Alice in Wonderland

Audiovisual Translation Consultant Sydney Australia Over the past seventy years, The Adventures of Alice in Wonderland was translated into Arabic not only in several editions and versions but also in different formats: subtitled, dubbed and adapted for various artistic productions. One of these early adaptations is in the form of a serialized comic magazine carried out in the mid sixties in Cairo. The study examines the adaptation of The Adventures of Alice in Wonderland from a translation policy point of view. In this respect, it casts light on visual literacy and translation strategy decisions that determine not only the linguistic aspects but also the factors that ultimately shape the production of the 'transadapted' version. Comic magazines appeared commercially in Alexandria in the early fifties of the last century and despite their foreign origin they quickly adopted a policy of localization that influenced the entire production of this new genre: weekly children magazines.

"Children's Literature is the body of written works and accompanying illustrations produced in order to entertain or instruct young people. The genre encompasses a wide range of works, including acknowledged classics of world literature, picture books and easy-to-read stories written exclusively for children, and fairy tales, lullabies, fables, folk songs and other primarily orally transmitted materials."(Britannica Encyclopaedia 486).Even today, Children's Literature has its own importance not only on young people but also in the lives of adults.' Alice in Wonderland' is one such novel. For children it opens a world of fantasy where there is no logic or legality or proportion, while adults consider it as a parody of education, politics, poetry, literature and Victorian life in general. In this research article, the researcher deals with Magical Realism in Alice in Wonderland and how the author presents magical events in such a way that it is real.

Entrare nell’immagine: un desiderio che accompagna l’umanità
dall’alba dei tempi, perdendosi nelle nebbie del mito. Un desiderio
che nei secoli ogni cultura visuale ha cercato di realizzare con
i mezzi di volta in volta disponibili. E che oggi le tecnologie di realtà
virtuale promettono di soddisfare: l’immagine si fa ambiente immersivo,
ci avvolge a 360 gradi, è presenza in carne e ossa. Saltano
le cornici che la confinavano in un mondo a parte. Persino il
medium in cui si concretizza sembra farsi trasparente. Una volta
aperto il passaggio fra il mondo reale e il mondo iconico, dobbiamo
però aspettarci un varco percorribile nei due sensi: penetriamo
nel mondo dell’immagine, ma l’immagine esonda nel nostro
mondo. Al desiderio si accompagna il timore per tale tracimazione.
Questo libro esplora quel doppio movimento, e ricostruisce la
storia di quel desiderio-timore, delle fantasie che ha innescato e
delle strategie escogitate per corrispondervi: dal proto-immersivo
Narciso ai caschi VR, passando per il trompe-l’oeil e le sculture
viventi, gli specchi e le architetture illusionistiche, i panorami e le
fantasmagorie, l’arte-ambiente, il cinema in 3D. Indugiando sulla
soglia che al contempo separa e congiunge quei due mondi, ne
subiamo il fascino, e ne apprezziamo il rischio.

The fashion style of the 'Gothloli' (Gosurori, or Gothic Lolita), a member of the contemporary 'Lolita' movement, is inexorably bound to the archetypal 'Alice'. Members of this subculture dress in garments inspired by the Victorian age, whilst the silhouette is reminiscent, particularly, of Sir John Tenniel’s illustrations for Lewis Carroll’s heroine, and defined by Walt Disney’s Alice. Most often, the design is referential and, other times, the translation is more literal, whereby outfits may be decorated with Alice figures and motifs, or the wearer more consciously mimics Alice’s appearance.

The Alice-Lolita image is prolific, especially in Japan. Here, the relationship between Alice and Lolita also appears in other areas of popular culture; in the art of Nori Tomizaki; shōjo graphic novels and anime; and live-action film. In Nori’s digital paintings and manipulated photographs, which portray doll-like figures and lifelike dolls, there is an emphasis on the Gothic aspect, whereby Alice and the Gothloli are juxtaposed to represent the epitome of a sweet but scary little girl. The leading characters of the manga and animated series, Rozen Maiden Träumend, may appear to be sweeter but also display a macabre edge. These Lolita-type dolls come to life and war against each other in order to win the prize of becoming 'Alice', an ultimate human Gothloli. For this chance to transform into this real little girl, they must fight and beat all other dolls at the 'Alice game'.

