An Analysis of Alice’s Female Subjectivity in Alice’s Adventures in Wonderland
Abstract:This essay looks into the subversion of Victorian gender norms in Lewis Carroll’sAlice’s Adventures in Wonderland(1865) taking as a starting point the concepts “the angel in the house” and “the fallen woman” so as to provide an overview of the historical gender conditions of Victorian England. Moreover, I will provide an analysis of the main character, Alice, is provided in order to analyse her female subjectivity and how it departs from the ideal Victorian woman behaviour through a dream-like journey to Wonderland. By doing so, I intent to prove how Alice shows alternative ways to be female and how she can be considered a transgressor as far as gender issues are concerned.
Introduction
This paper is based on two main objectives: to explore the context in which Lewis Carroll’sAlice’s Adventures in Wonderland(1865) is set in order to understand the gender norms and constraints of the time and to compare those to the actions and behaviour of the main character of the novel, Alice. The analysis of the creation of Wonderland and the reactions that the main character presents in her journey will allow me to prove that she creates a new female subjectivity different from the ideal gender role that is encouraged by Victorian society. The reason why I have chosen this topic is because of my recent interest in Women’s Studies as well as my fascination for the main character of the novel since I was very young.
The Victorian Era and gender
The Victorian Era (1837-1901) was a period of time marked by Queen Victoria’s reign in England. As my research will focus around gender subjectivity in a novel set in this time period, it is important to pay special attention to the place that women had in the society of Victorian England.
First, one might think that having a woman as the ultimate power authority would imply an improvement for the role that women had in society. However, Queen Victoria was completely against the suffragette movement and "she constantly reiterated her own opposition to women's rights and her firm belief that her sex belonged in its own separate, domestic sphere" (Rappaport 2003, 426). Not only that but she also "regularly made protestations of her sex's inferiority and intellectual inadequacy" (XXXXXXXXX XXXX, 426). As she XXX XXX of the most XXXXXXXXXX female XXXXXXX XX XXXXXXX, “Victoria XXXX to XX seen as XXX very model of marital XXXXXXXXX XXX domestic virtue.” (XXXXXX 2001, X) XXXXXXX her XXXXXXX XXXXXXXXXXXX with her husband XXXXXX as a XXXXXXX example to XXXXXX. XXXXXXXXX to XXXX XXXXXXXXX XX XXXXX, society created delimitated categories in which women were XXXXXXXXXX XXXXXXXXX on XXXXX behaviour. Coventry XXXXXXX’s XXXX “The Angel in XXX House” (XXXX) is a XXXXX XXXXXXXXXXXXXX of the socially XXXXXXXX XXXXXXXXX XXXX XXXXX were expected XX have. XX the XXXX, the XXXX describes his wife XXX he believes should XX a model for XXX women. XXX XXXXXXXXXXXXX treats that XXX XXXXXXXXXX XXX “XXXXXXX, XXXX, charming, graceful, XXXXXX, self-XXXXXXXXXXX, pious, and above XXX –pure” (Ren XXXX, XXXX). XXXXXXXXXXXX, he emphasizes XXXXX’s XXXXXXXXX to XXX XXXXXXXX sphere, their XXXXX duty as mothers XX XXXX XX XXXXX completely XXXXXXXXXX XX XXXXX husbands. Nevertheless, XXXXXXX XXXX XXXX XXX XXX only XXX in XXXXX women could XXX at the time XXXXX XX a generalisation. XXXXXXXX in her XXXXXXX Woman and XXX XXXXX: XXX XXXX of a XXXXXXXXX Mythexplores XXX XXXXXXXX XX XXXX submissive image XXXX is “XXXXXXX by her boundaries” (Auerbach 1984, 72) as a XXXXXXXX to XXX XXXX of women’s freedom XXXXX would be XXXXXXXXXXX XX “XXX XXXXXXXXX existence of XXX fears concerning Woman’s satanic XXXXXXXXX” (XXXXXX 1992, X) XXXXXXXXX XX Eve XXXXX XXXXXXX by the XXXXX in XXX Bible. XXXX, XXX XXXXXXXX the binaries of the XXXXX and XXX XXXXX also referred to XX “the fallen XXXXX”.
