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AUTHOR Cleaver, Betty P.; Erdman, BarbaraTITLE Changing Images of Alice.

PUB DATE 93

NOTE 12p.; In: Visual Literacy in th Digital Age:Selected Readings from the Annual Conference of theInternational Visual Literacy Association (25th,Rochester, New York, October 13-17, 1993); see IR 055055.

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EDRS PRICE MF01/PC01 Plus Postage.DESCRIPTORS Artists; Authors; *Childrens Literature; Cultural

Images; *Illustrations; StereotypesIDENTIFIERS *Alice in Wonderland; Historical Background

ABSTRACTThis paper examines the depiction of Alice in

illustrated versions of "Alice in Wonderland" by Lewis Carroll. Theprimary concern was to determine if the character of Alice hadchanged historically through the interpretation of differentillustrators and to determine what the changes were and what theirimpact might have on the interpretation of the study. Eighteendifferent illustrators' versions of Alice published between 1965 and1993 were analyzed. The analysis found that, although'the characterof Alice was presented differently through time, there were no majorchanges to the story. With the exception of two multiculturalversions, Alice was always drawn in a short dress with a pinafore andsash, even when portrayed as an active girl. There have been no newinterpretations of the setting since the original illustrations byJohn Tenniel. This probably reflects 'hat the original illustrationsare considered to be a classic that most illustrators do not want tochange drastically. (Contains 15 references.) (JLB)

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Changing Images of Alice

by Betty CleaverBarbara Erdman

Ohio State University29 Woodruff AvenueColumbus, OH 43210

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TO THE EDUCATIONAL RESOURCESINFORMATION CENTER (ERIC)."

Changing Images of Alice

Betty P. CleaverBarbara Erdman

Alice in Wonderland is one of thesupreme fantasies in English literature andis, today, something of r cultural icon. Weknow what it means for someone to speak of"grinning like a Cheshire cat." Not too longago a newspaper quoted a Congressmanwho remarked of the political labyrinth ofWashington, "It gets ,curioViar andcuriouserr The language and, imiges oAlice have now entered out collectiveconsciousness. ,

mwriting and polishing. Since he was indeeda serious mathematics professor, he choseto use a pseudonym for authoring Alice inWonderland. In choosing a pseudonym he"latinised his Charles and transmogrifiedhis Lutwidge" and "was destined at last tobe known andbeloved, all the world over byhis pen-fismi wit arroll" (De la Mare,

.

Ats the suggestion of editors atcol*, publishers to Oxford

This tale started out rather modestly 'v .I.Kty);Dodgson gave up the idea ofas a story told by an Oxford don to amuse.. using his own drawings and asked Johnthe three Liddell sisters, daughters of Dan 7enrnel, an artist/cartoonist at Punch, toLiddell of Christ Church, on July 4th, 1862. illustrate the story. After some negotiation,Charles Lutwidge Rodgson wrote in his Tenniel agreed. Dodgson sent him adiary, "I made ai00,:)dition up the river to photograph, not of seven year old AliceGodstowwiththethreetiddll,wehadtea Liddell, but of another little 'friend, Maryon the bank them, and didChurch again till half past eighi1972, p.8). At the request of the girlsstory, Dodgson invented the tale during theday-long outing. The children, entrancedwith the story, begged him to write it down.This he did and by January 1863 he hadfinished a manuscript which he illustrated

ith his own sketches; he gave this to theLiddells. Friends of the Liddells saw themanuscript and urged Dodgson to publishit; he spent the next eighteen months

'Serve as a model for theCe. The communication between...

or and illustrator was outwardlycourteous but Tenniel found Dodgson to beirritating and relentless in proposing hisideas (Davis, 1972). Tenniel did not uselive models but seems to have worked fromthe photograph of Mary Badcock, and hebased many of his drawings on the originalbut less artistically competent ones drawnby Dodgson in his first version of the book(Barr, 1986). Perhaps because of this,

