Pub Date : 2020-09-23DOI: 10.1080/03096564.2020.1812882
I. Wolters
ABSTRACT The Stichting tot Bevordering van de Vertaling van Nederlands Letterkundig Werk (The Foundation for the Promotion of the Translation of Dutch Literary Works) was a state-funded quasi-governmental organization established in 1954 to oversee the translation of Dutch literary works into a variety of languages until 1989. One of The Foundation’s first key projects was the development of a series of Dutch imaginative works translated into English, eventually called the Bibliotheca Neerlandica, that would implicitly redress the imbalance in the international reception of Dutch literature and its fine-art counterpart in the Dutch Golden Age of painting. The translator, Alex Brotherton, was commissioned by The Foundation to translate three of the volumes and I selected one of these as my case study to consider whether his translation choices always met with success. On comparing his translation with the source text, I highlighted four key areas which were to challenge him and considered his decisions when dealing with proper names, foreign words within a text, titles and his fidelity to the source text. Brotherton was not the only player in the 1960s literary field and I considered others including publishing companies, the copy-editor and press reviews to ascertain the level of influence they had on the final published work.
荷兰文学作品翻译促进基金会(Stichting tot Bevordering van de Vertaling van Nederlands Letterkundig Werk)是一个由国家资助的半官方组织，成立于1954年，负责监督荷兰文学作品翻译成各种语言，直到1989年。该基金会的首批重点项目之一是将一系列荷兰富有想象力的作品翻译成英语，最终被称为Bibliotheca Neerlandica，这将含蓄地纠正荷兰文学与荷兰绘画黄金时代的美术作品在国际上接受的不平衡。该基金会委托译者亚历克斯·布罗德顿(Alex Brotherton)翻译其中三卷，我选择其中一卷作为我的案例研究，以考察他的翻译选择是否总是成功的。在将他的翻译与原文进行比较时，我强调了挑战他的四个关键领域，并考虑了他在处理专有名称、文本中的外来词、标题和他对原文的忠实程度时的决定。在20世纪60年代的文学领域，布罗泽顿并不是唯一的参与者，我还考虑了包括出版公司、文字编辑和新闻评论在内的其他人，以确定他们对最终出版作品的影响程度。
{"title":"‘A translator is but one player in the literary field who constantly has to make choices’: A case study: Marriage/Ordeal (1963) by Gerard Walschap, translated by Alex Brotherton","authors":"I. Wolters","doi":"10.1080/03096564.2020.1812882","DOIUrl":"https://doi.org/10.1080/03096564.2020.1812882","url":null,"abstract":"ABSTRACT The Stichting tot Bevordering van de Vertaling van Nederlands Letterkundig Werk (The Foundation for the Promotion of the Translation of Dutch Literary Works) was a state-funded quasi-governmental organization established in 1954 to oversee the translation of Dutch literary works into a variety of languages until 1989. One of The Foundation’s first key projects was the development of a series of Dutch imaginative works translated into English, eventually called the Bibliotheca Neerlandica, that would implicitly redress the imbalance in the international reception of Dutch literature and its fine-art counterpart in the Dutch Golden Age of painting. The translator, Alex Brotherton, was commissioned by The Foundation to translate three of the volumes and I selected one of these as my case study to consider whether his translation choices always met with success. On comparing his translation with the source text, I highlighted four key areas which were to challenge him and considered his decisions when dealing with proper names, foreign words within a text, titles and his fidelity to the source text. Brotherton was not the only player in the 1960s literary field and I considered others including publishing companies, the copy-editor and press reviews to ascertain the level of influence they had on the final published work.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":"76 1","pages":"50 - 64"},"PeriodicalIF":0.5,"publicationDate":"2020-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73846242","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-19DOI: 10.1080/03096564.2020.1821474
A. Heijns
ABSTRACT The travel accounts examined here were written by Dutch travellers to Hong Kong in the late-nineteenth to early twentieth-century. By applying the imagological approach, examples of ethnotypes and Self-Other oppositions found in the travel accounts are analysed. Findings show that the fact that most Dutch travelled from the Dutch East Indies (present-day Indonesia) influenced their observations of Hong Kong. This is particularly prominent, where writers compare the influence of the British in Hong Kong with that of the Dutch in the Dutch East Indies, in terms of facilities, infrastructure, activities and other aspects. Hence, this article sheds light on how the Dutch represent the image of Hong Kong through colonial eyes.
