{"id":883,"date":"2017-08-22T14:07:45","date_gmt":"2017-08-22T14:07:45","guid":{"rendered":"http:\/\/ieas-szeged.hu\/downtherabbithole\/?page_id=883"},"modified":"2020-03-11T22:24:58","modified_gmt":"2020-03-11T22:24:58","slug":"alice-in-transmedia-wonderland","status":"publish","type":"page","link":"http:\/\/ieas-szeged.hu\/downtherabbithole\/multimedia-alice\/alice-in-transmedia-wonderland\/","title":{"rendered":"Alice in Transmedia Wonderland"},"content":{"rendered":"

\"\"<\/a><\/p>\n

ALICE IN TRANSMEDIA WONDERLAND<\/a>
\nCuriouser and Curiouser New Forms of a Children\u2019s Classic<\/h4>\n

(Jefferson: McFarland, 2016) Sneak Peak at Introduction on Amazon<\/a><\/p>\n

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\u2019s 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\u2019s classic. Popular postmodern post\/millenial re-configurations of Victorian fantasy, in particular late 20st century and especially early 21st century adaptations of Lewis Carroll\u2019s Alice tales , reveal how intermedial transitions elicit different modes of enchantment, disenchantment, and re-enchantment which both shape and reflect contemporary fantasists\u2019 strategies of makebelieving, 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.
\nContemporary 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.<\/p>\n

TABLE OF CONTENTS<\/strong><\/h4>\n

Acknowledgments, Preface
\nIntroduction: Adapting Ambiguous Alice
\n\u201cdoesn\u2019t matter which way you go… \u2014So long as I get SOMEWHERE\u201d<\/p>\n

1. Transmedia Wonderland
\n\u201cAnd what is the use of a book, without pictures or conversation?\u201d
\n1.1. Metamedial Adaptations after the Pictorial Turn
\n1.2. Interactive Imagetexts from Pop-Up Books to iPad Apps
\n1.3. Disneyfied Alices: Commodifying or Stimulating Imaginative Agency?
\n1.4. Changing Media of Enchantment: Tim Burton\u2019s 3D CGI Visual Nonsense<\/p>\n

2. Imaginative Reluctance and the (Meta)fantasy of Girlish Fantasy
\n\u201cWhich Dreamed It?\u201d
\n2.1. The artist as dreamgirlchild meets the disbelieving spectator in Terry Gilliam\u2019s poetic horror cinema
\n2.2. Coraline\u2019s Funcanny Gothic Adventures Across Media: A Tomboy Daughter\u2019s Fantasies of a Monstrous Mother
\n2.3. The meanings of Madness in participatory culture: From Psychological Thriller Computer Game to Televised Family Adventure Romance, Fanfiction and Cosplay<\/p>\n

3. Picturing the Erotic Girl
\n\u201cWe are but older children, dear, Who fret to find our bedtime near.\u201d
\n3.1. Harassing Wonderland: The sexualization of Author, Muse, and their titillating Fictional Incarnations
\n3.2. Long(ing) Exposures: Lyrical Biografiction of Alice and her Photographer in Prose, Poem, and Dance
\n3.3. Puerile Passions and Forgetful Senile Desires in Contemporary Art Photo and Film
\n3.4. Stripping kiddie-lit in Melinda Gebbie and Alan Moore\u2019s Art-Porn Graphic novel Lost Girls<\/p>\n

4. Embodied Language, Multisensorial Nonsense
\n\u201cSomehow it seems to fill my head with ideas \u2013 only I don’t exactly know what they are!\u201c
\n4.1. Surrealist Puppetry and Uncanny Magical Toys in Jan \u0160vankmajer\u2019s Something from Alice
\n4.2. Literary Nonsense in the Curiosity Cabinet: Ducornet reads Carter reads \u0160vankmajer
\n4.3. Linguistic Grotesqueries Musicalized in Tom Waits
\n4.4. Postmodern Embodiments in Carnal Art: Reanimated Rabbits, Gracefully Grotesque Ballerinas and Cookbook Adventures<\/p>\n

