Hans Christian Andersen

This paper draws parallels between Kierkegaard's themes of anxiety, and despair, and irony as they are laid out in The Concept of Anxiety, The Sickness Unto Death, and The Concept of Irony, respectively, and similar motifs in his compatriot Hans Christian Andersen's long moralizing fairy-tale, "The Snow Queen." Bringing a psychoanalytical framework to bear on all these works, the paper argues that "The Snow Queen" is in many ways a dramatization of some of Kierkegaard's own key concerns, a dramatization which however flinches before Kierkegaard's more rigorous stance towards what contemporary psychoanalysis calls "depression."

Acting and affectation. My article deals with a characteristic focus on the importance of human personality in Danish thinking around the middle of the 19th century. A philosopher and poet – Poul Martin Møller (1794-1838) – inspired Søren Kierkegaard (1813-1855) with his sharp observations of affectation in social life. He was a friend of the famous actress Johanne Luise Heiberg (1812-1890), who managed to rise from a poor social background into fame and high status, but like another social rocket, Hans Christian Andersen (1805-1875), maintained an outsider’s view on the affectation of the snobbish elite in Copenhagen. I found many examples hereof in her autobiography as well as fascinating thoughts about the subtle relations between acting, personality, and affectation.

Жанр романтической сказки имеет своей задачей восстановление прав и полномочий символа. Этой задаче служит обращение к мистико-герметической традиции как носительнице «силы символа». Мы рассматриваем сказку Андерсена «Снежная королева» как пример свободного использования языка мистической, и прежде всего, алхимической, традиции в
собственных целях.

The theory of feminism can be found in almost every piece of writing if you look closely enough. In “The Little Mermaid” by Hans Christian Andersen, the little mermaid gives up her voice to the sea witch in order to be able to walk on land to be with the prince, whom she saves from a sinking ship. The loss of her voice, which represents the loss of her power, suggests that women will do anything they can to be with the man they love and will be willing to sacrifice for him, even if he doesn’t love them in the same way. This paper will examine the reasons why women are expected by society to sacrifice for men, but men are not expected to sacrifice in the same manner for women. It will also look at why women are considered the so-called “weaker” sex when it takes a great deal of strength to sacrifice something for someone else, even if it is someone you love. The point of this paper is to provide a commentary on modern society and the balance of power between men and women using “The Little Mermaid” as its medium through which the power imbalance is highlighted and discussed.

Der Beitrag gibt einen historischen Überblick über die unterschiedlichen Möglichkeiten, die Flüchtigkeit von Tanzbewegung mit der Transitorik von Blumen zu verschränken. So wird im Bühnentanz das Auf- und Verblühen von Blumen verkörpert, etwa im Romantischen Ballett (»Théa, ou La Fée aux Fleurs«, 1847) oder in diversen Blumenchoreographien des Ausdruckstanzes. Umgekehrt erfahren Blumen trotz ihrer Sessilität eine kulturelle Zuschreibung von Tanzbewegungen, etwa bei William Wordsworth (»I wandered lonely as a cloud«, 1807) oder Hans Christian Andersen (»Die Blumen der kleinen Ida«, 1835), und fast immer wird auch hier die besondere Vergänglichkeit von Blumen mithilfe der Metapher des flüchtigen Tanzes reflektiert.

Revue Discours, Signes et Sociétés sur le thème "Dynamiques discursives de la vulnérabilité". Introduction :
Dans son article sur la socialité du discours misérabiliste dans les contes d’Andersen, Marys Renné Hertiman propose la construction d’un syntagme spécifique, l’« être-sans », afin de définir le paradigme des groupes sociaux “misérables” tels que l’enfant mendiant (comme la vendeuse d’allumettes, l’un des contes emblématiques d’Andersen), la femme ignorée, les prolétaires victimes de privations et d’injustice sociale, ou simplement les Danois empêchés de s’exprimer librement. L’être-sans (désignation qui redonne sa place agissante au sujet contrairement au paradigme des « sans-X ») permet ainsi d’aborder la question de la socialité dans les Contes et Histoires et de saisir le traitement d’un imaginaire socialement situé autour de la vulnérabilité. Cette œuvre littéraire ancrée dans le contexte géopolitique du Danemark au XIXe siècle offre à Marys Renné Hertiman le corpus idéal pour travailler la dimension sociale dans le texte en prenant en compte l’ensemble des phénomènes communicationnels et discursifs au cœur du dispositif d’énonciation. Interjections, apostrophes, digressions, épiphrases y suscitent l’interpellation. Le discours misérabiliste andersenien fait surgir une peinture sociale marquée par la famine, le clivage social, la censure, l’invisibilité des sujets dominés, projetant ainsi un discours éminemment politique.