Tenniel's drawings have been criticized fora certain wooden quality. "He treats Aliceas a lifelike wax doll and the othercharactersas though they were ingenious clockworkmodels, probably German in origin" (Feaver,1977, p. 15). On the other hand Tennieltook Alice seriously. "Where laterillustrators snigger and exaggerate, makeeverything absurd and grotesque, whereeven Carroll in his original sketches tendedto caricature, Tenniel takes the story at facevalue.... They are serious illustrations offunny situations; just as in dreams, thoughwe may be doing the most absurd things, wekeep our everyday appearance" (Smith,1948, p. 23) . In retrospect, the choice ofTenniel was an inspired one. "The worldhas never seen a matching of work withdrawing to equal the Carroll/Tennielcollaboration," said one of Carroll 'sbiographers (Pudney, 1976, p.75). Tenniel'sdrawings have become the standard by whichall other illustrations of Alice are judged.Ironically, Alice in Wonderland broughtDodgson more fame and recognition thanall his mathematical treatises.

In 1907 the British copyright expiredand eight new editions, with newillustrations, appeared that year (Barr, 1986).Since then well over a hundred artistsincluding the surrealist Salvadore Dali haveillustrated Alice. In fact, in the last tenyears, more than fifteen new editions haveappeared, including a pop-up-book and aversion with illustrations by Tony Ross thatare reminiscent of Gahan Wilson.

Some illustrators of Alice have beenmore faithful to Tenniel's interpretationwhile others have provided very originalapproaches. Through their drawingsillustrators 'have provided varyingexperiences for the reader of Alice inWonderland. A brief review of a century of

Alices presents a group of girls, often moredifferent than similar, culminating in a verycontemporary-looking Alice in 1993.Through the artistic skill of the illustrator,each Alice presents a unique personality.Although the text of the story changes verylittle between publications (in fact mostadhere to Carroll's original text exactly),some artists illustrate events that othersignore and therefore provide a differentemphasis within the narrative. It seemsmost obvious to say that illustrations ofAlice in most cases merely reflect the artisticstyle of the times in which they were drawn.However acareful analyis of the publicationsreveals that through the artistic interpretationof her illustrators the character of Alicechanges over time. Her illustrators presenta variety of individual personalities thatmay indicate changing cultural images ofgirls and young womanhood, among otherthings.

THE STUDY

Our primary concern was to determineif the character of Alice had changedhistorically through the interpretation ofdifferent illustrators and to determine whatthe changes were and what impact theymight have on the interpretation of the story.This paper reports the results of an analysisof eighteen different illustrators' versions ofAlice inWonderland, and, in a few cases, ofThrough the Looking Glass, publishedbetween 1865 and 1993. Many moreeditions of the book were produced duringthat period, but we felt it was important tostudy only complete works that wereavailable to us. Reproductions of singleillustrations from an additior al number ofworks were also available through othersources, but we chose not to include theseillustrators in our study. Artists illustratenarratives with a concern to the unity of the

work and each single illustration comprisespart of the whole. To study a singleillustration without reference to the othersis to remove it from its context. Ouranalysis therefore is only of those illustratorswhose entire work we could obtain. Wewill, however, refer occasionally toinformation reported by others in secondarysources.

For our analysis we used a formalistmethodology adapted from the work ofBordwell and Thompson (1986). Whiletheir work relates more specifically to filmart, they describe a formalist methodogythat can be adapted for all media that useaesthetic form. Space does not allow us todescribe their method, or our adaption of it,in any detail here. For further understandingwe recommend reading their entire workand the work of others (e.g. Erdman, 1988).Within our analysis we considered LewisCarroll's narrative of Alice in Wonderlandas the formal system underlying eachillustrator's work. Within each illustrator'sversion of Alice however, the text of thestory interacts with the artist's uniqueillustrations to create a specific stylisticsystem. Each illustrator provides his or herown unique experience for the reader ofAlice in Wonderland.

