In its review of the first "Alice" book, "The Spectator" described Alice as a "a charming little girl, [...] with a delicious style of conversation," while "The Publishers Circular" lauded her as "a simple, loving child." Several reviewers thought that Tenniel's illustrations added to the book, with  "The Literary Churchman" remarking that Tenniel's art of Alice provided "a charming relief to the all the grotesque appearances which surround her." Alice's character has been highlighted by later literary critics as unusual or a departure from the typical mid-nineteenth-century child protagonists. Richard Kelly sees the character as Carroll's creation of a different protagonist through his reworking of the Victorian orphan trope. According to Kelly, Alice must rely on herself in Wonderland away from her family, but the moral and societal narrative arc of the orphan is replaced with Alice's intellectual struggle to maintain her sense of identity against the inhabitants of Wonderland. Alison Lurie argues that Alice defies the gendered, mid-Victorian conceptions of the idealized girl: Alice does not have a temperament in keeping with the ideal, and she challenges the adult figures in Wonderland. From the 1930s to 1940s, the books came under the scrutiny of psychoanalytic literary critics. Freudians believed that the events in "Alice's Adventures in Wonderland" reflected the personality and desires of the author, because the stories which it was based on had been told spontaneously. In 1933, Anthony Goldschmidt introduced "the modern idea of Carroll as a repressed sexual deviant", theorizing that Alice served as Carroll's representation in the novel; Goldschmidt's influential work, however, may have been meant as a hoax. Regardless, Freudian analysis found in the books symbols of "classic Freudian tropes": "a vaginal rabbit hole and a phallic Alice, an amniotic pool of tears, hysterical mother figures and impotent father figures, threats of decapitation [castration], swift identity changes". Described as "the single greatest rival of Tenniel," Walt Disney created an influential representation of Alice in his 1951 film adaptation, which helped to mould the image of Alice within pop culture. Although Alice had previously been depicted as a blonde in a blue dress in an unauthorised American edition of the two "Alice" books published by Thomas Crowell (1893), possibly for the first time, Disney's portrayal has been the most influential in solidifying the popular image of Alice as such. Disney's version of Alice has its visual basis in Mary Blair's concept drawings and Tenniel's illustrations.