Aktualitet - Litteratur, kultur og medier 2019-01-21T09:47:29+01:00 Anne Klara Bom Open Journal Systems <p><em><img style="max-width: 40%; height: auto; float: right; margin-left: 10px;" alt="" src="/public/site/images/vitus/book_and_ereader1.jpg">Aktualitet - Litteratur, Kultur og Medier</em> er et tidsskrift, som hører hjemme ved Syddansk Universitet, Odense. Tidsskriftet begyndte under navnet <em>Aktuel Forskning. Litteratur, Kultur og Medier</em>&nbsp;(ISSN&nbsp;1903-5705)&nbsp;men ændrede navn, ISSN og format i 2016.</p> <p><em>Aktualitet</em> udgiver artikler inden for områderne litteratur, kultur og medier. Alle artikler gennemgår en double-blind peer reviewproces samt en redaktionel proces for at sikre kvalitet og relevans.&nbsp;</p> <p>Tidsskriftet er åbent for bidrag fra alle akademikere, nationale såvel som internationale. Tidsskriftet accepterer artikler på de nordiske sprog og på engelsk.&nbsp;</p> <p>Artikler udgives så snart den redaktionelle proces er færdig. Der er ingen fastsatte datoer for udgivelser: Forfattere er velkomne til at indsende manuskripter løbende.</p> Contents 2019-01-17T15:58:30+01:00 Anne Klara Bom <p>--</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## Hans Christian Andersen in communities: an introduction 2019-01-17T15:59:21+01:00 Anne Klara Bom Torsten Bøgh Thomsen <p>Editorial introduction to the collection of articles</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## Introductory lecture. The Age of Fairy Tales: Hans Christian Andersen and Community 2019-01-17T14:14:36+01:00 Johs. Nørregaard Frandsen <p>Professor Johs. Nørregaard Frandsen's introductory lecture from the conference</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## H.C. Andersen and Bulgaria 2019-01-17T13:31:31+01:00 Nadezhda Mihaylova <p>The humanistic values in H.C. Andersen’s works have made an impact on Bulgarian culture. The paper outlines the two-way intercultural relationship of H.C. Andersen’s works and Bulgaria – the first part focuses on his description of this country in A Poet’s Bazaar (1846) and the second on the reception of his works in Bulgarian culture. In his travelogue Andersen shared his impressions of Bulgaria and showed compassion to its people, proving to be a real cosmopolitan and taking a non-political but humanistic attitude to the rebellious events on the Balkans in 1841, influencing the way his Danish and European readers look upon this part of the world. The other aspect of the intercultural relationship focuses on the reception of H.C. Andersen’s works in Bulgaria. It outlines the three main phases in this process, discussing the translations made from different languages and their editions. These publications have an impact on the Bulgarian language, the formation of expressions and set phrases. They prove to be another means of inter-cultural exchange, overcoming the limitations of regional belonging and national identity, while transferring universal values. H.C. Andersen’s ideas of cosmopolitanism and universalism help us adapt ourselves to the constantly changing communities we live in.</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## Mapping Hans Christian Andersen’s A Visit to Portugal: lived and fictional spaces 2019-01-17T15:57:58+01:00 Sara Pascoal <p>This article intends to undertake a multifocal interpretation of Hans Christian Andersen’s 1866 travelogue about his journey to Portugal, entitled <em>A Visit to Portugal</em>. Based on a quantitative survey of the place names mentioned and a qualitative study of the described landscape characteristics this article maps the lived space (firstspace) intersected with the fictionalized space (secondspace), to enhance what Edward Soja calls the thirdspace, a space where “(…) everything comes together… subjectivity and objectivity, the abstract and the concrete, the real and the imagined, the knowable and the unimaginable, the repetitive and the differential, structure and agency, mind and body, consciousness and the unconscious, the disciplined and the transdisciplinary, everyday life and unending history.” (Soja, 1996, p. 56).</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## Hans Christian Andersen in Trumpland 2019-01-17T13:36:05+01:00 Clara Juncker <p>Hans Christian Andersen’s fairy tales have recently helped political and cultural observers figure out the Trump phenomenon. In post-election discussions of the Trump victory, frustrated Americans have drawn sustenance from Andersen’s fairy tale communities, both in “The Ugly Duckling” and most significantly in “The Emperor’s New Clothes.” Emotion takes center stage both in Andersen’s fairy tales and in representations of Trumpland in sculpture, cartoons, political commentary and in J. D. Vance’s best-selling “Hillbilly Elegy” (2016), set among Trump’s white, working-class supporters. In contemporary US culture, Andersen assists worried Americans in explaining the dysfunctional community of Trump voters and the mental instabilities of the President. Andersen also stresses resistance and celebrates those confronting community conventions. Ultimately, he sees literature as a safeguard against fakery and abuse and shows the path towards resistance and truth, despite the endeavors of the 45th US President to take his country in the opposite direction.</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## Hans Christian Andersen and the city of Paris 2019-01-17T13:38:19+01:00 Kristina Junge Jørgensen <p>Hans Christian Andersen visited Paris 8 times, and if we compute these journeys, he spent in all about 10 months in the French capital. In this paper, I examine the importance these journeys have had on Andersen’s literary production. I describe four different themes in which Andersen portrays the French capital: Paris on the Grand Tour, Paris as the city of theatre, Napoleon’s Paris, and the Metropolitan Paris. There’s no doubt that for Andersen, Paris was the city that had it all. In several of Andersen’s works and letters, he refers to Paris as the “city of the cities.” This expression is constantly used today when the Danes talk about Paris. In my article, I argue that the Danes might have inherited this expression from Andersen as he was the first one to name Paris “the city of cities” in a publication in Denmark.