Pub Date : 2020-05-03DOI: 10.1080/03096564.2020.1747005
Elke Brems, Theresia Feldmann, Orsolya Réthelyi, Ton van Kalmthout
ABSTRACT This introductory paper discusses recent theories concerning the phenomenon of world literature and its connection with translation, the main focus of this special issue. Subsequently, the article relates the contributions to the theories discussed and indicates in which institutional framework the issue was realized.
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Pub Date : 2020-05-03DOI: 10.1080/03096564.2020.1747013
Theresia Feldmann
ABSTRACT This paper investigates the multidirectional circulation of the Trotzkopf series in the Low Countries and Germany. Emmy von Rhoden's Der Trotzkopf (1885), a classic of German children’s literature, and its sequels were almost immediately translated into Dutch. However, Stijfkopje als Grootmoeder (1904) the sequel that completes the series, was written by the Dutch writer Suze la Chapelle-Roobol. Translated into German it was treated as an original part of the official series. Through a functional analysis of the text based on criteria formulated by Aleida Assmann in her essay on written folklore, this article tries to uncover the transnational mechanisms of canonization, circulation, and reception behind the series. It reveals that consecration and circulation were largely reception- and commerce-driven and not initiated by critics and literary institutions as is often the case for canonical works of adult fiction, confirming earlier findings in research on the canonization of children’s literature.
摘要本文研究了低地国家和德国的托罗茨科普夫系列的多向环流。埃米·冯·罗登的《Trotzkopf》(1885)是德国儿童文学的经典之作，它的续集几乎立即被翻译成荷兰语。然而，完成该系列的续集《Grootmoeder》(1904)是由荷兰作家Suze la Chapelle-Roobol撰写的。它被翻译成德语，被视为官方系列的原创部分。本文试图根据阿莱达·阿斯曼(Aleida Assmann)在《文字民俗学》(written folklore)一文中提出的标准，通过对文本的功能分析，揭示该系列作品背后的封圣、流通和接受的跨国机制。它揭示了圣化和流通在很大程度上是由接受和商业驱动的，而不是由评论家和文学机构发起的，而成人小说的经典作品通常是这样，证实了早期关于儿童文学圣化的研究结果。
{"title":"The Untameable Trotzkopf: Commerce and Canonicity in the Curious Circulation of a Classic of German Children’s Literature in the Low Countries and Germany","authors":"Theresia Feldmann","doi":"10.1080/03096564.2020.1747013","DOIUrl":"https://doi.org/10.1080/03096564.2020.1747013","url":null,"abstract":"ABSTRACT This paper investigates the multidirectional circulation of the Trotzkopf series in the Low Countries and Germany. Emmy von Rhoden's Der Trotzkopf (1885), a classic of German children’s literature, and its sequels were almost immediately translated into Dutch. However, Stijfkopje als Grootmoeder (1904) the sequel that completes the series, was written by the Dutch writer Suze la Chapelle-Roobol. Translated into German it was treated as an original part of the official series. Through a functional analysis of the text based on criteria formulated by Aleida Assmann in her essay on written folklore, this article tries to uncover the transnational mechanisms of canonization, circulation, and reception behind the series. It reveals that consecration and circulation were largely reception- and commerce-driven and not initiated by critics and literary institutions as is often the case for canonical works of adult fiction, confirming earlier findings in research on the canonization of children’s literature.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82642192","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 : 2020-04-24DOI: 10.1080/03096564.2020.1755552
T. Brochard
ABSTRACT The study of alba amicorum is still a relatively obscure yet growing pursuit in the Anglophone world. By browsing through these autograph albums, it is possible to unlock the names of Scots so long sunk into oblivion or simply reveal additional details and facets to the personality of those whose names have come down the centuries. Additionally, vriendenboeken weave networks of relations between Scots and Europeans expanding our understanding of these mobile and endeavouring individuals. These volumes are important as they help the historian get a clearer picture and add to the better knowledge of the peregrinatio scotica in particular vis-à-vis the Netherlands. The genre of alba amicorum fully deserves a greater consideration from the Scottish, and indeed British, historian. They offer a rounder picture of the contributors’ identities and give a voice to Scottish women which is independent from that of their husbands.