RES

and were designed to be placed within thetext. Later, after the book became popular,he added fifteen full page illustrations whichwere included as colored plates tipped intothe book. Those familiar with Alice willremember that it is a story of a little girl'swhirlwind trip through a series of fantasticplaces and interactions with a series ofbizarre, humorous characters. She fails,climbs, crawls, swims and runs throughWonderland. Carroll describes a brave childwith a kind heart and considerableintelligence. She takes a deliberate andactive role in the events that happenoftensaving herself and sometimes rescuingothers in the storyby her wits andingenuity. Tenniel's careful line drawingscertainly do not capture the complexities ofCarroll's generous and heroic Alice. Heillustrates her simply as a stubborn andsturdy girl. She is shown with a wasp waist,large piercing eyes and Medusa-like hairflowing from an overly large head. She ismost often seen in a stiff, determined posewith an expression of dismay.

Our analysis of the plot indicates thatCarroll describes at least 67 different eventsin the story. In leading the story one is awareof how many events vividly described byCarroll were not illustrated by Tenniel.Many delightful andyiyiclly. describedimages were not..le*ticiPPOt 'example, at

;-the nd of chapter Six, Alice fmds theOur analysis included wo

different illustrators of Alice. Unfortunately,space here does not allow us to includedetailed descriptions of the work of each.Instead, we will discuss the works that wefeel are most significant to the interpretationof our results and will refer more briefly toothers when needed.

John Tenniel originally created 42black-and-white line drawings for LewisCarroll's story. The illustrations were small

are's house, where she soon comesupon the teaparty in the yard. Carrolldescribed the event in this way: "She hadnot gonc much farther before she came insight of the house of the March Hare: shethought it must be the right house, becausethe chimneys were shaped like ears and theroof was thatched with fur" (CanDll, 1992,p.94). This image did not find its way intoTenniel's or, surprisingly, anyone else'ssubsequent illustrations of the story.

After Tenniel

In 1907 eight new editions of Alice'sAdventures in Wonderland appeared (Barr,1986). Two of these, one illustrated byCharles Rackham and the other by BessieGutmann, presented an image of Alice thatwas very different from Tenniel's. ArthurRackham illustrated Alice as a slender,delicate featured, demure twelve year oldwith long dark blonde hair and a wistful,sad expression. She wears a white dresswith large pink flowers and long blackstockings. Rackham worked from a modelfor his illustrations (Gardener, 1960) andhis Alice looks like a real girl. His work,however, strongly reflects the pre-Raphaelite and Art Deco tradition soprevalent in the early 1900's. In many ofthe illustrations the flowing lines of Alice'sdress and hair become graceful graphicorganic design elements.

A furor greeted Rackham's edition ofAlice in 1907 including a cartoon and hostileremarks in Punch: "If... it were desirable ornecessary to redraw Sir John Tenniel'sunsurpassable and immortal illustrations toAlice inWonderland, Mr. Rackham may besaid to have performed the task as well aspro" lably any draughtsman could for he isan artist with a rare sense of grotesqut fancyand humour and an extraordinarily delicateand sensitive line. But it were better, wethink, for him to employ his imaginationupon his own rather than other men'sbusiness...." (quoted by Hamilton, 1990, p.86).

No such criticism of Bessie Gutmannwas recorded, certainly none that hassurvived to today, perhaps because her workis less imaginative and because she was aless well known artist. Gutmann's Alice isvery different from both Tenniel's and

Rackham's. She is a babyish, chubbybrunette about 4 or 5 years old, with arosebud mouth and large brown eyes. Shewears a white dress, long white stockingsand a blue hair ribbon and looks like asweet, sturdy, unflappable toddler with littleexpression, except occasionally a look ofwonder. To depict Wonderland, Gutmannmostly provided illustrations of realisticallyrendered animalslooking often likeoversized benevolent nursery pets wearingclothes.

