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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. -
Andersen's Fairy Tales
HTTPS://THEVIRTUALLIBRARY.ORG ANDERSEN’S FAIRY TALES H. C. Andersen Table of Contents 1. The Emperor’s New Clothes 2. The Swineherd 3. The Real Princess 4. The Shoes of Fortune 1. I. A Beginning 2. II. What Happened to the Councillor 3. III. The Watchman’s Adventure 4. IV. A Moment of Head Importance—an Evening’s “Dramatic Readings”—a Most Strange Journey 5. V. Metamorphosis of the Copying-clerk 6. VI. The Best That the Galoshes Gave 5. The Fir Tree 6. The Snow Queen 7. Second Story. a Little Boy and a Little Girl 8. Third Story. of the Flower-garden at the Old Woman’s Who Understood Witchcraft 9. Fourth Story. the Prince and Princess 10. Fifth Story. the Little Robber Maiden 11. Sixth Story. the Lapland Woman and the Finland Woman 12. Seventh Story. What Took Place in the Palace of the Snow Queen, and What Happened Afterward. 13. The Leap-frog 14. The Elderbush 15. The Bell 16. The Old House 17. The Happy Family 18. The Story of a Mother 19. The False Collar 20. The Shadow 21. The Little Match Girl 22. The Dream of Little Tuk 23. The Naughty Boy 24. The Red Shoes THE EMPEROR’S NEW CLOTHES Many years ago, there was an Emperor, who was so excessively fond of new clothes, that he spent all his money in dress. He did not trouble himself in the least about his soldiers; nor did he care to go either to the theatre or the chase, except for the opportunities then afforded him for displaying his new clothes. -
Bicentenary Literary Adaptations of Hc Andersen
UDC 821.113.4 Rennesa Jessup Minnesota State University TRAVELING COMPANIONS: BICENTENARY LITERARY ADAPTATIONS OF H. C. ANDERSEN TALES Adaptation is broadly defined, encompassing the re-working of virtually any kind of text into virtually any other kind of text. Moreover, it frequently involves the re-mediation of texts into entirely new forms. Even so, seemingly simple text-to- text adaptation of texts already frequently subject to adaptation can challenge both traditional and theoretical concepts of adaptation. Such was the case with a major Danish literary project undertaken in 2005. Danish State Railways, Dansk statsbaner (DSB) commissioned a series of adaptations of Hans Christian Andersen tales to be published in the DSB onboard magazine Ud & Se [Out & See] to commemorate the two-hundredth anniversary of H. C. Andersen’s birth. Resulting from the project were twelve original stories by twelve Danish authors: Pia Juul, Jan Sonnergaard, Ib Michael, Iselin Hermann, Preben Major Sørensen, Suzanne Brøgger, Bent Vinn Nielsen, Peter Laugesen, Kristian Ditlev Jensen, Lars Frost, Erling Jepsen, and Naja Marie Aidt. Each author adapted a different Andersen work, ranging from classics including “Den grimme ælling” [The Ugly Duckling], “Den lille havfrue” [The Little Mermaid], and “Kejserens nye klæder” [The Emperor’s New Clothes], to more obscure works such as “Dandse, dandse dukke min!” [Dance, Dance, My Doll!]. Issued in book form as Reisekammeraten og andre H. C. Andersen-historier i nye klæder [The Traveling Companion and Other H. C. Andersen Tales in New Clothes] (Copenhagen, 2005), the collection demonstrates a wide range of approaches to adaptation that seem to stretch the definition of adaptation to its limits. -
An Agnostic Family's Christmas
Tivoli Gardens and Hans Christian Andersen: A Tale of Confluence Story-based amusement parks and literary playgrounds are now coming into their own as witnessed by the tremendous success of the Wizarding World of Harry Potter, which is now the most popular attraction at Universal Orland. However, the history of story-based amusement parks can be traced back to 1843 with the opening of Tivoli Gardens in Copenhagen. Initially intended to function as a “pleasure garden” for the residents of Copenhagen, Tivoli Gardens gradually came to be associated with fairy tales in part because of the influence of Hans Christian Andersen. An examination of this history shows that Tivoli Gardens had an impact on Andersen’s fairy tales while Andersen’s fairy tales had an impact on the development of Tivoli Gardens. In many ways, this is a tale of