However, there may be more than a superficial connection between Alice and Lolita, in that, it may be argued, there is perhaps no coincidence that the author, Lewis Carroll, or Charles Lutwidge Dodgson (his true identity), is believed to have suffered from a syndrome known as the 'Lolita Complex', the condition that takes its name from the female protagonist of Vladimir Nabokov’s notorious novel, and designated as an unhealthy obsession with young girls. Though – whilst Carroll’s Alice stories, Nabokov’s Lolita and Gothloli are similar in the fact that they serve to immortalise the Little Girl – the Lolita fashion style, formed in Alice’s image and bearing the title of the Nabokovian child, is determined to be neither directly, nor circumstantially, related to its namesake.

This paper explores these intertextual relationships between Alice, Lolita and the Lolita fashion-based movement, and investigates the validity of the subculture’s identification with the Lolita Complex.

The article takes its basis in D.W. Winnicott's theories of play and transitional space to argue that Stagnation-era sound recordings and animated films found a devoted audience of both adults and children because, like Winnicott's good-enough mother or therapist, they created the conditions for playing: they did not merely narrate play, but also embodied, invited, and enacted it. Fishzon looks closely at the performative and analytic functions of Vladimir Vysotskii's popular musical adaptation of Alisa v strane chudes (Alice in Wonderland, 1977), which employed and served as a play framework or analytic session. Vysotskii's broadly circulated, well-known work enabled Brezhnev-era citizens to dream a new habitus and ideology at a time when irony and playing were becoming increasingly difficult. While opportunities for paradox narrowed in Soviet official discourse and printed fiction after the Thaw, children's records and animated films shaped critical imaginations and made space for subjectivity.

The novel "Limes inferior" (1982) by Janusz A. Zajdel is the main work of the Polish social SF of the late 1970s and 1980s. It was read by the critics as a parable for social relations in the communist Poland of that time. But its scope is broader: Zajdel's novel shows the society divided into intellectual classes, also economics of unemployment and surveillance of all by electronics (everyone in controlled by their personal card called "key"). The protagonist gains knowledge about his world. and finally he tries to translocate himself and all the mankind to the newer/better world. That plot evokes the gnostic myth ("Hymn of the Pearl"). Read in postsecular way, Zajdel's novel shows the fairytale wonder (or postmodern fabulation) as the root of religion and political hope.

Alice's Adventures in Wonderland is a remarkable text which has endured as one of the world's most popular
children's classics - but is it really a children's book? Or perhaps much more than that? In an exploration of how the
genre of 'children's literature' emerged in the 19th century, and what Victorians considered appropriate literature
for the young, this talk will seek answers to this question in the kaleidoscopic landscape of Victorian Children's
Literature.

As Alice continues on her journey through the looking glass land in order to become white queen, she encounters the two brothers- Tweedledee and Tweedledum. They desperately want her to stay and watch them fighting, so in order to occupy her mind with something which would make her forget her plans they tell this story. Alice is just a child, so the story is told in a way that a child may like. They are trying to emotionally affect (persuade) her, by this entertaining story.

Recent times have witnessed a rise in the existential dilemma; where amidst urbanization and cyberism, one recounts the underlying urge to satisfy the 'curioser' and 'curioser' curiosity behind one's own existence. Despite the purposelessness of purpose, we, as rational human beings still wander. In this article, I trace Alice's wanderings starting from Alice's Adventures Underground till Through the Looking Glass in order to elucidate the paradox of Darwinian behaviorisms on an Absurdist backdrop and showcase the character of Alice as an 'absurdist' metaphor and duly present Carroll's works as an absurdist drama in essence. This shall be considered primarily through Albert Camus' notion of the Absurd, as elucidated in his essay, 'The Myth of Sisyphus', along with due analysis of the philosophy as portrayed through Absurdist theatre. The paradox of purpose and purposelessness in this perspective, will be analyzed through an interdisciplinary lens that will combine elements of Absurdist philosophy along with evolutionary psychology, as proposed by John Tooby and Leda Cosmides.

