自從一百五十年前出版以來，《愛麗絲夢遊仙境》在全世界都大受歡迎，而路易斯‧卡洛的著作也一直是各式各樣不同改編作品的靈感來源。為了找尋愛麗絲未來的各種可能性，此論文採用德勒茲的理論來閱讀路易斯‧卡洛的《愛麗絲夢遊仙境》和《鏡中奇緣》，以及提姆‧波頓的改編電影《魔境夢遊》。
卡洛的兩本愛麗絲作品，都結束在愛麗絲從怪異的夢境中醒來。這樣突然的結尾讓我好奇愛麗絲的未來會是什麼樣子，而這些夢境又會如何影響她。我會先分析卡洛如何把愛麗絲的夢境描述成一個對比於現實的諷刺國度，而這種諷刺我認為可以是一個跳脫現實狀態的逃逸路線(line of flight)。在波頓的電影中，我會專注於它女性主義式的結尾，因為波頓替愛麗絲幻想了一個革命般的結局，來處理卡洛在書中沒有交代的未來。最後我也會討論在電影結束時，愛麗絲是否真的成功的去疆域化(deterritorialized)了。此論文把《愛麗絲夢遊仙境》理解為一個逃逸路線，可通往一種變化過程的發生(becoming)。透過一個從二十一世紀的眼光中對卡洛作品的再想像，愛麗絲被賦予了做決定的力量，也可以在未來探索各種不同的可能性。

Since its publication 150 years ago, Alice in Wonderland has been a popular story all over the world, and Lewis Carroll’s celebrated work has been the inspiration for various adaptations. Searching for a possible future for Alice, this thesis presents a Deleuzean reading of Lewis Carroll’s Alice’s Adventures in Wonderland (1865) and the sequel Through the Looking-Glass (1871), as well as of Tim Burton’s film adaptation Alice in Wonderland (2010).
Both of Carroll’s Alice books end up with Alice waking up from her weird dreams. The abrupt ending provokes me to speculate on the future of Alice, and how the dreams impact on her. I will first examine Carroll’s depiction of Alice’s dream as an ironic contrast to the reality upon the ground, which I consider to be a line of flight to escape the reality. In Burton’s film I will focus on its feminist ending since Burton fictionalizes a revolution for Alice and deals with what Carroll has left behind, and I will discuss if Alice has successfully deterritorialized in the end of the film. This thesis understands Alice in Wonderland as a line of flight leading to a becoming. Through the re-imagination of Carroll’s work from the view of the twenty-first century, Alice is endowed with the power to make decisions, and seeks out the possibilities of the oncoming future.

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