1

MIND OVER HATTER:

Alice and insanity

2

SECTION 1: historical context

Throughout the years, Lewis Carrolls Alice in Wonderland has

been adapted in a wide range of media and styles, many of which

are grim. But it is not just that these adaptations are grim; it is also

that they are about the mind and its tenuous connection to reality.

In the original books, Alice falls asleep and is sent into fantastical

lands where nothing makes sense. In the first book, she is a young

girl who inadvertently says the wrong things at the wrong times,

while the creatures of Wonderland refuse to help her. In the second

she is only a little older but still wiser, and also still lost in a land of

nonsense. Originally, I was hoping to analyse different adaptations

and compare Alice to another childrens story, but this proved too

big for the scale of this essay, given the large number of childrens

stories that had been adapted and each with their own trends.

Even if I had originally isolated it to just Alice in Wonderland and

The Wizard of Oz (as I had planned) it would have taken the Alice

adaptations far more than just 7,000 words to cover. So I decided

to look at trends, and in particular to focus on Alice and madness.

In both of the original books, Alice constantly wonders about her

sanity, and other characters even stipulate that such a thing is to

be worried about. So it is understandable that it would end up being

at least a part of the adaptations.

For us to move forward in our quest to understand why the

trends have occurred the way they have, we must ask the most

pressing questions, which might be as follows: is the reason Alice

lends itself to darker adaptations due to the tarnished reputation

of Dodgson, which I will discuss below, and how does this connect

to insanity? After all not all macabre stories are about madness,

3

through most stories about madness are macabre. Is it due to the

text itself being both nonsensical and frustrating, at least for

Alice? Or is it that one dark adaptation paved the way for a trend

in adaptions of Alice?

To understand Alice in its adaptations, we must also

understand Alice in reference to culture and language. In an

article referring to multiple translations of Alice and what the

target audiences may be, Christiane Nord identifies three types of

audiences that she labels A1, A2, and A3. (Nord, 2003, pp. 182--

196) A1 is Dodgsons direct audience, such as the Liddells, whereas

A2 refers to those who understand English and the cultural

references within the book. Finally, A3 refers to those who the book

had to be translated for. For these audiences, this might include

some changes to the cultural references. In the Brazilian

adaptation, for example, there are the most discrepancies from the

original English book, as you can see in this quotation from Nords

article:

This is a very common problem in the translation of childrens

books, especially if there is a pedagogical message underlying the

plot. A story set in the receivers own cultural world allows for

identification, whereas a story set in a strange, possibly exotic world

may induce the reader to stay at a distance. This can be clearly

shown by an analysis of the Brazilian translation of Alice in

Wonderland, where all the culture markers, including the proper

names, are consistently adapted to the target culture (cf. Nord

1994).

I propose that there are a further two audiences, A4 and A5. A4

is the audience of adaptations that try to remain as true to the

book as possible whilst changing media such as films (like Alice in

Wonderland, 1999), cartoons (e.g. the famous Disney version), and

4

musicals (there was even a West End production of a musical

pantomime called Wonderland). A5 is then the audience of

adaptations that merely take some of the core texts material and

then reform it into a new text, like American McGees Alice, or the

Syfy channels adaptation of Alice, and even in some ways the old

Disney version. These A5 texts will be my main focus.

Before we address A5 we must first understand what

A4 means. In the case of A4 we must look at the divergence between

one form and another. One important example of this is that a

novel can use description to set pace, but with imagery already laid

out in a film or comic, pacing must be found elsewhere. While all of

this is interesting to study, the reason I dont focus on it is because

that is more about the study of technique rather than content and

context, which has always fascinated me.

From this perspective, A5 not only takes from the original text

but also from other adaptions of the text in an almost generative

way. This is evident, for example, by the repeated use and omission

of certain characters. Take Tweedle Dee and Tweedle Dum, they

are often included in adaptations of Alice in Wonderland, though

they are from Through the Looking Glass instead. Whereas the

Mock Turtle and the Gryphons recitle of their childhood school life

are forgotten despite being in the first book. These common

changes will help me analyse and track the developments over

time in adaptations.