XXX XXXXXXX manners that XXX XX XX XXXXXXXX to stand in XXX “good” XXXX XX society XXXX XXXXXX on from a very XXXXX age through XXXXXX XXXXXXXXX. There were different types of schools XXXXXXXXX XX XXX social class and XXX wealth of XXX XXXXXX. XXXXXXXXXXXX, XXX values XXXX were XXXXXX XX and XXX way in which students developed their XXXXXXXXXXXX XXXXXXXXXX depended on gender. In XXXX XXXXXX, the memorisation XX XXXXX XXX encouraged; however, XXX education of XXXXX was valued through XXXX they XXXXXX XXXXXXXXXXXXXXX. XX XXXX XXXXXX’sXXXXX and Prejudice, XXX XXXXXXXXX XX Miss Bingley, a high XXXXX accomplished lady, XXXXXXXX a XXXX of XXXX XXX XXXXXXXXX XX XX essential accomplishments XXXX a woman should have: “a thorough XXXXXXXXX XX XXXXX, XXXXXXX, drawing, XXXXXXX, and XXX modern XXXXXXXXX . . . she XXXX possess a certain something in her air XXX manner of walking, tone of her XXXXX” (Austen XXXX, 36). Thence, XXXX XXXXXXXXXX XXXX were taught in XXXXXXX XXXX the only XXXX XXXXXXXX XX be XXXXXXX out by women in their XXXX XXXX. XXX XXXX they XXXXXXXXX and XXXXXX XXXX XXXXXXXXXXXX, the easier it XXXXX XX XXX them XX find a XXXXXXX husband, XXXXX XXX the XXXXXXXX XXXX in Victorian XXXXXXX.
In summary, it XXX XX XXXXXX XXXX Victorian education made XXXXXXXX, XXXXXXXXX XXXXX XXXXX, very XXXXX XXXX XXX strict gaze of society would XXXXXXXXX if they XXXXX be considered XXXXXXXX XXXXXXXXXX or outcasts XXXXXXXXX on XXX XXXXXXXXXX XX XXXXXXXX attitudes XXX XXXXXXXXXX.
Fiction XX XXXXXXXX
A XXXX way XX challenge those XXXXXX XXXXX in XXXX an oppressive society was XXXXXXX fictional narratives. XXXXXX XXXXXXXX that challenged XXX XXXXXX XXXXXXXXXXX hierarchy in realistic stories could XXXXXX in censorship or XXXXXXXXXX from XXXXXXXXXXXX XXXXXXXXXXX. XX order to XXXXX XXXX, XXXXXXX XXXXX “XXXXXX the subversive fantasy of females seeking XXXXXXXX and XXXXXXXXXXXX XX means of the XXXXXXXXX mode” (XXX 2014, XXXX) so XX XX XXXXXX XXXX social XXXXXXXXX. XXXXX Carroll (1832-XXXX) XXXXXAlice's XXXXXXXXXX in Wonderlandin 1862 XXX regardless of XXXXX a male XXXXXX, XX the XXXXX XX set in XXXX exact XXXX XXXXXX, it is full XX XXXXXXXX of oppression XXXX XXXXX experienced in XXXX era. XXXXX XXXXXXXX are presented XXX XXXXXX against through XXX main character XX XXX XXXXX, XXXXX, XXX her XXXXXXXXX XXXXXXXXXXX of XXX menacing Wonderland.
XXXXX’s XXXXXXXXXX in XXXXXXXXXX
Alice XX the XXXXX year old girl XXXXXXXXXXX of XXX novel. She XXXXX in Victorian XXXXXXX XXX in spite XX XXX XXXX XXXX her social XXXXX XX XXX clearly stated in XXX XXXXX, her XXXXXXX and her XXXXXXXXX hint at her XXXXXXXXX to the middle-XXXXX. XXXXXXXXXXXX, the ideologies XX XXX XXXXX are XXXXXXXXX in her XXXXXXX. As Auerbach XXXXXXX: “"XXXXX herself . . . XXXXXXXXXXX a world out XX control XX XXXXXXX XXX the rules and XXXXXXXXX her XXXXXXX, stands XX XXX XXXXX XX the XXXXXXXXX middle-XXXXX child.” (Auerbach 1973, 31). Nevertheless, it is through a dream where she falls XXXXXXX a rabbit-XXXX, XXXXXXXX a XXXXXXX XXXX called Wonderland XXXX she experiences a self-XXXXXXXXXXX XXXXXXX XXXX affects her Victorian XXXXX XXXXX. This XXXXX XX replaced XX one XX a young lady XXX XXXXX a XXX XXXXXX subjectivity not XXXXXXXX by XXX XXXXXXX in which she XXX been raised.
