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Journal articles on the topic 'Hans Andersen'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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1

Houe, Poul. "Hans Christian Andersen's Andersen and the Andersen of Others." Orbis Litterarum 61, no. 1 (February 2006): 53–80. http://dx.doi.org/10.1111/j.1600-0730.2006.00867.x.

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2

Houe, Poul. "Hans Christian Andersen's Andersen and the Andersen of Others. On Recent Andersen Literature." Orbis Litterarum 61, no. 1 (February 2006): 53–80. http://dx.doi.org/10.1111/j.1600-0730.2006.00855.x.

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3

Mortensen, Bent Ole Gram. "Hans Christian Andersen and the Blue Light." NAVEIÑ REET: Nordic Journal of Law and Social Research, no. 6 (December 1, 2015): 185–200. http://dx.doi.org/10.7146/nnjlsr.v0i6.111061.

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This article examines the development of energy law illustrated through the authorship of Hans Christian Andersen (1802-1875). The focus is on the implementing of city gas, which happened in the lifetime of H.C. Andersen. Based on the literary observations of H.C. Andersen the changes in the legal framework in energy law and other regulatory areas are analysed. H.C. Andersen’s references to gas lighting provides an emotional experience to change and an approach towards the empathetic understanding to make changing life recognizably human. With this reference I have availed of the opportunity to briefly describe the historical development of energy and laws which were introduced and developed into the modern legislation we now have. – Through his literary greatness H.C Andersen not only generates an attitude of respect toward energy but also widens horizons for lawyers when we look at the energy challenges on the global level.
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4

Clemente, Frances. "Where “the blood boils:” Hans Christian Andersen’s sojourn in Naples." Quaderni d'italianistica 41, no. 1 (January 5, 2021): 117–34. http://dx.doi.org/10.33137/q.i..v41i1.35930.

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When in 1834, during his Grand Tour of Europe, Hans Christian Andersen set foot in Naples, he was immediately won over by the exuberant vitality of the Neapolitan people. The Parthenopean city, where he “was exposed to sensuality as a daily temptation” (Rossel, “Hans Christian Andersen” 24 and “Do You Know the Land” 95), also awakened Andersen’s more repressed instincts. From this experience he drew material for his most autobiographical novel, Improvisatoren (1835; The Improvisatore), whose protagonist tries to and succeeds in resisting the seductions of Neapolitan sensuality. If on the one hand the Danish author underwent the typical experience of the Northern traveller visiting the South and, more specifically, Naples, enjoying its openness and gaiety, on the other hand he never completely abandoned himself to Southern allures, upholding his moral and religious beliefs against a city that continuously attempted to wholly seduce him. The present paper aims to retrace Andersen’s first journey to Naples—where, by the writer’s own account, “the blood boils” (The Diaries of Hans Christian Andersen 85)—as a voyage into a tempting sensuality, contextualizing it within the wider context of nineteenth-century travelling experience in the city by Northern travellers.
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5

Maria Xia. "Hans Christian Andersen Dreams." Fairy Tale Review 9 (2013): 138. http://dx.doi.org/10.13110/fairtalerevi.9.2013.0138.

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6

Dreyer, Kirsten. "Om og af H. C. Andersen. H.C. Andersens samlede værker. Eventyr og Historier I-III. Udgivet af Det Danske Sprog- og Litteraturselskab." Fund og Forskning i Det Kongelige Biblioteks Samlinger 43 (January 1, 2004): 442. http://dx.doi.org/10.7146/fof.v43i1.40660.

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OM OG AF H. C. ANDERSEN ANDERSEN. H.C. Andersens samlede værker. Eventyr og Historier I-111. Udgivet af Det Danske Sprog- og Litteraturselskab under redaktion af Klaus P. Mortensen. Udgivere: Laurids Kristian Fahl, Esther Kielberg, Klaus P. Mortensen, Jesper Gehlert Nielsen under medvirken af Finn Gredal Jensen. Det Danske Sprog- og Litteraturselskab/ Gyldendal 2003. 560 s. + 528 s + 488 s. Jackie Wullschlager: H.C. Andersen. En biografi. På dansk ved Pia Juul. Hans Reitzels Forlag. 2002. 504 s. Jens Andersen: Andersen. En biografi 1-2. Gyldendal 2003. 528 s. + 440 s
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7

Luo, Xuanmin, and Jiachun Zhu. "The translation of Hans Christian Andersen’s fairy tales in China." Babel. Revue internationale de la traduction / International Journal of Translation 65, no. 2 (June 27, 2019): 153–74. http://dx.doi.org/10.1075/babel.00086.luo.