My argument will be that there is something inherent about

Alice that lends itself to these adaptations, and that the mystery

and rumour connected to Dodgson and Dodgsons connection to the

story allowed a more sinister take on his writings. To do this I will

5

first look at Dodgsons past. Then I will dissect a number of modern

examples as a way to prove my point.

First let us look at the core text and only then can we consider

sample adaptations. The core text involves a young girl, first aged

7, then 7 , on two different adventures. At the time the work was

written, the world was a rather harsher place for children than it is

now. Not only were child labour laws only in development but even

the well-off children couldnt avoid things such as corporal

punishment (Humphries, 2010). Its not just a matter of physical

abuse but also an expectation that a child was to be trained, or

groomed even, for a future in their parents footsteps. Nowadays,

at least in western culture, this sort of behaviour is considered

abusive to varying degrees. Take, for example, this important

observation from Will Brooker;

Despite all the evidence that it would have been acceptable within the

cultural context of 1863, the inevitable paedophile sexuality suggested

by a marriage proposal to a child risks despoiling the contemporary

image of Carroll as odd but fundamentally harmless. (Brooker, 2004)

Dodgsons writings, which were used to highlight the absurdity of

adult common knowledge, make it clear that he too felt that some

of the ways children were treated was unjust(Warner, 2011).

The iconic Alice has been viewed from different perspectives

(Smithsonian magazine, 2013); a dark obsession of Dodgsons, a

surrealist vision, or perhaps a drug-fuelled dream. Some are

innocent, like the classic Disney version, while others are dark like

Alices Last Adventure, a short horror story written by Thomas

Ligotti. So another question might be why are the darker ones

better known? Why do we hold on to the twisted side of the story?

Now this is not always the case with adaptations of childrens

6

stories, and its also true that there are many adaptations of Alice

that are sweet and naive, but that doesnt change the fact that

there is always a low level of discomfort for Alice in the original

books and in many of the adaptations. The examples are

numerous, but I will only point out a few, such as the 1999 TV film

Alice in Wonderland by Nick Willing which held true to both the

novels and kept the atmosphere as close to the original text as

possible, the romance manga Heart no Kuni no Alice where Alice is

trapped in a violent world in which every character pines for her,

the 2010 version by Tim Burton that focused on extravagant

visuals, and even the Disney version in some moments. In all of

these she is anxious and frustrated and confused all at the same

time and without relief. Dodgson himself, when helping with the

theatrical version, stated that part of the reason the book feels the

way it does is because it alludes to growing up, to becoming a

woman.

It is common knowledge that the relation between Alice and

Dodgson today would be under scrutiny. Though the story was

written by Dodgson, it could be interpreted as a child suffering

from something called maladaptive daydreaming. As Somer, one

of the foremost authors on the subject, defines it in his article,

... fantasizing as a means of coping with loneliness or isolation

and escaping from aversive environments. Such behaviour is

often the result of a traumatic event. During the time Dodgson was

writing the book, many of his actions were not considered

predatory, but there are some rather dark details in his past,

including missing pages from his diary torn out by family

members, testimony from an older sister, and of course the falling

out between Dodgson and the Liddells (Brooker, 2004).

7

The question, then, is this: was and is the rumour enough to

create a mystique around the author? And does that mystique

account for the darkness and themes of insanity that are so

common in adaptations across various media? First we must

explore the life of Dodgson, starting with Dodgsons relations to the

Liddells. Dodgson became a lecturer at Christ Church, Oxford

University, where he ended up working for Dean Liddell. Dodgson

was known among the staff for having a childs heart and so was

often asked to tutor and take pictures of their children; this

extended to the Deans children as well.

Over time Dodgson bonded deeply with the Deans children

and even wrote a story for them, featuring Alice Liddell.

