List of abstracts for the IV International HCA conference - Hans Christian Andersen between children's literature and adult literature
Andersen, Hans Christian; Workshop I Hans Christian Andersen as a Tourist?
Askgaard, Ejnar; M.A. Workshop V On Andersen's 'The Snow Queen'
Baran, Zbigniew; ph.d. Workshop II Encyclopaedic Portraits of HCA
Bliudzius, Arunas; Sc.secr. Workshop III Publishing of H.C.Andersen's Tales in Lithuanian and Latvian
Bostrup, Lise; eks. lektor Workshop III Offering Roses to a Cow? The English and the Danish Shadow of Hans Christian Andersen
Christensen, Erik M.; Plenary lecture 1 The Queen and I
Davidsen, Mogens; Workshop IV 'Childishness' as Poetic Strategy
Draga-Alexandru, Maria Sabina; Plenary lecture 6 'Out of a Swan's Egg' Metamorphosis in H. C. Andersen's Tales and 'The Fairy Tale of My Life'
Dumitrescu, Anca; prof.dr. Workshop III H.C. Andersen and His First Romanian Translators
Gai·iūnas, Silvestras; Dr. Workshop II The Motive of Mermaid in the Baltic Cultures (the modifications of H. C. Andersen's tradition)
Gancheva, Vera; Workshop V From New Platonism to New Age - Ways of Understanding And Interpreting H.C. Andersen's Spirituality
Hees, Annelies van; Workshop I HCA was no hypochondriac: he was ill
Hintz, Nina; ph.d.studerende Workshop I Hans Christian Andersen's perception of and approach towards the Orient
Holmqvist, Ivo; Prof. Workshop III 'Prenez garde aux enfants' Swedish versions and varieties of Hans Christian Andersen´s Eventyr
Isaeva, Elisaveta; Professor Workshop II Evgeny Shwartz and H. C. Andersen
Ivanauskaité- Gustaitiene, Asta; Workshop IV The guilt of a child/grown up and justification in the prose by Hans Christian Andersen
Jensen, Inger Lise; Workshop IV Dream and reality - ' The Little Match Girl' expressed through a social psychological view
Jensen, Lars Bo; Ph.D-studerende Workshop I Children and tunings in Hans Christian Andersen's travel books
Johansen, Ib; Workshop V Trivializing Trauma(s). Carnivalesque-grotesque Elements in Andersen's
Jones, Eric; Workshop IV H.C. Andersen's flair to communicate basic social skills naturally and imperceptibly to national and international readers.
Jørgensen, Aage; Workshop I Hans Christian Andersen between tradition and modernity, with special reference to the fairy-tale Dryaden (The Dryad)
Kofoed, Lone Funch; cand.mag. Workshop I Shadow Pictures - Truth or tale
Koldtoft, Lone; Workshop V Disharmony and temporal categories in Søren Kierkegaard and H. C. Andersen
Korovin, Andrey V.; Ph.D, Associate professor Plenary lecture 7 Chronotope of Andersen's Fairy Tales and Stories
Kos, Silvana Orel; Dr. Workshop III 'Look in the passport!' said the man. 'I am myself!' - The Socialist Cloak of the Slovene Andersen.
Kuhn, Hans; Plenary lecture 2 Andersen's poems for and about children.
Lotz, Martin; Psychiatrist, Psychoanaly Plenary lecture 8 The Shepherdess and the Chimney Sweep in the light of psychoanalytic thinking
Lundskær-Nielsen, Tom; Dr., Senior Lecturer Workshop IV Hans Christian Andersen is famous for using language aimed at children
Malmkjær, Kirsten; Prof. Plenary lecture 4 The Language that Stayed at Home: Hans Christian Andersen's way with words.