Down XXX rabbit-XXXX
XX order XX XXXXXXX XXX XXXX XXXXXXXXX’s XXXXXX subjectivity, XXXXX, I XXXX XXXXXXX her encounters XXXX the creatures that she XXXXX in Wonderland, XXXXXXXX specifically on the three female characters XXXX XXXXXX in XXX novel (XXX XXXXXXX, the XXXX XXX the XXXXX of Hearts). XX Auerbach XXXXXXX "Wonderland is ruled XX XXXXXXXXXXX XXXXXXXXX women" (Auerbach XXXX, 167) so by XXXXXX attention to XXXXX XXXXXX figures, I intend to XXXXXXX the significance XX the XXXXXXXX XX XXXXX in contrast XX XXX prototypical ideal of the XXXXXXXXX XXXXX that has XXXX XXXXXXXXX.
The first female XXXXXXXXX that Alice XXXXX XXXX XX XXX Duchess. XX XXXXX XX XXX fact XXXX XXX XX first XXXX with a baby in her arms, XXXXXXX XXX reader XXXXXXX XXXX she “is far from being XXXXXXX with her role as a XXXXXX” (Ren XXXX, 2062). She is XXXX “tossing the XXXX XXXXXXXXX up and XXXX” (XXXXXXX 2012, XX) XXX XXXXXXX a XXXXXXX XXXX XXXXXXXXXXXX the strict education that XXXXXXXX received in XXX Victorian school XXXXXX: “XXXXX XXXXXXX to XXXX XXXXXX XXX, / XXX XXXX XXX when he XXXXXXX: / He only XXXX it to XXXXX, / XXXXXXX he XXXXX it XXXXXX” (XXXXXXX 2012, XX). Not only is XXX aggressive XXXXXXX her baby but XXXX XXXX she addresses Alice, who is XXXX considered a child. XXX XX XXXX XXXXXXXXXXX and rude to the XXXXXXXXXXX. XX addition, she carelessly XXXX her to take XXXX XX XXX baby. Once the XXXX turns XXXX a XXX in XXXXX’s XXXX XXX XXXX away XXXXX to XX XXXX again, XXX XXXXXXX XXXXX XXXX XXX XXX XXXXXXXXXXX. XXXXXXX, her XXXX seems to XXXX XXXXXXXX, XXXXXXX thence that “XXX baby XX a XXXXXX to her” (XXX XXXX, 2062). XXX XXXXXXXXXXXXXX of XXX XXXXXXX XX an XXXXXXXX mother XX a XXXXXX XXXXXX from the Victorian belief XXXX it XXX XXXXXXXXXX for XXXXX to be socially XXXXXXXXXX XX XXXX children. It was an obligation that XXXX were XXXXXX XX fulfil. Pursuing this XXXXXXX, XXX XXXX XXXX XXXXX “XXXXX “XXXXX XXXXXXXX” when XXX XXXX turns into a XXX XXX disappears XXXX the XXXXXX” (XXXXXX 2010, XX) XXX XXXX not feel any kind XX sympathy for the baby-pig XXXXXXXX may indicate that XXX does XXX want to XXXXXX this duty XX a woman XXXXX on in her life. XXXX precisely, XXXXX shows XXXXXXX the character XX the Duchess a XXXXXXXXXX of XXX XXXXX of the XXXXX loving mother XXXX Victorian XXXXXXX valued, XXXXXX, offering a XXXXXXXX and XXXXXXXX that XXXX.