In Place of Conclusion: Celebrating the 150th anniversary of Wonderland
\n\u201cWe\u2019re all mad here!\u201d<\/p>\n

FLYER: Kerchy Alice book info<\/a><\/h4>\n

A monogr\u00e1fia 2016-ban elnyerte a Magyar Anglisztikai T\u00e1rsas\u00e1g HUSSE Senior Book Award<\/strong> d\u00edj\u00e1t. \/\/ The book received in 2016 the Senior Book Award of the Hungarian Society for the Study of English.<\/p>\n

\"\"<\/a><\/p>\n

Recenzi\u00f3k\/Reviews<\/h4>\n

Ida Yoshinaga. “A Review of Alice in Transmedia Wonderland<\/em><\/a>” Gramarye. Issue 12. the Journal of the Sussex Centre for Folklore<\/em><\/a>. 2017. 82-84.<\/p>\n

“Presenting readers with a staggeringly ambitious project that makes this reviewer wonder if we indeed are all mad here, in the unreserved scope and trendiness of the multiforms under discussion, K\u00e9rchy\u2019s densely particular approach accumulates into an inter-generational, international, intermedial ethnography that honors the possibilities of fantasy as a gendered, cross-cultural genre of awe, imagination, incredibility. (…)<\/div>\n
A key scholar of formal issues within fairy-tale studies, K\u00e9rchy undertakes ferocious
\nmethodological experiments to convey millennial cross-mediation, her expression muted only by the linear, static, constricting conventions of academic writing. Western philosophy seems insufficient to the Amazonian task of tracing this wonder tale across so many dimensions and depths, as syntaxes of the scholarly monograph fail to contain the raw power of K\u00e9rchy\u2019s provocations and revelations. Like her subject, the century-and-a-half old Alice, whose well-known \u2018objectification … via incomplete or infinite variations ofgrotesque bodily metamorphosis\u2019\u00a0 represents our human efforts to engage the unimaginable, K\u00e9rchy\u2019s weighty contribution to transmedia scholarship deserves a grander, fiercer form: at the very least, an audio-visual essay that transmits such a treasure of insights and illustrations to the reader multisensorially, perhaps crafted by a surrealist puppeteering auteur fluent in the semiotics of 3D videogames, in a work to be engaged interactively via digital devices. Which would be the merriest unbirthday present of them all, for femaleheroes assaying the impossible.”<\/div>\n

Michelle Bourgeois (International Youth Library). “Alice in Transmedia Wonderland Review.”<\/a> BOOKBIRD : A JOURNAL OF INTERNATIONAL CHILDREN’S LITERATURE <\/span><\/em>(ISSN: 0006-7377) (eISSN: 1918-6983) 2017. 55. <\/span>3. pp. 59-60. <\/span><\/p>\n

“Overall, Alice in Transmedia Wonderland<\/em> provides a great critical introduction to contemporary transmedia interpretations of Lewis Carroll\u2019s original works. (…) This work appeals primarily to an academic readership, especially those with a basis in postmodernist theory. (…)\u00a0 Though the voice and scope are solidly academic, casual readers who are devoted Alice fans may also find the subjects to be interesting and enjoyable.”<\/p>\n

Virginie Ich\u00e9. “Review of Alice in Transmedia Wonderland.”<\/a> Marvels & Tales.<\/em> 2018.32.1 pp.182-184.<\/p>\n

“Anna K\u00e9rchy\u2019s Alice in Transmedia Wonderland<\/em> tackles the daunting task of examining the virtually countless postmillennial adaptations of the original Alice<\/em> tales\u2014and, as becomes more and more obvious, rewritings of the Lewis Carroll myth as well. K\u00e9rchy chooses not to limit herself to one form of adaptation (book-to-screen, book-to-digital media, book-to-stage, and so forth), as she wishes \u201cto trace transmedia interconnections and metamedial self-reflexivity across a variety of representational methods\u201d (2). The variety of media in her corpus reveals her broad understanding of what an Alice<\/em> adaptation is.”<\/p>\n