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Abstract Hans Christian Andersen’s fairy tales have been popular among Chinese readers since they were introduced to China through translation a century ago. This paper studies the translation of Andersen’s fairy tales in China by focusing on prominent Chinese translators of Andersen and their landmark translations. Regarding translation as a social activity, the author attempts to interpret the behaviour of the translator in terms of the historical context in which it occurred, as well as the corresponding ideology of literature. It is argued that the language styles and translating strategies adopted by the translators of different ages have varied according to the translator’s understanding of the original works, his purpose of translating, the publishers’ interests and the readers’ expectations in the target culture, as well as the image of Andersen constructed in the socio-cultural context from which the translation emerged. Therefore, the translation practice, which has contributed to the canonization of Andersen in China, is a process of the translators’ negotiations with the fluid Chinese poetics and ideology of the 20th century.
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8

Zańko, Aldona. "”In Memory of the Snow Queen” – Hans Christian Andersen Recalled and Retold." Folia Scandinavica Posnaniensia 27, no. 1 (December 1, 2019): 35–50. http://dx.doi.org/10.2478/fsp-2019-0006.

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Abstract The main focus of the present paper is the so-called “intertextual revision”, explored as one of the most recent and innovative strategies employed while reviving the legacy of the Danish fairy-tale classic Hans Christian Andersen. In order to illustrate this practice, I discuss a short story entitled Travels with the Snow Queen (2001), by an American writer Kelly Link, which is a reworking of Andersen's worldfamous fairy tale The Snow Queen (1844). Link’s take on Andersen’s tale represents one of the leading directions within revisionary fairy-tale fiction, inspired by feminism and gender criticism. The analysis is centered around the narrative strategies employed by the author in order to challenge the gender logic incorporated into Andersen’s account, as well as the broader fairy-tale tradition it belongs to.
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9

Bryn, Brita Lotsberg. "Hans Christian Andersen in Russia." Nordisk Østforum 34 (2020): 230. http://dx.doi.org/10.23865/noros.v34.2528.

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10

Gerber, Marina. "Hans Christian Andersen in Russia." Scando-Slavica 66, no. 2 (July 2, 2020): 304–9. http://dx.doi.org/10.1080/00806765.2020.1832917.

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11

Kuczaba-Flisak, Magdalena. "“You paint when you speak”: On the creative process of Hans Christian Andersen." Acta Universitatis Lodziensis. Folia Litteraria Polonica 64, no. 1 (June 30, 2022): 93–135. http://dx.doi.org/10.18778/1505-9057.64.04.

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The article analyses the creative process of Hans Christian Andersen. The author focuses on the writer’s early years and then juxtaposes them with his mature creative period. The author draws attention to problems in interpreting the translated works, demonstrating their nature based on various endings of “The Snow Queen”. Then she analyses what, how and with what means Andersen wrote. The section devoted to Andersen’s journals analyses his goals and aspirations and how his travel records later translated into his literature. In the next part, she presents the process seen through the eyes of the writer himself and his critics. Her conclusions emphasise the intense sensuality of Andersen’s works, his connection with the spoken language and the writer’s late conviction that he managed to make good use of his God-given gifts.
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12

Korovin, Andrey V. "Creator and Art in Hans Christian Andersen’s Novels." Studia Litterarum 6, no. 2 (2021): 50–73. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-50-73.

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The article deals with three novels by Danish writer Hans Christian Andersen, who is known worldwide as an author of fairy tales. In his novels The Improviser (1835), Only a Fiddler (1837) and Lucky Peer (1870) the main plot is built on the issue of relationships between a creator, an artist and the rest of the world. The theme of art is the one of the most important for the Romantic esthetics and Andersen discusses it in different ways in his novels. Philosopher S. Kierkegaard criticized Andersen’s conception of how a talent interacts with the reality as naive and fictive, but Andersen gives different visions of the artist’s way in these texts. The first novel is the history of an Italian boy who has an outstanding talent of improvisation. He receives assistance from people and eventually becomes a real artist in Romantic sense of the word. The hero of the second novel Christian is partly alter ego of the author, a boy from a poor family who tries to realize his musical talent but has not enough spiritual power to overcome all troubles in his life. He cannot find himself as an artist and dies. The title of the last novel is relevant to its subject — it is a story about the rise of а talented singer and his death on the top of fame. These three heroes are different types of interaction between a creator and reality in its romantic interpretation.
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13

Korovin, Andrey V. "Creator and Art in Hans Christian Andersen’s Novels." Studia Litterarum 6, no. 2 (2021): 50–73. http://dx.doi.org/10.22455/2500-4247-2021-6-2-50-73.

