Culture of Denmark Denmark is a place of many wonders; the scenery is phenomenal. Denmark is located in the northern regions of Europe. Copenhagen is Denmark’s capitol, which happens to be home to many of the important landmarks. In Copenhagen is the “Little Mermaid”, she is located on a rock by the harbor turned in the direction of the sea. The placement of the statue resided on a great granite stone located at the edge of Copenhagen Harbor (Ann Stalcup). Like many statues there is a story behind the essence of its placement. Her story began in 1909, when Carl Jacobsen, a wealthy Danish businessman, enchanted by a performance of the ballet The Little Mermaid, commissioned sculptor Edvard Eriksen to create a life-size statue of her. The face …show more content…
Among the other extraordinary sites to see there is the Tivoli Gardens which is located in Copenhagen. Tivoli Gardens happens to be home to more than just flowers. Tivoli Gardens has an amusement park along with rides, games, musicals and major concerts. The actual appearance of Tivoli Gardens is absolutely breathe taking. Tivoli Gardens had its start during the year of 1843, which contained a magical like appearances. Walking through Tivoli Gardens would resemble that of a wonderland due to it fairy like appearance. There are many brightly colored lights which complement the ponds and flowers (Jeanne Conte). Now of course there would not be any current beings without the historical aspects of the land. The Iron Age graves were one of the many historical landmarks which dates back to A.D 1000. According to P.V. Glob, the Iron Age was in many respects a new period. A decisive difference between the bronze and the Iron Ages is that of iron, the most important utility material, could be …show more content…
The furnishings and housewares that emerged from twentieth-century Scandinavia particularly out of Denmark had an enormous impact on modernist design. "The Danes are a culturally hospitable people, and—living in a cold climate with many short, daric days—they have always put a premium on having a beautiful home. (Gregory Cerio). Denmark’s furniture took a different route and it began to advance in regards to quality and appearance. This change took place during the early years of the nineteenth century, which was titled the “Golden Age”. The idea in the Danish golden age was a life in which justice prevailed, as in the golden age of antiquity, although in fact it was not a harmonious period in the country's history (Gelfer-Jørgensen, Mirjam). Well now that there is an understanding of what the home life is like, what is culture like? Of course, once the system of the Danish evolved to that of parliamentary, there became a growing interest in pedagogical branded schooling. This eventually led to a more comprehensive form of schooling for the entire population (Buchardt, Mette). Copenhagen is quite prosperous and fares well in the globalized economy but is at the same time experiencing increasing poverty and ethnic segregation. differences in income have increased spatial segregation in Copenhagen in terms of housing and education
‘Florated madness, liniar hysteria, strange decoratve disease, stylistic free-for-all’, such were the terms its contemporaries used to describe Art Nouveau, the first international design style. Art Nouveau was the rebellion against the entire Victorian sensibility, steeped as it was in the past. The exponents of the style hoped to revolutionize every aspect of design in order to set a standard that would be compatible with the new age. Art Nouveau was a direct descendant of the Arts and Crafts movement and influenced by celtic ornament as well as Japanese woodcut prints, all this resulted in an international style based on decoration.
Under the sea, in an idyllic and beautiful garden, stands a statue of a young man cut out of cold stone – for the Little Mermaid who knows nothing but the sea, the statue stands as an emblem of the mysterious over-world, a stimulus for imagination and sexual desire, an incentive for expansion of experience, and most predominately, an indication that something great and all-encompassing is missing from her existence. Traces of curiosity and a vague indication of the complexities of adult desires mark the child mermaid; in such a stage of development, the statue will suffice. However, as the Little Mermaid reaches puberty, the statue must allegorically come alive in order to parallel the manifestation of her new-found adult desires – the statue must become a prince in his world of adulthood above the sea. Thus, powered by an insistent and ambiguous longing for self-completion, the Little Mermaid embarks on a journey of self-discovery, and, to her ultimate misfortune, prematurely abandons her child-like self as sexual lust and the lust for an adult life takes hold of her.