Unfortunately, before the story could be given to the children

(Alice especially), Dodgson and the Liddells fell out. Dodgson

worked hard and created both the story and the drawings so that

he could send the manuscript to Alice as an early Christmas

present (Talbot, 2007).

It is important to note that during the time of the falling out

Dodgson recorded the events in his diary. Unfortunately his family

removed and destroyed the pages after his death, so any

contemporaneous documentation is lost (Brooker, 2004). The

Liddells and Dodgson fell out in June 1863, which is where the

pages in Dodgson's diary, dates 2729 June 1863, go missing. The

pages were supposedly cut out by Charles Dodgson's niece, Violet

Dodgson.

One thing we do know was that Dodgson, unhappy with his

own drawings, contacted an illustrator named John Tenniel, with

whom he worked until they were both satisfied with the drawings.

Once this was complete Dodgson and Tenniel finally allowed the

8

book to be published. It was a resounding success (Talbot, 2007).

This success is partially due to the fact that the novel itself was one

of the first childrens stories that didnt implicitly have a moral

behind it.

It is crucial to remember that Dodgson created it specifically

for a real person, Alice Liddell (you remember the A1 audience).

The story featured some of Liddells other children, but Alice was

the star. She had two older brothers, an older sister Lorina, and six

younger siblings. It was rumoured to have been crafted during a

boat ride (Brooker, 2004). The story was originally going to be

called Alices Adventures Underground.

After researching Dodgsons history and personal life,

through books and articles, I discovered that the rumours about

him were numerous. He was said to like children, and in some

cases he was portrayed as a virtuous paedophile who struggled

against his urges. In other cases, he was alleged to use children to

sleep with housewives (Talbot, 2007). In this way he was

portrayed, by some historians and academics, as a lecherous man

who seduced bored housewives and staff by befriending their

children. This fits in line with the theory that he was supposed to

have had an affair with the Liddell mother, and it went sour,

leading to the falling out (Talbot, 2007). Of course, the whispers

werent only around the mother; there was the theory that he had

asked the Liddells for Alices hand when she became of age (which

was generally between 18-23yrs) and was declined. Less

commonly reported, some say he courted the eldest of the Liddell

daughters in secret.

9

So why are the piece and the author so connected? Is it the

effort Dodgsons university went through to claim him (like the

fact that theres even a room named after him in the university)

and thus the book? Over time Oxford Christ Church, where

Dodgson taught, worked hard to own and brand the author. The

university portrayed him as a recluse only home within the walls

of the university. Dodgson was not a public speaker and he

supposedly stuttered during his lectures. The students even

complained about it (Talbot, 2007).

Maybe the reason sexuality was connected to Dodgsons work

was because he was connected to many rumours around sex and

sexuality. Some of the best examples are ones I have already

mentioned like the mysterious missing pages and the rumoured

paedophilia... these could definitely make connecting dark

sexuality to his work easier.

Also, the piece of literature itself was about growing up--

Dodgson said so himself. A natural part of that includes sexuality

so other authors may have felt it natural to include. We need only

look at American McGees Alice, or Grimms Alice in Wonderland

(which I will discuss below). Not only that, but psychoanalysts

loved picking apart Dodgsons work, and the pieces they wrote

inevitably included sexuality. These are some of the many reasons

that may have led to pornographic, and even paedophilic,

adaptations.

That the books highlight altered perception might go some way

to explaining why Alices story is so frequently intertwined with

insanity. Just take the Cheshire cats famous phrase were all

slightly mad here as an example. This phrase not only

10

summarizes the emotion of the books, but it also ends up becoming

an iconic quote for all sorts of artwork and writings after, many of

which are dark. Furthermore, it is believed Dodgson may have

suffered migraines himself, which can have micro- and macropsia

as a symptom, which might explain how they entered into the now

famous story (Todd, 1955). Micropasia is the sensation that one is

shrinking, the sufferers perception makes the environment

appear larger and also makes it difficult for the person to regain

any sense of orientation. The inverse is true of macropasia with it

being the sensation of ones environment shrinking, or the sufferer

growing.

