论文写作指导：安徒生：剪纸是诗文创作的开始

 在中国，安徒生是家喻户晓的"童话大王"。其实，除了童话，安徒生一生还写过六部长篇小说、七部长篇游记、五十部戏剧、上千首诗歌、上千封给亲友的信件，其中大多也是优秀的文学作品。 
　　鲜为人知的是，他还是同代人中最受欢迎的剪纸艺术家，创作过上千件堪称奇迹的剪纸。他说过"剪纸是诗文创作的开始"，他一面剪，一面幻想一个童话故事。剪纸完成的时候，就是故事讲完的时候，而故事的高潮就是他把神秘的剪纸打开，展现它的内容。 
　　安徒生还画过几百幅素描，拼贴过十几本精美画册。这些作品充满幻想色彩，从中可以看到安徒生思想的进步性和意识的超前性。 
　　2005年，丹麦"安徒生诞生200周年庆典委员会"秘书长拉尔斯•西贝格新在一篇题为《安徒生：一个诗人的再生》的文章里说道："大家应该认真地用评论的眼光来审视安徒生。他远远不止是一位童话作家。我们有一切理由来思考一下，多年来在涉及他的创作生涯与我们时代的关系方面，我们为这位童话作家画的像是不是太狭窄。孩子坐在膝上的天真的老童话作家的光辉形象应该让位给全面、人性的形象。安徒生无疑是一位世界级作家。" 
　　 
　　We must regard 1)Hans Christian Andersen's paper art as something colorful, 2)diverting and poetic that is extremely closely linked to his lyric poetry, drama, fairy-tales, novels and travel books. Andersen's paper-cuts cannot just be separated from his written 3)oeuvre and placed beside it. 
　　About 1,000 paper-cuts of all sizes still exist to this day-primitive figures and simple 4)tableaux, as well as more ornamental, sophisticated cuttings. They belong to a world of thEir own, but they all have roots in precisely the same rich, widely embracing creative imagination which, in the nineteenth century, revolutionized world literature with a long series of fairy-tales told for children and for the child in every adult. This is why Andersen's many paper-cuts cannot be 5)dismissed as mere 6)diversions and little games, or just be regarded as funny, entertaining illustrations of Andersen's fairy-tale world in writing. 
　　Andersen had an urge to "cut and paste" that was just as strong as the urge to write and travel. He was nearly always armed with a pair of scissors, which could be quite dangerous. They could slip out of his pocket, and he might sit on them, which was what happened when he was on his way across the island of 7)Funen in a horse-drawn carriage, with the result that he had to have his painful backside bathed and 8)bandaged. But most of the time he grasped his scissors with pleasure, and when he folded the paper once or twice and started cutting from a 9)longitudinal or 10)transverse axis, it was always in some way a visua-lization of the way his magical wordplay emerged from nothing, and swiftly materialized itself in patterns, figures and landscapes. A paper-cut would often be a little fairy-tale in itself in time and space. 
　　Like his pen, Andersen's scissors were a creative tool, which quite 11)impromptu could make happiness, anger, confidence, fear, hate and love assume forms and figures that almost swarmed out of him on command. 
　　 
　　Around 1830 Andersen had made some drawings for one of his faithful young friends, Otto Zinck. In one picture a 12)regiment of soldiers can be seen coming out of Andersen's own mouth, while another profile drawing shows a group of more or less 13)grotesque, fantastic human figures, all 14)hunched up in his features and ready to jump. Later in Andersen's 
　　life and work we can see how he developed this 15)bizarre form of self-portraiture, for example, by cutting 16)silhouettes in which people hang or dance round his nose and the top of his head, almost as if they had crawled out of his ears and mouth, or had perhaps even been blown out of his capacious nose.