The article focuses upon the questions of the frame, the plotting and the genre of H.C. Andersen' s last tale Auntie Toothache. The way the device of the frame is employed in the tale is linked to ...the European tradition of the Novelle. But it is also shown how the tale plays on and subverts the conventions associated with the frame in this tradition as well as the modes of literary subgenres like the fantastic tale. Another playful aspect of the tale pointed out in the article is that it is polyphonic in more ways than one. At the same time it is a highly allegorical text. It is argued that playfulness and allegory go hand in hand in embracing the otherness that great literature will always have to engage with. PUBLICATION ABSTRACT
Hans Christian Andersen reiste 1841 nach Griechenland, als er noch unbekannt war. Seine Reisebeschreibungen sind eine wertvolle Quelle zum Philhellenismus. Seit den drei letzten Jahrzehnten des 19. ...Jahrhunderts ‚reisten‘ auch seine Märchen in Griechenland umher. Zunächst blieben sie nur in den Händen von Gelehrten, erst seit der Zwischenkriegszeit wurden seine Werke in vielen popularen Märchenheften weiter verbreitet. Das Gemeinsame fast aller dieser Übersetzungen ist, daß sich keine starken Umformungen oder Adaptationen der Märchen zeigen, wie es bei den popularen Märchenausgaben nach den 1970er Jahren zu beobachten ist.
Hans Christian Andersen travelled to Greece in 1841 when he was still unknown. His itinerary is a valuable source for Philhellenism. During the last three decades of the 19th century his tales, too, ‘travelled’ in Greek publications. At first, they remained in the hands of intellectuals. Since the years between the two world wars Andersen’s tales were widely distributed throughout Greece in popular booklets. Most of these translations have in common that Andersen’s tales are not as much adapted or transformed as the popular booklets of Andersen’s tales which have appeared since 1970.
En 1841, Hans Christian Andersen voyagea en Grèce, alors qu'il était encore inconnu. Ses descriptions du voyage sont une source précieuse sur le Philhellénisme. Depuis les trois dernières décennies du XIXe siècle ses contes ‹voyagent› également dans des publications grecques. D'abord, nous n'avons affaire qu'à des traductions par des savants. A partir de l'entre-deux-guerres, les contes étaient aussi publiés dans de nombreux cahiers de contes populaires et atteignaient ainsi un public plus vaste. Presque toutes ces traductions ont en commun que des transformations ou adaptations notables des contes ne sont pas observables, telles qu'on a pu le constater pour les cahiers populaires à partir des années 1970.
1844 veröffentlichte Hans Christian Andersen einen Band Neue Märchen mit den Erzählungen Der Tannenbaum und Die Schneekönigin. Der vorliegende Aufsatz untersucht, wie Andersen (implizit) die beiden ...Märchen durch das Thema der Zeitlichkeit verbindet, und kommt zu dem Schluß, daß sie eine Einheit bilden. Während Der Tannenbaum mit einem allgemeinen Kommentar zum Ende von Geschichten abschließt, beginnt Die Schneekönigin mit der Bemerkung: „Siehst du, jetzt fangen wir an! Wenn wir am Ende der Geschichte angelangt sind, wissen wir mehr, als wir jetzt wissen ...“. Im Tannenbaum sind wir Zeugen, wie die entweder auf die Zukunft oder die Vergangenheit gerichteten Wünsche und Sehnsüchte des Baums ihn der Gegenwart völlig entfremden. In der Schneekönigin werden Kay und Gerda auf eine Reise durch Zeit und Raum geschickt, bleiben aber seltsam unbewegt. Das Ende des Märchens bildet eine Blitzreise zurück an ihren Ausgangspunkt, das Heim ihrer Kindheit. Während der Splitter des Teufelsspiegels in Kays Auge bewirkt, daß Kay erstarrt und sein Herz erkaltet, bewahrt sich Gerda ihre Unschuld. Auch der in seinem Schwanken zwischen Vergangenheit und Zukunft gefangene Tannenbaum hat einen Spiegelsplitter unter der Rinde. Neben der Sichtbarmachung der Zeitlichkeit spielen die Symbole Rose, Stern und Spiegel eine wichtige Rolle. Mit dem Tannenbaum ist es zwar am Ende vorbei, aber der Goldstern, der an seiner Spitze gehangen hatte, überlebt als Spielzeug unschuldiger Kinder. Auch in der Schneekönigin erscheint die Unfähigkeit des Spiegels, die Schönheit (und pietistische Frömmigkeit) der Rose zu zerstören, als Symbol des Überlebens. Stern und Rose sind somit zu sichtbaren Manifestationen der kindlichen Unschuld geworden.
