The Place Of Lewis Carroll In Children S Literature

In this volume, Jan Susina examines the importance of Lewis Carroll and his popular Alice books to the field of children’s literature. From a study of Carroll’s juvenilia to contemporary multimedia adaptations of Wonderland, Susina shows how the Alice books fit into the tradition of literary fairy tales and continue to influence children’s writers. In addition to examining Carroll’s books for children, these essays also explore his photographs of children, his letters to children, his ill-fated attempt to write for a dual audience of children and adults, and his lasting contributions to publishing. The book addresses the important, but overlooked facet of Carroll’s career as an astute entrepreneur who carefully developed an extensive Alice industry of books and non-book items based on the success of Wonderland, while rigorously defending his reputation as the originator of his distinctive style of children’s stories.

Analysing Lewis Carroll's Alice books in the context of children's literature from the seventeenth through the nineteenth century, Ronald Reichertz argues that Carroll's striking originality was the result of a fusion of his narrative imagination and formal and thematic features from earlier children's literature. The Making of the Alice Books includes discussions of the didactic and nursery rhyme verse traditionally addressed by Carroll's critics while adding and elaborating connections established within and against the continuum of English-language children's literature. Drawing examples from a wide range of children's literature Reichertz demonstrates that the Alice books are infused with conventions of and allusions to earlier works and identifies precursors of Carroll's upside-down, looking-glass, and dream vision worlds. Key passages from related books are reprinted in the appendices, making available many hard-to-find examples of early children's literature.

Lewis Carroll is best known for his children's novel "Alice's Adventures in Wonderland" which tells of a young girl named Alice falling through a rabbit hole into a fantasy world populated by peculiar, anthropomorphic creatures. Novel was followed by a sequel "Through the Looking-Glass". He continued to write books for children in prose and poetry. Most of his output was humorous, sometimes satirical, but his standards and ambitions were exacting. Good Press presents to you this unique children's books collection, carefully crafted and meticulously edited for your eReader with a functional and detailed table of contents: Table of Contents: Alice's Adventures in Wonderland Through the Looking-Glass, and What Alice Found There Sylvie and Bruno Sylvie and Bruno Concluded Bruno's Revenge and Other Stories What the Tortoise Said to Achilles The Hunting of the Snark Puzzles from Wonderland The Life and Letters of Lewis Carroll

Bachelor Thesis from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 2,5, Ernst Moritz Arndt University of Greifswald, 23 entries in the bibliography, language: English, abstract: When Charles Lutwidge Dodgson decided to publish his tale Alice's Adventures in Wonderland in 1865 under the pen name Lewis Carroll, he could not have known that this little girl's great experiences in Wonderland and also in the land behind the mirror in Through the Looking-Glass and What Alice Found There, published nearly a decade later, would become so popular. Meant as presents for two of his child-friends both books developed to a reading pleasure for children as well as for adults. Numerous theater plays and film adaptations of Alice's story definitely show its fantastic impact that it has maintained until today. However, besides different film versions there are of course also different interpretations of the tale itself. The availability of different readings in their collectivity suggests that the Alice books can be understood virtually completely only by adults in reference to these diverse and numerous aspects, which will be proven during the following examination. In the subsequent B.A.-thesis I will point out various factors which indicate that Carroll's Alice is not only a book for children, if not entirely meant for adults. The allusions to the author's own life as well as Victorian culture and especially Carroll's use of words and language for example require a preoccupation with these criteria which children generally would not show. Furthermore, adults have a completely different horizon of expectations when reading any piece of literature. This set of cultural standards, assumptions, and principles shape the way in which the reader evaluates and comprehends a book. "Such 'horizons' are subject to historical change, so that later generations of readers may see a very different range of meanings in the same work, and revalue it

Alice in Wonderland (also known as Alice's Adventures in Wonderland), from 1865, is the peculiar and imaginative tale of a girl who falls down a rabbit-hole into a bizarre world of eccentric and unusual creatures. Lewis Carroll's prominent example of the genre of "literary nonsense" has endured in popularity with its clever way of playing with logic and a narrative structure that has influence generations of fiction writing.

Charles Lutwidge Dodgson—known better by his pseudonym, Lewis Carroll—was a 19th century English logician, mathematician, photographer, and novelist. He is especially remembered for his children’s tale Alice’s Adventures in Wonderland and its sequel, Through the Looking Glass. By the time of Dodgson’s death in 1898, Alice (the integration of the two volumes) had become the most popular children’s book in England. By the time of his centenary in 1932, it was perhaps the most famous in the world. This book presents a complete catalogue of Dodgson’s personal library, with attention to every book the author is known to have owned or read. Alphabetized entries fully describe each book, its edition, its contents, its importance, and any particular relevance it might have had to Dodgson. The library not only provides a plethora of fodder for further study on Dodgson, but also reflects the Victorian world of the second half of the 19th century, a time of unprecedented investigation, experimentation, invention, and imagination. Dodgson’s volumes represent a vast array of academic interests from Victorian England and beyond, including homeopathic medicine, spiritualism, astrology, evolution, women's rights, children's literature, linguistics, theology, eugenics, and many others. The catalogue is designed for scholars seeking insight into the mind of Charles Dodgson through his books.

Through the Looking-Glass, and What Alice Found There (1871) is a work of children's literature by Lewis Carroll (Charles Lutwidge Dodgson), generally categorized as literary nonsense. It is the sequel to Alice's Adventures in Wonderland (1865). Although it makes no reference to the events in the earlier book, the themes and settings of Through the Looking-Glass make it a kind of mirror image of Wonderland: the first book begins outdoors, in the warm month of May, on Alice's birthday (May 4), uses frequent changes in size as a plot device, and draws on the imagery of playing cards; the second opens indoors on a snowy, wintry night exactly six months later, on November 4 (the day before Guy Fawkes Night), uses frequent changes in time and spatial directions as a plot device, and draws on the imagery of chess. In it, there are many mirror themes, including opposites, time running backwards, and so on.

Through the Looking-Glass, and What Alice Found There (1871) is a work of children's literature by Lewis Carroll (Charles Lutwidge Dodgson), generally categorized as literary nonsense. It is the sequel to Alice's Adventures in Wonderland (1865). Although it makes no reference to the events in the earlier book, the themes and settings of Through the Looking-Glass make it a kind of mirror image of Wonderland: the first book begins outdoors, in the warm month of May, on Alice's birthday (May 4), uses frequent changes in size as a plot device, and draws on the imagery of playing cards; the second opens indoors on a snowy, wintry night exactly six months later, on November 4 (the day before Guy Fawkes Night), uses frequent changes in time and spatial directions as a plot device, and draws on the imagery of chess. In it, there are many mirror themes, including opposites, time running backwards, and so on.