[ENG] The chapter is a comparative analysis of two canonical texts: "Alice's Adventures in Wonderland" by Lewis Carroll and "Alice in Wonderland" produced by Walt Disney. In both I look for objects and their meanings, perceiving them as manifestations of Alice's subconscious. I also analyse those objects within the new humanities and "things studies" that proved to be popular in the last decades.

This essay aims to trace subversive pleasures in Jan Švankmajer’s Alice (Něco z Alenky, 1988) and their revolutionary potential residing within densely saturated atmospheres of aesthetic expression. It will be explored, how poetic-analytical notions such as ‘adorned shadows’ and ‘subversive pleasures’ serve to describe expressive dramas and intensities and how their very material as well as abstract nature facilitates the possibility of social and political change. In order to elaborate this claim, the paper will draw extensively on Antonin Artaud’s ‘metaphysics of expression,’ Paul Ricœur’s notion of mimesis, Vivian Sobchack’s view on interobjectivity, and Gilles Deleuze’s conception of the event. The approach is experimental. Poetic and analytical language inspire each other to unfold and indulge within, in between, on / of the powerlessness to think and the fragility of sense – an erotics of interpretation toward the expressible and expressed in Švankmajer’s remarkable interpretation of Lewis Carroll’s Alice’s Adventures in Wonderland.

This paper explores the puns in Lewis Carroll's Alice in Wonderland, with a special focus on their types, as well as their Macedonian equivalents. Its aim is to discover on which linguistic techniques the puns are based on, and to present the varieties of their Macedonian translations-where they differ, where they are similar, which techniques are used by the translators, and whether the translations are 'successful'. This is achieved through a comparative analysis of the original puns and their six translation varieties in Macedonian. Besides comparing the original with its translation varieties, the author provides a comparison between the translation varieties as well, highlighting the strategies used by the translators and comparing the variations based on their preferred translation strategy. The findings reveal that the focus of the majority of the translators is mainly on the recreation of the puns by using creative linguistic solutions. Otherwise, the result is an incoherent piece of text, which neither the readers nor the translators themselves can comprehend.

The issue raised in my thesis for the diploma of Architecture Engineering, which is presented in this paper, has been the conversion of urban space into a gaming terrain that would take advantage of the specific planning and atmospheric characteristics of the city itself. In line with the research of the Situationist International - a movement that developed in the late 1950's addressing the cultural significance of play in everyday life (partly based on the work of the Dutch historian Johan Huizinga) while investigating the atmosphere of the city through wanderings in their homeland, Paris – the qualities of the urban environment have been explored, so distinct and psychologically dominant, that can support a fictional scenario to play along. The results of the survey, which was conducted through questionnaires and urban analysis for the municipality of Athens, highlighted that the scale of the city and its components is a prevalent attribute that deeply affects the psychology of the walker. Furthermore, the deep diversity in scale between nearby areas within the boundaries of the region itself create a feeling similar to that of Alice in Lewis Carroll's tale. The wanderers of the city of Athens will experience a change in the scale of the city elements multiple times throughout relatively short distances. The scenario of the game thus derives from the classic novel Alice in Wonderland, and with the situationists' dérive5 (the aimless wanderings) being the key element of the project, the game itself is baptized as “Alice in Wanderland”, giving a playful twist to the experience of urban space: given the assumption that each player is an “Alice”, it is not the city that “grows” and “shrinks”, but the players themselves, depending on their routes and their specific and unique experiences during the course of their wanderings.

