_______. “War.” In Bloom, Hans Christian Andersen, 93–113.
Rasmussen, Inge Lise. “H. C. Andersen: Reminiscences as Image and Echo.” In Sondrup, H. C. Andersen: Old Problems and New Readings, 199–214.
Reynolds, Kimberley. “Fatal Fantasies: The Death of Children in Victorian and Edwardian Fantasy Writing.” In Representations of Childhood Death, ed. Gillian Avery and Kimberley Reynolds, 169–88. London: Macmillian, 2000.
Robbins, Hollis. “The Emperor’s New Critique.” New Literary History 34 (2004): 659–75.
Rodes, Sara P. “The Wild Swans.” In Anderseniana II, 352–67. Copenhagen: Ejnar Munksgaard, 1954.
Rollins, Hyder Edward, ed. The Keats Circle: Letters and Papers, and More Letters and Poems of the Keats Circle. 2 vols. 2nd ed. Cambridge, MA: Harvard Univ. Press, 1965.
Rosen, Ruth. “A Physics Prof Drops a Bomb on the Faux Left.” Los Angeles Times, May 23, 1996.
Rossel, Sven Hakon, ed. Hans Christian Andersen: Danish Writer and Citizen of the World. Amsterdam: Rodopi, 1996.
_______. “Hans Christian Andersen: The Great European Writer.” In Hans Christian Andersen: Danish Writer and Citizen of the World, 1–125.
_______. “Hans Christian Andersen: Writer for All Ages and Nations.” Scandinavian Review 74 (1986): 88–97.
Rowland, Herbert. “The Image of H. C. Andersen in American Magazines during the Author’s Lifetime.” In Sondrup, H. C. Andersen: Old Problems and New Readings, 175–98.
_______. More Than Meets the Eye: Hans Christian Andersen and Nineteenth-Century American Criticism. Madison, NJ: Fairleigh Dickinson Univ. Press, 2006.
Sale, Roger. Fairy Tales and After: From Snow White to E. B. White. Cambridge MA: Harvard Univ. Press, 1978.
Sanders, Karin. “Nemesis of Mimesis: The Problem of Representation in H. C. Andersen’s Psychen.” Scandinavian Studies 64 (1992): 1–25.
Scarry, Elaine. The Body in Pain: The Making and Unmaking of the World. New York: Oxford Univ. Press, 1987.
_______. On Beauty and Being Just. Princeton: Princeton Univ. Press, 1999.
Schwarcz, Joseph H. “Machine Animism in Modern Children’s Literature.” Library Quarterly 37 (1967): 78–95.
Sells, Laura. “ ‘Where Do the Mermaids Stand?’: Voice and Body in The Little Mermaid.” In Bell et al., From Mouse to Mermaid, 175–92.
Sexton, Anne. The Complete Poems. Ed. Maxine Kumin. New York: Mariner Books, 1999.
Sjoholm, Barbara. Pirate Queen: In Search of Grace O’Malley and Other Legendary Women of the Sea. Emeryville, CA: Seal Press, 2004.
Sondrup, Steven P., ed. H. C. Andersen: Old Problems and New Readings. Odense: Univ. of Southern Denmark Press, 2004.
Spink, Reginald. Hans Christian Andersen and His World. London: Thames & Hudson, 1972.
_______. Hans Christian Andersen: The Man and His Work. 3rd ed. Copenhagen: Høst, 1981.
Spufford, Francis. I May Be Some Time: Ice and the English Imagination. New York: Palgrave Macmillan/St. Martin’s, 1997.
Stecher-Hansen, Marianne. “H. C. Andersen’s ‘Historien om en Moder’: Allegory and Symbol in the Danish Golden Age.” In Sondrup, H. C. Andersen: Old Problems and New Readings, 97–116.
Stirling, Monica. The Wild Swan: The Life and Times of Hans Christian Andersen. London: Collins, 1965.
Sugarman, Sally. “Whose Woods Are These Anyhow? Children, Fairy Tales and the Media.” In The Antic Art: Enhancing Children’s Literary Experiences through Film and Video, ed. Lucy Rollin, 141–50. New York: Highsmith, 1994.
Sullivan, C. W. “Mother, Daughter, Self: Joan Vinge’s The Snow Queen.” In Mother Puzzles: Daughters and Mothers in Contemporary American Literature, ed. Mickey Pearlman, 101–8. Westport, CT: Greenwood, 1989.