confluence. The founder of Tivoli Gardens, Georg Carstensen, and Andersen knew each other through business connections, and Andersen followed Carstensen’s plans to build Tivoli Gardens. Andersen took a special interest in Carstensen’s plan to include a Chinese pavilion as one of the attractions. Andersen visited Tivoli Gardens during its first season, and he especially liked the whimsical Chinese pavilion, which was designed by the Danish architect H. C. Stilling. Inspired by this visit, Andersen wrote an original fairy tale titled “The Nightingale.” Andersen set this fairy tale in China, and he used the Tivoli Garden’s Chinese pavilion as the model for the Emperor’s palace. Over the history of Tivoli Gardens, Andersen’s fairy tales became incorporated into the park’s programing and attractions. -
O X Fo Rd Reading Cir C
6 SECOND EDITION EADIN R G D C R I O R F C L X E O N H I C G H R O U L B A S S R H O O H R R E S B A I U R G H • C L Teaching Guide 1 Contents Introduction iv 1. Birthday Presents—Lynne Reid Banks 1 2. Sky, Sea, Shore—James Reeves 6 3. Daedulus and Icarus 11 4. The Golden Crab—Andrew Lang 17 5. Eldorado—Edgar Allan Poe 24 6. The Selfish Giant—Oscar Wilde 30 7. The Snake—Emily Dickinson 37 8. Dear Diary 42 9. The Clockwork Mouse—Dick King-Smith 47 10. Robinson Crusoe’s Story—Charles E. Carryl 54 11. The Flying Trunk—Hans Christian Andersen 59 12. Rice-bowl Wishes—Bernadette and Dr Donald 65 13. The Walrus and The Carpenter—Lewis Carroll 71 14. Thank you, Ma’am—Langston Hughes 77 15. The Window 83 16. Weaver 88 17. The Magic Shop—H. G. Wells 92 18. A Passing Glimpse—Robert Lee Frost 98 19. The Hayloft—George MacDonald 104 20. Slow Dance—David L. Weatherford 110 21. The Treasure Seekers—Edith Nesbit 114 iii 1 Introduction The Teaching Guides of Oxford Reading Circle provide some guidelines for the help of the teacher in the classroom. This Teaching Guide includes: • an introduction on how to use Oxford Reading Circle in class. • suggestions for pre-reading tasks or warm-ups to the main lesson. • suggestions for while reading tasks with in-text questions. • suggestions for post-reading activities, based on basic concepts of literature presented progressively with respect to difficulty level within and across each grade. -
The Junior Classics, Volume 1
The Junior Classics, Volume 1 Willam Patten The Junior Classics, Volume 1 Table of Contents The Junior Classics, Volume 1.................................................................................................................................1 Willam Patten.................................................................................................................................................2 INTRODUCTION.........................................................................................................................................5 PREFACE......................................................................................................................................................7 MANABOZHO, THE MISCHIEF−MAKER................................................................................................9 WHY THE WOODPECKER HAS RED HEAD FEATHERS...................................................................12 WHY THE DIVER DUCK HAS SO FEW TAIL FEATHERS..................................................................14 MANAIBOZHO IS CHANGED INTO A WOLF......................................................................................15 MANABOZHO IS ROBBED BY THE WOLVES.....................................................................................17 MANABOZHO AND THE WOODPECKERS..........................................................................................18 THE BOY AND THE WOLVES................................................................................................................20 -
Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales
University of Kentucky UKnowledge Folklore Anthropology 7-5-2002 Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales Jack Zipes Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Zipes, Jack, "Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales" (2002). Folklore. 15. https://uknowledge.uky.edu/upk_folklore/15 Breaking the Magic Spell Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright O 1979 by Jack Zipes Published 2002 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. - Editorial and Sales Ofices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Library of Congress Cataloging-in-Publication Data Zipes, Jack Breaking the magic spell. 1. Tales, European-History and criticism. 2. Literature and society. I. Title ISBN-10: 0-8131-9030-4 (paper) ISBN-13: 978-0-8131-9030-3 This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. -
All Andersen ONLINE Summer Storytelling Schedule Hans
All Andersen ONLINE Summer Storytelling Schedule Hans Christian Andersen Story Telling Center 2020 – 64th Season Saturdays — 11:00AM-12:00PM LIVE ONLINE: https://facebook.com/HCAStoryCenter Storyteller Featured Hans Christian Andersen Story: LOCATION: May-June 30 May Sheila Arnold The Man and his Shadow Live streamed on Facebook Laura Simms, Simon Brooks The Old House, Jack, the Dullard and on YouTube – and 6 June Judith Heineman The Wild Swans Recorded sessions are Julia Della Torre The Emperor’s New Clothes available there afterwards. 13 June Regina Ress The Most Incredible Thing April Armstrong The Tea Pot If COVID-19 restrictions Rachael Harrington The Flax permit, we will move 20 June Jim Brule, Angela Halvorsen Bogo The Last Pearl, The Puppeteer performances outdoor @ Donna Jacobs Sife The Three Languages HCA Statue in Central Park (72nd & 5th) July 4 Julie Pasqual, Karen De Mauro The Goblin and the Huckster, The Princess Laura Simms and the Pea, Everything in its Right Place YouTube: 11 Joy Kelly Smith, Jean Hale The Steadfast Tin Soldier, What Father http://www.youtube.com/ Robin Bady Does is Right, The Journey of the Beetle c/HCAStoryCenter 18 Megan Wells, Angela Lloyd The Sandman, The Darning Needle Loren Niemi The Swineherd Facebook: 25 Lise Marie Nedergaard The Life of Andersen https://www.facebook. Connie Regan-Blake Five Peas in a Pod, com/HCAStoryCenter August 1 Regi Carpenter Ugly Duckling Angela Lloyd The Red Shoes 8 Ed Stivender There is a Difference For Updates, please check: Sally Pomme Clayton The Little Mermaid HCAStoryCenter.org -
Yeats's Swans and Andersen's Ugly Duckling
Colby Quarterly Volume 9 Issue 6 June Article 6 June 1971 Yeats's Swans and Andersen's Ugly Duckling Rupin W. Desai Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, series 9, no.6, June 1971, p.330-335 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Desai: Yeats's Swans and Andersen's Ugly Duckling 330 Colby Library Quarterly and changed him from a coward to a hero. The people lose their playboy but Christy finds himself.H What is noteworthy, however, is that Christy Mahon's discovery of his true Self is precipitated by his desire to win Pegeen Mike's regard. Thus in Peer Gynt as in The Playboy of the Western World the liberating force, the orientation toward self knowledge resides in the woman. One here cannot but note the striking difference in technique in the two playwrights' ap proach to the quest of Self. It has taken Ibsen a lifetime to carry his hero through to self-knowledge, while it has barely taken Synge twenty-four hours to accomplish the same end. Does this imply that, for all the differences between the two plays in question, what Ibsen spreads over a lifetime, Synge could do within one revolution of the sun, and, what is more, achieve concentration and immediacy through observing the three unities? I have no definite answer. But if this were his intention, we should not be surprised, for the note of challenge to Ibsen is sustained throughout his work. -
Thumbelina CD Booklet