Continuing Interpretations

In spite of the wrath of a segment of thereading public in 1907 toward Rackham,artists continued to provide their owninterpretation of the Carroll story. In 1914,A. E. Jackson portrayed Alice as a blonde10 or 11 year old and, like Rackham, in apink and white dress. However, comparedto Rackham and Gutmann, Jackson's Aliceis depicted in a variety of energetic poseswith a full range of expressions includingquestioning and astonishment. With shortwhite ankle socks and her hair secured in along braid, she is often shown in expressivegestures with her arms and legs held awayfrom her bodycertainly gestures notallowed for the proper Victorian girl ofearlier artists. She is shown fully interactingwith events in the story, stretching on tiptoeor crouching on the ground as a physicallyactive, athletic girl, perhaps a precursor ofgirl adventurers such as Nancy Drew andTrixie Belden, and certainly of later Alices.

Gwynned Hudson, in 1922, portrayedAlice as a fair blonde beauty, about nineyears old, with waist-length straight hairheld back with a black headband. Her bee-stung lips and oval face are reminiscent ofthe flapper fashion of the period. She wearsa short white layered dress with puffed

sleeves and a ruffled pinafore. With theaddition of a red bead necklace, her outfitseems more appropriate for a middle-classchildren's party than an adventure. Sheassumes restrained or coy girlish poses andmost often is seen either merely rising to hertiptoes or bend'mg from the waist. InHudson's work the character of Alice isoften secondary to richly colored design orblack- and-white graphic elements and othercharacters in the story often receive majoremphasis in the illustrations.

David Hall's illustrations of Alice inWonderland were made at the Walt Disneystudio in 1939 during the preliminary stagesof planning an animated film of the story.The film was not produced at that time andHall's work was not used when the filmfinally went into production in 1948. Hisillustrations were discovered in 1976 andpublished in 1986 with Lewis Carroll's textas a new edition of Alice's Adventures inWonderland (Carroll, 1986). Hall's iscertainly the visually richest and most livelyinterpretation of the story we encountered,and in spite of being drawn 54 years ago,looks surprisingly contemporary. In anAfterword in the 1986 edition, Brian Sibleyreports that, according to the Disney staff,Hall's illustrations were the result of acollaborative effort of Disney's staff toproduce an interpretation of the story thatwould "get the spirit of the book to thescreen... rather than merely reproducing theappearance of the characters...." as othershad done before (Carroll, 1986, p. 147).Hall's illustrations for the story includemany vivid watercolors and magnificentlyrendered drawings of a large number ofevents from the storymany more thanTenniel provided, and in some instancesbeyond what Carroll had described. Hall'sinterpretation of Alice is disappointinglyimpersonal, however. She is drawn almost

7

as a caricature, with the wide vacant eyesand spindly arms and legs of a doll, withlittle personality or character. It is theincredibly energetic renderings of thesettings, fantasy characters, and events inthe story that are most remarkable aboutHall's work.

The image of Alice that manyremember most clearly is the one from theWalt Disney film. Work was renewed onthe film in 1948 and it was released in 1951.Artists at the Disney studios collaborated tocreate a character which included little ofHall's work except Alice's blue dress. TheDisney film version of Alice was based onboth Alice inWonderland and Through theLookingGlass, but included many charactersand events not in either of the Lewis Carrollstories (Carroll, 1986). The Disney studiointerpreted Alice as a blandly pretty girlwith a great mass of neatly coiffed veryblonde hair. She is characterized as amodest, almost prissy girl. Her perfect blueskirt will never fly up to reveal too much ofher petticoats and those perfect knees willnever become scuffed. The perfect, almostcandy coated, little girl captured few heartsorimaginations; the film was one of Disney'sleast popular.

Personal Interpretations

While most illustrators interpret thestory of Alice with considerable regard forthe Carroll/Tenniel work, for somecontemporary mists the story of Alice hasinspired a very personal interpretation.Leonard Weisgard's 1949 work has theoverlapping images of collage with flat pastelcolors and soft edges to create illustrationsthat have a sunny, floating, dream-likequality. Weisgard's work makes littleattempt at providing narrative accuracy,combining images from various places in

the story in each illustration. Weisgard'sAlice is characterized simply as a stylisticallyrendered, yellow-haired dreamy child withan unchanging flat expression. Her image isused most often as merely one of manydesign elements in the colorful, decorativeillustrations.