Tatar, Maria, ed. The Annotated Brothers Grimm. New York: W. W. Norton, 2004.
Taylor, Archer. “The Emperor’s New Clothes.” Modern Philology 25 (1927/28): 17–27.
Todorov, Tzvetan. The Fantastic: A Structural Approach to a Literary Genre. Trans. Richard Howard. Ithaca: Cornell Univ. Press, 1975.
Toksvig, Signe. The Life of Hans Christian Andersen. London: Macmillan, 1934.
Travers, P. L. “The Primary World.” Parabola 4 (1979): 87–94.
Trites, Roberta. “Disney’s Sub/version of ‘The Little Mermaid.’ ” Journal of Popular Television and Film 18 (1991): 145–59.
Turner, Victor. The Ritual Process: Structure and Anti-Structure. New York: de Gruyter, 1969.
Vaget, Hans Rudolf. “The Steadfast Tin Soldier: Thomas Mann in World Wars I and II.” In 1914/1939: German Reflections of the Two World Wars, ed. Reinhold Grimm and Jost Hermand, 3–21. Madison: Univ. of Wisconsin Press, 1992.
Varmer, Hjørdis. Hans Christian Andersen: His Fairy Tale Life. Trans. Tiina Nunnally. Illus. Lilian Brøgger. Toronto: Groundwood, 2005.
Villermé, Louis. Tableau de l’état physique et moral des ouvriers. Paris, 1840.
Wangerin, Walter, Jr. “Hans Christian Andersen: Shaping the Child’s Universe.” In Reality and the Vision, ed. Philip Yancey, 1–15. Dallas: Word, 1990.
Warner, Marina. From the Beast to the Blonde: On Fairy Tales and Their Tellers. London: Chatto & Windus, 1994.
Webb, Jean. “A Postmodern Reflection on the Genre of the Fairy Tale: The Stinky Cheese Man and Other Fairly Stupid Tales.” In Introducing Children’s Literature: From Romanticism to Postmodernism, by Deborah Cogan Thacker and Jean Webb, 156–63. New York: Routledge, 2002.
White, Susan. “Split Skins: Female Agency and Bodily Mutilation in The Little Mermaid.” In Film Theory Goes to the Movies, ed. Jim Collins, Hilary Radner, and Ava Preacher Collins, 182–95. New York: Routledge, 1993.
Winther, Matthias. Danish Folk Tales. Trans. T. Sands and J. Massengale. Madison, WI: Wisconsin Introductions to Scandinavia, 1991.
Wood, Naomi. “(Em)bracing Icy Mothers: Ideology, Identity, and Environment in Children’s Fantasy.” In Wild Things: Children’s Culture and Ecocriticism, ed. Sidney I. Dobrin and Kenneth B. Kidd, 198–214. Detroit: Wayne State Univ. Press, 2004.
Woods, Irene E. “Charles Dickens, Hans Christian Andersen, and ‘The Shadow.’ ” Dickens Quarterly 2 (1985): 124–29.
Wullschlager, Jackie. Hans Christian Andersen: The Life of a Storyteller. New York: Knopf, 2000.
Yolen, Jane. The Perfect Wizard: Hans Christian Andersen. Illus. Dennis Nolan. New York: Dutton, 2004.
Ziolkowski, Jan M. “A Medieval ‘Little Claus and Big Claus’: A Fabliau from before Fabliaux?” In The World and Its Rival: Essays on Literary Imagination in Honor of Per Nykrog, ed. Kathryn Karczewska and Tom Conley, 1–37. Amsterdam: Rodopi, 1999.
Ziolkowski, Theodore. Disenchanted Images: A Literary Iconology. Princeton: Princeton Univ. Press, 1977.
_______. “The Telltale Teeth: Psychodontia to Sociodontia.” PMLA 91 (1976): 9–22.
Zipes, Jack. Fairy Tales and the Art of Subversion: The Classical Genre for Children and the Process of Civilization. New York: Wildman, 1983.
_______. Hans Christian Andersen: The Misunderstood Storyteller. New York and London: Routledge, 2005.
_______. When Dreams Come True: Classical Fairy Tales and Their Tradition. New York: Routledge, 1999.
Zuk, Rhoda. “The Little Mermaid: Three Political Fables.” Children’s Literature Association Quarterly 22 (1997–98): 166–74.
