Literary Criticism of Alice in Wonderland Through a Feminist

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Table of contents

Introduction
Children’s literature is fundamental when it comes to developing the child’s
comprehension capacity, to acquire new knowledge and when interacting with other
children or adults. In a few words, it can be said that children’s literature is important
since it contributes to the child’s social, emotional and cognitive development. Since
childhood, both parents and teachers must instill in the child the habit of reading. This
first step predisposes him to a critical, responsible formation and where he forms an
active part of society. Generally, children do not like to read, get bored or do it out of
obligation, so the great challenge for adults is to instil the habit of reading so that they
do so in a pleasant and meaningful way (Tyson, 2006). The first step towards this
challenge is to teach by example; children often imitate what the older ones do, that is
why both parents and educators can demonstrate to the children that they enjoy the
moment of reading and that literature can offer fascinating stories.

According to Nikolajeva, (2015) children’s literature is part of the child’s life and occupies
an essential place in the process of the integral formation of the individual. Children’s
literature is a response to the needs of the child. Its purpose is to sensitize and as a
means the creative and playful capacity of language. Beyond any other narrowly
formative purpose, its primary function is purely aesthetic, that of promoting in the child
the taste for the beauty of the word, the delight before the creation of the world of
fiction. The child participates in the imaginary creations of a reality that are offered to
him in literary creations. He makes them his own and recreates them. Understand, intuit
and discover the meanings entailed in the plurisemantic character of the language. The
presence of literature in Early Childhood Education and even Primary Education requires
a treatment completely removed from the concept of a conventional subject. It cannot
be reduced to a study program for an exam, but it must be configured as a multi-
faceted activity that supposes in the first place the contact and enjoyment of children
with literary manifestations through intuitive and affective (Gillian, 2011). A closed list of
evaluable objectives is not specified here, let alone to judge the students with the
ordinary qualifications. The pedagogical essence of Children’s Literature is its capacity to
provide pleasure and to offer answers to the child’s intimate needs.

The feminist criticism is often a misunderstood branch of literary theory which is to a

certain extent difficult to summarize. Tyson (2006) gives this “bare bones” definition that:
“feminist criticism examines the way in which in literature and other production
reinforces or undermines the economic, political, social and psychological oppression of
women”. Feminist critics integrated many other literary schools to “enhance our
understanding of women’s experience, both in the past and present, and promote our
admiration of women’s value in the world”. They are extremely wide ranging in scope, of
interest, topics, and conclusions. The practice of feminist criticism
(https://gradesfixer.com/free-essay-examples/feminist-criticism-and-mrs-midas/) usually
entailed investigating how the gender roles of a work of literature reflect or undermine
“traditional” and sexual characteristics roles. The feminism in Alice in Wonderland is a
very interesting case study for feminist critics. Although written by a man during the
Victorian Era, the book’s strong female heroine and her adventures are absolute gold
mine for feminist critics to revise. In fact, Little (2011) even wrote that Alice book is
“almost a comic compendium of feminist issues”.

Alice’s Adventures in Wonderland (by Lewis

Carroll): A Feminist Analysis
The Victoria age was a period of gender roles, based on the “natural characteristics” of
two sexes. Women were supposedly best and suited in managing domestic matters
because men were believed to be physically weak with domestic work. On the other
hand, men were to work and earn money. Alice, protagonist sees her identity has a
“Little girl.” It can be argued that restrictions were aimed at controlling their sexuality as
being a virgin and chaste considered “virtues” of a lady. Some critic believes the author’s
appreciation of engendered childhood but, the passive femininity. Critic like Carina
Garland believes Alice represent passive femininity because she is controlled by the men
around her the reason the author was attracted to little girls.

Hence a different approach to feminism became apparent in different condition of

knowledge under discussion in society. This lead to a final reflection feminist challenges
context of the politics of neoliberalism as it seeks to identify a feminist imminent for ‘a
cleaning fire’.

The role of women is a social issue that Alice books seem to subvert in the society. In the
Victorian era women are expected to be the “angels of the home” prudent, domestically
inclined and passive. Alice is none of those things, Lurie (2005) describe Alice as
impatient, active and brave, Alice is critical of her environment and the adults she comes
in contact with. Lurie (2005) further argues that in the book critics have been seen in
Alice as a Victorian of all women. Alice is very interesting in the light of the growing
social concern over the treatment of people with mental issues. Freud (1856) explains
how in the Victorian period an insane person was ‘appropriated’ to the status of a child,
which was an enhancement over the status of animal as the 18th century would have it.
Considering the marginal identify of teenagers, this kept them on the society edge. Alice
can also be read as a radical stance for the rights and humane treatment of the insane,
considering Carroll’s elevation of the child as a compassionate and ideal treatment of
mad characters such as the Mad Hatter, Cheshire Cat and March Hatter.

