Pub Date : 2019-11-01DOI: 10.5117/in2019.3.002.vanr
A. V. Rompaey
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Pub Date : 2019-11-01DOI: 10.5117/in2019.3.001.lyba
Chloé Lybaert, Ella van Hest, Sara Van Cleemputte
Flanders, the Dutch-speaking part of Belgium, shows a strong presence of non-standard language varieties, such as tussentaal (lit. ‘in-between language’) or regional dialects. However, Dutch as a second language (L2) education in Flanders mainly focuses on (Belgian) Standard Dutch, the official language variety in Flanders. Newcomers settling in Flanders seem to experience a large gap between the standard language advocated in policy and education and the multitude of non-standard language varieties they encounter in daily interactions. L2 teachers in Flanders are thus dealing with students who often struggle to communicate with L1 speakers of Dutch. In this empirical study, we address this issue by probing the opinions of L2 teachers: do theybelieve tussentaal and dialects form a communication threshold for their students? To what extent do they focus on non-standard language during their lessons, and what reservations or doubts do they possibly have about teaching non-standard language in the classroom? To answer these questions, we draw on fieldwork conducted in the East Flemish city of Ghent.
{"title":"Over de tweestrijd tussen taalnorm en taalrealiteit","authors":"Chloé Lybaert, Ella van Hest, Sara Van Cleemputte","doi":"10.5117/in2019.3.001.lyba","DOIUrl":"https://doi.org/10.5117/in2019.3.001.lyba","url":null,"abstract":"Flanders, the Dutch-speaking part of Belgium, shows a strong presence of non-standard language varieties, such as tussentaal (lit. ‘in-between language’) or regional dialects. However, Dutch as a second language (L2) education in Flanders mainly focuses on (Belgian) Standard Dutch, the official language variety in Flanders. Newcomers settling in Flanders seem to experience a large gap between the standard language advocated in policy and education and the multitude of non-standard language varieties they encounter in daily interactions. L2 teachers in Flanders are thus dealing with students who often struggle to communicate with L1 speakers of Dutch. In this empirical \u0000study, we address this issue by probing the opinions of L2 teachers: do theybelieve tussentaal and dialects form a communication threshold for their students? To what extent do they focus on non-standard language during their \u0000lessons, and what reservations or doubts do they possibly have about teaching non-standard language in the classroom? To answer these questions, we draw on fieldwork conducted in the East Flemish city of Ghent.","PeriodicalId":30182,"journal":{"name":"Internationale Neerlandistiek","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46060931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-01DOI: 10.5117/IN2019.2.003.GRUT
R. Grüttemeier
While Dutch literary studies are in a critical situation according to many, this is less often heard with regard to Dutch linguistics. Against this background, the article analyses recent inaugural lectures of Dutch literary scholars (from the Netherlands and from Germany) with regard to types of knowledge-production that can be taken from these lectures. It turns out that the accumulation of specific disciplinary knowledge does not seem to be the dominant programme of literary studies of modern Dutch literature in the Netherlands.
{"title":"Oraties als barometer","authors":"R. Grüttemeier","doi":"10.5117/IN2019.2.003.GRUT","DOIUrl":"https://doi.org/10.5117/IN2019.2.003.GRUT","url":null,"abstract":"\u0000 While Dutch literary studies are in a critical situation according to many, this is less often heard with regard to Dutch linguistics. Against this background, the article analyses recent inaugural lectures of Dutch literary scholars (from the Netherlands and from Germany) with regard to types of knowledge-production that can be taken from these lectures. It turns out that the accumulation of specific disciplinary knowledge does not seem to be the dominant programme of literary studies of modern Dutch literature in the Netherlands.","PeriodicalId":30182,"journal":{"name":"Internationale Neerlandistiek","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48344720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-01DOI: 10.5117/IN2019.2.002.SCHR
W. Schrover
This article is about the relation of three literary texts to psychological stage theories. The texts under discussion are a novel by Dutch novelist Maarten ’t Hart (De aansprekers, 1979) and stories by Flemish writer Kristien Hemmerechts (‘Fasen’, 1996) and German author Daniel Kehlmann (‘Rosalie geht sterben’, 2009). This article especially focusses on the stage theory of dying, as formulated by the Swiss-American psychiatrist Elisabeth Kübler-Ross. For each of the three texts it is argued whether there is an intertextual relation to Kübler-Ross’s work or an interdiscursive relation to stage theories in general. It is thus demonstrated how these literary texts contribute to the dissemination of knowledge about stage theories, attesting to their popularity while at the same time critically evaluating them. By means of this demonstration, it is explained how literature is able to reflect upon the interaction between knowledge and normative views.