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The article deals with three novels by Danish writer Hans Christian Andersen, who is known worldwide as an author of fairy tales. In his novels The Improviser (1835), Only a Fiddler (1837) and Lucky Peer (1870) the main plot is built on the issue of relationships between a creator, an artist and the rest of the world. The theme of art is the one of the most important for the Romantic esthetics and Andersen discusses it in different ways in his novels. Philosopher S. Kierkegaard criticized Andersen’s conception of how a talent interacts with the reality as naive and fictive, but Andersen gives different visions of the artist’s way in these texts. The first novel is the history of an Italian boy who has an outstanding talent of improvisation. He receives assistance from people and eventually becomes a real artist in Romantic sense of the word. The hero of the second novel Christian is partly alter ego of the author, a boy from a poor family who tries to realize his musical talent but has not enough spiritual power to overcome all troubles in his life. He cannot find himself as an artist and dies. The title of the last novel is relevant to its subject — it is a story about the rise of а talented singer and his death on the top of fame. These three heroes are different types of interaction between a creator and reality in its romantic interpretation.
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14

Christensen, Nina, and Jack Zipes. "Hans Christian Andersen: The Misunderstood Storyteller." Modern Language Review 102, no. 3 (July 1, 2007): 827. http://dx.doi.org/10.2307/20467452.

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15

Pierce, Marc, Jack Zipes, Diana Crone Frank, Jeffrey Frank, Vilhelm Pedersen, and Lorenz Frolich. "Hans Christian Andersen: The Misunderstood Storyteller." Journal of American Folklore 122, no. 484 (April 1, 2009): 240. http://dx.doi.org/10.2307/20487690.

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16

Tartalja, Ivo. "Hans Kristijan Andersen o srpskom folkloru." Prilozi za knji?evnost i jezik, istoriju i folklor 68-69, no. 1-4 (2002): 73–89. http://dx.doi.org/10.2298/pkjif0304073t.

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17

MEMMEDOV, Rövşen. "HANS CHRISTIAN ANDERSEN MASALLARININ SEMBOLİK MANZARASI." Journal of International Social Research 13, no. 70 (April 30, 2020): 106–13. http://dx.doi.org/10.17719/jisr.2020.4077.

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18

Sommergruber, Wolfgang. "Hans Christian Andersen and Charles clifford." History of Photography 19, no. 1 (March 1995): 89. http://dx.doi.org/10.1080/03087298.1995.10442394.

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19

M⊘rup Hansen, Susanne. "HANS CHRISTIAN ANDERSEN – TOLD FOR CHILDREN." Perspectives 13, no. 3 (November 25, 2005): 163–77. http://dx.doi.org/10.1080/09076760508668989.

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20

Hommel, Maggie. "The Young Hans Christian Andersen (review)." Bulletin of the Center for Children's Books 59, no. 5 (2006): 233. http://dx.doi.org/10.1353/bcc.2006.0036.

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21

Alhussein, Akkad. "Translation als Mythos." Lebende Sprachen 49, no. 5 (October 8, 2020): 237–56. http://dx.doi.org/10.1515/les-2020-0018.

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AbstractThis paper investigates the reception history of the Danish Poet and fairytale writer Hans Christian Andersen in 19th-century Germany and its influence on his (auto)biographical depiction. Like many Scandinavian poets, Andersen discovered Germany’s literary potential and took advantage of it to further his career. In most cases, he was pictured as a genius who suffered systematic underestimation in Denmark. This narrative which determined his reception plays a central role in his German autobiography Märchen meines Lebens (Fairy Tale of my Life). Analyzing Andersen’s autobiographical discourse, I will reconstruct the process of the construction of Andersen’s (auto)biographical myth, emphasizing translation’s role in shaping autobiographical narratives.
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22

De Mylius, Johan. "Hans Christian Andersen : Dossier critique 1964-84." Romantisme 15, no. 48 (1985): 79–90. http://dx.doi.org/10.3406/roman.1985.5470.