11

SECTION 2: modern adaptations

Maladaptive daydreaming might also account for such

experiences, and so could schizophrenia (American McGee's Alice,

2000). Interestingly,

that is what Alice from

the American McGee

video game franchise is

suggested to have. As the

second game progresses

you end up finding more

and more paedophilic references: including fighting doll faced goo

creatures that cry, walking through the crotch of a giant naked doll

(see image above), even an entire level devoted to helping children

escape the doll house. The games take place inside Alices mind

during psychotic episodes. In the first game Alice is recovering

from the trauma of listening to her parents burn alive during a

house fire, in Rutledge Asylum. Not only do you get to play through

her mind, but the original also came with the doctors notes on

Alices progress in the outside world. One example of this is when

the doctor discovers that two of the orderlies were harassing her,

resulting in her stabbing them with a spoon. This coincides with a

boss battle you have with Tweedle Dee and Tweedle Dum. By the

second game, Alice has managed to live out in the real world and is

currently being treated as an outpatient by a hypnotist. As the

game progresses she begins to have more and more psychotic

episodes that you play through. Eventually, a new hidden trauma

connected to the first game is revealed (Alice: Madness Returns,

2011). It is revealed that the reason for the house fire was that the

12

hypnotist, who knew her parents had raped her younger sister...

and then to cover up the evidence he burned down the house

killing everyone but her. In the last level before you have the final

conflict you see the puppeteer in his room surrounded by broken

dolls which represent the children he ruined. During the launch

of this game, an e-book was released for iPhone and iPad users that

contained newspaper clippings and police reports, set in the game

world, about the original trauma.

Even in TV versions, Alice is represented as unstable. In the

show Warehouse 13, there is the captured

essence of an insane Alice Liddell in a

mirror. In this episode Alice in

Wonderland and Through the Looking-

glass were actually chronicles of Alices

decent into madness (Warehouse 13

'Duped', 2009). Several times throughout

the series Alice escapes from the mirror

she is trapped in by possessing someone who looks at their

reflection in the mirror and causes havoc. In one such rampage she

even manages to commit several murders before they eventually

catch her again. As you can see in the image above, Alice is in the

body of the female lead seducing someone. Alice is also highly

sexualized in this adaptation. She is, however, not as highly

sexualised in this one as in some other versions.

13

One such highly sexualized version

is the comic book series Grimms Fairy

Tale Wonderland, in which Alice is

depicted as a pinup up girl, complete

with underskirt shots and that look of

wide-eyed shock (see left). In this

version, Alices mind splits off into

another dimension, where she gets

trapped. Eventually her daughter ends

up trapped there as well, but

successfully escapes, unlike Alice, who

commits suicide (Gregory and Gill et al., n.d.). Alices daughter

then must rescue her child by returning to Wonderland (Gregory

and Wickline et al., 2011). This all started at a house, which has

some side stories about other tenants who eventually turn out to be

characters in Wonderland

(Gregory, 2010). In this

world, everything tries to

kill or hurt other denizens,

despite the fact that death is

almost impossible in this

realm. This place is somehow

connected to Lovecraft and

that type of sanity-peeling

ideology. For those who

dont know who H.P.

Lovecraft is, allow me to give a brief introduction: He was a horror

writer during the 1920s that wrote stories that centred around

creatures so powerful and alien they could destroy your mind with

14

their mere presence. It is probably also useful to note that these

creatures were often described as having long reaching tendrils

(like the image on the previous page).

In truth, however, madness appears in

all sorts of childrens culture. One obvious

example is Batman. In the Batman

universe, Batman has to fight a whole range

of villains, a number of who are inspired by

Alice in Wonderland characters. The Mad

Hatter uses a

mixture of drugs and electronics to

brainwash people (Loeb and Sale et al.,

1996). Batwomans sister, who is

known as Alice, is associated with both

the original books by Dodgson and some

sort of occult group (Rucka and

Williams et al., 2010). There are a few

other Alice-based villains such as:

Tweedle Dee, Tweedle Dum, the

Carpenter, the Walrus, and March Harriet. These villains often

grouped together, led by the Mad Hatter. They were called the

wonderland gang.