Halyna Rys. “Nonsensical Quests for Making Sense: Adapting and Interpreting <\/a>Alice” Americana E-Journal. <\/em>2017.<\/p>\n

“Alice in Transmedia Wonderland <\/i>studies the fascinating transitions of the artistic emphases: from the stress on the linguistic sophistication of Carroll\u2019s text and static visual representations in Tenniel\u2019s illustrations to the emphasis on the erotic nature and physicality highlighted in contemporary interpretations and adaptations. … The nonsense of Victorian fantasy survives numerous transformations and \u201cshapeshiftings\u201d carefully examined in this book. Consequently, even though the book focuses mostly on processes of enchantment, disenchantment, and re-enchantment in Alice<\/i>, it goes beyond the discussion of Carrollian fantasy, offering readers new ways of understanding the adaptability of classical stories.”<\/p>\n

Bj\u00f6rn Sundmark. “Carroll Studies: Review Essay. Samlungsrecension.” <\/a>Barnboken. Journal of Children’s Literature Research<\/em>. 2016. 39. 1-3.
\n<\/b><\/span><\/p>\n

“Inte minst visar Kerchy i sin analys hur till exempel Tim Burtons kritiserade Alice-film parerar den l\u00e5ngt drivna f\u00f6renklingen och banaliseringen av Carrolls text och handling genom att premiera ett visuellt nonsensbildspr\u00e5k. \u00d6ver huvud taget \u00e4r det idag vanligast att t\u00e4nka p\u00e5 Alice som en visuell produkt, \u201dsprungen ur Walt Disney, Tim Burtons, American McGees eller Hello Kittys \u2019magiska v\u00e4rld\u2019, och fr\u00e4mst associerad med animation, 3D-upplevelser, dataspel, cosplay-karakt\u00e4rer, flickprylar, eller n\u00f6jesparksunderh\u00e5llning\u201d (27, min \u00f6vers\u00e4ttning). Detta har inte bara att g\u00f6ra med Alice-ber\u00e4ttelsernas beredskap och potential f\u00f6r bildber\u00e4ttande, utan ocks\u00e5 med det sena tjugohundratalets \u201dpictorial turn\u201d (eller \u201diconic turn\u201d) \u2013 den \u201dvisuella v\u00e4ndningen\u201d \u2013 inom kulturen. Alice-ber\u00e4ttelsernas bilder har n\u00e4mligen visat sig passa detta skifte perfekt. Men Kerchy visar dessutom, som citatet ovan antyder, att det inte bara handlar om bilder (r\u00f6rliga eller ej) utan om en multisensorisk Alice, som handlar om ljud och kl\u00e4der och upplevelser i alla uppt\u00e4nkliga mediaformer.”<\/p>\n

Makai P\u00e9ter Krist\u00f3f. “Aki mert merni. Al\u00edz kalandjai M\u00e9diaorsz\u00e1gban” Pr\u00f3za Nostra<\/em>. 2016. Dec 20. <\/a><\/p>\n