XXX second XXXXXXXXX XXX Alice XXXXXXXXXX XX the XXXXXXX’ maid, the XXXX. XXXXXXX, she XX not XXX prototypical XXXXX of XXX obedient XXX XXXXXXX XXXX. XX XXX contrary, “XXX puts XXX XXXX XXXXXX deliberately in [XXX XXXXXXX’] food, annoying her mistress, and XXXXXXX her XX XXXXXX” (XXX XXXX, 2062) XXX XX one XXXXX XXX XXXXXX “throwing XXXXXXXXXX within her reach XX XXX XXXXXXX XXX XXX XXXX” (Carroll XXXX, 49). In addition, XXX only XXXX XXX XXXXX out this XXXX of rebellious behaviour against her mistress XXX XXXX XXXXXXX XXXXXX XXXXXXXXXXX such as the King in XXX final jury scene. XXXX XXXX of behaviour would XX XXXXXXXXXX unthinkable for a Victorian XXXXXXXXX XX it XXXXX “her XXXXXXX to XXXX the XXXXXXXXX, and it XX an attempt on XXX XXXX XX XXX lower class XX disrupt XXX XXXXXXXXXX/XXXXXXXXXX binary XXXXX in XXX social XXXXXXXXX” (Ren 2014, 2062). In XXXXX XXXXX, XX XXX is XXX embodiment of the working-class woman XXXXXX, this figure is also being XXXXXXXXX XXXXXXX XXXXX’s mind. This representation points XX a critique XX the ill-treatment XX XXX XXXXX XXXXXXX XXXX XXXXX herself may XXXX XXXXXXXXX. XXXXXXXXX, XX giving a XXXXX to XXXX XXXXXXXXX, XXX is XXXXXX XXXXXXX class Victorian women the chance to rebel back and XXXXX their minds, an opportunity that very XXX XXX in that period of time.
The XXXXX and XXXX female XXXXXXXXX in Wonderland is XXX Queen of XXXXXX. She XXXXXXXXXX XXX XXXXXXXX XXXXX XX authority XXX she is represented as XXX XXXXXXXXXX of XXX story. XXX is tyrannical and XXXXXXXXXXXXX XX her constant XXXXXXXXXXX XX XXXXXXXXX XXXXXXXX that “refuses to XXXXXXX [her] demands” (XXX XXXX, 2062). XXX fact XXXX XXXXX creates a XXXXXXXX XXXXXX character that deviates so XXXX from XXX patriarchal society in XXXXX XXX has been raised in is very significant. And even XX it XX almost impossible XXX XX XXXXX her XXXX Queen Victoria, XXXXXXXXX both XXXXXXX it XX XXXXX XXXX the Queen of Hearts is not a XXXX representative of a powerful authority as some believe that XXXXX Victoria was. The XXXX XXXXXXXXXXX aspect XXXXX XXXX XXXXXXXXX is her XXXXXXX XXXXXXXXXXXX with her XXXXXXX. XXX roles of Victorian XXXXXXX XXX XXXXXXXX in this couple where XXX is the one XXXX XXXXX XXX decisions XXXXXX he is XXXXXXXXX as XXXXXXXXXX dependent, XXXXXXX XXX submissive. XX XXXXXX Ren exposes: “XXXXX her tyranny, the XXXX becomes infantile and XXXX. His masculinity and XXXXXXXXX are gone” (Ren 2014, XXXX) XXXXX is very XXXX XXX XXXXXXXX XX what XXXXXXXXX England XXXXXXXX. Some XX the XXXXXXXXX between these characters XXX seem humorous XX the XXXXXXX XXX they are XXXXXXX XXXXXXXX subversion XXXXXXXXX by XXX main XXXXXXXXX’s XXXXXXXXXXXX. XX XXXXXXXX, it is significant the XXXX XXXX it XX XXXX when XXXXX XXXXXX XXX XXXXXXX and contradicts the Queen XXXX XXX XXXX to XXXXXX home. XXX XXXX so XXX XXXX safely without XXXXXX XXX her XXXX XXX XXX XXX XXXX having learnt XX ignore the authorities’ XXXXXXXXXXXXX, that could XX XXXXXXX not only XX governmental XXXXXXXXXXX but XXXX XXXXXX XX the XXXXXXXXX such as her mother or maybe XXXX teachers.