An historical approach to Alice encourages us to rely on a close examination of the

trends, culture, and philosophy of the Victorian period for our interpretation of Alice’s
encounters in Wonderland. As you might imagine, this opens Alice up to an enormous
number of focuses and approaches. Though the historical approach may seem daunting
in sheer scope, it is extremely useful for us to remember that Alice was written during a
specific time period with its own specific concerns and habits. New Historical
commentators, as indicated by Tyson (2006), believe scholarly messages to be ‘social
relics that can disclose to us something about the transaction of talks, the trap of social
implications, working in the time and spot in which the content was composed’. They
contend that ‘the artistic content and the recorded circumstance from which it
developed are similarly imperative since content (the scholarly work) and setting (the
chronicled conditions that delivered it) are commonly constitutive: they make one
another’. In this way, a New Historical Critic would ask not just what the Victorian Era can
inform us regarding Alice, yet in addition what Alice can enlighten us concerning the
Victorians. The ‘Victorian’ understanding segment joins components of both the old
Historical methodology and New Historicism, investigating the connection among Alice
and the social, political, religious beliefs and issues of the Victorian Era.

The three women portrayed in the novel are The Duchess, her Cook and the Queen of
Hearts. Carroll’s’ women are senseless and violent characters in the book. Carroll’s
women are portrayed in literature as violent, irrational and frightening. The Queen of
heart could be seen as “Male nightmare” women with too much power bringing chaotic
dystopia (Alter, 2011). They are tremendously sexist which implies that women should be
kept in docile and domestic as their animal passion could ruin the nation. On the other
hand, sees the violence of Duchess as natural psychological result of her being forced to
fill the role of “Mother”. “The peppery kitchen is irritation seems out of demands of
mother hood making soup, trending a badly trying to control a disruptive sexual
passion.

Alice and Feminism

Alice is seen has a feminist hero breaking out of the traditional female gender roles
given by Carroll’s credit of any stereotypes. Judith and Lloyd (2011) argued that Alice is
“literary ‘underground’ image of a woman resisting the system”. However, they both see
Alice assertiveness activity and curiosity as specifically “un-Victorian” peculiarities which
make Alice an important example of a “subversive” woman. Although, in Lloyd’s opinion,
an ideal role model of our society should work out their own tales, problems, expect the
extraordinary, and speak out their minds. Besides, been faced with continuing
mistreatments and stereotypical expectations, a today’s young woman should actually
speak for themselves. Alice was perceived as a representation of a lady who has opted to
break away with traditions. Although, the adjectives used to describe Alice would appear
natural when also used on the opposite sex. Alice is regarded as very active, assertive
and curious. Some critics consider Alice as the reality that ladies should be living as this
description changes the stereotype of women in the society and literature.

Not all critics accepted Alice perceived power so unconditionally. Garland (2008) argued
that Carroll’s portrayal of Alice demonstrated the idea of female sexuality as a
“frightening and destructive force”.The Caterpillar gives Alice the vague instruction that
“one side will make you grow taller, and the other side make you grow shorter” On the
other hand; Alice did not know what the food would do to her. Therefore, any control
over her food and changes in her body undertakes as a result of eating. In Garland’s
(2008) view of Alice, the small girl represent the passive feminist which is large part of
what attracted Carroll’s to his ‘Child friends’ and the book completely controls the male
power around Alice.

Feminist Theory (Alice and Wonderland): Women are expected to behave in a proper
manner and very prim, during the Victoria era. Lurie (2005) adaptation of Alice and
Wonderland tale of Alice’s return to Wonderland, where she is able to save herself and
Wonderland, defying her role as a young lady during the Era of Victoria. Alice defies her
social role as a damsel in distress by challenging the feminist theory. In literature, a
damsel in distress is a stereotype commonly used to narrate innocent and young
women that are waiting to be saved.

