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