Marina Yaguello, dans son "Alice au pays du langage", affirme que «l’exploration de ce qui ne se dit pas est une procédure privilégiée pour découvrir les règles qui organisent ce qui se dit». Mon article part d’une conviction analogue: l’étude du travail que le jeu de mots accomplit sur la face signifiante du signe peut parfois faire ressortir certains mécanismes d’une langue qui resteraient autrement cachés, et une analyse comparative qui essaye de découvrir la façon de jouer avec la langue, de se jouer, en même temps, de la langue propre à deux systèmes langagiers différents, encore que proches, comme le sont le français et l’italien, pourrait contribuer à en dévoiler certaines caractéristiques. L’élément créatif, libre, de tout jeu de mots, ainsi que les dimensions de ce travail, empêchent toutefois de recourir à un corpus de créations originales, qui – pour en obtenir des résultats valables – aurait dû être beaucoup trop vaste. J’ai donc décidé de recourir à un tertium comparationis qui permette une certaine équité de jugement: le chapitre IX de "Alice’s Adventures in Wonderland", «The Mock Turtle’s Story». L’analyse de neuf traductions italiennes et de sept traductions françaises de ce morceau permettra de réfléchir, à travers les choix opérés par les traducteurs (des choix qui, cette fois, sont le plus possible obligés, à cause des contraintes posées par l’existence même d’un texte original), sur l’approche au jeu linguistique qui caractérise les productions littéraires italienne et française. J’ai essayé de répondre aux questions suivantes: dans le processus de traduction des jeux de mots, est-ce l’influence du texte-source ou celle de la langue-cible qui prime? Et, au cas où la deuxième possibilité se vérifiait, quelles sont les différences visibles entre les façons de jouer italienne et française?

A subjetividade contemporânea emerge no cruzamento de tempos diversos: do caos nascem os meios e os ritmos. Através da música e da filosofia, Ritmo e subjetividade explora e confronta temporalidades distintas, porém inseparáveis: um tempo pulsado ou estriado, que, sob o regime de Cronos, mede e fixa a identidade de territórios, formas e sujeitos; e um liso, amorfo ou não pulsado, sob o regime do Aion, que é o tempo da desterritorialização das formas subjetivas. Arte e clínica para dar consistência a forças de criação impedidas de se afirmar por si mesmas.

“Approcci comunicativi e sovrapposizioni di voci nel delirio di Alice nel Paese delle Meraviglie”
Saggio pubblicato sulla rivista di poesia e critica letteraria "Euterpe" n°28, Febbraio 2019

INFO. www.associazioneeuterpe.com
rivistaeuterpe@gmail.com

RESUMO
Em 2015, um dos maiores clássicos da literatura infanto-juvenil moderna, Alice in Wonderland, completou 150 anos de lançamento. A obra-prima do controverso Lewis Carroll já foi traduzida e adaptada nos mais diversos meios de expressão artística. Em 2002, despontando na contemporânea literatura para crianças e jovens, Suzy Lee publicou sua tradução intersemiótica de Alice em livro-imagem. Análoga à ideia de Carroll referente a “um sonho dentro de um sonho”, Lee segue em sua publicação a ideia de “um livro dentro de um livro”, tornando ainda mais clara sua fonte de inspiração para a sua criação/recriação/adaptação. Objetivando realizar uma breve análise das obras literárias de Carroll e Lee, propomos um diálogo com os estudos de Roman Jakobson e os escritos do artista Julio Plaza no que se refere à tradução intersígnica, entre signos do código verbal para o código visual, para as versões de Alice in Wonderland aqui enunciadas. Sugerimos ainda uma aproximação com as ideias de Robert Stam sobre a adaptação literária, no caso da presente proposta, do livro ilustrado para o livro-imagem – narrativa composta por palavras para uma narrativa construída por imagens.
Palavras-chave: Adaptação. Literatura Infantil. Tradução Intersemiótica.

