The Glacial Sublime: Hans Christian Andersen's The Ice Maiden and Caspar David Friedrich's The Sea of Ice

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Standard

The Glacial Sublime : Hans Christian Andersen's The Ice Maiden and Caspar David Friedrich's The Sea of Ice. / Rösing, Lilian Munk.

I: Figurationen, Bind 23, Nr. 1, 2022, s. 32-49.

Publikation: Bidrag til tidsskrift › Tidsskriftartikel › Forskning › fagfællebedømt

Harvard

Rösing, LM 2022, 'The Glacial Sublime: Hans Christian Andersen's The Ice Maiden and Caspar David Friedrich's The Sea of Ice', Figurationen, bind 23, nr. 1, s. 32-49. https://doi.org/10.7788/figu.2022.23.1.32

APA

Rösing, L. M. (2022). The Glacial Sublime: Hans Christian Andersen's The Ice Maiden and Caspar David Friedrich's The Sea of Ice. Figurationen, 23(1), 32-49. https://doi.org/10.7788/figu.2022.23.1.32

Vancouver

Rösing LM. The Glacial Sublime: Hans Christian Andersen's The Ice Maiden and Caspar David Friedrich's The Sea of Ice. Figurationen. 2022;23(1):32-49. https://doi.org/10.7788/figu.2022.23.1.32

Author

Rösing, Lilian Munk. / The Glacial Sublime : Hans Christian Andersen's The Ice Maiden and Caspar David Friedrich's The Sea of Ice. I: Figurationen. 2022 ; Bind 23, Nr. 1. s. 32-49.

Bibtex

@article{187ee4e30c8f48ff8ed3d6ffb8a9944c,
title = "The Glacial Sublime: Hans Christian Andersen's The Ice Maiden and Caspar David Friedrich's The Sea of Ice",
abstract = "This article proposes a comparative reading of the glacial imagery in Hans Christian Andersen{\textquoteright}s tale The Ice Maiden (1862) and Caspar David Friedrich{\textquoteright}s painting The Sea of Ice (1823). In both, ice is given a sublime quality as an image of measures and processes in nature far beyond the human scale. Friedrich depicts an icy nature destructive to human life and captures mighty forces of break-down and upheaval in his painted ice floes. Andersen{\textquoteright}s personification of the ice is a sublime, feminine creature associated with the death drive. Without wanting to dismiss the dimension of transcendence in Andersen{\textquoteright}s and Friedrich{\textquoteright}s works, the article focuses on their materialist dimension, not least their textual/textural materiality. It is argued that both works do not only represent ice, but are also inspired by glacial and geological form principles. The article concludes that by their glacial imagery, both Andersen and Friedrich give us non-vitalist images of matter. ",
keywords = "Faculty of Humanities, Caspar David Friedrich, Hans Christian Andersen, The Sublime, New materialism, Antropomorfisme, Ice",
author = "R{\"o}sing, {Lilian Munk}",
year = "2022",
doi = "10.7788/figu.2022.23.1.32",
language = "English",
volume = "23",
pages = "32--49",
journal = "Figurationen",
issn = "1439-4367",
publisher = "Boehlau Verlag GmbH & Cie",
number = "1",

}

RIS

TY - JOUR

T1 - The Glacial Sublime

T2 - Hans Christian Andersen's The Ice Maiden and Caspar David Friedrich's The Sea of Ice

AU - Rösing, Lilian Munk

PY - 2022

Y1 - 2022

N2 - This article proposes a comparative reading of the glacial imagery in Hans Christian Andersen’s tale The Ice Maiden (1862) and Caspar David Friedrich’s painting The Sea of Ice (1823). In both, ice is given a sublime quality as an image of measures and processes in nature far beyond the human scale. Friedrich depicts an icy nature destructive to human life and captures mighty forces of break-down and upheaval in his painted ice floes. Andersen’s personification of the ice is a sublime, feminine creature associated with the death drive. Without wanting to dismiss the dimension of transcendence in Andersen’s and Friedrich’s works, the article focuses on their materialist dimension, not least their textual/textural materiality. It is argued that both works do not only represent ice, but are also inspired by glacial and geological form principles. The article concludes that by their glacial imagery, both Andersen and Friedrich give us non-vitalist images of matter.

AB - This article proposes a comparative reading of the glacial imagery in Hans Christian Andersen’s tale The Ice Maiden (1862) and Caspar David Friedrich’s painting The Sea of Ice (1823). In both, ice is given a sublime quality as an image of measures and processes in nature far beyond the human scale. Friedrich depicts an icy nature destructive to human life and captures mighty forces of break-down and upheaval in his painted ice floes. Andersen’s personification of the ice is a sublime, feminine creature associated with the death drive. Without wanting to dismiss the dimension of transcendence in Andersen’s and Friedrich’s works, the article focuses on their materialist dimension, not least their textual/textural materiality. It is argued that both works do not only represent ice, but are also inspired by glacial and geological form principles. The article concludes that by their glacial imagery, both Andersen and Friedrich give us non-vitalist images of matter.

KW - Faculty of Humanities

KW - Caspar David Friedrich

KW - Hans Christian Andersen

KW - The Sublime

KW - New materialism

KW - Antropomorfisme

KW - Ice

U2 - 10.7788/figu.2022.23.1.32

DO - 10.7788/figu.2022.23.1.32

M3 - Journal article

VL - 23

SP - 32

EP - 49

JO - Figurationen

JF - Figurationen

SN - 1439-4367

IS - 1

ER -

ID: 318452270