{"title":"The Image of Hong Kong in Dutch Travel Writing","authors":"A. Heijns","doi":"10.1080/03096564.2020.1821474","DOIUrl":"https://doi.org/10.1080/03096564.2020.1821474","url":null,"abstract":"ABSTRACT The travel accounts examined here were written by Dutch travellers to Hong Kong in the late-nineteenth to early twentieth-century. By applying the imagological approach, examples of ethnotypes and Self-Other oppositions found in the travel accounts are analysed. Findings show that the fact that most Dutch travelled from the Dutch East Indies (present-day Indonesia) influenced their observations of Hong Kong. This is particularly prominent, where writers compare the influence of the British in Hong Kong with that of the Dutch in the Dutch East Indies, in terms of facilities, infrastructure, activities and other aspects. Hence, this article sheds light on how the Dutch represent the image of Hong Kong through colonial eyes.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":"29 1","pages":"66 - 76"},"PeriodicalIF":0.5,"publicationDate":"2020-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89422026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-11DOI: 10.1080/03096564.2020.1809285
Hanneke van Asperen
ABSTRACT In 1675 the prolific etcher and engraver Romeyn de Hooghe designed, produced, and published a print depicting several disasters that had scourged the Republic of the Seven United Provinces from 1672 onwards. The print offers interesting insights in contemporary concerns that accumulated during All Saints Flood in 1675. In recent historical studies, the print has been used to illustrate contemporary belief in divine providence, and faith of the Dutch that history would take a turn for the better. But the iconography of the print is detailed and complex, and many of its vital elements have been ignored or were misinterpreted. Careful examination from an art historical perspective reveals that the print does not illustrate faith in a good outcome. On the contrary, De Hooghe accuses his fellow countrymen of a lack of faith using the New Testament story of a storm on the Sea of Galilee as a biblical parallel. Secondly, De Hooghe identifies discord as the cause of the current sad state of the Dutch Republic. He even implies that those responsible are the wealthy citizens in the prosperous Province of Holland who have neglected to take care of the republic’s poorer members.
1675年，多产的蚀刻家和雕刻家Romeyn de Hooghe设计、制作并出版了一幅版画，描绘了自1672年以来困扰七省联合共和国的几场灾难。这幅版画为1675年众圣徒洪水期间积累的当代问题提供了有趣的见解。在最近的历史研究中，这幅版画被用来说明当代对神圣天意的信仰，以及荷兰人对历史将会好转的信仰。但这幅版画的图像是详细而复杂的，它的许多重要元素被忽视或被误解了。从艺术史的角度仔细检查发现，这幅版画并没有表现出对好结果的信心。相反，德胡厄指责他的同胞们缺乏信仰，用新约中加利利海上风暴的故事作为圣经的类比。其次，德胡厄认为不和谐是荷兰共和国目前悲惨状态的原因。他甚至暗示，应该为此负责的是繁荣的荷兰省的富裕公民，他们忽视了照顾共和国较贫穷的成员。
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Pub Date : 2020-06-12DOI: 10.1080/03096564.2020.1777810
R. Honings
ABSTRACT – In the historiography of the Dutch East Indies literature, the image has arisen of P.A. (Paul) Daum (1850–1898) as an author whose work experienced a striking transformation during his stay in the Indies: from a colonial to an anti-colonial author. Where Daum still showed himself an out-and-out colonial at the start of his authorship, he is said to have started to see the Indonesians with very different eyes over the years and finally to think and write about them with more nuance and understanding. This article, that focuses on the representation of Indonesians, argues that here is no such development to be found in Daum’s attitude towards the indigenous people of the colony. To this end, three works by Daum, published over a ten-year period, are analysed: Uit de suiker in de tabak (From Sugar to Tobacco, 1884), Goena-goena (Guna-guna, 1887) and Aboe Bakar (1894).
