OBEDIÊNCIA DISSIMULADA: uma discussão sobre a Alice alternativa de Juliana Horatia Ewing

Os romances Alice’s Adventures in Wonderland (1865) e Through the Looking-Glass and What Alice Found There (1871), ambos de autoria de Lewis Carroll (1831-1898), tiveram êxito estrondoso desde o momento de seu lançamento. Conforme relata Carolyn Sigler (2015), os livros já figuravam entre os favoritos das crianças vitorianas no final do século XIX e, hoje, configuram-se como as obras mais citadas depois da Bíblia e das peças de Shakespeare. Seu sucesso inicial foi imediatamente sucedido por uma diversidade de hipertextos que responderam e celebraram os livros de Carroll. Dentre eles, destaca-se o conto “Amelia and the Dwarfs”, de autoria de Juliana Horatia Ewing (1841-1885) e publicado em 1870, na Aunt Judy’s Magazine, revista dedicada ao público infantil. Este artigo busca fornecer uma possibilidade de leitura dessa obra, sobretudo a partir de seu discurso de duas vozes (GILBERT; GUBAR, 2020): se, superficialmente, a narradora apresenta uma história consonante à moralidade que marcava as histórias infantis da época; numa camada mais profunda, manifesta-se uma protagonista que vence as desventuras através de sua sagacidade e capacidade de dissimulação. Justifica-se esta contribuição a partir dos pressupostos da crítica feminista, que busca redescobrir escritoras não-canônicas e propor novas leituras de textos considerados menores ou de pouca importância na história da literatura (PAUL, 1997).

Between two Worlds

This chapter examines Christopher Wheeldon’s British works in the light of his two formative training and performing experiences, with The Royal Ballet and with the New York City Ballet. Comparing the aesthetics of these companies in the 1980s and 1990s, it examines how Wheeldon consciously drew on both influences: American speed and attack, and British lyricism and drama. Featuring new interview material with Wheeldon, the chapter analyzes his ballets Pavane, Tryst, DGV: Danse à Grande Vitesse, Alice’s Adventures in Wonderland, and The Winter’s Tale, putting them in the context of both British theater and international contemporary ballet.

Análise comparativa das traducións ao galego de Alice's Adventures in Wonderland

A obra de Lewis Carroll, Alice’s Adventures in Wonderland, supuxo a ruptura coa literatura británica infantil e xuvenil anterior ao século XIX. Obra en que as fronteiras da lóxica e o irracional non están delimitadas no mundo onírico da protagonista. A súa riqueza e extravagancia chegou ata a nosa cultura grazas ás traducións de diversos autores, que permitiron a aproximación a unha obra que despois de 150 anos aínda continúa a ser unha das máis lidas e que desvelou infinitas interpretacións ante a lectura dun público adulto. Co presente traballo pretende amosarse unha proposta de análise contrastiva dasdúas traducións ao galego do clásico, comentando e valorando elementos da obra orixinal que o propio Lewis Carroll consideraba como intraducibles. Nesta análise recóllense os principais problemas tradutolóxicos e as diferentes estratexias tomadas nas súas versións a galego, amosando a importancia das decisións tomadas por parte dos tradutores para a comunidade sociocultural de chegada.

Ler os clásicos: Alicia en lingua galega

Neste traballo faise un percorrido polas traducións, versións e adaptacións que, dende a década dos anos oitenta e ata a actualidade, se fixeron á lingua galega da obra de Lewis Carroll, Alice’s Adventures in Wonderland. Despois dun breve repaso aos condicionamentos socio-político-culturais que sufriu o sistema literario infantil e xuvenil galego, explícanse algunhas das principais vías seguidas pola tradución á lingua galega, con especial atención ao tratamento dos clásicos universais. Por último, revísase con máis detalle as características das edicións publicadas en lingua galega deste clásico universal.

Italian nonsense verse: rewriting poetry in Alice’s Adventures in Wonderland by Lewis Carroll translated into Italian

Alice’s Adventures in Wonderland (1865) was translated in Italy for the first time in 1872 by Teodorico Pietrocòla Rossetti. Since then, it has found fruitful ground in the so-called “creative transposition” (Jakobson, 2002), which makes use of the creative channel to communicate with a lay public that relies on rewritings to approach classic texts (Lefevere, 1992). Rewriters include translators and people who manipulate source texts for economic, political or social reasons. Their work is evidence of the evolution of literature as it brings classic texts down to the level of the common reader, ensuring their survival through time. Alice, a mixture of narrative voice and nonsense poetry, survives through the rewritings aimed at a young public. This paper explores poetry in selected translations of Alice’s Adventures in Wonderland, including Donatella Ziliotto’s translation published by Salani in 2010, Masolino D’Amico’s translation in the children’s literature series of classics published by BUR Ragazzi in 2016, and the modernized re-edition of Silvio Spaventa Filippi’s translation first published in 1913, distributed in a new book series in 2013. The translations analysed have all been published between 1991 and 2016 by different translators and publishing houses. This selection allowed for a mixed methodology of analysis delving into the paratext and poetic language, in order to compare rhythm, structure and rhyme, looking for common aspects but especially divergent approaches as a mark of creativity wishing to release the potential of the poetic verse and mediate it for young readers.

Mystified Life: Joyce Carol Oates’ Adaptation of Wonderland

It is apodictic that postmodernism gravitates towards fragmented narratives, apparently “real” diegesis and characters in a chaos-ridden frame. The postmodern novel is a “looking glass” that delineates the vertigo instigated by “reality,” which is an artifice that leads to amending interpretations. The paradox of “fictionalizing the reality” creates heterogeneous reverberations among individuals. There is no preconception, but moments of revelation and realization. The theories of language alleviate the transcription of the intense and inevitable relationship between the text and the reader. The theoretical underpinnings, formulated on the basis of the multiple interpretations emanated by readers, foreground the fact that texts are constituents of our linguistic community, and are diversified with individual and cultural experiences. In this way, the consideration of the text extends beyond its stature of being a mere “object.” Joyce Carol Oates’ Wonderland is a text which abounds in intertextual references in the postmodern context. Oates has taken up the issues of destiny and identity from Lewis Carroll’s Alice’s Adventures in Wonderland, as the thematic source. The protagonist, Jesse, does not enter a world of fantasy; rather, she enters a world that is real, absurd and phantasmagorical. The article purports to analyse Wonderland as “hypertext” and accentuate how the fragments of discourses in it, based on Carroll’s work as the hypotext, have acquired a transpositional change of meaning.

On the Cusp of the Canon

This period, the first half of the 19th century, stands on the cusp of the first Golden Age of English children’s literature. While publications from the mid-1800s onwards, such as Alice’s Adventures in Wonderland, The Secret Garden and The Wind in the Willows, have become part of the cultural landscape, those from the first half of the 19th century are largely unfamiliar and forgotten. If read at all, they are studied by academics rather than read by children. Publications at that time reveal the tensions between the perceived need for improving, moralising books and those that might give pleasure to the reader. It will be argued in this article that amongst the more didactic works, there are indicators of what was to follow. Attention is drawn to chapbooks for children and to a number of titles which have enjoyed a degree of longevity.