本文探讨了三种文学文本与心理阶段理论的关系。讨论的文本是荷兰小说家马丁·哈特(Maarten ' t Hart)的一部小说(De aansprekers, 1979年)，佛兰德作家克里斯蒂安·赫默雷切茨(Kristien Hemmerechts, 1996年)和德国作家丹尼尔·凯尔曼(Daniel Kehlmann, 2009年)的故事(Rosalie geht sterben)。这篇文章特别关注由瑞士裔美国精神病学家Elisabeth k bler- ross提出的死亡阶段理论。对于这三篇文章中的每一篇，都争论了是否与伯勒-罗斯的作品存在互文关系，或者与一般的阶段理论存在话语间关系。因此，它展示了这些文学文本如何有助于阶段理论知识的传播，证明了它们的受欢迎程度，同时也对它们进行了批判性的评价。通过这种论证，解释了文学如何能够反映知识与规范观点之间的相互作用。
{"title":"Literatuur en de normatieve aspecten van wetenschappelijke kennis","authors":"W. Schrover","doi":"10.5117/IN2019.2.002.SCHR","DOIUrl":"https://doi.org/10.5117/IN2019.2.002.SCHR","url":null,"abstract":"\u0000 This article is about the relation of three literary texts to psychological stage theories. The texts under discussion are a novel by Dutch novelist Maarten ’t Hart (De aansprekers, 1979) and stories by Flemish writer Kristien Hemmerechts (‘Fasen’, 1996) and German author Daniel Kehlmann (‘Rosalie geht sterben’, 2009). This article especially focusses on the stage theory of dying, as formulated by the Swiss-American psychiatrist Elisabeth Kübler-Ross. For each of the three texts it is argued whether there is an intertextual relation to Kübler-Ross’s work or an interdiscursive relation to stage theories in general. It is thus demonstrated how these literary texts contribute to the dissemination of knowledge about stage theories, attesting to their popularity while at the same time critically evaluating them. By means of this demonstration, it is explained how literature is able to reflect upon the interaction between knowledge and normative views.","PeriodicalId":30182,"journal":{"name":"Internationale Neerlandistiek","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70551653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-01DOI: 10.5117/IN2019.2.004.KONV
Martin Konvička
In this paper, I analyse the Dutch construction of the type want/omdat X from the perspective of the concept of hidden complexity. I show that while the traditional use of the conjunctions want ‘because’ and omdat ‘because’ followed by an independent or a dependent clause, respectively, is overtly more complex in that it uses more language material, its hidden complexity is low. The constructions of the type want/omdat X, on the other hand, are overtly less complex, but demonstrate a higher degree of hidden complexity. The interpretation of the constructions of this type is namely context-dependent and relies heavily on extralinguistic discursive knowledge on the side of the listener/reader.
本文从隐含复杂性的概念出发，分析了荷兰语对want/omdat X类型的建构。我指出，虽然传统的连词want ' because '和omdat ' because '分别后跟独立子句或从属子句的用法明显更复杂，因为它使用了更多的语言材料，但其隐藏的复杂性很低。另一方面，类型want/omdat X的构造明显不那么复杂，但显示出更高程度的隐藏复杂性。这种类型的结构的解释是上下文依赖的，并且严重依赖于听者/读者方面的语言外话语知识。
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Pub Date : 2019-02-01DOI: 10.5117/IN2019.1.004.VAND
Hans Vandevoorde
The communist poet Marc Braet (1925-1923) has been a major mediator between the East and the West during the postwar period, especially between the German Democratic Republic and Belgium. In the first place, I investigate how different forms of cultural transfer from the GDR to Belgium came about, and which role Braet played in them, particularly with regard to an anthology of GDR poets, De groene bomen (1971, [The Green Trees]). Secondly, I present a case that in agreement with the histoire croisée sheds light on the transfer in the opposite direction, an anthology with German translations of Braet’s poems. The translation by Hans Joachim Schädlich came out as Mein endlos beflaggtes Schiff, a publication by Volk und Welt that kept dragging on from 1975 until 1981. A reconstruction of the whole publication process based on research of the records gives an impression of the way in which the network of translators, proof readers and officials worked. Finally, I compare this publication with a Russian anthology of poems by Braet in order to highlight the transnational dimension of the cultural transfer and the important role the German language played in this process. On the one hand the different cases show how literature was ideologically instrumentalized, and on the other hand the case of Braet illustrates how a steered reception can have unexpected consequences, such as a very early and remarkably profetical selection of valuable GDR poetry in translation.