{"title":"‘Kampong Smells’, Guna-guna and ‘Indigenous Perkaras’","authors":"R. Honings","doi":"10.1080/03096564.2020.1777810","DOIUrl":"https://doi.org/10.1080/03096564.2020.1777810","url":null,"abstract":"ABSTRACT – In the historiography of the Dutch East Indies literature, the image has arisen of P.A. (Paul) Daum (1850–1898) as an author whose work experienced a striking transformation during his stay in the Indies: from a colonial to an anti-colonial author. Where Daum still showed himself an out-and-out colonial at the start of his authorship, he is said to have started to see the Indonesians with very different eyes over the years and finally to think and write about them with more nuance and understanding. This article, that focuses on the representation of Indonesians, argues that here is no such development to be found in Daum’s attitude towards the indigenous people of the colony. To this end, three works by Daum, published over a ten-year period, are analysed: Uit de suiker in de tabak (From Sugar to Tobacco, 1884), Goena-goena (Guna-guna, 1887) and Aboe Bakar (1894).","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":"1 1","pages":"115 - 132"},"PeriodicalIF":0.5,"publicationDate":"2020-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79702921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-10DOI: 10.1080/03096564.2020.1778364
Michał Wenderski
ABSTRACT This paper discusses the topic of artistic ‘isms’ in the history and historiography of modern Dutch and Flemish art in a broader European context – such as Constructivism, Neoplasticism, Elementarism, Futurism, Cubism, Expressionism etc. Exemplified by the case of the historical artistic and literary avant-garde from the Low Countries, with its polyphony of overlapping artistic ‘isms’, this paper aims to scrutinize various limitations and imprecisions that result from the use of ‘isms’ in the history and historiography of modern art, exemplified by selected avant-garde formations such as De Stijl, Het Overzicht or 7 Art.
本文讨论了在更广泛的欧洲背景下，现代荷兰和佛兰德艺术的历史和史学中的艺术“主义”主题，如构成主义、新造型主义、基本主义、未来主义、立体主义、表现主义等。以低地国家的历史艺术和文学先锋派为例，以其重叠的艺术“主义”复调为例，本文旨在仔细研究在现代艺术的历史和史学中使用“主义”所导致的各种限制和不精确，以精选的前卫形式为例，如De Stijl, Het Overzicht或7 art。
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Pub Date : 2020-05-13DOI: 10.1080/03096564.2020.1766829
R. Luca
ABSTRACT Throughout her career, the Belgian filmmaker Chantal Akerman accelerated the erosion of boundaries separating the visual arts that has fuelled our current moment of mixed media. This article, though, takes different approach to Akerman’s work. It argues that her cinema borrows from a historical type of viewing experience just as much as it pioneered new ones. Specifically, I argue that Akerman drew on the painterly language of seventeenth-century Dutch still-lifes through her use of stillness, texture, space, light, and (self-)portraiture that undermines mainstream modes of visual representation as developed by Renaissance art. Relying on contemporary film theory, art history, and Akerman’s own idiosyncratic style and biography, this essay yields a productive, if unexpected, point of comparison between the aesthetic practices of early modern Dutch painting and Akerman’s moving images. Comparing several of Akerman’s pictures to a handful of masterpieces of seventeenth-century Dutch art, this work joins a growing discourse among visual theorists in exploring connections between cinema and painting more broadly.
{"title":"The Still Life(s) of Chantal Akerman: Akerman’s Moving Images and Dutch 17th-Century Painting","authors":"R. Luca","doi":"10.1080/03096564.2020.1766829","DOIUrl":"https://doi.org/10.1080/03096564.2020.1766829","url":null,"abstract":"ABSTRACT Throughout her career, the Belgian filmmaker Chantal Akerman accelerated the erosion of boundaries separating the visual arts that has fuelled our current moment of mixed media. This article, though, takes different approach to Akerman’s work. It argues that her cinema borrows from a historical type of viewing experience just as much as it pioneered new ones. Specifically, I argue that Akerman drew on the painterly language of seventeenth-century Dutch still-lifes through her use of stillness, texture, space, light, and (self-)portraiture that undermines mainstream modes of visual representation as developed by Renaissance art. Relying on contemporary film theory, art history, and Akerman’s own idiosyncratic style and biography, this essay yields a productive, if unexpected, point of comparison between the aesthetic practices of early modern Dutch painting and Akerman’s moving images. Comparing several of Akerman’s pictures to a handful of masterpieces of seventeenth-century Dutch art, this work joins a growing discourse among visual theorists in exploring connections between cinema and painting more broadly.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":"12 1","pages":"263 - 278"},"PeriodicalIF":0.5,"publicationDate":"2020-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84976752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-03DOI: 10.1080/03096564.2020.1747009
Orsolya Réthelyi
ABSTRACT This paper deals with how ideological factors influence the transfer of literature through translation between what translation sociology calls ‘peripheral languages’. The international dissemination of the literary oeuvre of the Dutch communist writer Theun de Vries (1907–2005) in translation stands in the centre of this investigation, which focuses on three questions: 1.) How the transfer of literary products from a peripheral language into both peripheral and central languages takes place, and what specific dynamics can be shown to shape these translation flows. 2.) How ideology plays a role in shaping translation flows. 3.) How methodological tools from translation sociology can and cannot be used to investigate literary export from peripheral literatures. Through the case study of the translation of De Vries’ novel Hoogverraad [High Treason] (1950) into Hungarian the details and dynamics of Cold War cultural transfer and literary manipulation are analysed.
