A century in Carroll County. Three day pageant presenting the history of Carroll County, Illinois. Carroll County fair, August 29, 30, 31, 1923, Mt. Carroll, Illinois.

Includes advertisements.

"Aqui todos são loucos": o mundo louco de Lewis Carroll

“Aqui, todos são loucos. Eu sou louco. Tu és louca!”, diz o Gato de Cheshire empoleirado numa árvore, donde parece adquirir o ponto de vista abrangente de um esclarecido filósofo, em Alice no País das Maravilhas. Este iluminado pensamento, verbalizado por um animal conotado com a prática da reflexividade e da contemplação, revela-nos como Lewis Carroll usou o nonsense para nos dizer que este nos é muitas vezes imposto sem que se possa controlar nem escapar à perplexidade que nos causa. Todas as definições aprendidas para nos podermos orientar no mundo serão, assim, completamente arbitrárias, não tendo este afinal qualquer sentido a priori, exigindo que cada um lhe atribua o seu próprio sentido. Quando no capítulo VII, intitulado “Um Lanche Maluco”, Alice toma chá com a Lebre de Março e o Chapeleiro, este tenta definir a semelhança surreal entre um corvo e uma secretaria, interpretada por Alice como uma adivinha, mas não havendo para esta qualquer solução, como sem explicação ficarão muitas situações comuns vividas no nosso quotidiano.

Literary reading is a team game: exercices with Carroll and Carle.

This paper will focus on the issue of training future literary reading mediators or promoters. It will propose a practical exercise on playing with intertextuality with the aid of two children literature classics and masterpieces—The Adventures of Alice in Wonderland by Lewis Carroll (1865) and The Very Hungry Caterpillar by Eric Carle (1969). This exercise is not designed to be a pedagogical or didactic tool used with children (that could alternatively be done with the same corpora), but it is designed to focus on issues of literary studies and contemporary culture. The aim of this practical exercise with future reading promoters is to enable graduate students or trainees to be able to recognize that literary reading can be a team game. However, before arriving at the agan stage, where the rules get simplified and attainable by young readers, hard and solitary work of the mediator is required. The rules of this solitary game of preparing the reading of classical texts are not always evident. On the other hand, the reason why literary reading could be (and perhaps should be) defined as a new team game in our contemporary and globalized world derives directly from the fact that we now live in a world where mass culture is definitely installed. We should be pragmatic on evaluating the conditions of communication between people (not only young adults or children) and we should look the way people read the signs on everyday life and consequently behave in contemporary society, and then apply the same rules or procedures to introduce old players such as the classical books in the game. We are talking about adult mediators and native digital readers. In the contemporary democratic social context, cultural producers and consumers are two very important elements (as the book itself) of the literary polissystem. So, teaching literature is more than ever to be aware that the literary reader meaning of a text does not reside only in the text and in its solitary relationship with the quiet and comfortably installed reader. Meaning is produced by the reader in relation both to the text in question and to the complex network of texts invoked in the reading process and plural connections provided by the world of a new media environment.

Las huellas de la Alicia de Lewis Carroll en la obra de Alejandra Pizarnik

RESUMEN: Este artículo presenta un acercamiento entre la obra de la escritora argentina Alejandra Pizarnik y los dos más conocidos libros de Lewis Carroll, Alicia en el país de las maravillas y Alicia a través del espejo. El jardín buscado por Alicia de Carroll fue una obsesión de Alejandra Pizarnik, quien declaró en una entrevista a Martha Isabel Moia su deseo de verlo. A partir de este deseo reiterado en su obra, intentamos recorrer nuevamente el trayecto de la Alicia de Carroll hacia el jardín, con el objetivo de acercarnos a esta niña que sufre la angustia de enfrentarse a dos espacios fantásticos que coinciden con los espacios enfrentados por el “yo” lírico de los poemas de Pizarnik. Así como Alicia quiere ver el jardín y sufre la dificultad de su acceso, también el sujeto lírico construido por Alejandra quiere entrar en este espacio de deseo que es a la vez terrorífico. En la segunda aventura con los espejos, Alicia, al final del trayecto, se convierte en reina, en un movimiento que se asemeja al “yo” lírico de Alejandra, que a lo largo de su obra evoluciona de la niña inocente a la Condesa Sangrienta. Por este trayecto, observaremos como el sujeto lírico construido por Pizarnik avanza por un camino de desajuste, sufriendo en este juego la pérdida de una identidad, mientras intenta recobrar el lugar del ensueño, la visión del jardín: el paraíso de la infancia, el lugar del deseo. Palabras clave: Alejandra Pizarnik; Lewis Carroll; Literatura Infanto-juvenil.

Doing cultural heritage using the torque game engine: supporting indigenous storytelling in a 3D virtual environment

Digital Songlines (DSL) is an Australasian CRC for Interaction Design (ACID) project that is developing protocols, methodologies and toolkits to facilitate the collection, education and sharing of indigenous cultural heritage knowledge. This paper outlines the goals achieved over the last three years in the development of the Digital Songlines game engine (DSE) toolkit that is used for Australian Indigenous storytelling. The project explores the sharing of indigenous Australian Aboriginal storytelling in a sensitive manner using a game engine. The use of the game engine in the field of Cultural Heritage is expanding. They are an important tool for the recording and re-presentation of historically, culturally, and sociologically significant places, infrastructure, and artefacts, as well as the stories that are associated with them. The DSL implementation of a game engine to share storytelling provides an educational interface. Where the DSL implementation of a game engine in a CH application differs from others is in the nature of the game environment itself. It is modelled on the 'country' (the 'place' of their heritage which is so important to the clients' collective identity) and authentic fauna and flora that provides a highly contextualised setting for the stories to be told. This paper provides an overview on the development of the DSL game engine.