{"title":"‘Drei Braets und was Anmerkungen’1","authors":"Hans Vandevoorde","doi":"10.5117/IN2019.1.004.VAND","DOIUrl":"https://doi.org/10.5117/IN2019.1.004.VAND","url":null,"abstract":"\u0000 The communist poet Marc Braet (1925-1923) has been a major mediator between the East and the West during the postwar period, especially between the German Democratic Republic and Belgium. In the first place, I investigate how different forms of cultural transfer from the GDR to Belgium came about, and which role Braet played in them, particularly with regard to an anthology of GDR poets, De groene bomen (1971, [The Green Trees]). Secondly, I present a case that in agreement with the histoire croisée sheds light on the transfer in the opposite direction, an anthology with German translations of Braet’s poems. The translation by Hans Joachim Schädlich came out as Mein endlos beflaggtes Schiff, a publication by Volk und Welt that kept dragging on from 1975 until 1981. A reconstruction of the whole publication process based on research of the records gives an impression of the way in which the network of translators, proof readers and officials worked. Finally, I compare this publication with a Russian anthology of poems by Braet in order to highlight the transnational dimension of the cultural transfer and the important role the German language played in this process. On the one hand the different cases show how literature was ideologically instrumentalized, and on the other hand the case of Braet illustrates how a steered reception can have unexpected consequences, such as a very early and remarkably profetical selection of valuable GDR poetry in translation.","PeriodicalId":30182,"journal":{"name":"Internationale Neerlandistiek","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42073545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-01DOI: 10.5117/in2019.1.002.miss
L. Missinne, I. Michajlova
The Diary of Anne Frank, written between 1942 and 1944 while she was in hiding with her family in Amsterdam, has been translated in more than 70 languages. Not only the editorial history but also the history of the translations and the reception of Anne Frank’s Diary abroad are complex stories. In this article we will outline how the German translation in the fifties – first in West Germany in 1950 and seven years later in the German Democratic Republic – functioned as a transit port for the Russian translation that came out in 1960. Furthermore we will illustrate how both the history of the East German and the Russian publication bear traces of the political and ideological context in which they came into being and how they are marked by their respective specific memory culture. Therefore we investigate the first West German translation made by a non-professional translator and the Russian translation from 1960, the role of the reviews (Gutachten), prefaces and afterwords, and we read these against the backdrop of the political and historical developments. Also, the role of adaptations comes up: the Broadway theatrical production staged in West and East Germany in 1956 helped spread the story of Anne Frank amongst German readers, while in the Soviet Union it was the book publication of her Diary that inspired poets and composers.
{"title":"Anne Frank in de DDR en Rusland","authors":"L. Missinne, I. Michajlova","doi":"10.5117/in2019.1.002.miss","DOIUrl":"https://doi.org/10.5117/in2019.1.002.miss","url":null,"abstract":"\u0000 The Diary of Anne Frank, written between 1942 and 1944 while she was in hiding with her family in Amsterdam, has been translated in more than 70 languages. Not only the editorial history but also the history of the translations and the reception of Anne Frank’s Diary abroad are complex stories. In this article we will outline how the German translation in the fifties – first in West Germany in 1950 and seven years later in the German Democratic Republic – functioned as a transit port for the Russian translation that came out in 1960. Furthermore we will illustrate how both the history of the East German and the Russian publication bear traces of the political and ideological context in which they came into being and how they are marked by their respective specific memory culture.\u0000 Therefore we investigate the first West German translation made by a non-professional translator and the Russian translation from 1960, the role of the reviews (Gutachten), prefaces and afterwords, and we read these against the backdrop of the political and historical developments. Also, the role of adaptations comes up: the Broadway theatrical production staged in West and East Germany in 1956 helped spread the story of Anne Frank amongst German readers, while in the Soviet Union it was the book publication of her Diary that inspired poets and composers.","PeriodicalId":30182,"journal":{"name":"Internationale Neerlandistiek","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70551557","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-01DOI: 10.5117/IN2019.1.003.EICK
Heinz Eickmans
In the so-called ‘Leseland DDR’ anthologies of foreign literature played an exceptionally important part in making available foreign texts and in disclosing new literary worlds to the GDR reading public. Moreover, these anthologies could function as a proving ground for introducing new authors and literary schools without censorial objection. The anthologies contain peritexts by the publisher or editor – mainly blurbs and afterwords – that focus on the representative and innovative character of the texts and inform about the selection of authors, the general themes and content, the aesthetic quality and – in case of anthologies from western countries – provide critical remarks on the condemnable developments in capitalist societies. In this article I investigate and compare four GDR anthologies of literature from the Netherlands and Flanders, all published between 1976 and 1984. This will make clear that the ideological comments after the cultural and political ‘Wende’ in the GDR at the beginning of the seventies can no longer be considered obligatory bows for the censorial authorities.
{"title":"Tussen informatie en ideologie","authors":"Heinz Eickmans","doi":"10.5117/IN2019.1.003.EICK","DOIUrl":"https://doi.org/10.5117/IN2019.1.003.EICK","url":null,"abstract":"\u0000 In the so-called ‘Leseland DDR’ anthologies of foreign literature played an exceptionally important part in making available foreign texts and in disclosing new literary worlds to the GDR reading public. Moreover, these anthologies could function as a proving ground for introducing new authors and literary schools without censorial objection.\u0000 The anthologies contain peritexts by the publisher or editor – mainly blurbs and afterwords – that focus on the representative and innovative character of the texts and inform about the selection of authors, the general themes and content, the aesthetic quality and – in case of anthologies from western countries – provide critical remarks on the condemnable developments in capitalist societies.\u0000 In this article I investigate and compare four GDR anthologies of literature from the Netherlands and Flanders, all published between 1976 and 1984. This will make clear that the ideological comments after the cultural and political ‘Wende’ in the GDR at the beginning of the seventies can no longer be considered obligatory bows for the censorial authorities.","PeriodicalId":30182,"journal":{"name":"Internationale Neerlandistiek","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47949101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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