The Hans Christian Andersen Center at the University of Southern Denmark offers extraordinarily rich resources on its Web site: http://www.andersen.sdu.dk/index_e.html. Included on the Web site are texts (in Danish and English), biographical information about Andersen, bibliographies, Web links, images, and other resources.
ABOUT THE EDITOR
AND TRANSLATORS
Maria Tatar is the author of The Annotated Classic Fairy Tales, The Annotated Brothers Grimm, and Secrets beyond the Door: The Story of Bluebeard and His Seven Wives. She is the John L. Loeb Professor of Germanic Languages and Literatures and served as Dean for the Humanities at Harvard University, where she teache
s courses on folklore, German culture, and children’s literature.
Julie K. Allen is an assistant professor of Scandinavian Studies at the University of Wisconsin at Madison. She holds a Ph.D. in Germanic Languages and Literatures from Harvard University and has spent several years living and working in Denmark. She enjoys telling Andersen’s tales to her three children.
Acknowledgments
For many years, when the time came to teach Andersen’s fairy tales in my course on children’s literature at Harvard University, I braced myself for a challenging week. My lecture on Andersen lingered over the cruelty of describing a child’s cold corpse lying out in the streets in “The Little Match Girl,” the horrors of the executioner’s ax in “The Red Shoes,” or the merciless torments suffered by Inger in “The Girl Who Trod on the Loaf.” Every year, a phalanx of students, a few of them near tears, routinely rushed the podium after the day’s lecture to report their magical childhood experiences with the fairy tales—experiences that utterly contradicted my analysis of their effects. I grounded my case in philosophical terms, using Michel Foucault’s brilliant study Discipline and Punish; I summoned the child psychologist Alice Miller, who had denounced “black pedagogy” in For Your Own Good, as a witness; and I called to the stand Maurice Sendak, P. L. Travers, Angela Carter, and a host of other distinguished authors who had disapproved of Andersen. To their credit, the students in that class held their ground, rarely conceding a point.
It was, then, with some reluctance that I took up conversations with Bob Weil, at W. W. Norton, about an Annotated Hans Christian Andersen. Few can rival Bob’s powers of persuasion, and before I knew it, I had signed on, despite my reservations about devoting years of my life to an author I did not love. For weeks, I read Andersen, working my way through the 156 tales in R. P. Keigwin’s translation with the quaint, original illustrations to the tales by Vilhelm Pedersen and Lorenz Frølich. I began listening to the Danish originals on tape. I studied the work of Arthur Rackham, Edmund Dulac, Kay Nielsen, and the many other gifted illustrators who had turned to Andersen’s stories to inspire their artwork. And then one day, while rereading “The Emperor’s New Clothes,” I experienced a sudden rush of childhood memories brought on by the description of the Emperor’s clothing: “exquisite” and “light as spiderwebs.” I remembered how that cloth, even though it did not exist, became an object of fascination and longing, kindling my powers of imagination to dream up something as beautiful as the words that Andersen used to describe something invisible. It was then that I began to read Andersen in a different way. And it is now that I can finally report to those students from many years ago that they have made their point.
Julia Lam and Nicole White, two students from my Freshman Seminar on Childhood, contributed in thoughtfully intelligent ways to the annotations, querying, provoking, and rephrasing. The book is much improved from their forays into Widener Library, their finds on the internet, and their enthusiastic support and collaboration, despite their demanding schedules. Annotations for “The Snow Queen” include Julia’s brilliant analysis of the kiss in Andersen and its connective power. Nicole’s investigative energy led to many new discoveries about films, plays, artwork, and books based on Andersen’s tales.
Over the years, I have had the chance to present my thoughts about Andersen and his fairy tales to many audiences, and, each time, I returned to my desk with provocative new ideas and insights. I benefited greatly from conversations—not just about Andersen and fairy tales—with colleagues and remain especially grateful to Sanford Kreisberg, Penelope Laurans, Larry Wolff, Dorrit Cohn, Kate Bernheimer, Homi Bhabha, Susan Bloom, Sue Bottigheimer, Donald Haase, Ellen Handler-Spitz, Michael Patrick Hearn, Casie Hermansson, Perri Klass, Gregory McGuire, Stephen Mitchell, Eric Rentschler, Judith Ryan, Jan Ziolkowski, and Jack Zipes for encouraging and supporting this project.