XXXXX’s XXXXXXX through XXXXXXXXXX
XXX XXX in which XXXXX XXXXXXXXX Wonderland and how she XXXXX the XXXXXXXXX is vital for her analysis. As it has already XXXX XXXXXX, XXXX XX the XXXXXXXXXX XXXX she XXXXX XXX XXXX XXXXXXXXXX XX regards XXX way in XXXXX XXX has XXXX taught that she should behave. XXXX, I will analyse the subversive XXXXXXX that Alice shows XXXXXXX her own actions and words. Some of XXXX are XXXXXXXX XX a XXXXXX XXXX interaction XXXX other XXXXXXXXXX XXX XXXX others are moments of self-XXXXXXXXXXX XXXX enable her deviation from XXX XXXXXXXXX XXXXX XXXXXX role.
XXXXXXX, XXX XXXXXXXX of Wonderland XXXXXX XX XXX XXXXX refusal of the aspects that Victorian society XXXXXXXXXX. From XXX very XXXXX moment XXX XXXXXXX XX XXXXXXX her sister’s side out of boredom caused by the lady-like XXXXXXXX activities that XXX and her sister were XXXXXXXX XX do in XXXXX XXXX time. Alternatively, XXX decides XX follow a XXXXX rabbit XXXX XXX caught her attention, the first XXX XX rebellion that will lead to XXXX more. XXXX she XXXXXXX XX this XXXXXXX, one has XX notice how she is not XX a quest to return home XXXX “XXXXXX XXX does XXXXX XXXX stuck in the XXXXX XXXXXX’s house that her own home is “pleasanter” XXXX XXXXXXXXXX” (XXXXXX XXXX, XX). XXX XXXX XXX XX to XXXXXXX XXX unknown place XXX XX reach XXX XXXXX XXXX has XXXXXXX her curiosity XXX most, the XXXXX’s XXXXXX. XXXXXXXXXXX, as it XXX been XXXXXXXXX previously, the XXXXXXXX XX this
XXXXXXXX filled, XXXXXXXXXXXXX-XXXX land XX well as XXXXXXXXX that inhabit it XXX Alice’s XXXXXXXXX to escape the behavioural XXXXXXXXXX of XXXXXXXXX XXXXXXX.
XX argument that is XXXXXXXXX used so as XX XXXXXXXXXX XXXXX’s subversion of XXXXXXXXX XXXXXXX is XXX lack of XXXXXXX in the creation of her own XXXXX. XXXXXXX, XXX XX the XXXX XXXXXXXXXXX parts of the XXXXX for XXXXX’s XXXXXXXXXXX is the XXXX-known “tea party” episode, in “X XXX Tea-XXXXX, XXXXXXX XXX, when Alice XXXXXXXXXX the XXXXX XXXX, the Dormouse XXX the XXXXXX. Not only does she ignore XXX XXXXX of proper behaviour XXXX XXX has XXXX taught XXXX XXXXXXXX them XXXX XXXX scream “No room! No Room!” (XXXXXXX XXXX, XX) at her XXXX XXXX XXX her XXXXXXXXXXX XXX table. But XXX XXXX XXXXXXXXX XXXXXX of XXXX encounter XXXX shapes XXXXX’s character XX created by her XXXXXXXX to the XXXXXX. Since XXX very first moment, the Hatter, XX a male XXXXX, XXXX in a XXX in XXXXX XXXXX is XXX used to, XXXXXX “XXXXXXXX remarks” (Carroll XXXX, 57) when he points out how her “XXXX XXXXX cutting” (XXXXXXX XXXX, XX), asking her XX XXXXX riddles that XXXX no XXXXXX or defying XXX naturalistic concept XX time by XXXXXXXXX that it XX always XXX o’ clock. Hence, XXX XXXX XXXX XXX XXXXXXX XXX XX XXX up with Hatter’s XXXXXXXX XXX XXXXXXX, walks out XX XXX XXXXX XXXXXXXX that “This piece XX XXXXXXXX XXX XXXX than XXXXX could XXXX” (XXXXXXX 2012, XX). Therefore, "the XXXXXX child carries XXX threatening kingdom XX Wonderland XXXXXX her" (Auerbach XXXX, 32) XXX XX “she becomes an XXXXXXXXXXX thinker and vigorously argues for her own rights, decisions” (XXXXXXXX XXXX, XX) it XX in XXX way in which XXX faces XXXX a XXXXXXXXXXX world XXXX she XXXXXXXX her control mastery.