Ralph Steadman acknowledges thathe was "obsessed... with images of the Alicestory for years" (Carroll, 1973, endpaper).He interpreted Alice in 1972 in a series ofbold black-and-white illustrations, withvisual references to Japanese woodblockillustrations, Surrealism and contemporaryculture. Steadman's Alice appears to weara Japanese kabuki mask. The major designelements in his drawings are the prominentlines of Alice's flowing Japanese-style hair.

Although John Bradley's 1992 versionof Alice' s Adventures in Wonderlandadheres closely to Carroll's text, Bradleyillustrates the story with a series of drawingsthat are rich with political and social satire.For example, the card soldiers wear Prussianuniforms and helmets, the figures paintingroses look like British working classlaborers, the MadHatterresembles the movieactor Jack Nicholson, and the card pack inthe last scene of the story is led by a figurewho looks like Fidel Castro. In Bradley'swork, Alice is a slender, self conscious,simple, blue-eyed adolescent. She lookslike a contemporary young womanincongruously dressed in a childish whitepinafore. She watches with wide-eyedsurprise at the events she is witnessing.

In a very recent edition of Alice, TonyRoss illustrates Through the Looking Glassthrough a series of charming drawings thatare reminescent at times, of the New Yorkerillustrators of dark humor, Gahan Wilsonand George Booth. Ross's 1993 Alice has

the dark hair, striped stockings, and bluesailor dress of Ludwig Bemelmans'character Madeleine in the, now classic,children's stories. Like Madeleine, Ross'sAlice is spunky and energetic, but Ross'sdrawings alway retain a humorous, slightlysinister quality.

Multicultural Influences

In 1992 two versions of Alice inWonderland were published in which themain character is a girl of color. DonnaLeslie illustrated Nancy Sheppard'sadaptation of Alice. Sheppard retells thestory in the language of the Pitjantjatjarapeople of southwestern Australia. AnEnglish translation is also provided. TitledAlitji in Dreamland, the story is faithful tothe spirit and events of Carroll's story, butincorporates the Australian landscape,animals, plants, and Aboriginal culture. Inthe Sheppard story, the caterpillar becomesthe Witchety Grub, and the dormouse akoala. Donna Leslie, a professionally trainedartist, belongs to the Gamileroi peoples ofAustralia. She illustrates the story with aseries of richly patterned drawings in thenative style. She portrays Alitji as a nakedAboriginal girl who worries that beingcaught in Dreamland will prevent her fromgrowing up and becoming a woman(Sheppard, 1992).

Whoopi Goldberg's Alice, illustratedby John Rocco, is a story of an African-American girl who leaves her familiar NewJersey neighborhood and goes into thefantastic land of New York in search offortune. Goldberg's story is shorter andmuch less complex than Carroll's. Whilethe book has some references to Carroll'sAlice, both in the story and in the colorfulillustrations, it is more simply the story ofan adventurous girl who, after witnessing

the dangers of the corrupt, adult world,learns to cherish what she has at home.

A Modern Girl

A significant trend within the last tenyears is to show Alice as a more realistic andcomplex girl, as an increasing number ofcontemporary artists present Alice in theimage of real little girls. Michelle Wiggins,Michael Hague, Justin Todd, AnthonyBrowne, and Peter Weevers present Aliceswho most certainly have been modelledafter real girls. Michael Hague's work is aseries of beautifully rendera- portraits of areal child and Peter Wt..cvers readilyacknowledges that he used his daughter,Tilia, as his model.

In these editions the artists haveretained, sometimes verbatim, the text ofCarroll's Victorian story and, remarkably,each also chooses for his or her ownillustrations the same events as Tenniel. Ineach edition, one can find Alice swimmingin the pool of tears, Alice's huge handreaching through the window of the WhiteRabbit's house, Alice holding the flamingocroquet mallet, and Alice sitting on thebeach between the Gryphon and the MockTurtle. However, these artists illustrateAlice and her surroundings with much moredetail, and with more realistic andsophisticated illustrations than are found inany earlier editions. This may be due in partto a recent increasing interest in realism inart, but certainly is due also to changingsocial attitudes about girls.