{"title":"Scots and the Netherlands as Seen through Alba Amicorum, 1540s–1720s","authors":"T. Brochard","doi":"10.1080/03096564.2020.1755552","DOIUrl":"https://doi.org/10.1080/03096564.2020.1755552","url":null,"abstract":"ABSTRACT The study of alba amicorum is still a relatively obscure yet growing pursuit in the Anglophone world. By browsing through these autograph albums, it is possible to unlock the names of Scots so long sunk into oblivion or simply reveal additional details and facets to the personality of those whose names have come down the centuries. Additionally, vriendenboeken weave networks of relations between Scots and Europeans expanding our understanding of these mobile and endeavouring individuals. These volumes are important as they help the historian get a clearer picture and add to the better knowledge of the peregrinatio scotica in particular vis-à-vis the Netherlands. The genre of alba amicorum fully deserves a greater consideration from the Scottish, and indeed British, historian. They offer a rounder picture of the contributors’ identities and give a voice to Scottish women which is independent from that of their husbands.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77668650","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 : 2020-04-18DOI: 10.1080/03096564.2020.1755173
Martine Mussies, Wouter Steenbeek
ABSTRACT This article describes how the Dutch pop phenomenon Kinderen voor Kinderen mirrors the Zeitgeist of societal changes in the Netherlands. Strongly rooted in the left-winged pillar of the system of pillarization (verzuiling), Kinderen voor Kinderen dared to address controversial topics like the fear for the atom bomb, the changing female body in puberty, homosexuality and diversity. Bespreekbaarheid is the key word for our three case studies. The first – Brief aan Ernst – is an answer song for Doe Maar, a reaction to the doemdenken. The second one – Het Tietenlied – breaks the taboo of developing breasts. Lastly, the third case study – Kom erbij – is about diversity and gender issues.
摘要本文描述了荷兰流行音乐现象Kinderen voor Kinderen如何反映了荷兰社会变革的时代精神。幼稚园(Kinderen voor Kinderen)深深扎根于支柱化(verzuiling)体系的左翼支柱，敢于讨论对原子弹的恐惧、青春期女性身体的变化、同性恋和多样性等有争议的话题。Bespreekbaarheid是我们三个案例研究的关键词。第一首《简·安·恩斯特》是一首为《杜马》而作的答谢歌曲，是对《杜马》的回应。第二部电影《海蒂·蒂滕》打破了乳房发育的禁忌。最后，第三个案例研究——Kom erbij——是关于多样性和性别问题的。
{"title":"‘Wakker Met Een Wijsje’ – How Kinderen Voor Kinderen Gave Voice to the Changing Dutch Zeitgeist","authors":"Martine Mussies, Wouter Steenbeek","doi":"10.1080/03096564.2020.1755173","DOIUrl":"https://doi.org/10.1080/03096564.2020.1755173","url":null,"abstract":"ABSTRACT This article describes how the Dutch pop phenomenon Kinderen voor Kinderen mirrors the Zeitgeist of societal changes in the Netherlands. Strongly rooted in the left-winged pillar of the system of pillarization (verzuiling), Kinderen voor Kinderen dared to address controversial topics like the fear for the atom bomb, the changing female body in puberty, homosexuality and diversity. Bespreekbaarheid is the key word for our three case studies. The first – Brief aan Ernst – is an answer song for Doe Maar, a reaction to the doemdenken. The second one – Het Tietenlied – breaks the taboo of developing breasts. Lastly, the third case study – Kom erbij – is about diversity and gender issues.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85997505","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 : 2020-03-27DOI: 10.1080/03096564.2020.1747284
J. Heilbron
ABSTRACT Although book translations are overwhelmingly made from English and a small number of other central languages, translations occasionally also flow in the opposite direction, i.e. from peripheral countries and languages to more central ones. This article explores the translation and international recognition of Dutch writers. It identifies a general pattern structured by three successive circuits of selection, diffusion, valorization and recognition. The first is the semi-official Dutch circuit outside of the Netherlands, socially based on Dutch-speaking groups abroad, dependent on Dutch foreign policy, and institutionally tied to embassies, institutes for Dutch culture, and university departments for Dutch language and literature. After having achieved some degree of visibility and recognition in this protected circuit, some writers succeed in obtaining access to a second circuit consisting of the respective national literary fields of the receiving countries. Selection and recognition here depend on editors, publishers, critics, and audiences of the receiving country. The last circuit – the one in which international fame can be obtained – represents an even more selective, transnational universe institutionally tied to world book fairs, international publishing houses, and international prizes. The process by which writers can pass from the first to the second and third circuit is, for most, one of progressive elimination.