</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## Hans Christian Andersen and his Social Reception in Austria 2019-01-17T13:40:28+01:00 Sven Hakon Rossel <p>This article documents Hans Christian Andersen’s gradual development from being a young unknown Danish writer to becoming socially accepted and acknowledged as an integral part of Austrian social and artistic life. The point of departure is his second novel <em>Kun en Spillemand</em> (Andersen, 1837/1988; Only a Fiddler) of which two chapters are set in Vienna. This process of so-called acculturation, i.e. the appropriation of various social, psychological and cultural elements of the country visited, begins with Andersen’s first stay in Austria in 1834 – the first of altogether six visits – and finds its climax in 1846, when he is invited to give a reading of his fairy tales at the imperial castle in Vienna. It is noteworthy that this process to a large degree was the result of a planned strategy on Andersen’s behalf. Before arriving in Vienna, he procured letters of recommendation and upon arrival he systematically made friends with the city’s most important artistic and intellectual personalities. Another strategic move, of course, was to choose Vienna as a partial setting for his most successful novel in the German-speaking world.</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## The reception of H.C. Andersen in Russia 2019-01-17T13:45:58+01:00 Elena Krasnova Elena Gurova <p>The article deals with some aspects of Hans Christian Andersen’s reception in Russia and primarily with translation of his fairy tales. Anna and Peter Hansen’s translations made in the end of the 19th century are still the ones mostly published. The reception of Н.С. Andersen’s fairy tales has been changing depending on the epoch and its demands, but we argue that there is kind of an “invariant core” in different versions of translations. We present both extra-linguistic and linguistic approaches to reception and analyze Hans Christian Andersen translations in Russia in the context of literary reception and on the ground of documents dating back to the Soviet epoch, critical articles about the children’s literature in the Soviet Union as well as on the ground of the comparative analysis of translations of his fairy tales published after the revolution of 1917. We argue that the issue of changes in H.C. Andersen’s texts in the Soviet Union is closely related to the history of self-censorship. The paper also investigates specific features of translation, which are essential elements in a text reception, as well as peculiarities of different translation methods used by Anna Hansen and modern translators.</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## The Family in four of Andersen’s tales: An Empty Shell or a Community in a Nutshell? 2019-01-17T13:48:10+01:00 Poul Houe <p>Family is a key institution in Andersen’s fiction, but my focus on its role will be limited to the four tales in which (forms of) the word family appear(s) in the very title: (1) “Nabofamilierne” [The Neighboring Families] (1847), (2) “Den lykkelige Familie” [The Happy Family] (1948), (3) “Hønse-Grethes Familie” [Chicken Grethe’s Family] (1869), and (4) “Hvad hele Familien sagde” [What the Whole Family Said] (1872). Taken as a whole, these four texts, spanning a quarter of a century, reveal how the topoi of family and community – major signifiers of collective sameness versus otherness – typically reinforce and problematize each other within Andersen’s corpus. As his narratives display the variations of this “dialectic” over time, they invite us to reflect on the intricate boundaries between family and community past and present, be it as sociocultural domains or aesthetic tropes.</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## ‘The fire crackles and then my muse comes to visit’ 2019-01-17T13:50:12+01:00 Henrik Lassen <p>Precise descriptions of fireplaces and fire lighting are common in Hans Christian Andersen’s writing, often in the form of terse and realistic background details. There are, however, a few examples of a more figurative use of fire where Andersen employs the motif of ‘seeing figures in the flames’ and suggests that he considered this experience inspirational in his writing. The motif was a favorite in Britain, where an open fire in the household was still common in the 19th century. Unlike most continental Europeans at the time, the Victorians considered ‘the fire-side’ to be a sphere of special importance in domestic life. The suggestive qualities associated with the fireside in Britain at the time would not have been familiar to Andersen, but in many respects the cultural complex of the fireside served the same functions as Danish hygge. It is unlikely that Andersen was aware of it, but the figurative use that he made of fire as a force of inspiration both magical and hyggelig had special resonance for the Victorians.</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## Andersen and the community of tellers 2019-01-17T13:52:19+01:00 Cyrille Francois <p>With the publication of the Brothers Grimm’s “Kinder- und Hausmärchen”, folkloristics emerged as a new discipline, and a European community of tellers was born and was soon to become a global community. Readers and editors have considered, and still often consider, Hans Christian Andersen to be representative of this genre of tales, together with the Grimms and Perrault. But while Andersen could be seen to take his place in this folk tale trend with his first tale, “Dødningen,” published in 1830, he arguably remained an outsider in the community of tellers by using tales in a different manner in his literary work. Choosing to tell stories in his own voice rather than using the people’s voice, Andersen’s real interest was to be part of a literary community. This paper examines the question of community to better understand the specificity of Andersen’s tales, and shows how the author chose to take his own path rather than to follow the broader trend of 19th century tale-writers.