“A teljess\u00e9g ig\u00e9nye n\u00e9lk\u00fcl K\u00e9rchy elemez eredeti illusztr\u00e1ci\u00f3t (Tenniel), rajzfilmet (Disney), mozifilmet (Burton; Gilliam Tideland<\/em>je), gyerekk\u00f6nyvet (Gaiman Coraline<\/em>ja), k\u00e9preg\u00e9nyt (Gaiman alapj\u00e1n Craig P. Russell), b\u00e1bfilmet (Jan \u0160vankmajer), videoj\u00e1t\u00e9kot (American McGee), konceptalbumot (Tom Waits), balett-el\u0151ad\u00e1st, performanszt, 3D-s k\u00e9pesk\u00f6nyvet \u00e9s m\u00e9g felt\u0171nik egy iPad-alkalmaz\u00e1s is, \u00e9s ezek kart-karba \u00f6ltve j\u00e1rj\u00e1k a Bolond Kalapos faddavak-t\u00e1nc\u00e1t (a Futterwackent). M\u00e9gis, a visszat\u00e9r\u0151 \u00e9rvek \u00e9s gondolatok kavalk\u00e1dj\u00e1b\u00f3l el\u0151t\u0171nik egy egys\u00e9ges k\u00e9p arr\u00f3l, hogy Al\u00edz mit is jelent a k\u00fcl\u00f6nf\u00e9le m\u0171v\u00e9szeti felfog\u00e1sok sokszor egym\u00e1snak ellentmond\u00f3 \u00e9rtelmez\u00e9seiben. (…) ha egy \u00e1tlagos b\u00f6lcs\u00e9szettudom\u00e1nyi munka gazdag, akkor itt val\u00f3s\u00e1gos kincsest\u00e1rral van dolgunk.”<\/p>\n

S\u00e1nta Bal\u00e1zs. “Csodaorsz\u00e1g itt \u00e9s ott: Lewis Carroll-i adapt\u00e1ci\u00f3k karnev\u00e1lja.” <\/strong><\/a>BUKSZ. Budapesti K\u00f6nyvszemle<\/em><\/a>. 2017. Tavasz-Ny\u00e1r. 11-16.o.<\/p>\n

“2015-ben volt \u00e9pp sz\u00e1z\u00f6tven \u00e9ve, hogy el\u0151sz\u00f6r megjelent a legt\u00f6bbek \u00e1ltal Lewis Carroll n\u00e9ven ismert Charles Lutwidge Dodgson els\u0151 k\u00f6nyve Alice kalandjair\u00f3l Csodaorsz\u00e1gban. Nem csoda h\u00e1t, hogy a m\u00e1sf\u00e9l \u00e9vsz\u00e1zad alatt az eg\u00e9sz vil\u00e1got bej\u00e1rt \u00f6r\u00f6k klasszikusnak \u00e9s megsz\u00e1ml\u00e1lhatatlan feldolgoz\u00e1s\u00e1nak, valamint term\u00e9szetesen a szerz\u0151nek mag\u00e1nak is megannyi \u00e9rtekez\u00e9s, \u00e9rtelmez\u00e9s \u00e9s \u00e1t\u00e9rtelmez\u00e9s, \u00fajragondol\u00e1s ad\u00f3zott az \u00e9vfordul\u00f3 alkalm\u00e1b\u00f3l. K\u00e9rchy Anna k\u00f6nyve is ebbe e zavarba ejt\u0151en soksz\u00edn\u0171 palett\u00e1ba visz \u00fajabb sz\u00edneket mind az \u00e1ltala t\u00e1rgyalt Carroll-adapt\u00e1ci\u00f3k, mind az azokra adott kritikai reflexi\u00f3k karnev\u00e1lszer\u0171 felsorakoztat\u00e1s\u00e1val. Teszi mindezt ugyanakkor olyan rendszerl\u00e1t\u00f3 szervez\u00e9sben, ami egyszerre avatja m\u00e9g a legbizarrabb m\u0171v\u00e9szi performanszokat is a kult\u00faratudom\u00e1ny figyelmet \u00e9rdeml\u0151 t\u00e1rgyaiv\u00e1, valamint teszi hozz\u00e1f\u00e9rhet\u0151v\u00e9 mind az alkot\u00e1sokat, mind pedig a k\u00f6nyvben id\u00e9zett irodalom-, m\u00e9dia-, genderkutat\u00e1s \u00e9s m\u00e1s kritikai diskurzusok legfrissebb eredm\u00e9nyeit az olvas\u00f3 sz\u00e1m\u00e1ra.”<\/p>\n

