Funen Means Fine

Andersen the Anti-nationalist

Publikation: Bidrag til bog/antologi/rapport/konference-proceedingBidrag til bog/antologiForskningpeer review

Resumé

In this chapter, I am presenting the argument that the Danish writer Hans Christian Andersen, who is often perceived as a proponent of sentimental and national Romanticism, can be said to perform an ironic critique of universalist Romanticism in his writings – primarily his novels O.T. (1836) and Only a Fiddler (1837). This is done by turning the Danish landscape into a travesty of an idyll through the employment of romantic irony combined with social indignation. Romantic irony is not what one would typically associate with questions of community, nationalism or politics. But I argue that in Andersen’s specific employment of irony, it develops a critique that can be called political in the way that it challenges the nationalist agendas of the Danish Golden Age by questioning its legitimacy. It does so through a debunking of idealism that emphasizes its artificiality, and it often appears through the lens of a social indignation that contrasts with the Golden Age’s cultivation of the national, the idyllic and the harmonious. This is a social indignation that emphasizes the fates of those phenomena and groups of people left out of the worldview created by romantic idealism. Seen like this, Andersen’s work can be said to carry a political undertone that comes across as a discrete critique of the propagandistic uses of art and literature.
OriginalsprogEngelsk
TitelHans Christian Andersen and Community
RedaktørerAnne Klara Bom, Jacob Bøggild, Johs. Nørregaard Frandsen
Udgivelses stedOdense
ForlagSyddansk Universitetsforlag
Publikationsdato2019
Sider243-258
ISBN (Trykt)978-87-408-3220-4
StatusUdgivet - 2019
NavnPublications from the Hans Christian Andersen Center
Vol/bind7

Emneord

  • H. C. Andersen
  • nationalisme
  • nationalromantik
  • guldalder
  • Klima
  • natur
  • landskab

Citer dette

Thomsen, T. B. (2019). Funen Means Fine: Andersen the Anti-nationalist. I A. K. Bom, J. Bøggild, & J. N. Frandsen (red.), Hans Christian Andersen and Community (s. 243-258). Odense: Syddansk Universitetsforlag. Publications from the Hans Christian Andersen Center, Bind. 7
Thomsen, Torsten Bøgh. / Funen Means Fine : Andersen the Anti-nationalist. Hans Christian Andersen and Community. red. / Anne Klara Bom ; Jacob Bøggild ; Johs. Nørregaard Frandsen. Odense : Syddansk Universitetsforlag, 2019. s. 243-258 (Publications from the Hans Christian Andersen Center, Bind 7).
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Thomsen, TB 2019, Funen Means Fine: Andersen the Anti-nationalist. i AK Bom, J Bøggild & JN Frandsen (red), Hans Christian Andersen and Community. Syddansk Universitetsforlag, Odense, Publications from the Hans Christian Andersen Center, bind 7, s. 243-258.

Funen Means Fine : Andersen the Anti-nationalist. / Thomsen, Torsten Bøgh.

Hans Christian Andersen and Community. red. / Anne Klara Bom; Jacob Bøggild; Johs. Nørregaard Frandsen. Odense : Syddansk Universitetsforlag, 2019. s. 243-258 (Publications from the Hans Christian Andersen Center, Bind 7).

Publikation: Bidrag til bog/antologi/rapport/konference-proceedingBidrag til bog/antologiForskningpeer review

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AB - In this chapter, I am presenting the argument that the Danish writer Hans Christian Andersen, who is often perceived as a proponent of sentimental and national Romanticism, can be said to perform an ironic critique of universalist Romanticism in his writings – primarily his novels O.T. (1836) and Only a Fiddler (1837). This is done by turning the Danish landscape into a travesty of an idyll through the employment of romantic irony combined with social indignation. Romantic irony is not what one would typically associate with questions of community, nationalism or politics. But I argue that in Andersen’s specific employment of irony, it develops a critique that can be called political in the way that it challenges the nationalist agendas of the Danish Golden Age by questioning its legitimacy. It does so through a debunking of idealism that emphasizes its artificiality, and it often appears through the lens of a social indignation that contrasts with the Golden Age’s cultivation of the national, the idyllic and the harmonious. This is a social indignation that emphasizes the fates of those phenomena and groups of people left out of the worldview created by romantic idealism. Seen like this, Andersen’s work can be said to carry a political undertone that comes across as a discrete critique of the propagandistic uses of art and literature.

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Thomsen TB. Funen Means Fine: Andersen the Anti-nationalist. I Bom AK, Bøggild J, Frandsen JN, red., Hans Christian Andersen and Community. Odense: Syddansk Universitetsforlag. 2019. s. 243-258. (Publications from the Hans Christian Andersen Center, Bind 7).