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23

Hjørnager Pedersen, Viggo. "Anne Bushby, Translator of Hans Christian Andersen." Nordic Journal of English Studies 3, no. 1 (January 1, 2004): 159. http://dx.doi.org/10.35360/njes.28.

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24

Lundin, Anne H. "Hans Christian Andersen: The Misunderstood Storyteller (review)." Lion and the Unicorn 30, no. 3 (2006): 398–401. http://dx.doi.org/10.1353/uni.2006.0032.

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25

Hulick, Jeannette. "The Snow Queen by Hans Christian Andersen." Bulletin of the Center for Children's Books 68, no. 6 (2015): 297. http://dx.doi.org/10.1353/bcc.2015.0100.

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26

Kaliambou, Maria. "Hans Christian Andersen: The Misunderstood Storyteller (review)." Marvels & Tales 20, no. 2 (2007): 272–75. http://dx.doi.org/10.1353/mat.2007.0009.

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27

Tangherlini, Timothy R. "Hans Christian Andersen: The Misunderstood Storyteller (review)." Journal of Folklore Research 43, no. 1 (2006): 75–77. http://dx.doi.org/10.1353/jfr.2006.0008.

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28

Pedersen, Viggo Hj⊘rnager. "Hans Christian Andersen tradition(s) in English." Perspectives 8, no. 4 (January 2000): 289–300. http://dx.doi.org/10.1080/0907676x.2000.9961397.

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29

Ossowski, Mirosław. "Günter Grass und das romantische Märchen." Fabula 61, no. 1-2 (June 25, 2020): 84–99. http://dx.doi.org/10.1515/fabula-2020-0005.

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ZusammenfassungDer Aufsatz thematisiert den Einfluss der Kinder- und Hausmärchen der Brüder Grimm, aber auch der Märchen von Hans Christian Andersen auf das literarische und künstlerische Werk von Günter Grass. Die Analyse umfasst die stilistischen Mittel in Die Blechtrommel sowie die Rolle und die Präsenz der Märchenmotive in Der Butt, Die Rättin und Grimms Wörter sowie in anderen künstlerischen Arbeiten.
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30

Rubio Torres, Carlos. "Carta abierta a Hans Christian Andersen en el bicentenario de su nacimiento." Revista Electrónica Educare, no. 8 (June 30, 2005): 157–68. http://dx.doi.org/10.15359/ree.2005-8.8.

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El 2 de abril del 2005 se realizó una doble celebración: el bicentenario del natalicio del escritor danés Hans Christian Andersen y el Día Internacional del Libro Infantil. Se considera a este autor como el creador de la literatura para niños contemporánea, por introducir discursos reservados, hasta aquel momento, exclusivamente para adultos. La “Carta abierta” fue leída a estudiantes de la Universidad Centroamericana (UCA) en Managua, Nicaragua, en el marco del Festival dedicado a Andersen, organizado por la Fundación Libros para Niños con el apoyo de las embajadas de Noruega y Dinamarca. En ella, se trata de establecer un perfil biográfico de Andersen y se exploran posibles lecturas de sus cuentos, desde perspectivas educativas, psicológicas y psicoanalíticas. Concluye con una interpretación de Andersen como metáfora del entendimiento y el diálogo entre Costa Rica y Nicaragua. Asimismo, este trabajo es la base para el suplemento Educare en el aula, el cual contiene ideas para la motivación a la lectura. Como complemento, se adiciona el cuento El porquerizo de Hans Christian Andersen.
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31

Celenza, Anna Harwell. "The Poet, the Pianist, and the Patron: Hans Christian Andersen and Franz Liszt in Carl Alexander's Weimar." 19th-Century Music 26, no. 2 (2002): 130–54. http://dx.doi.org/10.1525/ncm.2002.26.2.130.

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The writings of Hans Christian Andersen shed important light on Liszt's years in Weimar and his relationship with the city's most powerful patron, Grand Duke Carl Alexander. Andersen shared a strong friendship with Carl Alexander, and from 1844 to 1857 he visited Weimar on numerous occasions. He also corresponded with Carl Alexander regularly, taking special care to preserve the Grand Duke's thoughts about the role of the artist in society, the incongruousness of art and politics, and Liszt's "Music of the Future." Two of Andersen's lesser-known tales, "The Bell" and "The Pepperman's Nightcap," were inspired by his interactions with Carl Alexander and Liszt. These tales, along with the many firsthand accounts of life in Weimar preserved in Andersen's letters, diaries, and memoirs, serve as testimonials to the city's changing artistic climate during the mid-nineteenth century and elucidate the complexity of Carl Alexander's role as patron and the indelible imprint Liszt's presence had on those around him.
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32

Kjærgaard, Jørgen. "Oplyst, forbedret, saliggjort." Dansk Teologisk Tidsskrift 81, no. 2 (October 11, 2018): 144–57. http://dx.doi.org/10.7146/dtt.v81i2.109760.

