Presenting Hans Christian Andersen is in many ways a recurrent act--both in European and in world-wide measure. But in the context of Czech literature Helena Brezinova comes with the first monography ...about a classic author read in 160 languages. In the Czech language, too, of course, first time published in 1851, since then remaining a part of the cultural awareness and literature tradition. With the undertitle Brezinova signalizes that her study has been inspired by the most outstanding literary scientists of the last decades in Denmark and Germany. But in fact on her literature list there are also sociologists, such as Habermas, and philosophers such as Nietzsche and Adorno, not to speak about Soren Kierkegaard, the latter being functionally incorporated in the substance of Brezinova's analysis.
International Children's Book Day (ICBD) is celebrated by IBBY members on or around the birthday of Hans Christian Andersen: April 2. Each year a different national section of IBBY has the ...opportunity to be the international sponsor of ICBD. It decides upon a theme and invites a prominent author from the host country to write a message to the children of the world and a well-known illustrator to design a poster. The 2021 poster and message were sponsored by USBBY; Margarita Engle wrote the delightful poem "The Music of Words," which was accompanied by the stunning artwork of Hans Christian Andersen Award winner (2014) Roger Mello.
Der Aufsatz thematisiert den Einfluss der
der Brüder Grimm, aber auch der Märchen von Hans Christian Andersen auf das literarische und künstlerische Werk von Günter Grass. Die Analyse umfasst die ...stilistischen Mittel in
sowie die Rolle und die Präsenz der Märchenmotive in
,
und
sowie in anderen künstlerischen Arbeiten.
Scholars of Andersen and Chamisso have largely overlooked the long-standing intellectual and aesthetic exchange between Anderson and Chamisso. They had an intensive friendship in 1831, thus leaving ...the intertextual connection between Chamisso's and Andersen's texts aside. Andersen read Adelbert von Chamisso's famous Peter Schlemihls wundersame Geschichte just before writing his fairy tale Skyggen. Other writers at this time such as E.T.A. Hoffmann, Eduard Mörike, Hugo von Hofmannsthal, and Edgar Allen Poe have also widely used the metaphor of the shadow. In this essay, Chamisso's and Andersen's texts are examined as texts that conform to their respective media boundaries, while also sharing an intertextual interdependency.
This 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.
In her book Mapping Fairy-Tale Space, Christy Williams illuminates the way in which fairy tales often use maps in order to figure the fairy-tale genre itself and the ways in which "certain ...metafictional narrative techniques transform the fairy-tale genre into a geographic landscape on a diegetic scale" (2). ...beyond opening up her geographic scope, Williams's use of technique as an organizing principle is interesting because she uses not just one technique, but the interlocking techniques of fairy-tale pastiche and seriality (which unites her analysis of two TV series Once Upon a Time and Secret Garden, and two series of books, Marissa Meyer's Lunar Chronicles and Seanan Mc-Guire's Indexing). Elissa Myers Elissa Myers received her PhD in English at the CUNY Graduate Center and is a lecturer at Sam Houston State University where she teaches composition.
This study looks at how Disney princess films perpetuate sexist tropes through language. By focusing on both feminism and linguistics, it uses an interdisciplinary approach underpinned by data ...analysis and media criticism. This paper uses a content analysis study of The Little Mermaid (1989) and Mulan (1998) to look at Disney's role in shaping representations of women, and how this representation has shifted within the decade of the release of these two films. This paper answers the question: in what ways does language in media perpetuate sexist tropes; more specifically, how has the language of male characters in media perpetuated misogyny. The content analysis looks at aspects of gender representation by grouping female and male characters separately in three observable categories. These are: the number of characters speaking more than 50 words of dialogue, the percentage of dialogue spoken by each gender, and the total number of sexist expressions used by each gender. Sexist language is further categorised in two parts. The first is discriminatory language used by men about women, and the second is discriminatory language used by women about men. Data analysis shows that there are more male characters than female characters; male characters make up more of the spoken dialogue and male characters use more sexist language than female characters. This paper argues, that although Disney has come a long way in making the female characters independent and strong on their own, they fail to identify the main problem of female representation, which is language used by males. In using feminist critical theory to criticise the two adaptations, this paper identifies the ways media perpetuates gender discrimination through language, propagating the subjugation of women, and how this has not changed in the decade between the release of the two films.
In fairy tales and folklore, she represents conflicting values: fertility and barrenness, life and death, erotic seduction and fatal rejection. ...the witch, broadly defined as a female1 human or ...human-like creature capable of magic feats, often embodies conflict. Cristina Bacchilega observes that such re-imaginings break the reader's horizon of expectation, creating an effect that is dependent on the reader's or viewer's acquaintance with the source text3 or the standard formulas and tropes of the genre (1997, 22-3). ...tales highlight, and potentially change or subvert, the content of the specific source text and the norms of the fairy-tale genre. In this postmodern trend of retellings, several adaptations attempt to rehabilitate the wicked fairy-tale witch. Besides Frozen, one might mention Gregory Maguire's 2007 novel Wicked, which has been adapted into an extremely successful Broadway musical, and the Disney liveaction movie Maleficent, an adaptation of Disney's animated classic Sleeping Beauty as other contemporary examples. ...only in the closing credits of Frozen is the adaptation peritextually acknowledged, as a "Story Inspired by 'The Snow Queen' by Hans Christian Andersen" (Frozen 2013).
This article considers the role genre expectations have played in shaping the process by which the medieval Latin folktale of the swan children, Cygni, was translated and adapted first into different ...Old French versions and then into the Middle English prose romance Chevalere Assigne. I argue that the differences in characterization, plot, and tone between the French and English versions should be read as completing the transformation of the narrative from its original folktale form into the form of a chivalric romance.
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