"Visual Culture and the 'Alice' Books"
About the AuthorErin Clark Frost is a graduate assistant at Illinois State University. She is pursuing a PhD with specializations in rhetoric and composition, technical communication, and women's and gender studies. She especially enjoys studying visible rhetoric and culture.
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AppropriationAnother important strategy that Tenniel used to imbue his work with meaning was appropriation. Appropriation is the “act of borrowing, stealing, or taking over others’ meanings to one’s own ends. Cultural appropriation is the process of ‘borrowing’ and changing the meaning of commodities, cultural products, slogans, images, or elements of fashion. In addition, appropriation is one of the primary forms of oppositional production and reading, when, for instance, viewers take cultural products and re-edit, rewrite, or change them in some way” (Sturken and Cartwright 350). Tenniel made use of cultural appropriation, and here is just one example. The image on top is “The Wolf and the Dog” by French artist J.J. Grandville, a contemporary of Tenniel’s. The image on bottom is the famous Frog Footman from the “Pig and pepper chapter of Alice’s Adventures in Wonderland. It’s fairly obvious upon looking at these two images that Tenniel drew upon Grandville’s work in his production of these characters. However, some critics have suggested that there is more to it than that. Based on the depiction of the Frog Footman, the character at left in Tenniel’s illustration, critics have suggested that Tenniel’s work is a commentary on French culture. The Frog Footman’s dress and posture appear to be somewhat arrogant or pompous, perhaps conveying Tenniel’s opinion of the French. If this is the case, then Tenniel drew a piece of art from a French artist and turned it back on itself, using it to poke fun at the nationality of the original artist.
A twist on appropriation is the theory of rhetorical velocity advanced by James Ridolfo. Ridolfo says rhetorical velocity is “a theory of rhetorical delivery where a rhetorician strategizes the ways in which a third party may revise, recompose, and redistribute a text.” Therefore, an author or artist who has an understanding of rhetorical velocity might anticipate the appropriation of his or her own work in the future. Tenniel is not the only artist to use appropriation, of course, and it is interesting to note the cultural and rhetorical velocity of his work as people continue to appropriate it. The image above is “Dropping the Pilot,” an image drawn by Tenniel and published in Punch. It depicts German Chancellor Otto Von Bismarck Wilhelm debarking ship as German Emperor Wilhelm II looks on. Wilhelm had demanded von Bismarck’s resignation and ultimately gathered enough power to force it. |