Archival work at Houghton Library at Harvard University and at the Cotsen Library at Princeton University was always a pleasure, and I am grateful to the staff at both those extraordinary institutions.
Michael Droller generously made his books on Hans Christian Andersen available to me and shared his enthusiasm for the beauty of what he has collected. Most of the illustrations for this volume are drawn from his splendid collection.
As always, Daniel and Lauren Schuker encouraged, vetoed, applauded, and distracted in ways that made what could have been a scholarly and solitary project into a vibrant collaboration.
Bob Weil not only inspired this project but also made sure it got done. I am grateful to him for friendship, advice, and attention to detail. Tom Mayer ably kept me on course, with tactful wisdom, advice, and guidance at every turn.
It was a special pleasure to work with Julie K. Allen, whose deep knowledge of the Danish language and of Denmark’s cultural life enabled a productive collaboration. Her enthusiasm and expertise kept the project alive and on course.
Hans Christian Andersen, as photographed by Henrik Tilemann in 1865.
OTHER ANNOTATED BOOKS FROM W. W. NORTON & COMPANY
The Annotated Alice
by Lewis Carroll, edited with an introduction
and notes by Martin Gardner
The Annotated Wizard of Oz
by L. Frank Baum, edited with an introduction
and notes by Michael Patrick Hearn
The Annotated Huckleberry Finn
by Mark Twain, edited with an introduction
and notes by Michael Patrick Hearn
The Annotated Christmas Carol
by Charles Dickens, edited with an introduction
and notes by Michael Patrick Hearn
The New Annotated Sherlock Holmes,
Volumes I, II, and III
by Sir Arthur Conan Doyle, with an introduction by John le Carré,
edited with a preface and notes by Leslie S. Klinger
The Annotated Classic Fairy Tales
Edited with an introduction and notes by Maria Tatar
The Annotated Brothers Grimm
by Jacob and Wilhelm Grimm, edited with a preface and notes by Maria Tatar,
introduction by A. S. Byatt
The Annotated Hunting of the Snark
by Lewis Carroll, edited with notes by Martin Gardner,
introduction by Adam Gopnik
The Annotated Uncle Tom’s Cabin
by Harriet Beecher Stowe, edited with an introduction
and notes by Henry Louis Gates Jr. and Hollis Robbins
The Annotated Secret Garden
by Frances Hodgson Burnett, edited with an introduction
and notes by Gretchen Holbrook Gerzina
OTHER BOOKS BY MARIA TATAR
Secrets beyond the Door: The Story of Bluebeard and His Wives
The Annotated Brothers Grimm
The Annotated Classic Fairy Tales
The Classic Fairy Tales
Lustmord: Sexual Violence in Weimar Germany
Off with Their Heads! Fairy Tales and the Culture of Childhood
The Hard Facts of the Grimms’ Fairy Tales
Spellbound: Studies on Mesmerism and Literature
Copyright © 2008 by Maria Tatar
All rights reserved
First Edition
The Arthur Rackham pictures are reproduced with the kind permission of his family and the Bridgeman Art Library. Illustrations by Edmund Dulac and Kay Nielsen reproduced by permission of Hodder and Stoughton Limited. Illustrations by Charles Robinson reproduced by permission of Pollinger Limited and the Estate of Mrs. J. C. Robinson. Illustrations by William Heath Robinson reproduced by permission of Pollinger Limited and the Estate of W. H. Robinson. Illustrations by Mabel Lucie Attwell © Lucie Attwell Ltd 2007. Licensed by ©opyrights Group.
For information about permission to reproduce selections from this book,
write to Permissions, W. W. Norton & Company, Inc.,
500 Fifth Avenue, New York, NY 10110
For information about special discounts for bulk purchases, please c
ontact
W. W. Norton Special Sales at
[email protected] or 800-233-4830
Book design by jamdesign
Production manager: Julia Druskin
ISBN 978-0-393-06081-2
ISBN 978-0-393-28565-9 (e-book)
W. W. Norton & Company, Inc.
500 Fifth Avenue, New York, N.Y. 10110
www.wwnorton.com
W. W. Norton & Company Ltd.
Castle House, 75/76 Wells Street, London W1T 3QT
Hans Christian Andersen, The Annotated Hans Christian Andersen
(Series: # )
Thank you for reading books on BookFrom.Net Share this book with friends