XXXXXXX XXXXXXXXXXX of XXXXX’s XXXXX XXXXXXX is XXX XXXXXXXXXXX XX the XXXXXXXXX XXXX she has XXXXXXXX. XXXXX XXXXXX various creatures and XXXXX XXXXXXXXX XXXXXXX XXXXXXXXX, XXX XXXXXX XXXXXXXXXXX her own. XXXXXX falling down the rabbit-hole, XXX XX very XXXXXXXXX XXX XXXXX of her XXXXXXXXX because XX how XXXXXXXX knowledge XXX in XXXXXXXXX society. Nevertheless, it XX challenging XXX her XX apply the XXXXX that she has so XXXXXXXXXX memorised to the XXXX XXXXX XXXXX they do not have much XXX for XXXXXXX-XXXXXXX XXX everyday situations. That XX the main reason XXX XXX XXXXXXXXX XXXXX XXXXX off XX obnoxious since she is XXXXXXXXXX XXXXXX XX “XX XXX an XXXXXXXXXXX XX showing off a little XX her knowledge” (Carroll XXXX, XX). However, it XX XXXXXXXXXX her XXXXXXXXXXX of XXX XXXXX that she XXXXXXXX that if she wants to XXXXXXX her XXXXX. She has to replace XXX of her memorised XXXXX XXXX XXX XXXX XX XXXXXXX her curious XXXXX. XXX XXXXX example is exposed in XXXXXXX XX “XXX XXX XXXXXX”, XXXX XXXXX wants to XXXXX the XXXXXXX’ house but XXX people inside XX XXX XXXX her knocking on XXX door. It XX not until Alice XXXXXXXX XXXX her XXXXXXXX manners do XXX XXXX that she does XXX XXXX to comply XXXX the polite XXXXXXXXX XXXX XXXXXXX XXXXXXXXXX essential. XXXX XX it XXXXX XXXXXXXXX in her XXXX XXX the XXXX, XX the narrator XXXXXX out “XXX was not XXXXX sure XXXXXXX it was good XXXXXXX for her XX speak first” (Carroll XXXX, XX), it is her XXXXXXXXX what makes her XXX XXX XXXX XX XXXXXXXXX that dangerous place. XX XXXX XXXXXXXXX Alice’s knowledge XXX curiosity, XXX can XXX XXXX it XXXX against XXX traditional “fear of a XXXXX XXXXXXXXX knowledge, particularly XX a XXXXXX XX XXXXXXXXXX” (Aikens XXXX, XX) XX XXX is XXX XXXXXXXX for being curious and XXXXXXXX her XXXXXXX XX XXXXXXX her XXXXXXXXX by eating XXXXXXX XXXX or entering places XXXXX she XXX XXX XXXX XXXXXXXX invited, instead “XXX XX never XXXXX XXXXXXXX” (XXXXXX 2010, XX). XXX XXXXX has XXXXX XXXX considered a XXXXXXXXXXX of XXXXXXXXX XXXXXXX of how Carroll XXXXXX that XXXXXXX XXXX XXXXXXXXXXXX XX “XXXXXXX and praise” (Forss XXXX, XX).
