Alice in Wonderland

Allyson- Alice’s adventures in Wonderland : a pop-up book (Print) is intended to be read as a storybook for young children. It contains colorful, interactive images of the work that creates a connectedness to the story lost in a digital work. Due to the intricacy of the pop-up images, the book is very short, excluding some chapters and only summarizing the rest. Because the book is more about entertaining and reading to children, most of the story and its details are lost. Since there is the interactivity with pulling tabs on the images and the pop-ups, there is a personalness, and entertainment that would not be the same in a digital version.

Alice’s adventures in Wonderland (Print) is a second edition print version of the novel. It includes all the original illustrations from the original illustrator John Tenniel. If the text were to be produced in a digital format, these illustrations are probably the most important to preserve because they are the closest to Carroll’s vision of the story. In a digital format though, the book would lose some of its authenticity. Because it was published in 1866, it is closest to the way that Alice Liddell–the girl Carroll wrote the book for–read the book in 1865. The gold-edged pages, the red binding, and the simple images on the front and back covers are real to what Alice Liddell would have read, which adds some perspective to the reading of this print version as opposed to how it would be digitized.



Erin- The Annotated Alice (Print)

The Annotated Alice has undergone a series of transformations. Originally published in 1960, the publisher, Potter, refused to allow Martin Gardner to update the book with new notes. These he used in a sequel, More Annotated Alice, published in 1990 by Random House. In 1998 an editor at Norton approached Gardner to combine the two works into a “Definitive Edition.” Published in 2000, this is the most recent edition.

           The beginning of the work includes a Preface to the Definitive Edition as well as both introductions from The Annotated Alice and More Annotated Alice. These introductions provide an historical context for the Alice books, including biographical and cultural backgrounds.

           Then follow the complete texts of Alice’s Adventures in Wonderland and Through the Looking-Glass and What Alice Found There, including the original John Tenniel illustrations. Throughout the margins are annotations made by Martin Gardner. These include information and observations either culled from others’ published research or submitted by readers of the original The Annotated Alice and More Annotated Alice. Gardner believes the texts cannot be fully appreciated without some knowledge of Oxford in the early 1860s, as there are many contemporary allusions with which modern readers are unfamiliar.

           After the annotated texts are various related materials. First is The Wasp and the Wig, preceded by a Preface and Introduction which explain the episode’s absence from Through the Looking-Glass and a facsimile of Tenniel’s letter to Carroll urging the writer to remove it. From this follow a Note About Lewis Carroll Societies, an extensive section of Selected References, and a list of Alice on the Screen.


Alicewinks (Electronic)

The version of Alice’s Adventures in Wonderland commonly referred to as “Alicewinks” is the 150th Anniversary Animated Edition for Tablet Computers. Available for both iOS and Android through the App Store and Google Play, the Android download was updated February 25, 2013 to version 1.2 and is 1.8G. Developed by David Neal, William McQueen, and Brittney Owens, the eBook integrates text, video, and animations in a portrait orientation, including the illustrations of 12 post-Tenniel illustrators.


David-Alice’s Adventures in Wonderland Gutenberg Ebook (Electronic)

This digital version of Alice’s Adventures in Wonderland is the one I have been using to read Carroll’s work, and it is “a hypertext formatted version of the Project Gutenberg edition.” The etext was put together by Robert Stockton at Carnegie Mellon, and is very easy to use, complete with a table of contents with links to the corresponding sections. This version features illustrations from John Tenniel, so that gives it some valuable similarities with the experience of reading a print edition, but the shortcomings of the digital version are numerous. First of all, a digital version is necessarily represented on a screen, which causes slight eye fatigue over long periods and is generally less aesthetically pleasing than a real page (Stockton’s page features a particularly basic/ugly site design, with literally nothing but the text, occasional pictures, and links on a white page). Similarly, the entire experience of sitting and looking at a laptop, which is full of various applications and distractions, will never compare to the experience of dedicating time to turning the pages of a novel and immersing oneself very exclusively in the world of a story in that way.

Alice in Wonderland 1951 Film (Electronic?)

The 1951 Alice in Wonderland film is an extremely popular way to experience Carroll’s story. This film of course loses some of the elements of the original plot, and also features parts of both Alice’s Adventures in Wonderland and Through the Looking Glass, so it is not the truest interpretation of our main text. It is, nonetheless, very interesting to see how Carroll’s story was interpreted at the time, and why it was so popular. The other interesting thing about the film is that it is now so commonly watched in childhood that the film starts to determine how readers see Carroll’s world when they read his original text, so, as is true for a lot of movies, it has begun to reshape the text it originally came from. The experience of watching the film is obviously very different from reading a novel, as it requires far less time commitment, no actual reading, and leaves nothing to the imagination of the viewer.

Marta- Alice’s adventures in Wonderland: a critical handbook, 1969 (Print)

What was intriguing about this critical handbook is that it also includes Alice’s Adventures Underground, which was the manuscript that would eventually be published as Alice’s Adventures in Wonderland. I think what makes this version particularly interesting besides the fact that the storyline is a bit different, is that it is handwritten. It does not make the text any harder to read because it is written with beautiful and clear penmanship. What it mostly adds is more life to the text, just like the illustrations do. It reflects perfectly the personality of the text. This characteristic is also what I think would be most important to preserve when offered in a digital version. It needs to photocopied because if it is just typed up with a font that imitates the handwriting, I think there would still be a lot lost. All the letters would be too standardized and identical to one another.

Marta- Salvador Dali’s illustrations of “Alice in Wonderland” (Electronic?)

Salvador Dali’s surrealist style is particularly interesting because it amplifies the psychedelic nature of the narrative. Unlike most versions of Alice in Wonderland, which have illustrations that are realist and cater best to children, Dali presents the dark nature with one image for each chapter. Although it would have been more interesting if he was able to illustrate more images throughout the book, I think with these cover pages, Dali is able to transform the reading experience through the use of imagery better than any other artist.

Ronnie – Alice’s Adventures in Wonderland (1972 Film Musical) electronic – The 1972 musical adaptation of Alice’s Adventures in Wonderland brings Alice and the other characters to life, using music to communicate much of Lewis Carroll’s classic.  The edition retains much of the flavor of the novel, taking much of its wording directly from the book.  Additionally, the characters costumes were designed to closely follow the original John Tennial drawings from the first edition of the book.  Unlike many of the other film portrayals of Alice’s Adventures in Wonderland, the 1972 film adds music to the visual and auditory elements.  The songs give this adaptation a whimsical feel in the spirit of Carroll’s novel.

Natalia- Alice in Wonderland (2010 Film) Electronic – This is a modern adaptation by Tim Burton and Disney. This film uses computer animation. This film has scenes from the original Alice book and Through the Looking-Glass. In this film Alice is a 19 year old adult instead of a girl. The film focuses on her trying to slay the Jabberwocky. The aesthetics of this film are typical of a Tim Burton movie.

Natalia- Alice’s Adventures in Wonderland and Other Stories (Barnes and Noble Collectible Editions) Print – This is a modern 2010 edition of Alice. It also includes other stories such as “Through the Looking-Glass”, “Sylvie and Bruno”, “Sylvie and Bruno Concluded”, and “The Hunting of the Snark”. The volume has everything that Lewis Carroll ever published in it. It’s a leatherbound volume. It has a different cover on it than the original Alice. By having all of Lewis Carroll’s writings in one volume, one can more easily see the similarities and differences between each story.

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