77 Stories by H.C

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77 stories by H.C. Andersen 1. A_STORY A Story 2. ALMSHOUS By The Almshouse Window 3. ANGEL The Angel 4. ANNE_LIS Anne Lisbeth 5. APPLE_BR The Conceited Apple-branch 6. BEAUTY Beauty Of Form And Beauty Of Mind 7. BEETLE The Beetle Who Went On His Travels 8. BELL The Bell 9. BELLDEEP The Bell-deep 10. BISHOP_B The Bishop Of Borglum And His Warriors 11. BOTTLE_N The Bottle Neck 12. BUCKWHET The Buckwheat 13. BUTTERFL The Butterfly 14. CHEERFUL A Cheerful Temper 15. CHILD_IN The Child In The Grave 16. COCK The Farm-yard Cock And The Weather-cock 17. DAISY The Daisy 18. DARNING The Darning-needle 19. DELAYING Delaying Is Not Forgetting 20. DROP_WAT The Drop Of Water 21. DULLARD Jack The Dullard An Old Story Told Anew 22. DUMBBOOK The Dumb Book 23. ELF_ROSE The Elf Of The Rose 24. ELFIN_HI The Elfin Hill 25. EMPEROR The Emperor's New Suit 26. FIR_TREE The Fir Tree 27. FLAX The Flax 28. FLYING_T The Flying Trunk 29. FRIENDSH The Shepherd's Story Of The Bond Of Friendship 30. GOBLIN The Goblin And The Huckster 31. GOLDEN The Golden Treasure 32. GOLOSHES The Goloshes Of Fortune 33. GOOD_FOR She Was Good For Nothing 34. GRANDMOT Grandmother 35. GREAT_GR A Great Grief 36. HAPPY_FA The Happy Family 37. HEAVEN A Leaf From Heaven 38. HOLGER_D Holger Danske 39. IB_AND_L Ib And Little Christina 40. JUMPER The Jumper 41. LAST_DRE The Last Dream Of The Old Oak 42. LAST_PEA The Last Pearl 43. LI_CLAUS Little Claus And Big Claus 44. LI_ELDER The Little Elder-tree Mother 45. LI_IDA_F Little Ida's Flowers 46. LI_MATCH The Little Match-seller 47. LI_TINY Little Tiny Or Thumbelina 48. LI_TUK Little Tuk 49. LOVELIES The Loveliest Rose In The World 50. MAILCOAC The Mail-coach Passengers 51. METAL_PI The Metal Pig 52. MONEYBOX The Money-box 53. NEIGHBOR The Neighbouring Families 54. NIGHTING The Nightingale 55. NO_DOUBT There Is No Doubt About It 56. NURSERY In The Nursery 57. OLD_BACH The Old Bachelor's Nightcap 58. OLD_CHUR The Old Church Bell (Written For The Schiller Album) 59. OLD_GRAV The Old Grave-stone 60. OLD_HOUS The Old House 61. POPULAR The Bird Of Popular Song 62. POR_DUCK The Portuguese Duck 63. RACES The Races 64. RED_SHOE The Red Shoes 65. SHIRTCOL The Shirt-collar 66. SOMETHIN Something 66. SNOW_MAN The Snow Man 67. STORKS The Storks 68. STORM_SH The Storm Shakes The Shield 69. SWINEHER The Swineherd 70. THE_TOAD The Toad 71. THE_WIND The Story Of The Wind 72. TIN_SOLD The Brave Tin Soldier 73. TINDERBX The Tinder-box 74. TOP_BALL The Top And Ball 76. UGLY_DUC The Ugly Duckling 77. WICKED_P The Wicked Prince .

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Hans Christian Andersen's Use of Anthropomorphismi
Hans Christian Andersen’s Use of Anthropomorphismi Julia Shore Paludan, Lecturer, Sapienza, University of Rome Abstract The topic of anthropomorphism in Hans Christian Andersen’s tales has been discussed with students in classes in Danish Language and Literature at Sapienza, University of Rome (La Sapienza, Università di Roma) both for the purpose of the translation of his works and for understanding the meanings of the imagery in the studied works. Anthropomorphism is a common theme in many of Hans Christian Andersen’s fairy tales. Andersen’s symbolic use of nature, household objects, trinkets, toys and even birds, is an important theme in many of his works. He bestows human emotions on animate and inanimate objects, such as love and envy, often with an added touch of humour or irony. Andersen conveys issues of often sombre or tragicomic content, sometimes through allegorical tales and myths, that although they are not necessarily easily translatable or culturally transferable, appeal universally to all generations and nationalities. Andersen’s personification of animals also provides a subtle disguise for graver issues such as loss, and the struggle for freedom. The use of anthropomorphism and symbolism also allows younger readers access to complex and universal issues. Introduction The topic of this paper arose from the teaching of Danish language and literature to students at Sapienza University of Rome. Using a number of Andersen’s works, the specific use and meanings of anthropomorphic imagery was introduced and discussed; both as how this imagery could be translated and understood in Italian, and what they evoked through themes such as love, desire and freedom.
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Thumbelina CD Booklet
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Nice to Know About Andersen in Red and Green
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Hans Christian Andersen THERE Was Once a Woman Who Wished Very
“Thumbelina” the name of “Thumbelina,” or Tiny, because she was so small. A walnut-shell, Hans Christian Andersen elegantly polished, served her for a cradle; her bed was formed of blue violet- 7 THERE was once a woman who wished very leaves, with a rose-leaf for a counterpane. Here she slept at night, but during the much to have a little child,1 but she could day she amused herself on a table, where the woman had placed a plateful of not obtain her wish. At last she went to a water. Round this plate were wreaths of flowers with their stems in the water, and fairy,2 and said, “I should so very much like upon it floated a large tulip-leaf, which served Tiny for a boat. Here the little to have a little child; can you tell me where I maiden sat and rowed herself from side to side, with two oars made of white horse- 8 can find one?”3 hair. It really was a very pretty sight. Tiny could, also, sing so softly and sweetly 9 “Oh, that can be easily managed,” that nothing like her singing had ever before been heard. One night, while she lay 10 said the fairy. “Here is a barleycorn of a in her pretty bed, a large, ugly, wet toad crept through a broken pane of glass in different kind to those which grow in the farmer’s fields, and which the chickens eat; put it into a flower-pot, and see what will 6 Scarcely half as long as a thumb: Some Andersen students have suggested that the model for Thumbelina is Andersen’s close friend Henriette Wulff, who was very small, frail, and slightly happen.” hunchbacked.
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