ABSTRACT
In 2015, one of the biggest classics from the modern children's literature, Alice in Wonderland, completed 150 years of release. The masterpiece of the controversial Lewis Carroll has been translated and adapted into many artistic expression's medias. In 2002, emerging in contemporary literature for children, Suzy Lee published her intersemiotic translation of Alice in picture-book (a publication made with pictorial narratives) to the original picturebook from the British author. In harmony with Carroll's idea regarding to "a dream within a dream", Lee follows in her publication the idea of "a book within a book", making even more clear her source of inspiration to her creation/re-creation/adaptation. Aiming to conduct a brief analysis for the literary works of Carroll and Lee, we're proposing a dialogue with studies from Roman Jakobson and the writings of the artist Julio Plaza regarding to an intersign translation, between signs from a verbal code to a visual code, related to the versions of Alice in Wonderland here stated. We're also suggesting an approach to Robert Stam's ideas regarding to literary adaptation, in this proposal's case, from a picturebook to a picture-book - from a narrative composed by words to a narrative build by pictures.
Keywords: Children's Literature. Intersemiotic Translation

Evald Flisar, avtor za odrasle, se je lotil pisanja zahtevnega žanra – sodobne pravljice ali fantastčne pripovedi za mlade. Naslovil jo je Alica v nori deželi. Besedilo je razčlenil na dvajset poglavij, začetni stavki so hkrati naslovi poglavij, kar postavlja dodatne izzive za branje. Glavni osebi sta dvanajstletna deklica Alica (končala gimnazijo in tri fakultete, raziskovalka) in njen stric profesor Skočir, njen mentor in doktor ekonomskih
znanosti. Tudi Alica je njegova mentorica, v posameznih elementih je večja izvedenka kot on. Imamo tipičen karnevalski element Bahtinovega tipa za mlade bralce. Flisar se implicitno navezuje tudi na model ljudske pravljice (trije prstani: bakren, srebrn in zlat; trije baloni), ki ga potem ironizira.

This paper is an attempt to engage with the question--whether Lewis Carroll’s Alice’s Adventures in Wonderland is a feminist book? Arguments from historical, psychoanalytical and postcolonial perspectives are presented and discussed. By summarizing and engaging with both sides of the debate, this paper detects the source of the unresolved conflicts surrounding whether Carroll’s AAW is a feminist text to be the different sides’ distinctive interpretation of Alice’s social identification. The pro-Alice-as-the-feminist-icon camp simply identifies her as an active and potentially subversive female role model for women, and thus subsumes Alice into the general category of women by assumption; whereas the iconoclastic camp, including the author of this thesis, purports to differentiate the role of little girls and the role of adult women in the Victorian period, and argues that Alice’s supposedly unconventionally unfeminine characteristics do not necessarily imply Carroll’s enthusiasm for women’s liberation from marginality and domesticity more than his misogynistic fear of adult women and his pessimistic and nostalgic mourning for the loss of girlhood innocence, and the inevitable corruption that ensues. The fictional character’s conformist ideologies are also detected in her participation in the oppressive system/mindset of British imperialism, which paradoxically further confines her in the oppressed domain of female inferiority and domesticity.