When Alice becomes a real girl hercharacter becomes more human, and herstory therefore, becomes more complex.These illustrators of Alice reveal theaffection and respect that they have for thegirls they portray. In every edition, Alice is

9

shown as an energetic, athletic child whofearlessly interacts with the many charactersin a colorful and complex interpretation ofWonderland. Unlike the Alice of earlierillustrators, she is not overwhelmed by hercircumstances. In most editions she has avery realistically rendered, expressive facethat shows subtle emotions, such asquestioning, disgruntlement, determinationand pleasure. She often makes direct andunselfconsious eye contact with the reader.In these works Alice becomes an epic heroinethrough the real personalities of the girlswho play her role. Contemporary illustratorsof Alice, in fact, portray her more in keepingwith the Carroll description of herpersonality than did Tenniel.

Thwaites(1963) suggested that theAlice story achieves its perfect balance andcertainty through the character of Aliceheraelf. She "never changes in her naturehowever large or small she may grow....Sensible, good-natured, charmingly gentleand lovable, she personifies the best traits ofVictorian childhood" (p. 116). Thwaitesneglected to add that Alice is also brave,generous, and heroic. Tenniel did notadequately portray these characteristics ofAlice. Perhaps the visual language of theVictorian times did not have the means toadequately describe the phenomenon ofAlice as an active girl who determined hercircumstances. Or perhaps Tenniel did nothave the imagination or skill to create theillustrations that would do so. Or, perhapsmore likely, Tenniel did not have the desire,or authorization to go very far beyondDodgson's first awkward illustrations of thestory.

CONCLUSION

More than a century of illustratorshave presented their changing images of

Alice, the girl who takes a whirlwind tripthrough a fantasy place called Wonderland.Although each edition has changed the lookof the original, our analysis of this workindicates that, although the character ofAlice has been presented differently, rangingfrom a Victorian good girl image to thecontemporary heroine of the last ten yearsof illustrators, much in fact has not changedfrom the fffst version Alice' s Adventures inWonderland. With the exception of themulticultural versions by Sheppard andGoldberg, Alice always wears a short dresswith a pinafore or wide sash. Even verycontemporary illustrators who show her asa complex and active girl dress her in anoutfit which is more appropriate for a partythan an outdoor adventure.

While the character of Alice has beeninterpreted differently, much of the settingof Tenniel' s illustrations remains, even withvery contemporary artists. In 1982, Dartonnoted that no new illustrators have "inventeda new Gryphon, or a new Mock Turtle,White Rabbit, March Hare, Hatter,Caterpillar, Cheshire Cat, Red queen, WhiteKnight. These are essentially, and mustalways remain so, the creation of the firstartist and of the author whose fantasyprovided the vivid details. A twentieth-century heroine merely accentuates that fact(Darton, 1982, p.258). This fact remainstrue eleven years later, as well. The eventslater artists choose to illustrate are the sameones that Tenniel illustrated.

The furor which greeted Rackham'sillustrations in 1907 probably reflected thefact that in just forty years Tenniel'sinterpretation of Alice had become anarchetypal image. The Carrollaennielcollaboration remains a classic that laterillustrators did not want to, or could not altertoo drastically. Illustrators choose Tenniel's

images because they are central to the work;they are the embodiment of the work. Aswith any classic, very differentinterpretations would be inappropriate.Illustrators since Tenniel provide theirinterpretations of Tenniel's work in muchthe same way that artists through the ageshave interpreted the work of the earliermasters: often with reverence.

STUDY WORKS

Following is a list of the works used inour study. This list provides the works inchronological order by illustrator andincludes a full bibliographic reference. Notethat several of the citations list laterpublications, and in some cases facsimiles,of an earlier work.

1865 John TennietCarroll, L. (1977). Alice' s Adventures

in Wonderland. New York: St. Martin'sPress.

1207 Bessie Pease GutmanCarroll, L. (1907). Alice' s Adventures

in Wonderland. New York: DodgePublishing Co.