Mots-clefs : imaginaires et discours sociaux, socialité, contes, misère, représentations.

Abstract

The aim of this study is to examine the construal social discours in Hans-Christian Andersen's tales. Based on multidisciplinary method (discourse analysis and socio-criticism), 23% of Andersen's tales were investigated (36 / 156). This analysis takes into account the socio-historical and literary documentation about Denmark. First of all, it will be a question of identifying the discourses and representations in these texts. Then, it will be question of their sociality being at an epistemic level. With a careful review of the images of misery, we will question the discourses and the sociability on Hans-Christian Andersen’s tales. The preliminary results of my study have revealed the treatment of the social in a newly industrialized country but also the emergence of a brand new sociocategory, that of the voiceless, which will be exposed in its final version under the effigy l’être-sans. Moreover, Andersen's reappropriation of factual events tends to nourish and highlight the social imaginary that dominated in his day. Through this exploration, Andersen exposes the failings of an entire society and shapes a whole discourse on the misery that results from Denmark's industrialization.

Keywords: imaginary and social discourses, socio-political, misery, représentations, tales.

As the song ‘Havfruens Kvad’ by Svartsot (2010) confirms, medieval metal gave a new voice to mermaid mythology. The song has thematically little in common with the fairy tale Den lille havfrue, but does resonate with the Norse mythology about sea goddess Rán, and Ancient Greek stories about the sirens. Their songs are powerfully altered lullabies, which unmistakably include elements of black metal aesthetics and ancient tribalism. By combining aspects of history with mythology and fantasy, the bands create an imagined past upon which they wish to model their ideal future, thus forming ethnic myths, ethnics and nations, mostly online. Within the participatory convergence culture, digital storytelling becomes transmedial.

In the Christian and Victorian traditions, the little mermaid by Andersen
is pacified, she does not pose any danger. But the revived ancient mermaid mythology by Svartsot contains subversive feminist potential. The stories are then transposed into new media, disseminating the artists’ concept of an idealized Viking past, with powerful mermaids. Build on many ancient stories from a variety of traditional sources, within her transmedial narrative, the Danish mermaid became very powerful, through the remediation within the musical genre of medieval metal.

Ambiguity is now widely seen by Western scholars as a defining
feature of literature. Keats’s notion of negative capability, the creative potential of “being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason” (Milnes 71), anticipates the cognitive concept of ambiguity tolerance that has been recently found to correlate with creativity. It can be argued that the fantastic is thus an extreme example of literariness. But what exactly does ambiguity mean in the context of the fantastic? The article explores it in the context of two contemporary novels based on fairy tales: The Snow Queen by Michael Cunningham and The Snow Child by Eowyn Ivey.

The life of the Danish writer Hans Christian Andersen (1805–1875) resembles that of his most famous fairy tale, The Little Mermaid (1836). I chose the feminist framework to deconstruct The Little Mermaid due to the blatant patriarchal roles seen within the texts. The story is male driven and privilege, power, oppression, and sexual intrusion are all present within the fairy tale as well as the 1989 Disney film. At the same time, there is a hidden layer of LGBTQ+ traces, which can be deconstructed by looking at the confusion in the themes that Andersen uses. Analysing The Little Mermaid is problematic as she doesn't fit in the common models The Hero's Journey and the Actantial Model; she is a misfit that cannot live up to expectations. This makes her the perfect representation for a queer personality in a cis- and heteronormative environment.

In this article, two variants of the folktale ATU 704. «The Princess and the Pea» are analyzed. The first, literaturized by H. C. Andersen in 1835, which is located within the canon of the best known and disseminated stories with multiple variants and versions.
The second, the legend of the «Delicate from Gandía» known through oral transmission, with variants and various recreations within the Valencian context. In both cases, hypersensitivity associated with women has led in recent times to movements of avoidance and rejection or, by contrast, of integration. This can be seen either in the form of critical reinterpretations, which give an interpretive spin on the values implicit in the narrative, or through literary adaptations with ironic and transgressive tone, realized by social groups that claim identification and self-affirmation based on the legendary reference.