Japanese contemporary culture, including fashion, has increasingly gained popularity outside Japan, making it a timely topic for both scholarly and wider publics. Most current studies of popular culture focuses on manga, anime, and other such forms of visual culture, and dress and design studies are also emerging as a rapidly growing field. Building on the works of McVeigh (2000), Miller (2006), Slade (2010) and Steele (2010), this book addresses this new interest in an innovative fashion, expanding the significance of dress and delving into a wide range of examples from films, magazines, music videos and literature. By connecting diverse topic areas including dress, gender, media and cultural studies, Japanese Fashion Cultures analyzes the relationship of fashion aesthetics and gender identity within an increasingly interconnected, transnational world.
The book pays particular attention to the relationship of past and present. It examines contemporary Japanese fashion trends that adopt and restyle European historical clothing forms: the Edwardian dandy style, Victorian little girls’ dresses, and the Rococo and Romantic dress typical of the eighteenth and nineteenth centuries. Japanese fashion culture actively promoted European clothing styles both politically and aesthetically, particularly since the country’s re-engagement with Euro-America in 1868. Throughout this book, I refer to the theory of “format” and “product” articulated by cultural sociologist Keiko Okamura (2003) where a cultural form, in this case Euro-American clothing styles, can be seen as a “format” when accepted globally. This standardized “format” becomes a carrier of the locality of cultures, allowing its “local” characteristics to be visible, measurable, and comparable with that of other cultures. Through this theoretical idea, I explain complex cultural theory using compelling examples. For instance, differences in preferred modes of masculinity and fashionability in Japan and Euro-America will be explained via garments and advertisement campaigns of Dolce and Gabbana. This process will therefore reveal the characteristics both universal and culturally specific to the Japanese context, including the ways in which Japanese men and women engage with fashion today. This poses a challenge to a widely held, often Eurocentric notion that Japanese men and women simply desire to imitate their Euro-American counterparts.

Japanese Fashion Cultures provides comprehensive insights into representations of clothes and gender in a society still poorly understood by outsiders. I dispel the popular misconception that Japan approves of gender inequalities and that women still occupy inferior social positions to men, expressed also in clothing. I argue that using the lens of fashion reveals the complexities of gender relations in Japan. Four contemporary case studies position the argument: young men’s fashion magazines, female performers’ use of Lewis Carroll’s “Alice” in music video, “Lolita” fashion and Tetsuya Nakashima’s film Shimotsuma monogatari (Kamikaze Girls, 2004), and the continuing remarking of “Ivy-League” style in Japan. These four examples are notable for their adoption of historic European and American clothing forms. Their relatively “mainstream” stature in contemporary Japanese culture comes with a “twist” or unconventional characteristics. The “mainstream” standing of these types of popular culture indicates their reach, consumed by a great number of individuals within Japan. Certain qualities they manifest, on the other hand, impose a subtle, almost “delicate” kind of revolt against a set of idées fixes surrounding the relationship between clothes and gender. Using media and cultural texts as a primary source for discussion enables consideration of these complex links between distortion and reality. As Diana Crane (1990) has argued, both are parts of the “real” world where these case studies are first produced.

The first important issue this book raises is that, through negotiating male readers’ desire to attract admirers and to dress for their own pleasure, young men’s fashion magazines endorse the idea that crafting a pleasant look is the foundation of self-assurance and a successful life. Secondly, I show that female Japanese singers allow an accentuation of femininity without necessarily sexualization through the use of Japanese cute (kawaii) aesthetics. The third possibility this book explores is that highly decorative styles of Japanese Lolita fashion should not be read as symbolic of restriction and passivity. The fourth point this book addresses is that, as illustrated by the Japanese embrace of the “Ivy style,” both men and women engage with fashion in very similar ways. This is a major point of difference with the role of fashion historically in Euro-America.

These readings offer novel ways to understand the relationship between gender and dress, which is often blamed for maintaining repressive distinctions between “man” and “woman” in contemporary culture. Ultimately, this book aims to show that the Japanese appropriation of European clothing forms shows that there might be different, and hence less rigid approaches to understanding the relationship between fashion and gender. Japanese refashioning of European clothing concepts, this book argues, offers a compelling case for the implication of the aesthetics of fashion, gender, and cross-culturalism.