In 2009, the Syfy

channel aired a miniseries

called Alice. It was set in the

present. Instead of

Wonderland being a

whimsical place, it was full of

15

corruption and greed. In it, Alice is a full grown woman who ends

up falling into Wonderland through an open portal between the two

worlds, concealed as a mirror. There, people from our world are

called oysters, in reference to the Walrus and the Carpenter poem

from the second book, and end up using casinos (see above) where

floors harvest emotions. The emotions are harvested by two

scientist who are known as, surprise, the Walrus and the

Carpenter. These emotions then get turn them into teas to be sold

to the denizens of Wonderland. Its treated like a high end drug

(Alice, 2009). One of the most famous sellers of this tea is the Mad

Hatter. Despite the fact that the world seems to be falling apart, or

perhaps because of it, the entire economy seems to run on these

teas.

Of course, Alice has been used in reference to drug culture and

hallucinogenics for a long time. There is even a book, called Go Ask

Alice, centring on an addict named Alice with allusions to the book.

Alice is also a slang term for LSD. Alice also suffered from

micropsia (the sensation of shrinking) and macropsia (the

sensation of growing) (Todd, 1955). This is sometimes known as

Alice-in-Wonderland syndrome. Now, this might have been due to

Dodgson suffering chronic migraines, which sometimes have

micropasia or macropasia as symptoms. Another theory is that he

had tried fly agaric, which is a red mushroom with white dots (like

the one Alice eats).

Of course perhaps this is all connected to the 1960s and 70s,

when Alice was connected to psychoactive drugs such as LSD. In

fact there was even a rather famous song by Jefferson Airplane

called White Rabbit, which contained many allusions to drug use

such as the famous line, One pill makes you larger and one pill

16

makes you small or this quote from the

song, Remember what the dormouse said;

Feed your head, Feed your head. Feed

your head was a slang term for taking

drugs around this time. The song was

released in 1967, and around that time

LSD started to get called Alice. The song

mentions many of the characters from both

the books including the white rabbit, the

caterpillar, the red queen, the dormouse,

chess pieces, the white knight, and, of course, Alice herself. The

album was called Surrealistic Pillow. After all, many artists, like

Jefferson Airplane, were using hallucinatory drugs and were

interested in surrealism and the mind.

Surrealists, just like drug users, jumped at Alice and her

dreamscape (Hubert, 1988). Dali created an image set based on

her, but he was not the only one. Surrealists were known for using

hypnosis and hallucinogens to access deeper parts of the mind, to

enter into dream-like states. Alice would make sense for surrealists

to take an interest in; after all what better inspiration than a young

girl taking a trip into her own mind, a

nonsensical story that utilizes only dream

logic.

In fact in 1969, Salvador Dali drew a

number of illustrations based on Alice. The

illustrations are rather gritty and

unsettling, with running paint, clashing

colours, and scratchy drawings (Dali,

17

1969). One even features the queen

and jack (or knave) of hearts, facing

each other with large silhouettes

standing ominously behind them.

Other pieces include the mock turtle,

Alice, and the caterpillar. The

drawings depict both well-known

events, such as the mad tea party,

and lesser known ones, such as

the lobster quadrille.

Now I come to my final

example, with Ralph

Steadmans art of Alice in

Wonderland. Steadman is

known for political satire

drawings but also separately for

his style. Steadmans style is

considered unsettling. Just look

at his version of the White

Rabbit with its asymmetrical

face, rough inky style, and

grotesque characterization of its

body shape, all of which

contribute to a kind of eerie and intimidating style. In the case of

Alice in Wonderland might be appropriate because that is part of

the atmosphere of the story itself. These drawing were done during

the early 1970s, which was a time that gave Alice much attention,

18

as you can tell from earlier.