The relation between metaphorical and literal meaning seems strained by Western literature, leading to terms such as ‘coldness’ being limited to predominately signifying a reduction in temperature with little acknowledgement of the types of coldness that can occur from within a corporeal space. However, recent research conducted by Chen-Bo Zhong and Geoffrey J. Leonardelli has revealed that even though terms such as ‘icy stare’ are metaphorical, a correlation is evident between physiological symptoms relating to an awareness of a reduction in temperature and loneliness. The results of such research highlight how coldness can manifest itself within a corporeal space as well as in the external environment. Beauty and coldness are inextricably linked and despite this relation being acknowledged for millennia the terms are seemingly opposed by Western literature. The reworking of the term ‘beauty’ and the relation it has to coldness is fundamental to Helmut Lachenmann’s compositional ideology and technique yet little research has explored how Lachenmann represents this relation through sound. In order to explore and define the different types of coldness that can impinge on a corporeal space and the physiological symptoms each type of coldness can cause, a literary analysis of The Little Match Seller by Hans Christian Andersen will be conducted with specific reference being made to Madness in Civilization by Michel Foucault. Establishing how Lachenmann represents his notion of beauty and the relation it has to coldness through sound will be explored by drawing on the literary analysis conducted on The Little Match-Seller and applying it to an interpretive analysis of Das Mädchen mit den Schwefelhölzern: Musik mit Bildern (1988 -1996). This study aims to provide the foundations for enhancing knowledge of the fundamental themes at work in The Little Match-Seller, help liberate the term ‘coldness’ from predominately signifying a reduction in temperature or metaphor, understand how Lachenmann represents his notion of beauty and the relation it has to coldness through sound, and ultimately provide the foundations to help bridge and enhance current Anglo-American literature on the composer.

Ph.D.-dissertation that seeks to clarify the patterns that exist in Hans Christian Andersen's creative processes as they find expression in the preserved and hitherto unpublished drafts of the three tales "The New Century's Goddess" (1861), "The Ice Maiden" (1861) and "Auntie Toothache" (1872). The methodological approach is inspired by the French Critique Génétique - Genetic Criticism.

The dissertation was submitted for the degree of Master of Arts.

This paper is an attempt to engage with the comparison of Hans Christian Andersen’s and a prominent Chinese children’s writer, Cao Wenxuan’s works under the themes of ‘redemption’, ‘self-pursuit’ and ‘free marriage’. Arguments from feminist and cross-cultural perspectives are presented and discussed. The six texts paired into three categories will be studied in relation to the overall content and backgrounds. Meanwhile, I will mainly assess the action and subsequent reaction of female protagonists and characters, also the symbols and images of fairy tales, the gender relationships and most importantly, the authors’ perceptions of gender roles through the narrative voices. By illustrating such a comparison, the paper argues the representations of women characters in both works are not wholly harmonious, which originates from the recognition of respective socio-cultural backgrounds. Meanwhile, by imitating Andersen’s poetic style to ‘disguise’ gendered views and the aesthetic tastes of portraying docile and beautiful girls, Cao rarely endowed female characters with independence and freedom, reproducing the gender asymmetry in the special period of China.

----Cite this: Triaridou, Nina. “Lamia, Sirens, and Female Monsters: Feminist Reframings of Classical Myth in 19th Century Literature.” Antigone Journal, 31 March 2022, https://antigonejournal.com/2022/03/lamia-sirens-keats-andersen/

----From Medusa and Lamia to Scylla and the Sirens, Ancient Greek mythology abounds with terrifying female monsters, marked by their bodily hybridity – part human, part not. But what were the gender politics that resulted in monstrosity being linked with human femininity? To tackle this question, I’d like to focus on the origins of two popular female monsters, Lamia and the Sirens, and explore how they became associated with monsters, in both antiquity and more modern literature. For me, their subsequent shift from antagonists to sympathetic female figures in the 19th century emerges is especially interesting: both John Keats’s poem “Lamia” (1819) and Hans Christian Andersen’s fairytale The Little Mermaid (1837) can be usefully explored from a feminist perspective, especially because both these works have exerted a positive influence on the representation of female monsters in contemporary culture, including Pre-Raphaelite painting and Disney's The Little Mermaid (Ariel).