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At the same time as his Fairy Tales were being published,Hans Christian Andersen was commissioned to write two hymns forthe re-opening of Holmen’s Church in Copenhagen. In his dissertation,Kaj Mogensen mainly sees these hymns as presenting an image ofGod as Creator, independently of their actual context in the particularchurch service on the day of the re-opening. The article considers thecontent of Hans Christian Andersen’s hymns as reflecting both the contemporarybaptismal ritual and the gospel for the sermon of the day inquestion.
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33

Weaver, Andrew H. "Poetry, Music and Fremdartigkeit in Robert Schumann's Hans Christian Andersen Songs, op. 40." Nineteenth-Century Music Review 6, no. 2 (November 2009): 41–69. http://dx.doi.org/10.1017/s1479409800003098.

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On 1 October 1842, Robert Schumann sent Hans Christian Andersen a copy of his recently published Fünf Lieder op. 40, a song collection consisting of settings of four poems by Andersen as well as an anonymous ‘Neugriechisch’ poem, all translated into German by Adelbert von Chamisso. Although Clara Schumann had become acquainted with the poet earlier that year during a concert tour that took her through Copenhagen, Robert had yet to meet him, and the letter included with op. 40 was the first time that he addressed Andersen directly.
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34

Skrine, Peter, Anna Harwell Celenza, Hans Christian Andersen, and Régis Boyer. "Hans Christian Andersen and Music: The Nightingale Revealed." Modern Language Review 102, no. 1 (January 1, 2007): 292. http://dx.doi.org/10.2307/20467265.

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35

Mathis, Janelle, and Petros Panaou. "Presenting the 2022 Hans Christian Andersen Award Nominees." Bookbird: A Journal of International Children's Literature 59, no. 4 (2021): ii—iii. http://dx.doi.org/10.1353/bkb.2021.0046.

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36

Boyer, Régis. "Découverte d'un conte inconnu de Hans Christian Andersen." Études Germaniques 269, no. 1 (2013): 147. http://dx.doi.org/10.3917/eger.269.0147.

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37

Page, Elizabeth. "Presentation of the Hans Christian Andersen Awards 2012." Bookbird: A Journal of International Children's Literature 51, no. 2 (2013): 87–95. http://dx.doi.org/10.1353/bkb.2013.0036.

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38

Zhang, Mingzhou. "Cao Wenxuan, Hans Christian Andersen Award Winner 2016." Bookbird: A Journal of International Children's Literature 54, no. 4 (2016): 4–9. http://dx.doi.org/10.1353/bkb.2016.0101.

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Sakoi, Junko, and Yoo Kyung Sung. "Eiko Kadono: Hans Christian Andersen Author Award Winner." Bookbird: A Journal of International Children's Literature 56, no. 3 (2018): 4–9. http://dx.doi.org/10.1353/bkb.2018.0037.

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40

Panaou, Petros, and Janelle Mathis. "Presenting the 2020 Hans Christian Andersen Award Nominees." Bookbird: A Journal of International Children's Literature 57, no. 4 (2019): ii—iii. http://dx.doi.org/10.1353/bkb.2019.0092.

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41

Thibodeaux, Toni. "Hans Christian Andersen: European Witness by Paul Binding." Lion and the Unicorn 42, no. 2 (2018): 253–55. http://dx.doi.org/10.1353/uni.2018.0024.

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42

Hommel, Maggie. "Hans Christian Andersen: His Fairy Tale Life (review)." Bulletin of the Center for Children's Books 59, no. 3 (2005): 158. http://dx.doi.org/10.1353/bcc.2005.0035.

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43

Malmkjær, Kirsten. "Translational stylistics: Dulcken’s translations of Hans Christian Andersen." Language and Literature: International Journal of Stylistics 13, no. 1 (February 2004): 13–24. http://dx.doi.org/10.1177/0963947004039484.