Hans Christian Andersen THUMBELINA AND OTHER FAIRY TALES JUNIOR Read by finalists of the Voice of the Year competition CLASSICS UNABRIDGED CHILDREN’S FAVOURITES NA233512D 1 Thumbelina read by Eleanor Buchan 2:56 2 One night while she lay in her pretty bed… 3:36 3 Thumbelina sailed past many towns… 3:52 4 Near the wood in which she’d been living… 4:12 5 Thumbelina said nothing… 3:26 6 Very soon the springtime came… 2:54 7 When autumn arrived… 3:06 8 At length they reached the warm countries… 4:59 9 The Brave Tin Soldier read by Bob Rollett 2:54 10 When evening came… 3:23 11 Suddenly there appeared a great water-rat… 5:00 12 The Princess and the Pea read by Helen Davies 3:10 13 The Butterfly read by Michael Head 4:32 14 Spring went by… 3:31 15 The Flea and the Professor read by Richard Cuthbertson 3:14 16 The Professor was proud of the flea… 2:54 17 The flea lived with the princess… 4:56 18 The Flying Trunk read by Paul Rew 4:22 19 Then he flew away to the town… 4:14 20 Then the saucepan went on with his story… 5:27 2 21 The Metal Pig read by Howard Wolfin 5:23 22 As they passed from hall to hall… 4:34 23 It was morning… 5:10 24 Giuseppe went out the next morning… 3:25 25 When evening came and the house door… 4:12 26 Oh what beautiful pictures these were… 5:11 27 The Storks read by Helen Davies 2:51 28 The next day when the children… 2:59 29 Time passed on and the young storks… 3:45 30 Of all the boys in the street… 3:38 31 The Silver Shilling read by Julian McDonnell 3:27 32 Now begins the story as it was afterwards… 5:38 33 A year passed… -
Nice to Know About Andersen in Red and Green
www.vlinders.be [email protected] ++ 32 476/33 84 03 Andersen in Red and Green. Andersen in Red and Green : nice to know - It are two fairy tales but performed not on the classical way - Figurentheater Vlinders & C° chooses for this performance a modern way of manipulation: stop motion puppets. - The prince and the princess are in both tales the same, in the original from Andersen they are not. - The prince loves green so he lives in a green world and castle. - The emperor and his daughter the princess prefer red so in their World everything has ‘something’ red. - So the performance is called: Andersen in Red and Green. - The prince and the princess have a servant, who serves them. The prince has a very joyfully optimistic servant. The princess has a reserved, rigid servant. Both servants are good friends, something our prince and princess don’t know. Special in the performance: both servants are acted by…the solo puppeteer. - The prince and the princess. - - The emperor and some princesses. - - The ladies in waiting About Andersen in Red and Green What happens when two world renowned figures players Dimitar Dimitrov (Bulgaria) and Ronny Aelbrecht (Belgium / Vlinders & C º) along step along into the magical world of the most famous Dane ever: Hans Christian Andersen? Then you will see two famous fairy tales of Andersen: The swineherd and the Princess on the Pea, merge into a story almost without words but with the same prince and princess! The solo puppeteer/servant serves this wonderful show for you in his world of red and green, supported by tingling music. -
Richard Hugo House, Fall 2016: Fairy Taleinspired Fiction Level
Richard Hugo House, Fall 2016: Fairy TaleInspired Fiction Level: Intermediate to advanced. The class will be most useful to writers who have previously completed one or more stories. The class will be structured as a workshop and practicum; that is, each twohour session will be devoted to a combination of workshop of a class member’s story; discussion of published tales or stories; and in class writing exercises, often related to that day’s reading, which could serve as ideagenerators for new work. Writers in the class may have already been working in tale/fantasy/magical realism/surrealist modes in their fiction, or they may have come to the course looking for new ideas or directions. Unless the class turns out to be very large, the plan will be that each writer in the class gets two chances to have a story draft workshopdiscussed. The second workshop could be used to discuss a revised draft of the earlierworkshopped story or a new story, whichever the writer prefers. Reading assignments will be available either as handouts or at online links. SYLLABUS Week One: Fairy Tale Foundations. To read: Grimms tales: “Cinderella,” “Little Red Cap,” and “The Six Swans.” To Bring: Your memory of a favorite fairy tale—or any memory of a first story or book you read. Bring an actual copy of a story or tale if you can. Week Two: Making a FairyTale Canon. To read: Grimms tales: “Thumbling,” “The Robber Bridegroom,” “Brier Rose,” “Snow White,” “Rumpelstiltskin,” “The Goose Girl,” and “Bluebeard.” First workshop.