Staedman also illustrated images

for Through the Lookingglass in

the images for that he takes the

chessboard theme and uses it to

apply a stark contrasting piece of

order within the image itself which

in some ways higlights the chaotic

nature even more. With one

final example, the image of

Alice crying a river of tears, we

can see that Steadmans style

matches perfectly with the

other adaptions Ive used. Take

the image above Steadmans

drawn the tears using dark ink,

in Alice: Madness Returns

many of the enemies are seen to be crying a sort of thick black ink

or goo. The White Rabbit in both the Alice games has a similar

asymmetry as Steadmans White Rabbit. Not just in The games in

the DC comics front page covers for the joker or other insane

characters are often done in a similarly inky and sketchy style.

In fact many artists use a similar style to Steadmans to evoke a

sense of chaos or madness in their subject.

It is important to note that, unlike most of the other

adaptations I have covered which fall under A5, both Dali and

Steadman probably fall under the A4 categorization. If you recall

the A4 category was works that changed the storys medium but

19

stayed true the narrative, whereas A5 drew from the original text

as a way to create a new narrative. It is, hpwever, important to

note they are reinterpreting already drawn images... which in

some way falls more under the A5 category. These two artists may

fall under the first category simply because they do not attempt to

rewrite any aspect of the story. Though this does lead to the

question... does reinterpreting the imagery itself have the

possibility to become A5? To this I have no clear answer but since

the artists arent actually altering the narrative I feel that they fall

under the A4 category.

Another question to ask may be what makes A5 versions of the

stories popular? Now I know Im addressing Alice but this is not

the only piece that has this happen. In fact recently there has been

a trend in doing retellings. There is even a TV show called Once

upon a time, which incidentally has a spin off centring around Alice

in Wonderland, that readapts every old fairy-tale and sets them in

one universe. This isnt the only one: the TV shows Grimm and

Supernatural do it as well, and Im sure there are more I cant

think of.

20

Section 3: conclusion

In this essay a number of different issues have been

addressed: the historical context and its relations to the story,

psychological and medical connections to the piece, a brief analysis

of audiences, and of course modern adaptations that utilize all

sorts of external context, which in this case is the rumours and

supposition surrounding Dodgsons life, to drive the internal

context, that is the story. This leads me to my conclusion, which in

the case of Alice in Wonderland is that the external and the

internal have become interconnected. The external context

becomes its own part of the story, as the rumours grow beyond

separable fact and fiction.

The connection between the author and the content is one

discussed over and over again. There is an idea that once a body of

work is produced it is a separate entity from its author. However,

we as a modern audience rely on external context to influence

what we consume. Just look at things like celebrity gossip,

consumer politics, and memes.

With things like that the author influences the audiences

engagement. People buy, like, and engage more or less depending

how much they like the external context. A company scandal can

hurt sales, or a celebrity faux pas can destroy a career. This kind of

investment may have always occurred throughout history but with

the digital age it certainly has become a larger part of the

audiences interest, perhaps because of the increased efficiency

with which information is disseminated.

This investment in the external context has gradually made

Dodgson a harder and harder author to separate from his works.

21

So of course with the unsavoury elements around his life, new

authors latched on to that and used it to influence their

adaptations.

Perhaps another reason the adaptations became so dark is

that modern audiences have a tougher stomach for darker stories.

We as humans have always had an investment in the unsavoury,

from old horror stories to deadly entertainments such as jousting,

hangings, duels, Coliseum battles, and so on and so on. Then, as

time went on we began to dissect and separate what was

appropriate for certain ages. This came with the invention of

childhood (Humphries, 2010), which came with the introduction of

child labour laws. This separation came to protect innocence in

children so stories were written with far less violence or threat.

Over time even stories that were once dark became tamed; just

look at the Disney versions of many Brothers Grimms fairy-tales,

which many of you may know were not nearly as kind in the

original tellings.

