The Princess and the Pea: In Miniature, After the Fairy Tale by Hans Christian Andersen (review)

2006 ◽  
Vol 59 (11) ◽  
pp. 491-491
Author(s):  
Karen Coats
Keyword(s):  
Fairy Tale ◽  
Hans Christian Andersen

Andersen's Code: Aristophanic Obscenity in Thumbelina

2020 ◽  
Vol 69 ◽  
Author(s):  
Bartłomiej Bednarek
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
The Other ◽  
Hans Christian Andersen

In his seemingly innocent fairy tale Thumbelina, Hans Christian Andersen makes two allusions to Aristophanes. One of them is quite explicit, as the author makes a toad produce the sound co-ax, co-ax, brek-ek-eke-kex, which is a quotation from the Frogs. The other allusion is less conspicuous. In one of the first sentences of Thumbelina, an object that a woman needs in order to beget a child is referred to as a barleycorn. As I argue, even though on the surface it can be explained in terms of magic typical for fairy tales, it can be also understood as an obscene allusion to the sexual act. This results from the ambiguity, well-known in Andersen’s time, of the word κριθή, which in Aristophanes’ comedies can mean either barleycorn or penis.

scholarly journals “The Path of Love” and “The Path of the Cave” in Selected Works of Hans Christian Andersen

2020 ◽  
Vol 28 (1) ◽  
pp. 115-126
Author(s):  
Sandra Magdalena Kocha
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Christian Religion ◽  
Hans Christian Andersen

In the article, the author discusses the “path of love” and “the path of the cave,” using selected works by Hans Christian Andersen. The Danish fairy tale writer masterfully shows how heroes anchored in a sensual world go a long way to find a world that escapes rational cognition. Most of his charac­ters can easily be described as dynamic, because they change under the influ­ence of powerful experiences. Those who attach more importance to beauty closed in a form devoid of deeper content are condemned. Andersen’s fairy tales have two audiences, children and adults. The former will understand the anecdote and the latter will see the metaphor. The works of the fairy tale writer show autobiographical threads, including his attitude to the Christian religion, in which the triad of truth, good, and beauty turns out to be extremely important.

scholarly journals Sneedronningen

2020 ◽  
Vol 8 ◽  
pp. 52-94
Author(s):  
Hans Christian Andersen
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Hans Christian Andersen

This is an extract of Eventyr (fairy tales), written by Hans Christian Andersen, illustrated by Thomas Vilhelm Pedersen, published in Copenhagen in December 1849 (official year of publication: 1850). The extract contains the fairy tale 'Sneedronningen' (the Snow Queen).

scholarly journals Eventyr

2020 ◽  
Vol 8 ◽  
pp. 1-523
Author(s):  
Hans Christian Andersen
Keyword(s):  
Fairy Tale ◽  
Hans Christian Andersen

This is the entire issue of Eventyr, written by Hans Christian Andersen and illustrated by Thomas Vilhelm Pedersen, published in Copenhagen in December 1849 (official year of publication: 1850). The fairy tale Sneedronningen (The Snow Queen) can be found on pages 52-94.

Translation als Mythos

2020 ◽  
Vol 49 (5) ◽  
pp. 237-256
Author(s):  
Akkad Alhussein
Keyword(s):  
19Th Century ◽  
Fairy Tale ◽  
Reception History ◽  
Autobiographical Narratives ◽  
Hans Christian Andersen ◽  
History Of

AbstractThis paper investigates the reception history of the Danish Poet and fairytale writer Hans Christian Andersen in 19th-century Germany and its influence on his (auto)biographical depiction. Like many Scandinavian poets, Andersen discovered Germany’s literary potential and took advantage of it to further his career. In most cases, he was pictured as a genius who suffered systematic underestimation in Denmark. This narrative which determined his reception plays a central role in his German autobiography Märchen meines Lebens (Fairy Tale of my Life). Analyzing Andersen’s autobiographical discourse, I will reconstruct the process of the construction of Andersen’s (auto)biographical myth, emphasizing translation’s role in shaping autobiographical narratives.

scholarly journals ”In Memory of the Snow Queen” – Hans Christian Andersen Recalled and Retold

2019 ◽  
Vol 27 (1) ◽  
pp. 35-50
Author(s):  
Aldona Zańko
Keyword(s):  
Short Story ◽  
Fairy Tale ◽  
Narrative Strategies ◽  
Innovative Strategies ◽  
American Writer ◽  
Hans Christian Andersen ◽  
And Gender ◽  
Gender Criticism

Abstract The main focus of the present paper is the so-called “intertextual revision”, explored as one of the most recent and innovative strategies employed while reviving the legacy of the Danish fairy-tale classic Hans Christian Andersen. In order to illustrate this practice, I discuss a short story entitled Travels with the Snow Queen (2001), by an American writer Kelly Link, which is a reworking of Andersen's worldfamous fairy tale The Snow Queen (1844). Link’s take on Andersen’s tale represents one of the leading directions within revisionary fairy-tale fiction, inspired by feminism and gender criticism. The analysis is centered around the narrative strategies employed by the author in order to challenge the gender logic incorporated into Andersen’s account, as well as the broader fairy-tale tradition it belongs to.

scholarly journals Yorinda and Yoringel by Bodo Fürneisen: Type of the Hero and Trial in Screen-Presented Fairy Tale