In Alice in Wonderland, Alice does not need a hero because she is the hero herself as
portrayed. This is seen when Alice slays the jabberwocky, which assist her to discover her
own destiny and saved Wonderland because Alice was able to save herself and everyone
in Wonderland (Tyson, 2006). The hero is the character with noble qualities that saves
people which Alice did. The role is usually performed by a male; therefore it is
challenging feminist theory if a woman represents the hero. Regardless of what the
society thinks is right, Alice does what she wants. For instance, Alice does not put on
stockings and corset on her engagement party, she denied being what the community
or society calls ‘Proper’ after being asked by her mother regarding her outfit choice
(Nikolajeva, 2015). Alice constantly challenges this stereotype by establishing her future
instead of the normal lifestyle everyone thinks of her. She chooses her own destiny and
path, she is able to do this by explaining her entire dream (she does this through her
unconscious) and defeating the battle she has established in her mind with the help of
all the people she met in Wonderland. Immediately this battle is over, Alice was able to
follow her desires and dreams without being saved by any hero but herself. Alice tests
and goes against feminist theory by stereotypically as a damsel in distress and
challenging her role socially. Alice was her own hero, choosing her own path in life and
having her own mind-set (Little, 2011). She defies what the community or society
believes its right for young woman and was able to become a true heroine by
discovering her own identity.

Alice in Wonderland: Full Girl Power Feminism

in Film
In the film we see (newcomer Mia Wasikowska) portrayed as a girl power of the
headstrong daughter of an English businessman, now deceased. Alice does what she
wants, regardless of what anyone or the society think is right. For instance, Alice wear
her corset and stocking to her own engagement party; she refuses to be what the
society call “proper” after being questioned by her mother in law about her choice of
outfits. Alice continued to challenge this stereotype by creating her own future instead
of everybody else creating that for her. Alice established what the audience see
themselves as a modern, free-thinking and populist (Burton, 2014).

Lessons Alice learnt at the end

Alice in the wonderland made me discovered that there is magic in our dreams and we
should believe in ourselves. Alice experienced possibly the coolest daydream in history.
Alice in Wonderland taught me as a teenage that a dream and a little curiosity can go a
long way; just look at all of the characters that Alice encountered and places she went.
At Alice age, I think a lot of children are curious about life; children have dreams and
aspirations, they should not be afraid to explore them. Now is the time to do so. We are
young and energetic, let the magic of their dreams take them for a ride. Children will
never know what they may discover about their self or where they may end up.

Additionally, another lesson learnt from Alice and wonderland is that you are adaptable
to any situation you may find yourself. You are resilient and clever. Do not be afraid of
what life sends your way or where you will end up. Alice ended up in all sorts of
situations. She got stuck in the white rabbit’s house, she got made fun of by a group of
flowers, yelled at by a smoking caterpillar, attended a un-birthday party, and played
croquet with the Queen of Hearts. Through the entire peculiar situations, Alice found
herself adapting, singing “A Golden Afternoon,” swinging flamingos with the queen, and
sipping tea with the March Hare. Remember to be flexible in life.
Finally, Alice made her reader to understand that life is a little nonsensical sometimes. It
does not always make sense. Life can be exciting, frustrating, stressful and silly. Do not
take yourself or life so seriously all of the time. Lighten up, explore the world, be brave, be
yourself and live your life to the fullest in your own Wonderland (Waugh, 2013). Although,
Alice became one of the youngest Disney heroines, her journey down the rabbit hole
revealed lessons that even us twenty-something can learn from.

Conclusion
Children’s literature at an early age should generate, mainly, pleasure and help to self-
knowledge and the interpretation of the world surrounding the child. If this function is
fulfilled, that child is more likely to develop a liking for literary works as it grows naturally.
In order for a teacher to be a good mediator between children’s literature and children,
he or she must reach a sensitivity towards ‘real’ children’s literature, and know how to
differentiate it from those productions that, even though they want to call literature, are,
in fact, written texts at the service of the didactics that, at no time, seek to provoke in the
recipient the admiration, the delight and the reason for the effort to interpret the text.

Alice is the forerunner of the artistic vanguards that, at the end of the 19th century, show
us a world where chaos reigns. Forerunner of writers like Allan Poe, Charles Baudelaire,
of the advent of a new world where man feels that all his values are in crisis and dares to
explore new dimensions, where Cartesian thinking ‘I think then I am’ has no place,
where unreason has invaded all areas, where logic is not enough to ‘apprehend’ the
essence of the human being.

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