Of course this kind of saccharine doctrine can lead to a

backlash, a sort of reclamation. In the case of Alice in Wonderland

authors and artists used the dark external context to create

something sinister and add an extra layer of unpleasantness.

Perhaps our technological development is partially to blame for

our dark thirst, since it does allow for a more gruesome realism, or

perhaps it is due to the zeitgeist of our time, a time that enjoys

creepy pastas (which are sort of the urban legends of the

internet), horror movies, and some rather traumatic viral content.

Whatever the case Alice in Wonderland captured the hearts of

authors and the imagination of audiences around the world and

22

across time. She has become a classic icon and one with a rather

dark edge at that.

Whatever the case may be it is clear that Alice has become a

classic piece of literature to use to explore darker narratives. Not

just that but also that the historical mystery that surrounded

Dodgson has been used time and time again to alter this narrative

and inspire more sinister theories on how the story might go.

23

Bibliography:

- Alice. 2009. [film] SyFy [United States]: Nick Willing. - American McGee, 2000, American McGee's Alice, Computer: Window, Mac,

Electronic Arts

- American McGee, 2011, Alice: Madness Returns, Multi: PC, Xbox 360, PS3, Electronic Arts

- Arthistoryarchive.com. 2013. The Origins of Surrealism. [online] Available at: http://www.arthistoryarchive.com/arthistory/surrealism/Origins-of-

Surrealism.html [Accessed: 14 Dec 2013].

- BBC News. 2012. Is Alice in Wonderland really about drugs?. [Online] Available at: http://www.bbc.co.uk/news/magazine-19254839 [Accessed: 23 Oct 2013].

- Brooker, W. 2004. Alice's adventures. New York: Continuum. - Brusha, J., Tedesco, R., Gregory, R. and Leister, D. 2009. Tales from

Wonderland. Port Washington, PA: Zenescope Entertainment.

- C. McAra. Surrealisms Curiosity: Lewis Carroll and the Femme-Enfant in Papers of Surrealism, issue 9 (2011).

- Carroll, L. and Tenniel, J. 1993. Alice's adventures in Wonderland & Through the looking-glass. Ware, Hertfordshire: Wordsworth Editions.

- Cartoons.ac.uk. 2014. Biography: Ralph Steadman - The British Cartoon Archive - University of Kent. [online] Available at:

http://www.cartoons.ac.uk/artists/ralphsteadman/biography [Accessed: 20

Jan 2014].

- Dali, S. 1969. Alices Adventures in Wonderland. Heliogravure. - Gregory, R., Gill, R., Leister, D., Goh, S., Drujiniu, V., Montiel, M., Embury, J.,

Colwell, J., Bonvillain, T., Ignacio Bunge, R., Garcia, M. and Campbell, J. n.d.

Alice in Wonderland.

- Gregory, R., Brusha, J., Tedesco, R., Leister, D. and Ruffinio, N. 2010. Beyond Wonderland. Fort Washington, Pa.: Zenescope Entertainment.

- Gregory, R. and Leister, D. 2011. Escape from Wonderland. Fort Washington, Pa.: Zenescope.

- Gregory, R., Brusha, J., Tedesco, R. and Bouk, R. 2009. Grimm fairy tales. Ft. Washington: Zenescope Entertainment

- Gregory, R., Brusha, J. and Tedesco, R. 2009. Tales from Wonderland. Fort Washington, PA: Zenescope Entertainment. Comic

- Gregory, R., Shand, P., Brusha, J. and Tedesco, R. n.d. Wonderland. Comic

24

- Gregory, R., Wickline, D. and Tedesco, R. 2011. Wonderland. Horsham, Pa.: Zenescope Entertainment. Comic

- Gregory, R., Spay, A., Brusha, J., Tedesco, R. and Carroll, L. 2013. Wonderland. Horsham, Penn.: Zenescope Entertainment. Comic

- Hubert, R. 1988. Surrealism and the book. Berkeley: University of California Press. (Pages 9-17)

- Hoshino, S. 2010. Alice in the country of hearts. Hamburg: Tokyopop. - Humphries, J. 2010. Childhood and child labour in the British Industrial Revolution.

