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- Friberg, Ingemar
(author)
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The Endurance of Female Love : Romantic Ideology in H. C. Andersen’s The Snow Queen
- 2009
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In: Cold Matters. - Umeå : Umeå University and Royal Skyttean Society. - 9789188466709 ; , s. 191-207
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Book chapter (peer-reviewed)abstract
- Like all H. C. Andersen's stories, the fairy tale The Snow Queen (1844) is a text with many links to the tradition of Romanticism. This article concentrates on (a) Andersen's use of symbols, especially ice and snow; (b) the three-fold composition in the story, and (c) the allegorical structure. These levels in Andersen's text are placed in the framework of a larger Romantic ideology or philosophy. When focusing on the Romantic tradition in a larger sense, special attention will be paid to the female protagonist in the story in relation to the male and/or Faustian ideal, whose origins are to be found in Goethe's drama Faust. Within the allegorical scheme special attention will be paid to Lilith, also appearing in Faust, and to 1 Cor. 13, a text where the distorted mirror and the divergence between child and adult are key symbols, as in Andersen's tale. Finally, the tale's female protagonist Gerda is interpreted as the bearer of Rousseau's educational ideas and the Christian notion of agape.
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| 2. |
- Gray, William, et al.
(author)
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"This Dream of arctic rest" : Memory, Metaphor and Mental Illnessin Jenny Diski’s Skating to Antarctica
- 2009
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In: Cold Matters. - Umeå : Umeå University and Royal Skyttean Society. - 9789188466709 ; , s. 125-140
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Book chapter (peer-reviewed)abstract
- Jenny Diski's Skating to Antarctica, an autobiographical text published in 1997, engages with Antarctica not only as a literal place, but also as a location of the mind. Her imaginative response to what has traditionally been perceived as an inhuman landscape allows her to view the Polar regions as a mental space, signifying a complex system of images and symbols. Diski's physical voyage functions primarily as a metaphor for her attempt to locate an interior psychological terrain, the discovery of which will dispel her profound sense of self-estrangement.This article contends that Diski's use of the interconnecting metaphors of skating, ice and frozen or numbed emotions provide a rich tapestry of associations which serve to illuminate the process whereby traumatic experiences can subsequently manifest themselves in depression and mental illness. In this respect, the narrative, which explores the author's passion for emotional oblivion and obsession with the colour white, represents a desire to experience her life as an accretion of meaning.
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| 3. |
- Hansson, Heidi, 1956-
(author)
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Feminine Poles : Josephine Diebitsch-Peary's and Jennie Darlington's polar narratives
- 2009
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In: Cold matters. - Umeå : Umeå University and the Royal Skyttean Society. - 9789188466709 ; , s. 105--123
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Book chapter (other academic/artistic)abstract
- From the Eurocentric or Anglo-American point of view, the Arctic and the Antarctic have often been perceived and presented as the last masculine preserves on earth. Outside constructions of the masculine Arctic obviously also disregard the circumstance that people have lived in the region for very long, but there are also non-indigenous women who have spent time or lived in both areas, to begin with usually as companions to their husbands, but in later years as researchers in their own right. Two early narratives about life in the far North and the far South, respectively, are Josephine Diebitsch-Peary’s My Arctic Journal: A Year Among Ice-Fields and Eskimos (1893) and Jennie Darlington’s My Antarctic Honeymoon: A Year at the Bottom of the World (1956). Both women describe life in the polar areas in ways compatible with the gender ideologies of their time. In many respects, however, Diebitsch-Peary’s account presents more radical suggestions for how women might live in the masculine polar environment than Darlington whose conclusion is that the Antarctic should remain a men-only continent.
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| 4. |
- Hansson, Heidi, 1956-, et al.
(author)
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Revisioning the Value of Cold
- 2009
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In: Cold Matters. - Umeå : Umeå university and the Royal Skyttean Society. - 9789188466709 ; , s. 7-22
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Book chapter (peer-reviewed)
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| 7. |
- Lindgren Leavenworth, Maria, 1969-
(author)
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"Hatred was also left outside" : Journeys into the Cold in Le Guin's The Left Hand of Darkness
- 2009
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In: Cold matters. - Umeå. - 9789188466709 ; , s. 141-155
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Book chapter (other academic/artistic)abstract
- In Ursula K. Le Guin’s science fiction novel The Left Hand of Darkness cold is used on both literal and metaphorical levels as the main character, sent to the planet of Gethen, or Winter, undertakes an inner journey of self discovery. The first part of the article analyses the novel as a fictional travelogue to establish how the boundaries between Self and Other, between observer and studied, are constructed. Animal imagery, adaptation to the cold and the Gethenian’s androgynous sexuality are aspects at focus. The second part of the article centres more specifically on how the cold functions on several levels in the novel. The harsh climate initially works as a divider between Self and Other, and the central themes of fidelity and betrayal are connected to the cold on both literal and metaphorical levels. However, the essentializing aspects of the cold come to erase these and other binaries and enable the protagonist’s understanding of both himself and the encountered culture.
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| 8. |
- Norberg, Cathrine
(author)
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Cold and Dangerous Women : Anger and Gender in Sensation Fiction
- 2009
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In: Cold Matters. - Umeå : Umeå University and Royal Skyttean Society. - 9789188466709 ; , s. 157-173
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Book chapter (peer-reviewed)abstract
- Based on humoural doctrine, male anger has historically been viewed as a hot emotion associated with rationality and stability. Female anger, on the other hand, has traditionally been ascribed the opposite traits that is, coldness, emotionality and instability. Typically male anger has been defined as a temporary loss of control, whereas anger expressed by women has been perceived as lasting longer, and therefore often viewed as a matter of feminine nature. Thus, female anger has been viewed as a less refined form of anger. Sensation fiction of the 1860s suggests that the ancient view of understanding female anger as closely connected with the female nature and as a consequence more deceptive, colder and more dangerous than male anger persisted in nineteenth-century England. Victorian women, as depicted in the literature of the day, are defined as more emotional than male characters, at the same time as most forms of female emotionality are presented as a break against ideal femininity. The contradictory conception of emotionality, as outlined by ancient philosophers, continued to inform the common view of anger and gender, although the belief in humoural theory and its supposed influence on human characteristics was less pronounced.
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| 9. |
- Nordström-Jacobsson, Monica
(author)
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Incarnations of Lilith? : The Snow Queen in Literature for Young Readers
- 2009
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In: Cold Matters. - Umeå : Umeå University and Royal Skyttean Society. - 9789188466709 ; , s. 175-190
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Book chapter (peer-reviewed)abstract
- In folk tales, good women are contrasted with evil ones. One specific kind of evil women are the snow queens, for example those depicted in Hans Christian Andersen's tales The Snow Queen and "The Ice Maiden." Other examples are the White Witch in the Chronicles of Narnia by C. S. Lewis and Mrs Coulter in Philip Pullman's trilogy His Dark Materials. The realms of the snow queens are cold, frozen and sterile landscapes always covered with snow and ice - a symbol of their cold and dangerous sexuality. The queens are powerful women, beautiful, seductive and rebellious against patriarchal structures. They can be seen as incarnations of Lilith, Adam's first wife, and as female vampires, constantly looking for new victims. The only way of escaping being seduced by a snow queen is to be rescued by true and eternal love. Women with a desire for power and independence have to live their lives without love and are doomed to a cold and lonely existence. In this way, the snow queen stories support patriarchal gender ideologies.
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