificações não são estáveis, que o simbólico é repleto de equívocos e que o real é sem lei. Por fim, discutiu-se como tal situação comparece na educação de maneira geral, observando-se que os professores têm mais condições de lidar com a pluralidade das situações, quando sustenta uma posição não-toda, pois, a cada novo impasse, precisam rever a sua lógica. Alice pode ensinar a educação a não recuar diante do Real. / This work is based on the contributions of the psychoanalytic theory, more specifically on the concept of nonsense found in the 3 realms developed by Lacan: imaginary, symbolic, and real. It creates a link between Psychoanalysis and Art, highlighting the work of Lewis Carroll by two of his books: Alice\'s Adventures in Wonderland and Through the Looking-Glass and What Alice Found There. The work of Lewis Carroll was aimed at the girls, and the relationship between the girls with him has been the target of studies by many researchers, who have tried to identify a sexual deviation in Mr. Carroll. Avoiding the pathology subject matter, we cover the transferential-love relationship as the condition for the creation of the books. Through his writings, Mr. Carroll brings to the surface a series of solid truths, albeit not evident, as well stated by Lacan. Truth in the books of Lewis Carroll follows the nonsense order, since it refers to the Real. This is how Lacan addressed the psychoanalytical tendency that sought to find truth in the symptoms and other unconscious structures, a tendency that was transforming psychoanalysis on an analytical psychologism. The truth identified by Lacan presents itself as the opaque background onto which reality builds itself as a spectral shield erected against the inconsistencies of the Other. Alice finds a wonderland full of strange beings and bizarre situations, upon which she tries to impose her previously acquired knowledge, until she realizes that the nonsense is the fixed variable. The nonsense manifests itself on the records that constitute the subject, demonstrating that the identifications are unstable, that the symbolic is filled with inaccuracies, and that the real follows no laws. Finally, we argue how such state of things manifests itself in education in general, through the observation that teachers possess the ability of dealing with the plurality of situations, when attempting to support a position that is non-whole, as every new dead-locked situation forces the teachers to revaluate their logic. Alice can teach education to stand ground when facing the Real.

Este trabalho tem como base os aportes da teoria psicanalítica, mais precisamente, a idéia de nonsense situada nos três registros desenvolvidos por Lacan: o imaginário, o simbólico e o real. Para isso, procede uma articulação entre a Psicanálise e a Arte, destacando a literatura de Lewis Carroll em seus dois livros: As aventuras de Alice no País das Maravilhas e Através do espelho. A obra de Carroll foi endereçada às meninas, e sua relação com elas foi objeto de estudo de muitos pesquisadores, os quais buscaram destacar um possível desvio de seu comportamento sexual. Sem nos pautar em qualquer patologia, percorremos a relação de amor transferencial como sendo a condição para o surgimento da obra. Carroll, em sua escrita, evidencia uma série de verdades sólidas, embora não evidentes, como bem aponta Lacan. A verdade, na obra de Carroll, é da ordem do nonsense, pois se refere ao Real. Desse modo, Lacan avança sobre uma tendência da Psicanálise que buscava encontrar uma verdade por trás dos sintomas e de outras formações do inconsciente. Essa tendência vinha transformando a Psicanálise em um psicologismo analítico. A verdade apontada por Lacan se apresenta como um fundo opaco, sobre o qual toda a realidade se constrói como um anteparo fantasmático erguido contra a inconsistência do Outro. O País das Maravilhas que Alice encontra é repleto de seres estranhos e de situações bizarras, sobre os quais ela tenta impor o seu saber adquirido previamente, até perceber que o nonsense é a variável estável. O nonsense comparece nos registros que constituem o sujeito, mostrando que as identificações não são estáveis, que o simbólico é repleto de equívocos e que o real é sem lei. Por fim, discutiu-se como tal situação comparece na educação de maneira geral, observando-se que os professores têm mais condições de lidar com a pluralidade das situações, quando sustenta uma posição não-toda, pois, a cada novo impasse, precisam rever a sua lógica. Alice pode ensinar a educação a não recuar diante do Real. / This work is based on the contributions of the psychoanalytic theory, more specifically on the concept of nonsense found in the 3 realms developed by Lacan: imaginary, symbolic, and real. It creates a link between Psychoanalysis and Art, highlighting the work of Lewis Carroll by two of his books: Alice\'s Adventures in Wonderland and Through the Looking-Glass and What Alice Found There. The work of Lewis Carroll was aimed at the girls, and the relationship between the girls with him has been the target of studies by many researchers, who have tried to identify a sexual deviation in Mr. Carroll. Avoiding the pathology subject matter, we cover the transferential-love relationship as the condition for the creation of the books. Through his writings, Mr. Carroll brings to the surface a series of solid truths, albeit not evident, as well stated by Lacan. Truth in the books of Lewis Carroll follows the nonsense order, since it refers to the Real. This is how Lacan addressed the psychoanalytical tendency that sought to find truth in the symptoms and other unconscious structures, a tendency that was transforming psychoanalysis on an analytical psychologism. The truth identified by Lacan presents itself as the opaque background onto which reality builds itself as a spectral shield erected against the inconsistencies of the Other. Alice finds a wonderland full of strange beings and bizarre situations, upon which she tries to impose her previously acquired knowledge, until she realizes that the nonsense is the fixed variable. The nonsense manifests itself on the records that constitute the subject, demonstrating that the identifications are unstable, that the symbolic is filled with inaccuracies, and that the real follows no laws. Finally, we argue how such state of things manifests itself in education in general, through the observation that teachers possess the ability of dealing with the plurality of situations, when attempting to support a position that is non-whole, as every new dead-locked situation forces the teachers to revaluate their logic. Alice can teach education to stand ground when facing the Real.