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The aim of this article is to illustrate the claim that whereas the style and potential effects on readers of any text, whether translated or not, can be helpfully subjected to stylistic analysis as traditionally understood, no claims about writer motivation can helpfully be made about a translated text without due regard to significant regularities in the relationships between it and its source text. In translational stylistics, this relationship is seen as central; indeed, it is through observation of its manifestations that many of the most interesting questions about writer motivation are raised in the context of translated text.
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44

Felcht, Frederike. ""Constantly in Motion." Transfers 2, no. 3 (December 1, 2012): 81–96. http://dx.doi.org/10.3167/trans.2012.020306.

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In the nineteenth century, a significant change in the modern infrastructures of travel and communications took place. Hans Christian Andersen's (1805-1875) literary career reflected these developments. Social and geographical mobility influenced Andersen's aesthetic strategies and autobiographical concepts of identity. This article traces Andersen's movements toward success and investigates how concepts of identity are related to changes in the material world. The movements of the author and his texts set in motion processes of appropriation: on the one hand, Andersen's texts are evidence of the appropriation of ideas and the way they change by transgressing social spheres. On the other hand, his autobiographies and travelogues reflect how Andersen developed foreign markets by traveling and selling the story of a mobile life. Capturing foreign markets brought about translation and different appropriations of his texts, which the last part of this essay investigates.
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45

Cymbrykiewicz, Joanna. "Na przekór przełomowi nowoczesnemu. O projekcie patriotycznym Vilhelma Andersena." Przegląd Humanistyczny 62, no. 2 (461) (October 4, 2018): 81–88. http://dx.doi.org/10.5604/01.3001.0012.5791.

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The article presents the patriotic project of Vilhem Andersen, one of George Brandes’s opponents and critics of the modern breakthrough. Andersen’s main medium were literary biographies, which he had the ambition to use to influence his contemporaries, promoting romantic national literature and identifying the national characteristics of the Danes. The reflections focus on the most important and most popular biography of the author entitled Poul Møller. Hans Liv og Skrifter (1894), which is the most emphatic manifestation of Andersen’s mission.
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46

Proskurova-Timofeeva, Olga. "Еще раз об андерсеновском следе в романе В. Набокова «Король, дама, валет» [Once Again on Hans Christian Andersen’s Presence in Vladimir Nabokov’s Novel _Korol’, dama, valet_ (_King, Queen, Knave_)]." Slavica Revalensia 8 (2021): 80–93. http://dx.doi.org/10.22601/sr.2021.08.04.

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This article is an inquiry into the possible origin of the title of Vladimir Nabokov’s second Russian novel King, Queen, Knave (Korol’, dama, valet, 1928). It proves a long-forgotten hypothesis that the title’s likely source is a lesser-known fairy-tale by Hans Christian Andersen, published in several translations into Russian in Berlin and Riga émigré newspapers at the very end of the 1920s. KEYWORDS: 20th-Century Russian Literature, Vladimir Nabokov (1899—1977), Korol’, dama, valet (1928), Hans Christian Andersen (1805—1875), Russian émigré Press, History of Literature.
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47

Malmkjær, Kirsten. "Children’s literature in/and translation: The oeuvre as corpus." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 71, no. 1 (January 15, 2018): 135–50. http://dx.doi.org/10.5007/2175-8026.2018v71n1p135.

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In this article, I argue that whereas Lewis Carroll builds the fantastic world of Alice’s dreams primarily through narration, Hans Christian Andersen uses patterns of lexical choices that recur throughout his opus to build a universe divided solely in terms of a distinction between what is genuine and what is artificial; and this distinction is a central player in all of his work. Arguably, therefore, attention to Andersen’s wider corpus, and to his use of lexis in it, are key to producing translations of Andersen’s work that reflect its essence.
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48

Christensen, Nina. "Hans Christian Andersen: The Misunderstood Storyteller by Jack Zipes." Modern Language Review 102, no. 3 (2007): 827–28. http://dx.doi.org/10.1353/mlr.2007.0276.

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49

Mellemgaard, Lis. "Gustav Østerberg in the footsteps of Hans Christian Andersen." Acta Ophthalmologica Scandinavica 80 (April 2002): 20–23. http://dx.doi.org/10.1034/j.1600-0420.80.s234.4.x.

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50

Bloom, Harold. "'Trust the Tale, Not the Teller': Hans Christian Andersen." Orbis Litterarum 60, no. 6 (December 2005): 397–413. http://dx.doi.org/10.1111/j.1600-0730.2005.00846.x.

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