“Masafumi Monden's book is a gem. By bringing together and exploring colourful examples from Japan's vibrant street culture and fashion, he artfully demonstrates just how individualistic, innovative, and original the Japanese are. He also dismantles myths and misperceptions about gender relations, sexuality, and social relations in Japan.” –  Brian J. McVeigh, University of Arizona, USA,

“Monden provides a rich and detailed examination of the subtle intricacies of gendering and sexuality in contemporary Japanese fashion. While exploring the extremes of Tokyo street fashion he is able to illuminate some of the mechanism behind the perplexingly divergent ways to be a man or a woman in today's Japan.” –  Toby Slade, University of Tokyo, Japan,

“Masafumi Monden's fascinating and important book, Japanese Fashion Cultures, will be of great interest to everyone interested in fashion, gender, globalization, and youth culture. His research on young Japanese men and their attitudes towards fashion is especially significant, as it calls into question persistent stereotypes about how men and women are assumed to engage with fashion.” –  Valerie Steele, Director and Chief Curator, The Museum at FIT, New York City, USA

“From the possibility of subversion in lace-trimmed Lolita outfits and petite pinafores straight out of Alice in Wonderland, to the enchantments of Milkboy dandyism, Masafumi Monden's Japanese Fashion Cultures offers up a delightful combination of case studies that reveal the very best thinking in fashion theory today.” –  Laura Miller, Eiichi Shibusawa-Seigo Arai Endowed Professor of Japanese Studies and Professor of Anthropology, University of Missouri–St. Louis, USA

"Masafumi Monden’s Japanese Fashion Cultures shines a spotlight on many of the looks that brought the world’s attention to an island nation which, like Britain, has consistently punched above its weight in matters of dress and appearance...In Japanese Fashion Cultures you have some most interesting comments about gender and I for one have learned a lot about the less reported (in the West at least) looks for young Japanese males." - Ted Polheums, Author of Streetstyle: From Sidewalk to Catwalk

This exegesis investigates the world-building rules and narrative strategies available to novelists for creating possible worlds within fiction. Using 'Alice in Wonderland' as a primary case study/example, and drawing on arguments by Brian McHale and Umberto Eco I investigate how Lewis Carroll created the possible world of Wonderland. After establishing the foundations upon which Wonderland is built I broaden my scope in order to understand how other authors create different types of possible worlds and the ways fictional possible worlds enable writers (and readers) reinterpret the ‘actual’ world. From this I distil the key world-building rules and narrative strategies applicable to my own creative practice in my novel 'Transition Events' (prev. 'Dreamriders').

Lewis Carroll’s fairy tale Alice’s Adventures in Wonderland describes an unusual game called Queen’s Croquet. My paper analyzes the rules of this game, in order to develop a new theory of the relationship between law and action. The conjecture that I propose is the following: it is possible to act in function of the absence of rules.

What keeps the spirit of Alice alive after all these years? And what makes us so spontaneously turn into armchair travelers ready to unconditionally follow a little girl on her fantastic journeys down a rabbit hole into topsy-turvy worlds? Alice's unfailing ability to amaze is due to her characteristic ambiguity that entails a plethora of interpretive possibilities and hence a rewarding adaptability to multiple mixed media forms which stimulate senses beyond the verbal games establishing the trademark charm of the original children's classic. Popular postmodern post/millenial re-configurations of Victorian fantasy, in particular late 20 st century and especially early 21 st century adaptations of Lewis Carroll's Alice tales , reveal how intermedial transitions elicit different modes of enchantment, disenchantment, and re-enchantment which both shape and reflect contemporary fantasists' strategies of make-believing, and circumscribe a metafantasy commenting on limits and potentials of the fantasy genre as well as the dys/functioning of imagination. Adventures get curiouser and curiouser once Alice ventures into Transmedia Wonderland, transgressing the confines of the written text towards visual, acoustic, tactile, kinetic and digital new media regimes of representation. Contemporary adaptations dynamically interact with their Victorian source texts as well as one another to enhance the immersion into an elaborate fictional universe and maximalize audience engagement, while retelling a story that remains recognizably the same, yet turns radically different with each new retelling. The journey to Wonderland today signifies a metafantasmagoric, metamedial mission urging all to interactively explore the cultural critical and ethical stakes of our embodied imaginative experience of making sense of nonsense.