Massengale, James; Workshop IV Little Gerda's Moratoria
Mhlakaza, Vincent A.; Workshop IV Hans Christian Andersen in Southern Africa
Mikkelsen, Cynthia Mikaela; postgraduate Workshop V The element of fear in H.C. Andersen's fairytales
Minovska- Devedzhieva, Rossitsa; dir. Workshop II Hans Christian Andersen in Puppet Theatre
Mylius, Johan de; Docent, dr. phil. Plenary lecture 3 The Child and Death
Müürsepp, Mare; PhD Workshop III H. C. Andersen fairy tales for Estonian readers
Möller-Christensen, Ivy York; Dr., ph.d. Workshop IV A review of the principles of literary methods and didactics which have decided the selection of HCA-texts for upper secondary school
Nagashima, Yoichi; Workshop III Adults only - A new translation of H.C. Andersen's works into Japanese
Olsen, Inger M.; Workshop IV Oprørske og halsstarrige piger i H. C. Andersens eventyr
Oxfeldt, Elisabeth; dansk lektor Workshop II Life and Death in The Little Mermaid: Three Contemporary Adaptations of Hans Christian Andersen's Fairy Tale
Pedersen, Viggo Hjørnager; Lektor, dr. phil. Workshop III 'Out in the world, thoughts come'
Petzoldt, Leander; Prof. Dr. Workshop V The Soul of Things. Literary Forms and Popular Motifs in the Tales of H.C. Andersen.
Rasmussen, Inge Lise Pin; Workshop IV The Snow Queen by Hans Christian Andersen. Existential Philosophy and Animated Cartoon.
Reid-Walsh, Jacqui; lecturer Workshop II Everything in the picture book was alive
Scanavino, Carola; Plenary lecture 0 Caught between heaven and hell: the two faces of H. C. Andersen
Sezer, Sarap; MA Workshop III Turkish Translations of Andersen's Fairy Tales
Slavova, Margarita; Dr Workshop V 'See saa! nu begynde vi.' [Now then! We will begin.]: Communicative Strategies in Andersen's Fairy-Tales
Stecher-Hansen, Marianne; Associate Professor, Grad Plenary lecture 5 From Romantic to Modernist Metatexts: Commemorating Andersen and the Self-Referential Text
Weinreich, Torben; professor Workshop IV Hans Christian Andersen - writing for children?
Zharov, Boris; Prof Workshop III Dynamism in Perception of Hans Christian Andersen in S-t Petersburg, one of the most H.C.Andersenous cities of the world
Øster, Anette; forskningsassistent Workshop III
Andersen in translation
In my paper I will show that not only a translator's view of the child, but also a translator's awareness of genre play a part in the renderings of Andersen's fairy tales.
In short comparative readings of a number of Andersen's fairy tales, in their original form and in translation reveal the following in the English versions: there are far fewer details; abstractions are concretised; there are more paragraphs; and sentences are shorter. In general, the English version tends to be simpler and more specific in its expression, less descriptive and abstract. Whereas the Danish text leaves it up to the reader to draw various conclusions and make their own judgements, the English text gives a helping hand. Indirect speech is also often changed into direct speech in the translations and there are many examples of additions to the text. In many of the translations external action is prioritised over other narrative qualities. Furthermore it seems like the fairy tales have been adapted to fit the traditional folk tale mould so that they fulfil genre expectations. Several of the English fairy tales open with the conventional 'Once upon a time', a phrase which Andersen himself very rarely used.
It is my thesis that many of the changes undertaken and differences from the original texts are a result of the translator's conflicting view of the child reader and understanding of the writer's genre. In this paper I would like to demonstrate how Andersen's fairy tales in translation are much closer to the folk tale in their mode of expression than was the case with the original stories and how traditional thinking about genres and about what children's literature can and should do may have determined this transformation.
[hide abstract]
Andersen in translation
In my paper I will show that not only a translator's view of the child, but also a translator's awareness of genre play a part in the renderings of Andersen's fairy tales.
In short comparative readings of a number of Andersen's fairy tales, in their original form and in translation reveal the following in the English versions: there are far fewer details; abstractions are concretised; there are more paragraphs; and sentences are shorter. In general, the English version tends to be simpler and more specific in its expression, less descriptive and abstract. Whereas the Danish text leaves it up to the reader to draw various conclusions and make their own judgements, the English text gives a helping hand. Indirect speech is also often changed into direct speech in the translations and there are many examples of additions to the text. In many of the translations external action is prioritised over other narrative qualities. Furthermore it seems like the fairy tales have been adapted to fit the traditional folk tale mould so that they fulfil genre expectations. Several of the English fairy tales open with the conventional 'Once upon a time', a phrase which Andersen himself very rarely used.
It is my thesis that many of the changes undertaken and differences from the original texts are a result of the translator's conflicting view of the child reader and understanding of the writer's genre. In this paper I would like to demonstrate how Andersen's fairy tales in translation are much closer to the folk tale in their mode of expression than was the case with the original stories and how traditional thinking about genres and about what children's literature can and should do may have determined this transformation.
[hide abstract]