Cambridge, UK: Cambridge University Press.

- Loeb, J., Sale, T. and Wright, G. 1996. Haunted knight, the legends of the dark knight. New-York (Etats-Unis): DC Comics.

- Alice in Wonderland. 1999. [Film] USA: Nick Willing. - Nord, Christiane. 'Proper names in translations for children: Alice in

wonderland as a case in point.' Meta: Journal des

traducteursMeta:/Translators' Journal 48.1-2 (2003): 182-196.

- Popova, M. 2014. Alice in Wonderland Illustrated by Ralph Steadman: A 1973 Gem. [online] Available at:

http://www.brainpickings.org/index.php/2014/01/10/alice-in-wonderland-

illustrated-by-ralph-steadman/ [Accessed: 20 Jan 2014].

- Ralphsteadmanshop.com. 2014. Ralph Steadman Shop. [online] Available at: http://www.ralphsteadmanshop.com/ [Accessed: 20 Jan 2014].

- Ralphsteadmanshop.com. 2014. Ralph Steadman Shop. [online] Available at: http://www.ralphsteadmanshop.com/ [Accessed: 20 Jan 2014].

- Rucka, G., Williams, J., Stewart, D. and Klein, T. 2010. Batwoman. New York: DC Comics.

- Smithsonian magazine. 2013. Lewis Carroll's Shifting Reputation. [online] Available at: http://www.smithsonianmag.com/arts-culture/Lewis-Carrolls-

Shifting-Reputation.html [Accessed: 14 Dec 2013].

- Somer, E. 2013. Maladaptive Daydreaming: A Qualitative Inquiry. [online] Available at:

http://www.academia.edu/3342105/Maladaptive_Daydreaming_A_Qualitative

_Inquiry [Accessed: 16 Dec 2013].

- Steadman, R. 2013. Ralph Steadman: Proud Too Be Weirrd. Pasadena: AMMO Books.

- Talbot, B. 2007. Alice in Sunderland. Milwaukie, OR: Dark Horse Books. - Todd, John. 'The syndrome of Alice in Wonderland.' Canadian Medical

Association Journal 73.9 (1955): 701.

25

- Warner, M. 2011. Visions of Alice: the little girl at the heart of Wonderland. [Online] Available at: http://www.theguardian.com/books/2011/oct/28/alice-

in-wonderland-exhibition [Accessed: 23 Oct 2013].

- Warehouse 13 'Duped'. 2009. [TV] Michael W. Watkins. - Wickline, D. and Spay, A. 2012. Call of Wonderland. Horsham, PA: Zenescope

Entertainment Inc

- Wickline, D., Spay, A., Brusha, J., Tedesco, R. and Spay, A. 2013. Grimm fairy tales presents Madness of Wonderland. Horsham, PA: Zenescope

Entertainment.

- Williambennettgallery.com. 2013. William Bennett Gallery - Salvador Dali - Alice's Adventures in Wonderland Portfolio. [online] Available at:

http://www.williambennettgallery.com/artists/dali/portfolios/alice.php

[Accessed: 16 Dec 2013].

- YouTube. 2013. How is Slender Man Internet Folklore? | Idea Channel | PBS Digital Studios. [online] Available at:

http://www.youtube.com/watch?v=R0RNkkd2peE [Accessed: 15 Dec 2013].

- YouTube. 2013. Does It Matter What Evangelion's Creator Says? | Idea Channel | PBS Digital Studios. [online] Available at:

http://www.youtube.com/watch?v=SVm65tlhqw8 [Accessed: 15 Dec 2013].

- YouTube. 2013. Jefferson Airplane -White Rabbit-. [online] Available at: http://www.youtube.com/watch?v=WANNqr-vcx0 [Accessed: 15 Dec 2013].