Since the first translations of Lewis Carroll's Alice books appeared in Japan in 1899, Alice has found her way into nearly every facet of Japanese life and popular culture. The books have been translated into Japanese more than 500 times, resulting in more editions of these works in Japanese than any other language except English. Generations of Japanese children learned English from textbooks containing Alice excerpts. Japan's internationally famous fashion vogue, Lolita, merges Alice with French Rococo style. In Japan Alice is everywhere--in manga, literature, fine art, live-action film and television shows, anime, video games, clothing, restaurants, and household goods consumed by people of all ages and genders. In Alice in Japanese Wonderlands, Amanda Kennell traverses the breadth of Alice's Japanese media environment, starting in 1899 and continuing through 60s psychedelia and 70s intellectual fads to the present, showing how a set of nineteenth-century British children's books became a vital element in Japanese popular culture. Using Japan's myriad adaptations to investigate how this modern media landscape developed, Kennell reveals how Alice connects different fields of cultural production and builds cohesion out of otherwise disparate media, artists, and consumers. The first sustained examination of Japanese Alice adaptations, her work probes the meaning of Alice in Wonderland as it was adapted by a cast of characters that includes the "father of the Japanese short story," Ryūnosuke Akutagawa; the renowned pop artist Yayoi Kusama; and the best-selling manga collective CLAMP. While some may deride adaptive activities as mere copying, the form Alice takes in Japan today clearly reflects domestic considerations and creativity, not the desire to imitate. By engaging with studies of adaptation, literature, film, media, and popular culture, Kennell uses Japan's proliferation of Alices to explore both Alice and the Japanese media environment.

Alice's Adventures in Wonderland is an 1865 English children's novel by Lewis Carroll, a mathematics don at the University of Oxford. It details the story of a girl named Alice who falls through a rabbit hole into a fantasy world of anthropomorphic creatures. It is seen as an example of the literary nonsense genre. The artist John Tenniel provided 42 wood-engraved illustrations for the book.It received positive reviews upon release and is now one of the best-known works of Victorian literature; its narrative, structure, characters and imagery have had a widespread influence on popular culture and literature, especially in the fantasy genre. It is credited as helping end an era of didacticism in children's literature, inaugurating an era in which writing for children aimed to "delight or entertain". The tale plays with logic, giving the story lasting popularity with adults as well as with children. The titular character Alice shares her name with Alice Liddell, a girl Carroll knewscholars disagree about the extent to which the character was based upon her.

A collection of Lewis Carroll's famously quirky stories featuring Alice in Wonderland and Alice Through the Looking Glass.

Decorative borders and patterns characteristic of the 19th century frame these 31 clever and insightful quotes from Jane Austen's most beloved novels, including "Know your own happiness" (Sense and Sensibility) and "I shall be miserable if I have not an excellent library" (Pride and Prejudice). Pages are perforated and printed on one side only for easy removal and display. Specially designed for experienced colorists, Jane Austen Witty & Wise and other Creative Haven® adult coloring books offer an escape to a world of inspiration and artistic fulfillment. Each title is also an effective and fun-filled way to relax and reduce stress.

Alice in a World of Wonderlands: The English-Language Editions of the Four Alice Books Published Worldwide is a two-volume set; this is Volume 1 (Essays and Illustrations). Volume 2 (Checklists and Appendices) is available separately. This is a companion to the 2015 three-volume Alice in a World of Wonderlands: Translations of Lewis Carroll's Masterpiece. Jon A. Lindseth and Arnold Hirshon edited these volumes that explore the legacy of the four Alice books: Alice's Adventures in Wonderland, Through the Looking-Glass, Alice's Adventures under Ground, and The Nursery "Alice." Volume 1 contains essays by distinguished scholars about both the publishing history of the four books (by Francine F. Abeles, Mark Burstein, George Cassady, Morton N. Cohen, Martin Gardner, Selwyn Goodacre, Edward Guiliano, August A. Imholtz, Jr., Stephanie Lovett, Heather Simmons, and Daniel Rover Singer) and about the history of their many illustrated editions (by Mark Burstein, George Cassady, Michael Everson, and Arnold Hirshon). Volume 2, available separately, contains ten checklists of the four books documenting the chronological and geographic history of their publication in the United Kingdom, the United States, other English-language countries (Australia, Canada, Ireland, and New Zealand), and 29 countries in the rest of the world. This volume also contains short discussions about publication and illustration trends since the first published edition of Alice's Adventures in Wonderland in 1865, as well as publisher and illustrator indexes to all of the checklist entries.

From the #1 New York Times bestselling author of 1Q84 and The Wind-Up Bird Chronicle comes a relentlessly inventive novel that dives deep into the very nature of consciousness. “Fantastical, mysterious, and funny . . . a fantasy world that might have been penned by Franz Kafka.”—The Philadelphia Inquirer Across two parallel narratives, Murakami draws readers into a mind-bending universe in which Lauren Bacall, Bob Dylan, a split-brained data processor, a deranged scientist, his shockingly undemure granddaughter, and various thugs, librarians, and subterranean monsters collide to dazzling effect. What emerges is a hyperkinetic novel that is at once hilariously funny and a deeply serious meditation on the nature and uses of the mind.

Structured around modes in which one might encounter Asian-themed performances and adaptations, Shakespeare and East Asia identifies four themes that distinguish post-1950s East Asian cinemas and theatres from works in other parts of the world: Japanese formalistic innovations in sound and spectacle; reparative adaptations from China, Taiwan, and Hong Kong; the politics of gender and reception of films and touring productions in South Korea and the UK; and multilingual, diaspora works in Singapore and the UK. These adaptations break new ground in sound and spectacle; they serve as a vehicle for artistic and political remediation or, in some cases, the critique of the myth of reparative interpretations of literature; they provide a forum where diasporic artists and audiences can grapple with contemporary issues; and, through international circulation, they are reshaping debates about the relationship between East Asia and Europe. Bringing film and theatre studies together, this book sheds new light on the two major genres in a comparative context and reveals deep structural and narratological connections among Asian and Anglophone performances. These adaptations are products of metacinematic and metatheatrical operations, contestations among genres for primacy, or experimentations with features of both film and theatre.