https://ojs.unica.it/index.php/between/article/view/378
I shall refer to the public right in fairy tales in light of the contribute of the folkloristic studies about authorship in fairy tales with a specific attention for those scholars who worked on an individual concept of authorship, such as Marke Azadovskij, Linda Dégh, Luz Rörich, R. Wehse and Key Stone. Taking into account legal implications raised by Helle Porsdam's anthology 'Copyright and other Fairy Tales', I will show how legal and scientific issues influenced that heterogeneous group of novels, short stories and children's books which today are known as fairy tales.

How to Cite
Massi, E. (2012). The Public Right in Fairy Tales. Between, 2(3). https://doi.org/10.13125/2039-6597/378

The purpose of this written paper is to conduct an in depth analysis and comparison of two different works: The Little Match Girl, a short tale written by Hans Christian Andersen in 1845 and The Little Match Girl Passion, musical composition inspired by the short tale, created by David Lang for the Theatre of Voices, in 2007.

Sia la formazione di Tommaso Landolfi che la sua attività di traduttore dal russo, dal francese e dal tedesco hanno stimolato degli studi comparati all'interno di queste tre aree linguistiche. Meno studiato è invece il ruolo che la letteratura anglo-irlandese ha avuto nell'evoluzione artistica dello scrittore di Pico. Attraverso l’accostamento di due testi landolfiani, Favola (1938) e Il principe infelice (1943), ad alcuni racconti brevi di Oscar Wilde pubblicati nelle raccolte The Happy Prince and Other Tales (1888) e A House of Pomegranates (1891), l’articolo mette in luce il rapporto che la scrittura di Landolfi intrattiene con la poetica dell’autore dublinese.  /  Both Tommaso Landolfi’s education and his translations from Russian, French and German have inspired a number of comparative studies within these three linguistic areas. On the contrary, how Anglo-Irish literature influenced this writer’s artistic evolution has not yet been thoroughly explored. This article aims to explore the relationship between Landolfi and Oscar Wilde by comparing Landolfi’s Favola (1938) and Il principe infelice (1943) with a selection of Wilde’s short stories included in the collections The Happy Prince and Other Tales (1888) and A House of Pomegranates (1891).

When sending Hans Christian Andersen his set of five songs, Op. 40 (four of which set poems by Andersen translated by Adelbert von Chamisso), Robert Schumann remarked that the strangeness of the poetry led him to compose in a 'fremdartig' (exotic) manner. To the casual listener, however, these songs are not necessarily distinguishable from the other songs Schumann composed in 1840. By first examining Andersen's poetic aesthetic and then submitting three of the songs ('Muttertraum,' 'Der Soldat,' and 'Der Spielmann') to close textual and musical analyses, this article uncovers the unusual features of the songs while also illuminating important aspects of Schumann's approach to song composition, including his self-borrowings, his conception of the Romantic ballad, and his use of the voice-piano relationship in service of musical characterization.

In the fantasy series The Chronicles of Narnia and His Dark Materials, by CS Lewis and Philip Pullman respectively, the authors use symbols and themes from Paradise Lost. Each author's narrative choice uses his view of cosmic order to persuade readers that ...

“El traje nuevo del emperador” (1837), de Hans Christian Andersen,
presenta gran similitud con una de las narraciones del escritor español don Juan Manuel, autor de El conde Lucanor, obra escrita entre los años 1330 y 1335. Varios estudiosos han descrito las coincidencias, pero ninguno ha profundizado en el vínculo textual que las une. El presente estudio repasa los antecedentes literarios tanto del texto de Juan Manuel como del de Hans Christian Andersen, basados ambos en las prácticas literarias de la recreación y el préstamo, y analiza la relación entre las dos narraciones a partir de la teoría de la transtextualidad desarrollada por Gerard Genette.