XXX return to her XXXXXX’s XXXX once XXXXX XXXXX XX XXX XXXXX XXXX XXXXXXXXXX one XX XXX XXXXXXX why her behaviour cannot be considered subversive XX XXXXXXX XXXXXX XXXXX. XXXX XXXXXXX XXX it as a XXXXXX to the role XXXX XXXXXXX XXX for her. However, XXXX XXXXX tells her XXXXXX about her dream, her XXXXXX “imagines a XXXXX XXXXX surrounded by children, XXX’s XXXXXXX XXXXXXX XX XXXXXXXXXX—thus privileging XXXXX’s imaginative XXXXXXXXXXXX over a XXXXXXXXXXX maternal XXXXX” (XXXXXX 2010, XX), in XXXX XXX XXX would XXX XXXXXX XX that XXXXXXXXX ideal. XXXXXX XXXXXXXX this XXXXXXXX by using XXX XXXXXXXX of XXXXX growing in size in the XXXXX, XXX argues that XXXX symbolizes that “Her ideas are XXX XXX XXX the domestic sphere” (XXXXXX XXXX, XX). XXXXX’s XXXXXX XX portrayed as XXXXXXX XXX XXXXXXX, this XXXX XX XXXXXXXX XXXXX XX her being “never XXXXXXXX with the XXXXXXXXXXX XX XXXXXXXXXX XXXXXXXXXX, which serves as a representation of XXX . . . XXXXXXXXXXX that lies before women willing to break XXX chains of patriarchal XXXX” (XXXXX XXXX, 5). The XXXX that XXXXX abandons XXXX XXXXXXXXXX XXXXX-XXXXXXXXX XXXX XXX imply her XXXXXXXXXX of XXX Victorian “XXXXX XX XXX house” model XX XXX is XXX XXXXXXXXX “the type XX XXXX who XXXXXX XXXXX XXXXXXX XXXXX for her future husband or XXXXXX up XXX dirty dishes XX the mad tea party” (Aikens 2010, XX). XXXXXXXXXXXXX, XXX XX granted the possibility XX XXXX her own XXXX XXXXXXX XXXXX XXXX XXX XXX learnt in Wonderland. XXX XX XXXXX a XXXXX XX “newfound independence, XXXXXXXXXX, and XXX ability to actively choose her own direction in life” (XXXXX 2014, X) XXXXX will XX very XXXXXX XXXXXXX XX XXX fact that she XXXXXXX XX a XXX-accepting XXXXXXX. This XXXXXXXXXX will make her become XXX woman that XXX wants XX be, XXX XXX XXXXX that XXXXXXX XXXXX her to XX.
XXXXXXXXXX
XX XXX XX, it XXX XX stated XXXX Alice can be considered a XXXXXXXXXXXX XX the XXXXXX norms XXXX XXXXXXXXX England imposed. XXX deviates from XXXXX XXXXXX XXXXX XX XXXXXXXX a complete XXX world that she XXXXXXXX facing XXXX XXXXXXXXXXX XXXX as food that alters her size or unwelcoming XXXXXXXXX. XX original XXXX XXX this paper XXX to XXXXXXX and XXXXXXXX XX XXX XXXXX be XXXXXXXX XX a female XXXXXXX. XXXXXXX, XXXXX finishing XXXX XXXXX, I realised that XXXXX is XX need XX search XXX XXX male hero pattern XXXX XXXXXXX XXXXXXX provides in XXXXXXX’s story. XXXXXXX, XXX reader XXXX this XXXXXXXXXXX child XXX manages not only XX XXXXXXX this dangerous XXXXXXXXX XXX also XX learn XXX become a XXXXX with a XXX sense XX her own subjectivity. X XXXXXX subjectivity that refuses XXXXX of XXXXXXXX and XXXXXXXXXX XXX instead XXXXXXX us that “we can XXXXX XXXXXXXXX XXXXXXXXXXX, XXXXX in XXXXX we’XX not invited, try XXX XXXXXX, observe XXXXXXX XXXXXXXXX, XXX XXX XXXX XXXXXXXXX, XXXXX with authority figures, XXXX stories, and XXXXXX far XXXX XXXX XXXXXXX worrying how XX XXX back” (XXXXXX XXXX, XX). XX conclude, I would XXXX to XXX XXXX essay XXXX the XXXXXXXXX quote, which XXXXXX my thoughts XXXXXXXX “XXX XX the reasons XXX originalXXXXX’s XXXXXXXXXX in XXXXXXXXXXXX so special XX XXXX it XXXXXXXXXX XXXXXXXXXXX XXXX to be XXXXXX” (XXXXXX XXXX, 31), alternative ways that have inspired and will continue XX inspire many XXXXX XXXXX (and XXX) around the world to XX a XXX XXXX “Alice” in our XXXXX lives.