1212 Arthur RackharrCarroll, L. (1978). Alice's Adventures

in Wonderland. New York: WeathervaneBooks.

1214 A. E. JacksoqCarroll, L. (1914). A lice's Adventures

in Wonderland. Garden City, New York:Garden City Publishing Co.

1222 Gvanned HudsonCarroll, L. (1992). Alice's Adventures

in Wonderland. London: Studio Editions.

1 0

, .7

I "

1939 David Hall.Carroll, L. (1986). Alice' s Adventures

in Wonderland. New York: Simon &Schuster.

Walt Disney Co.Disney, W. (Producer), Geronomi, C.,

Luske, H. &Jackson, W. (Directors). (1951).Alice inWonderland (film). Burbank, CA:Walt Disney Co.

1949 lonard..MisgardCarron, L. (1949). Alice' s Adventures

in Wonderland and Through the LookingGlass. New York: Harper & Brothers.

1272 RalalicadmanCarroll, L. (1973). Through the

Looking Glass. New York: Clarkson N.Potter.

nal Ilichcllt.WiggiaaCarroll, L. (1989). Alice' s Adventures

inWonderland. New York: Alfred E.Knopf.

nu Michael HagueCarroll, L. (1985). Alice' s Adventures

in Wonderland. New York: Holt, Rinehart& Winston.

1986 Justin ToddCarroll, L. (1987). Through the

Looking Glass andWhat Alice FoundThere.

New York: Schocken Books.

ina Anthony BrowneCarroll, L. (1988). Alice' s Adventures

inWonderland. New York: Alfred A. Knopf.

1989 Peter WtraraCarroll, L. (1989). Alice' s Adventures

inWonderland. New York: Philomel Books.

1222 John BradleyCarroll, L. (1992). Alice' s Adventures

11

in Wonderland. Philadelphia: RunningPress.

1222 Donna LeslieSheppard, N. (1992). Alitji in

Dreamland or Alitjinya NguraTjukurmankuntjala. Berkeley, CA.: TenSpeed Press.

j992 John RoccoGoldberg, W. (1992). Alice. New

York: Bantam Books.

1223 Tony RossCarroll, L. (1993). Through the

Looking-Glass andWhat AliceFoundThere.New York: Atheneum.

REFERENCES

Barr, J. (1986). Illustrated children' sbooks. London: The British Library.

Bordwell, D. & Thompson, K. (1986).Film art: An introduction. 2nd. ed. NewYork: Itifrcd Knopf.

Carroll, L. (1992). Alice's Adventuresin Wonderland. New York: Wm. Morrow.

Darton, F. J. H. (1982). Children' sbooks in England: Five centuries of sociallife. 3rd ed. revised by B. Alderson (Ed.).Cambridge, England: Cambridge UniversityPress.

Davis, J. (1972). Introduction. In G.Ovenden (Ed.) , The illustrators of Alice inWonderland andThrough the Looking Glass(pp. 7-15). New York: St. Martin's Press.

De la Mare, W. J. (1930). LewisCarroll. In V. Haviland (Ed.), Children and

literature:Views and reviews , (pp. 57-63).New York: Lothrop, Lee & Shepard, 1973.

Erdman, B. (1988). Lesson into film.Unpublished doctoral dissertation,University of Wisconsin-Madison.

Feaver, W. (1977). When we wereyoung: Two centuries of children' s bookillustration. New York: Holt, Rinehart &Winston.

Gardner, M. (1960). The annotatedAlice. New York: Bramhall.

Hamilton, J. 1990). Arthur Rackham:A biography. New York: Arcade.

Moser, B. (1987). Artist at work:Illustrating the classics.Horn BookMagazine. 63:703-709.

Fudney, J. (1976). Lewis Carroll andhis world. New York: Scribner's.

Smith, J. A. (1948). Children' sillustrated books. London: Collins.

Thwaites, M. F. (1963). From primerto pleasure in reading. Boston: Horn Book.

White, C. (1984). The world of thenursery. New York: Dutton.

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