2021 ◽  
Vol 39 (1) ◽  
pp. 439-458
Author(s):  
A. V. Markov ◽  
O. V. Fedunina
Keyword(s):  
Fairy Tales ◽  
Computer Games ◽  
Fairy Tale ◽  
Computer Game ◽  
General Concept ◽  
Test Scenario ◽  
Modern Novel ◽  
The World ◽  
Hans Christian Andersen ◽  
Screen Medium

The film Yorinda and Yoringel by Bodo Fürneisen, created on the basis of the recordings of a folktale by the Grimm brothers, shows an affinity for both a literary fairy tale and romance traditions, including a post-modern novel with a hero’s free choice of identity as the basis of the plot movement. To analyze the film, we relied on the methodology of psychoanalytic cinema science by Slavoj Žižek, supplementing it with the achievements of fundamental plotology from Freidenberg and Propp to the present day. At the same time, the nature of the film as a screen medium showed how the need for a more flexible plot development scheme, including compliance with changes in the character of the hero or his specific phenomenon on the screen, is not just one option for the development of actions, but a whole fan of the possibilities of such development. It is proved that the screen medium, which requires to monitor not only the correspondence of the hero’s adventures to expectations, but also the unexpected phenomena of the hero, demanded to modify the plot, which acquired not only the features of a psychological and adventurous novel, but also a computer game. At the same time, Fürneisen’s experience requires adjusting the psychoanalysis of cinema, supplementing the study of the effect of reality with the opposite effect of thought. The cinema allows you to demonstrate how not only the hero’s intentions change, but also the content of thoughts that are relatively autonomous from intentions that belong to the hero’s existence. At the same time, the existence is realized unexpectedly, so that the magical item is modified into a McGuffin, and the hero himself can repeatedly pass the fabulous test, while such a repetition will not be a way to correlate imagination and reality, as in a book narrative, but a way to once again appreciate the wonderful character of the hero. In the course of the study, it was possible to establish that the literary (Hans Christian Andersen), stage (Richard Wagner) and cinematic (Fürneisen) variations of the fairy tale plot do not simply subordinate it to some rules of the novel, in accordance with the prevailing tastes in society. Most of the changes are secondary to the change in the general concept of the hero, when the scenarios of existential choice are put in place of the test scenario and their uniqueness is defended. The structure of the on-screen memory and on-screen attention accelerates this design of the hero, although it does not completely determine it. Then the function of all the fabulous elements changes, moreover, the plot itself turns out to contain variability. In place of the usual separation between the world of sleep and the world of reality comes the existential test of both worlds. Thus, such processing of fairy tales is productive for the development of virtuality in art and for dialogue not only between different arts, but also art and various social practices related to information technology, from computer games to blogging.

scholarly journals The Romantic Fairy Tale and Surrealism: Marvelous Non-Sense and Dark Apprehensions

Romantik ◽  
2016 ◽  
Vol 3 (1) ◽  
pp. 33
Author(s):  
Karin Sanders
Keyword(s):  
Twentieth Century ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Video Art ◽  
Visual Media ◽  
First Century ◽  
Avant Garde ◽  
Salvador Dali ◽  
Hans Christian Andersen ◽  
Selection Of

Romanticism and surrealism shared a fascination with the fairy tale. Yet each was beholden to specific historical moments and particular aesthetic demands. What they wanted were not the same. This article considers  how the romantic fairy tale nevertheless functions as a ‘seed’ for surrealists. Contagions, commonalities, and contrasts between the two movements are briefly outlined. A selection of fairy tales by Hans Christian Andersen is used to demonstrate how a host of visual reinterpretations including lithographs, photo-collages, and video art by twentieth-century surrealists like Salvador Dalí and Max Ernst, and twenty-first-century avant-garde artists like Åsa Sjöström, have reinterpreted the latent possibilities of non-sense in the fairy tale: the marvelous, the absurd, and the dream-like. The article demonstrates that by evoking the dark-romantic sides of Andersen’s works these avant-garde reconceptualizations in visual media predominantly point to shock, violence, war, and ecological disasters.

scholarly journals Еще раз об андерсеновском следе в романе В. Набокова «Король, дама, валет» [Once Again on Hans Christian Andersen’s Presence in Vladimir Nabokov’s Novel _Korol’, dama, valet_ (_King, Queen, Knave_)]

2021 ◽  
Vol 8 ◽  
pp. 80-93
Author(s):  
Olga Proskurova-Timofeeva
Keyword(s):  
20Th Century ◽  
Fairy Tale ◽  
Vladimir Nabokov ◽  
Russian Literature ◽  
Russian Novel ◽  
Hans Christian Andersen ◽  
History Of ◽  
Press History ◽  
History Of Literature

This article is an inquiry into the possible origin of the title of Vladimir Nabokov’s second Russian novel King, Queen, Knave (Korol’, dama, valet, 1928). It proves a long-forgotten hypothesis that the title’s likely source is a lesser-known fairy-tale by Hans Christian Andersen, published in several translations into Russian in Berlin and Riga émigré newspapers at the very end of the 1920s. KEYWORDS: 20th-Century Russian Literature, Vladimir Nabokov (1899—1977), Korol’, dama, valet (1928), Hans Christian Andersen (1805—1875), Russian émigré Press, History of Literature.

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