By Dana Ferguson
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Additional info for Children's Literature Review, Volume 150: Excerpts from Reviews, Criticism, and Commentary on Books for Children and Young People
Here the rule is creative play, and survival depends on how swiftly one can turn an axis into axes or adapt to a game in which all the objects are alive. Indeed, Alice’s problem is her inability to accept an overturning of the rules she has come to accept as natural: “they don’t seem to have any rules in particular,” she complains during the croquet game. (pp. 163-164). ” But the pastoral feeling here is surely at variance with the disorder of the dream, its unsettling, nightmarish quality. Carroll refuses to decide whether the dream in all its subversive glory or the dream as filtered through a nostalgic recollection is what matters.
McDaniel. “You’ve Come a Long Way, Baby—Or Have You? 5 (February 1999): 532-36. De Beauvior, Simone. The Second Sex. 1952. Trans. H. M. Parshley. New York: Vintage, 1989. , and Sarah K. Murnen. 5/6 (March 2004): 373-85. ” 2006. Minnesota Children’s Museum. shtml> 1 May 2006. Social scientists and psychologists have established that “children by the age of five have already formed rigid stereotypes” including the primary role of women as “housekeeping” and of men as “wageearning” (Narahara, “Gender Stereotypes” 4).
Grow to no end? This colloquial utterance means that Agnes might grow into a much better child; in other words, it reads figuratively. But MacDonald also means quite literally that Agnes’s growth will be endless, that no articulation of her final identity is possible, since existence means constant, indeed eternal, movement toward identity. The word “end” contains spatial and temporal significance; MacDonald refuses to posit a goal, a point in time or space to which we set our sights. Consequently, there can be no settling complacently in the thought that an end has been achieved.
Children's Literature Review, Volume 150: Excerpts from Reviews, Criticism, and Commentary on Books for Children and Young People by Dana Ferguson