</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## Liminality and Transgression 2019-01-17T13:54:26+01:00 Liang Chen <p>From the perspective of spatial theory, the present paper aims to analyze the construction of self in “The Little Mermaid.” The three spaces of the sea, land and sky are filled with intersections of liminal spaces and active efforts of transgression, which shapes the little mermaid’s self in the dynamic process. The body of the little mermaid, as the center of space power construction, not only reveals the mechanism of power control during spatial transformation, but also highlights her spiritual transcendence during her decoding efforts. In this process, community does not play the decisive role in the shaping of self for the little mermaid, rather, the self is shaped during her confrontation against community from the margin.</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## Dreams and Stories in Hans Christian Andersen 2019-01-17T13:56:47+01:00 Angelica Garcia Manso <p>This paper analyzes the motif of the "dream within the dream" or Metanoia as one of the most interesting structural components in the stories of Hans Christian Andersen. For example, the considerations about “The Shadow” (as well as other stories) reveal how, moreover, Metanoia has important repercussions on the aspect of "community acceptance" in the writer's work, without forgetting the role of Metanoia in the light of how stories are constructed through internal references and the duality between reality and dream.</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## Hans Christian Andersen's Use of Anthropomorphism 2019-01-17T13:58:55+01:00 Julia Shore Paludan <p>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.</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## Hans Christian Andersen between a culture of meaning and a culture of presence 2019-01-17T14:01:02+01:00 Mogens Davidsen <p>The article opens with questioning what kind of “community” Hans Christian Andersen as an artist can be said to have been a part of, considering that the community of Andersen’s upbringing was radically different from the one he was socialized into through his literary career. With the point of departure in Hans Ulrich Gumbrecht’s distinction between literature displaying “presence in language” and “presence achieved against language”, the article suggests that part of Andersen’s work (with Søren Kierkegaard’s critique of the novel Only a Fiddler in focus) can be seen as examples of presence achieved against language. With the two presence categories which Gumbrecht typologically distinguishes as a “presence culture” and a “meaning culture” in mind, the presence categories are ascribed to an oral culture of Andersen’s social background, and the elitist intellectual culture of the Danish Golden Age. Inspired by Kierkegaard’s characterization of Andersen’s novel in musical terms, the article further presents a possible understanding of presence, the implications of which reaches far beyond the harmonic paradigm of the Golden Age and into the musical modernism of Arnold Schönberg in the twentieth century.</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## The Chinese Reception of "An Ethical Andersen" 2019-01-21T09:47:29+01:00 Shengzhen Zhang <p>Children’s literature aims to be educational, and, as we are all well aware, it is also the subject of education in itself, as an academic discipline. All those classical works that transcending time and border continue to uphold noble morality or raise moral admonition. From the perspective of ethical literary criticism, it is argued that Andersen started the ethical tradition and the moral outlook the later generation inherited. The circulation and reception of Andersen in the world lies in its ethical values and its everlasting legacy for cultivating the spirit of both young and old.</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## Technologizing Cultural Consumption: The Tales and the Virtual in the East Asian Andersen 2019-01-17T14:06:12+01:00 Kwok-kan Tam <p>Most of Andersen’s stories have been translated into Chinese and Japanese for more than 100 years. They are read as children’s literature for values and morals that are universal, but hidden in these values and morals are notions of truth, self-identity and individuality that challenge traditional East Asian concepts of selfhood. Andersen represents new values for East Asian modernity. Tracing the reception of Andersen in East Asia, this paper deals with changes in representation, particularly in recent years with the opening of the Shanghai Andersen Cultural Park, the wide circulation of Andersen stories in animation films in Japan, and the technological representations of culture in the digital age. In this paper, Chinese representations of Andersen will be contrasted with the Japanese so as to understand the different receptions of Andersen in the East Asian context. The recent trend of technologizing Andersen will be discussed in relation to cultural consumption and gamification. Since much of the recent development in technologizing Andersen has to do with visual representation, photos will be provided as illustrations.</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement## FairyPlay: Recycling Trash in Hans Christian Andersen’s Fairy Tales and Children’s Play 2019-01-17T14:08:21+01:00 Herdis Toft <p>Hans Christian Andersen is a cultural icon in the Danish community, and his fairy tales are canonized as treasured Danish cultural heritage. However, situated as they are today in a cross-cultural mix between folklore, booklore and medialore, they may also be analyzed as useful, treasured trash in a play culture where children recycle them in transmitted, transformed and transgressive modes. In these processes, the children perform what will be termed FairyPlay. In this article, I present Hans Christian Andersen as an intimate connoisseur of play culture, a homo ludens, a trash-sculptor and a thingfinder, like Pippi Longstocking and like children in play.</p> 2019-01-17T00:00:00+01:00 ##submission.copyrightStatement##