本文探讨了意识形态因素如何影响翻译社会学所称的“外围语言”之间的文学翻译。荷兰共产主义作家德弗里斯(Theun de Vries, 1907-2005)的文学作品在国际上的翻译传播是本次调查的中心，主要关注三个问题:1)文学作品是如何从外围语言向外围语言和中心语言转移的，以及哪些具体的动态可以显示出塑造这些翻译流。2)。意识形态对翻译流程的影响。3)。如何运用翻译社会学的方法论工具来考察外围文献的文学输出。通过对德弗里斯小说《叛国罪》(1950)匈牙利语翻译的个案研究，分析了冷战时期文化转移和文学操纵的细节和动态。
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Pub Date : 2020-05-03DOI: 10.1080/03096564.2020.1747010
Wilken Engelbrecht
ABSTRACT The publication of Czech translations of Dutch-written literature during the Communist regime was subject to the norms of Socialist Realism as well as to the censorship of the Committee for Culture and Propaganda of the CC of the Communist Party, executed through the literary agency DILIA. The paper attempts to demonstrate why several works were (not) permitted to be published, focusing on historical novels being the preferred genre of that period. The analysis has been made based on archive records preserved in publishers’ archives in The Hague (Literary Museum) and Prague (Memorial of National Scripture).
{"title":"‘A Good Way to Propagate Communist Thought’: Czech Translations of Dutch Historical Novels during the Communist Regime or Orwell in Practice","authors":"Wilken Engelbrecht","doi":"10.1080/03096564.2020.1747010","DOIUrl":"https://doi.org/10.1080/03096564.2020.1747010","url":null,"abstract":"ABSTRACT The publication of Czech translations of Dutch-written literature during the Communist regime was subject to the norms of Socialist Realism as well as to the censorship of the Committee for Culture and Propaganda of the CC of the Communist Party, executed through the literary agency DILIA. The paper attempts to demonstrate why several works were (not) permitted to be published, focusing on historical novels being the preferred genre of that period. The analysis has been made based on archive records preserved in publishers’ archives in The Hague (Literary Museum) and Prague (Memorial of National Scripture).","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":"53 1","pages":"201 - 217"},"PeriodicalIF":0.5,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91328494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-03DOI: 10.1080/03096564.2020.1747012
Bojana Budimir
ABSTRACT This paper aims to explore translation flows from Dutch into Serbian in the period between 1991 and 2015, and to identify the most important trends in the selection and production of translations in the context of core-periphery theory. In this study, a model proposed by Pięta will be used for data analysis. This model is structured around five key questions: what was translated, when was it translated, how was it translated, who translated it, and why was it translated. The first part of the paper will be focused on presenting and describing the data, followed by a discussion of the findings in the second part, where we will try to explain how various factors intertwine and influence each other.
{"title":"Peripheries in the Global System of Translation: A Case Study of Serbian Translations of Dutch Literature between 1991 and 2015","authors":"Bojana Budimir","doi":"10.1080/03096564.2020.1747012","DOIUrl":"https://doi.org/10.1080/03096564.2020.1747012","url":null,"abstract":"ABSTRACT This paper aims to explore translation flows from Dutch into Serbian in the period between 1991 and 2015, and to identify the most important trends in the selection and production of translations in the context of core-periphery theory. In this study, a model proposed by Pięta will be used for data analysis. This model is structured around five key questions: what was translated, when was it translated, how was it translated, who translated it, and why was it translated. The first part of the paper will be focused on presenting and describing the data, followed by a discussion of the findings in the second part, where we will try to explain how various factors intertwine and influence each other.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":"34 1","pages":"218 - 235"},"PeriodicalIF":0.5,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78010634","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-03DOI: 10.1080/03096564.2020.1747007
Jan Ceuppens
ABSTRACT Nico Rost’s diary from the Dachau camp, Goethe in Dachau (1947), combines eyewitness accounts of camp life with erudite reflections on German literature, often underpinned by quotations in German. Initially ignored in the Netherlands, the German translation by Rost’s wife garnered a lot of attention in the GDR, where the author was enthusiastically welcomed as a defender of the true German, anti-fascist traditions. However, the changing political climate as well as doubts as to Rost’s own allegiances led to his arrest and expulsion from the GDR and put an end to the distribution of his diary in Eastern Europe. The present contribution aims to retrace the diary’s fortunes in light of its author’s career and the political turmoil in which he operated; it also proposes some explanations for the book’s remarkable trajectory.
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