No description available.

Texte remanié de: Thèse de doctorat--Littérature comparée--Paris 4, 2003. Titre de soutenance : Influences d'Alice dans la littérature française. / Bibliogr. p. 333-343. Index.

Thesis (Ph. D.)--Louisiana State University, Baton Rouge, 2005. / Title from document title page.

What does it sound like to fall down a rabbit hole? This was not a question that concerned Lewis Carroll when he wrote Alice’s Adventures in Wonderland, but it has challenged the many individuals who have adapted his story for film, ballet, video games, and other multimedia formats since its creation. In recent decades, the proliferation of adaptations across a variety of new media has offered scholars a renewed opportunity to more closely examine this and other critical issues raised when considering the relationships between adapted texts and their original sources. This dissertation argues for a greater critical emphasis on the aurality of adaptation by examining the narrative potential of sound in adaptations across a variety of media forms. Despite scholarship on adaptations and comparable studies contemplating sound in adapted texts, these two streams of scholarly inquiry have largely remained isolated within adaptation studies and musicology, respectively. Through this dissertation, I provide an examination of sound’s capacity to shape, nuance, or subvert the other parts of a multimedia adaptation, thus bridging these disciplinary discussions. This dissertation balances a broad survey of Alice adaptations with the highly focused examination of two case studies: Christopher Wheeldon’s ballet, Alice’s Adventures in Wonderland, and Tim Burton’s film, Alice in Wonderland. The survey demonstrates a model for analyzing the aurality of adaptation across media forms, while the case studies provide an in-depth examination of aural adaptation in relation to specific media forms. The analysis undertaken focuses on the intersection of narrative, sound, and adaptation, revealing complex and multifaceted relationships. In this work, I merge score analysis with visual and narrative analyses, using films or filmed versions of stage productions as the primary source materials. From this rigorous comparative analysis, trends in musical interpretation emerge, indicating some of the prevailing expectations concerning Alice and its aural adaptations.

This essay claims that the novels Alice's Adventures in Wonderland and Through the Looking-Glass trigger nostalgia in the contemporary reader. Nostalgia is a powerful and complex feeling which, in contemporary times, is triggered by a longing for the lost childhood. This essay connects that longing with the novels about Alice. I argue that the nostalgic experience in the Alice in Wonderland books combines utopia and Bakhtin's concept of carnival and brings it into the lost childhood. The utopian part strives for something better while the carnivalesque part is an upheaval of daily life. This essay illustrates how utopia and carnival are related to a childhood free of adulthood anxieties and that they are a part of Alice in Wonderland, which triggers nostalgia in the adult reader.

Research Doctorate - PhD English / This thesis challenges the idea that children’s literature is an inherently colonising act. By applying Mikhail Bakhtin’s theories of dialogism and the carnivalesque to the nonsense literature of Edward Lear and Lewis Carroll, I show that children’s texts can be read as non-colonising. A dialogic reading of Edward Lear’s limericks and Lewis Carroll’s Alice books shows that these texts are non-colonising and emancipatory because they do not promote one worldview or impose a concept of the essentialised child onto the reader. Instead, they challenge the arbitrary boundaries established and maintained by tools such as language and threats of social judgement that support imperial dichotomies of self and other. I also show how the discourse surrounding children’s literature perpetuates a “politics of innocence” concerning a dominant social concept of the child. This discourse encourages purposive adaptations of children’s books, in this case, Lear’s and Carroll’s nonsense texts, that are more colonising than the original texts.