Kökeni, kervancıların geceleri ateş başında vakit geçirmek amaçlı birbirlerine anlattıkları olağanüstü kişi ve olayları konu olan sözlü edebiyat ürünleri olan masallar, içlerinde şiddet, ölüm ve cinsellik gibi çocuklara uygun olmayan ögeler içermektedir. İlerleyen zamanlarda masallar, didaktik olma ve olağanüstü olaylar içermeleri nedeniyle çocuklara yönelik olarak yazılmaya başlamıştır.
19. yüzyılda yaşayan Danimarkalı yazar Hans Christian Andersen içinde yaşadığı toplumsal yapının çarpıklıklarını ele alan içinde fantastik ögeler barındıran metinler kaleme almıştır. İçlerinde ölüm, intihar, korku gibi olumsuz duygu ve davranışların olduğu bu metinler, dönemindeki masallardan farklı olarak bir çoğunun karanlık bir yapısı ve kötü bir sonu vardı. Bu çalışmada yazarın en ünlü metinlerinden biri olan ve bu yapıda olan “Kibritçi Kız” üzerinde durulacaktır.
Türk edebiyatının en önemli öykü yazarlarından biri olan Sabahattin Ali, öykülerinde yine toplumsal durumları kaleme almıştır. Öyküleri ayrıntılı ve etkileyici uzam ve karakter tasvirleri içermektedir. Yazdığı öykülerden biri olan “Ayran” birçok yönden Andersen’in “Kibritçi Kız” metniyle önemli benzerlikler taşımaktadır.
İşte bu çalışmada Hans Christian Andersen’in “Kibritçi Kız” eseriyle, Sabahattin Ali’nin “Ayran” adlı öyküsü sosyolojik yöntemle ve karşılaştırmalı edebiyat biliminin verileri ışığında çocuğa uygunluk ilkelerine uygunlukları, eserlerin çocuk baş karakterler yaklaşımı ve masal-öykü türlerinin farklılıkları bağlamında karşılaştıracaktır.

The double, doppelgänger, is mostly understood as a peculiar figure that emerged in nineteenth-century Romantic and gothic literature. Far from being a merely esoteric entity, however, this book argues that the double, although it mostly goes unnoticed, is a widespread phenomenon that has significant influence on our lives. It is an inherent key element of human subjectivity whose functions, forms, and effects have not yet gained the serious consideration they merit.

Drawing on literature, philosophy, and psychoanalysis, and combining a personal story with theoretical interventions, Double Trouble develops a novel understanding of the double and human subjectivity in the last two centuries. It begins with the singular and narcissistic double of Romanticism and gradually moves to the multiple doubles implicated by Postmodernism. The double is what defies unicity and opens up the subject to multiplicity. Consequently, it gradually emerges as a bridge between the I and the Other, identity and difference, philosophy and literature, theory and praxis.

https://www.routledge.com/Double-Trouble-The-Doppelganger-from-Romanticism-to-Postmodernism/Dorfman/p/book/9780367441449

This essay consists of an analysis of Hans Christian Andersen’s ‘The Shadow’, at the heart of which lies a struggle; a struggle between a man and his own shadow. What this struggle could represent is subject to change upon different readings of the text. This essay will offer one such reading: it will argue that the two parts of the one man; the man and his shadow, personify struggles and conflicts within and surrounding the author. We will focus on two struggles in this analysis of the text: Andersen’s struggle with alienation and acceptance as an outsider and his struggle as a Romantic in post-enlightenment Europe. Before this reading is offered we must briefly justify the choosing of this interpretation of the tale over the many others. That Andersen’s tales are in many respects autobiographical is a well-observed, well-documented fact, as many critics, historians, and translators (Caroline Peachy and Jackie Wullschlager for example) have noted. For the purpose of asserting our author-centric reading of ‘The Shadow' Tess Lewis' summary should suffice:

‘Awkward and unattractive, but blossoming when telling stories, he is the ugly duckling. Morbidly sensitive yet convinced of his artistic nobility, he is the princess proven by the pea. An ardent but perennially unrequited lover, Anderson is no less the Steadfast Tin Soldier, the forsaken Little Mermaid, and the Snowman desperately in love with a stove’ (2002, 679)

In this same essay, Lewis goes on to give two autobiographical comments on ‘The Shadow’, one of which we shall shortly return to. Even Andersen asserted that: “the history of my life will be the best commentary on my work”, in one of his many autobiographies. All this serves to prove that a biographical/social-historical reading of this text is a valid and logical approach. Let us begin first by looking at how Andersen’s struggle with alienation and acceptance as an outsider is made manifest in ‘The Shadow’.