In 1844, H.C. Andersen published a volume of New Fairy Tales consisting of The Fir Tree and The Snow Queen. This article investigates how Andersen (implicitly) connects the two tales through an engagement with temporality, and suggests that the two tales should be read as one composition. While The Fir Tree concludes with a reflection on the ending of tales, The Snow Queen begins with a meta-reflection: “Now then! Let us begin. When we are at the end of the story, we shall know more than we do now ...”. In The Fir Tree we witness how the tree’s desires and longings – either toward the future or toward the past – result in a constant experience of displacement from the present. In The Snow Queen Kay and Gerda are sent on a journey through time and place, but both remain peculiarly unmoved. The end of the tale is played out as an accelerated travel back to the beginning, their childhood home. While Kay is frozen and emotionally cold from the splinter of the devil’s mirror in his eye, Gerda is fixed in her innocence. The fir tree, too, has a splinter of the mirror under its skin, caught in vacillation between the past and the future. At the same time as Andersen puts temporality on view in the two tales, he maintains a strong hold on symbols: the Rose, the Star, and the Mirror. In spite of the fir tree’s eventual destruction, the Star – stripped from its crown – survives and becomes a toy for children’s innocent play. In The Snow Queen, the Mirror’s inability to destroy the beauty (and pietistic religiosity) of the Rose similarly works as a symbol of survival, so that the Star and the Rose become the visible manifestations of childhood innocence.
Young Mayor Puts Down Roots at Flatiron Michael Tubbs, the mayor of Stockton, Calif., sold North American rights to a memoir called The Deeper the Roots to Whitney Frick at An Oprah Book (which is ...the name of Flatiron's recently created imprint from Oprah Winfrey). The book, set for spring 2018, blends, the publisher said, "memoir and practical advice to explore ways readers can simplify their lifestyle, reconnect with family and community, and appreciate the natural world around them." The publisher said the book, which it bought North American rights to, focuses on the search for a teenage runaway, a search that "sends her foster mother, a psychologist working for the LAPD, on a dangerous journey through LA's gritty criminal underworld."
The Emperor's New Critique Robbins, Hollis
New literary history,
09/2003, Letnik:
34, Številka:
4
Journal Article
Recenzirano
"The Emperor's New Critique" reads Hans Christian Andersen's famous 1837 tale as critiquing constitutional monarchy's endemic disarray and satirizing its opponents. If, as theorists from Sigmund ...Freud to Jacques Derrida have noted, the tale's truth is the fantasy-desire for the kind of truth that can be revealed, what happens when what is revealed is not naked power but a weak ruler? Does the public really want transparent government? Like Hamlet's father's ghostly whispering, like Dupin's Queen's purloined love letter, like the prophecy whispered to Laius and Jocasta, the weavers' description of beautiful cloth has the power to topple a king. To those who listen to such fabrications, the words are material and "true." They sell a particular idea that the king has something to be embarrassed about. Disgraceful revelation is the basis for all four stories, each of which is resolved by an act of discovering, recovering, uncovering, or covering up.
Over the years, new categories have been created and now the award is given in several categories, including, young people, non-fiction, poetry, translation for children, young people and ...non-fiction, drama, books without text, new writer, new illustrator, editorial project, illustration, secondary literature, and retold story. The books awarded by FNLIJ in the different categories over the 32 years of book selection can be found at www.fnlij.org.br For those interested in Brazilian children's literature, we must mention that before the 1970s Brazilian children's literature had distinguished writers, among them Monteiro Lobato, who, unfortunately, is unknown outside the country. In Brazil, FNLIJ's selection is the main reference for those concerned with quality books in schools, libraries, children's literature projects and for families when buying books for children and young people.
Imagine not-yet-1001 little square stories for children – which in many cases are not really stories at all but something more like quirky poems, and possibly not really (just) for children anyway, ...and in at least one case not actually square. This is the intriguing and unsettling world of Louis Jensen's hundreds of stories. For all their postmodern playfulness, these stories are, as Line Beck Rasmussen shows, also in a direct line from Hans Christian Andersen and owe at least some of their characteristics to sources as diverse and unexpected as Gogol and Rabelais