Interior Decorators such as Elsie de Wolfe, Eleanor McMillen Brown, and Dorothy Draper helped to pave the way for the Interior Design profession today. Their influential decisions to stray away from the Victorian style of design helped guide both the interior decorating profession, as well as architects who no longer wanted to design in the bulky and cluttered Victorian Style. Elsie de Wolfe designed during the Victorian movement, however “had adopted the 1890’s preference for Neoclassicism” (Smith, 22). Unlike the cluttered and dark interiors of an average Victorian interior, her interiors were, “in the words of one visitor, ‘[models] of simplicity’” (Smith, 20).
In the early twentieth century the Modern movement of architecture and industrial design came about. This movement was a reaction to the change within society and the introduction of new technologies. The ever changing world and technology meant artists to evolve alongside the changing world and this kind of ‘industrial revolution’ that was happening. Modernists ideas have seeped into every form of design especially architecture and design. Although most modernists insisted they were not following any style in particular, their work is instantly
At the turn of the 20th century, a new style of modern architecture was formed through the development of new building types, materials, and construction techniques from the 2nd Industrial Revolution. With modern inventions and advancements in technology came a shift in the working environment of the industrial fields, for example unsatisfactory working conditions due to long hours in a dark and unclean atmosphere. Designers J.A. Brinkman and L.C. Van der Vlugt embarked on the new ideology of developing a better working experience through the architectural design of a utilitarian space. The Van Nelle Factory in Rotterdam became an icon of modern architecture by fashioning a design relationship between functionalism and progressivism to generate a solution to the poor working environments by implementing light, air, and space with the use of new structural methods and materials all while designing for the purpose of the building.
In the short story “The Danish Way of Life”, author Jamie Gullen, who is a native of New York City spent several months in Copenhagen. She went expecting Copenhagen to be similar culturally to the United States only to find she had a lot to learn about herself and about this new country. In another short story called “Where Are You From?” the author Patricia Park, also a native of New York City, but the daughter of Korean immigrants, also traveled to another country, Korea. She went expecting to find Korea to be the way her parents had described it. The “motherland” as she explained, was a family myth. Although both of these authors grew up in the same city, of the same country, they had two different experiences when
Denmark is a small high-income country with a high population density, is governed by a constitutional monarchy, has a central parliament and is administratively divided into regions, municipalities and has 2 dependencies (Greenland and the Faroe Islands) (Kravitz & Treasure, 2009). It has a national health service (funded by general taxation) and a decentralized healthcare system in which the individual regions run most services and the municipalities are responsible for some public health services (Kravitz & Treasure, 2009). However, a process of (re) centralization (under the structural reform of 2007) has been taking place, which has lowered the number of regions from 14 to 5 and the municipalities from 275 to 98 (Olejaz, Nielsen, Rudkjøbing, Okkels, Krasnik & Hernández-Quevedo, 2012; Schäfer et al., 2010). The hospital structure is also undergoing reform, moving towards fewer, bigger and more specialized hospitals (Olejaz, Nielsen, Rudkjøbing, Okkels, Krasnik & Hernández-Quevedo, 2012). Greenland and the Faroe Islands are independent in health matters but follow the Danish Legislation (Kravitz & Treasure, 2009). The National Board of Health (NBH) (based in Copenhagen) is responsible for the legislation concerning dentistry in Denmark (Kravitz & Treasure, 2009; Schäfer et al., 2010).
In contrast, the architecture at the time represented wealth and stability, traditional enduring values. During this time, there was a lot of social change that came from science and philosophy. The kick from the Industrial Revolution accelerated the trend, even though ideas from the Gothic Style started it. Steam-powered sawmills could now create elaborate materials, cheaper and faster. As a result, houses became increasingly ornate. Lower income families could finally afford tr...