Dr. A Ebert. “Alice in Transmedia Wonderland Review.” Pop Culture Shelf. 2017. <\/span><\/em>07.24.<\/span><\/a><\/p>\n

“Her study gives an excellent overview of the recent approaches to the Alice novels and impresses by the sheer amount of well-researched data on mixed media approaches. Truly, a recommended reading for Carroll fans.”<\/p>\n

Miriam Elizabeth Burstein. “Down the Rabbit Hole.” Open Letters Monthly. Online Arts and Literature Review<\/span><\/em> 2017.06.01.<\/span><\/a><\/p>\n

“Alice\u2019s Adventures in Wonderland<\/em> and Through the Looking-Glass<\/em> are delicate subjects for academic analysis. Indeed, two of the most recent monographs related to the novels, Will Brooker\u2019s Alice\u2019s Adventures: Lewis Carroll in Popular Culture<\/em> (2004) and Anna K\u00e9rchy\u2019s Alice in Transmedia Wonderland: Curiouser and Curiouser New Forms of a Children\u2019s Classic<\/em> (2016) are about adapting and appropriating the Alice<\/em> books, rather than the books themselves. It is hard to resist a cringe at the thought of subjecting something so famously playful to something that Carroll would probably have played with. (One can only imagine the fate of deconstruction in Wonderland.)<\/p>\n

Don D’Ammassa. “Non-Fiction Reviews” Critical Mass Website. 2016.<\/a><\/p>\n

“Alice in Wonderland <\/i>is, of course, one of the best known children’s books of all time. This book is an extended look at how the story has been portrayed in various media forms over the years. The author covers the obvious like books and movies and television, but also original artwork inspired by the book, its influence on other writers, even a look at some erotica. (…) overall this was an interesting and often enlightening book.”<\/p>\n

Weiwu Zhang. “Booknotes: New Media.” Communication Booknotes Quarterly<\/span><\/em> 47: <\/span>(4) p. 149. (2016)<\/span><\/span><\/p>\n

“Alice in Transmedia Wonderland analyzes contemporary postmodern adaptations of Lewis Carroll’s Alice’s Adventures in Wonderland in late twentieth century and early twenty first century globalized popular culture. The book is composed of four chapters: Transmedia Wonderland, Imaginative Reluctance and the (Meta)Fantasy of Girlish Fantasy, Picturing the Erotic Girl, Embodied Language & Multisensorial Nonsense. ”<\/p>\n

Megjelen\u00e9s alatt\/Forthcoming<\/strong><\/p>\n

Emma B\u00e1lint in Libri & Liberi<\/em><\/p>\n

Kiera Vaclavik in Journal of Victorian Culture<\/em><\/p>\n

 <\/p>\n

Sajt\u00f3visszhang<\/strong><\/p>\n

\u201cLewis Carroll Csodavil\u00e1ga szegedi szemmel. K\u00e9rchy Anna hi\u00e1nyp\u00f3tl\u00f3 k\u00f6teteket alkot a Bolyai \u00f6szt\u00f6nd\u00edj t\u00e1mogat\u00e1s\u00e1val<\/a>.\u201d SZTE Magazin<\/em>. 2014. 7. sz\u00e1m.<\/h4>\n

 <\/p>\n

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ALICE IN TRANSMEDIA WONDERLAND Curiouser and Curiouser New Forms of a Children\u2019s Classic (Jefferson: McFarland, 2016) Sneak Peak at Introduction on Amazon 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 […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":522,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-883","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/pages\/883","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/comments?post=883"}],"version-history":[{"count":22,"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/pages\/883\/revisions"}],"predecessor-version":[{"id":1671,"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/pages\/883\/revisions\/1671"}],"up":[{"embeddable":true,"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/pages\/522"}],"wp:attachment":[{"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/media?parent=883"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}