Throughout Art and Design history, specifically Postmodernism, artists have recontextualised previous styles and forms in their works in order to ‘modernise’ . The common household chair has been an iconic symbol for both history and artistic rebellion in art and design. From the Dada movement, where the ordinary item was stripped of its practical use in the interest of becoming a ‘found object’, to the Bauhaus movement where the chair became a representative vessel for the radical leap towards combining the aesthetic with the practical in Twentieth Century design. Martino Gamper touches on these previous acts of artistic rebellion whilst honing in on the Postmodern take on recontextualisation
Vikings were a Norse-speaking, seafaring people who lived from the 8th to 11th centuries, mainly in Scandinavia. They were expert sailors who, starting in late 700s, looted and burned civilizations along rivers and coasts of Europe and Asia. They traded, sailed and explored across the Mediterranean Sea and Atlantic Ocean, opening trade routes that connected Europe to the Mediterranean lands. During this time, some of the population settled in the kingdoms that they were exploring; namely England, Ireland, northern France and Russia. One of the main influences that the surrounding cultures had on them was through religion. As the Vikings came in contact with Christianity through their raids, it began to form a unique fusion of Christian influence, while still holding on to many aspects of their pagan lifestyle. Not many primary sources remain from pre-Christian Viking society as much of their culture was destroyed during the Christianization process. The extremely strong oral tradition and the artifacts that remain are what the knowledge of the culture is based on. The pagan culture interests me, as I can still examine influences of it on my Scandinavian family today.
of the structure itself. This class "took immense pride in their homes which they saw as a reflection of status" ("BBC Homes"). The styles were excessively ornamental and took their influence from Gothic styles, rococo, styles, the Orient, and developments from their own industrialization. With owning such ornately decorated residences they had to show them off; this was done so through dinner parties and balls. People of course could not be outmatched by the rich styles of their houses and therefore doled out large amounts of money for clothes and transportation.
...dersen's original story traces the little mermaid's journey to obtain a soul, something she cannot complete without both the help of a man and the sacrifice of her own femininity in order to assimilate to a patriarchal world. Disney's story takes the subjectivity of femininity even further by replacing the little mermaid's spiritual, self-fulfilling aspiration of an immortal soul with a lustful desire for love instead. The little mermaid's decision to give up her voice for legs in both Andersen and Disney's stories transforms her into a "woman [that] man wants her to be" rather than a "woman for herself" (Sells 180). Both versions of the mermaids hold the belief that they can gain love by suppressing their true identities. However, since they have no verbal communication skills and are mute, they can express their personalities only by relying on their appearances.
Towards the end of the nineteenth century, the Art Nouveau style became an international movement. For the first time in decorative arts history there was a simultaneous movement throughout Europe and America. Art Nouveau brought the finest designers and craftsmen together in order to design buildings, furniture, wallpaper, fabrics, ceramics, metalwork and glasswork. Art Nouveau was considered more than a style, it was a philosophy. From this philosophy carefully designed articles for the home were designed intended to fit into the scheme of the whole Art Nouveau style. Line was the most important aspect of the Art Nouveau period. Art Nouveau was a rebellion against machine made articles of the 19th century that were copies of past designs. Art Nouveau was also a reaction against the old Victorian tradition. Art Nouveau designers borrowed from the past but because of the emphasis on line and adaptation of natural forms to design. Art Nouveau is easily distinguishable from any other period in decorative arts.
Hans Christian Andersen, the original author of The Little Mermaid or Den lille Havfrue, wrote the fairy tale in Denmark in the year 1837. Andersen’s tale portrays a more serious plot much different from Disney’s loveable adaptation. The story starts off with describing how there once was a widowed sea king who lived with his mother and six daughters. The sea grandmother would watch over the daughters and when each would turn fifteen years of age (all were a year apart) they were granted permission to go above water and explore. The story then develops into the experiences of each sister in order from eldest to youngest and describes how eager the youngest was to explore the world above. Andersen also mentioned how after they became old enough they were permitted to go anywhere they pleased and that occasionally the five sisters (excluding the youngest) would go...
Ibsen desires to challenge assumptions as well as rules of Norwegian life, and most importantly wants to depict society accurately, as he meticulously incorporates everyday life. Therefore, A Doll House represents a realistic drama due to the issues involving women, illnesses, and laws within the play, while conveying Ibsen’s desire for controversy and change in Norway’s society. A common woman in Norway, such as Nora, experiences a daily life of oppression, fear, and unjust authority, which exposes societal mistreatment. Society and Torvald Helmer force Nora to look pretty and happy, although “she laughs softly at herself while taking off her street things. Drawing a bag of macaroons from her pocket, she eats a couple, then steals over and listens at her husband’s door” (Ibsen I. 43), which portrays oppression.