{"title":"Obtaining World Fame from the Periphery","authors":"J. Heilbron","doi":"10.1080/03096564.2020.1747284","DOIUrl":"https://doi.org/10.1080/03096564.2020.1747284","url":null,"abstract":"ABSTRACT Although book translations are overwhelmingly made from English and a small number of other central languages, translations occasionally also flow in the opposite direction, i.e. from peripheral countries and languages to more central ones. This article explores the translation and international recognition of Dutch writers. It identifies a general pattern structured by three successive circuits of selection, diffusion, valorization and recognition. The first is the semi-official Dutch circuit outside of the Netherlands, socially based on Dutch-speaking groups abroad, dependent on Dutch foreign policy, and institutionally tied to embassies, institutes for Dutch culture, and university departments for Dutch language and literature. After having achieved some degree of visibility and recognition in this protected circuit, some writers succeed in obtaining access to a second circuit consisting of the respective national literary fields of the receiving countries. Selection and recognition here depend on editors, publishers, critics, and audiences of the receiving country. The last circuit – the one in which international fame can be obtained – represents an even more selective, transnational universe institutionally tied to world book fairs, international publishing houses, and international prizes. The process by which writers can pass from the first to the second and third circuit is, for most, one of progressive elimination.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82512119","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 : 2020-02-19DOI: 10.1080/03096564.2020.1729564
Bram Lambrecht
ABSTRACT The Dutch-Flemish literary project De eenzame uitvaart (The lonely funeral) consists of city-based groups of poets who write poems and perform them at funerals of fellow citizens who died lonely and often anonymously. At first sight, this project could be considered as a revival of the genre of occasional poetry and, more generally, as an exponent of the ‘revenge’ of the lyric in the twenty-first century. This revenge, a term borrowed from Thomas Vaessens, implies that contemporary poetry no longer functions as a marginal and elitist genre but has reconquered its popular status and societal value – in short, its heteronomous function. This paper aims to question this idea of the lyric’s revenge by analysing the ambitions (as expressed by the initiators of the project) and a selection of poems of De eenzame uitvaart. It contends that the project is founded on a firm belief in the potency of the lyric and its specific language but that this belief is often contradicted by the hesitant rhetoric of the actual poems. This discrepancy between great ambitions and hesitant practice is interpreted as a symptom of the contemporary status of the lyric, which takes revenge yet only reluctantly.
{"title":"A Reluctant Revenge? The Poetry of De Eenzame Uitvaart","authors":"Bram Lambrecht","doi":"10.1080/03096564.2020.1729564","DOIUrl":"https://doi.org/10.1080/03096564.2020.1729564","url":null,"abstract":"ABSTRACT The Dutch-Flemish literary project De eenzame uitvaart (The lonely funeral) consists of city-based groups of poets who write poems and perform them at funerals of fellow citizens who died lonely and often anonymously. At first sight, this project could be considered as a revival of the genre of occasional poetry and, more generally, as an exponent of the ‘revenge’ of the lyric in the twenty-first century. This revenge, a term borrowed from Thomas Vaessens, implies that contemporary poetry no longer functions as a marginal and elitist genre but has reconquered its popular status and societal value – in short, its heteronomous function. This paper aims to question this idea of the lyric’s revenge by analysing the ambitions (as expressed by the initiators of the project) and a selection of poems of De eenzame uitvaart. It contends that the project is founded on a firm belief in the potency of the lyric and its specific language but that this belief is often contradicted by the hesitant rhetoric of the actual poems. This discrepancy between great ambitions and hesitant practice is interpreted as a symptom of the contemporary status of the lyric, which takes revenge yet only reluctantly.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-02-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86742975","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 : 2020-02-03DOI: 10.1080/03096564.2020.1723861
Malgorzata N. Drwal
ABSTRACT This paper discusses the drama Die Offerande [‘The Sacrifice’] (1941) by Hester Cornelius, in which the Soviet aesthetic of socialist realism was grafted onto an Afrikaner cultural setting. To outline the context in which the play was created and performed, this contribution elaborates on the representation of Soviet socialism in the South African trade union periodical Klerewerker/Garment Worker, where the play was published. It aims to demonstrate that this propaganda play renders the socialist realist principle of narodnost (i. e. inclusion of a national folk element) by incorporating motifs characteristic of the Afrikaans farm novel, references to the historical events on which the Afrikanerdom founding myth is based, and characters representing 'typical' Afrikaners. Moreover, this article argues that the play’s plot is reminiscent of the socialist realist novel master plot which illustrates the protagonist’s transition from political immaturity to political awareness and his becoming the New Man. The important modification which Cornelius introduced was that she cast women in the main roles, so her play propagates the working-class New Woman.
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Pub Date : 2020-01-02DOI: 10.1080/03096564.2019.1616141
D. Worthington
ABSTRACT This article uncovers the Scottish Highlands’ earliest-known overseas slave-owning circle and the imperial entanglement with the Dutch Empire and its sugar on which this depended. It thus provides a case study of the transnational, Dutch-influenced nature of commerce in a non-metropolitan part of northern Europe in the later seventeenth century. The article highlights two interconnected contemporary developments: the engagement of Highland migrants or exiles in the sugar-based enslavement of African and indigenous populations in Suriname; the region’s heavy reliance on the importation of sugar with origins in the Dutch Atlantic plantations. In this way, the article illuminates both north Highland agency in the oppressions of the ‘triangular trade’, and its merchant community’s opting for Dutch over Lowland Scottish-refined sugar when supplying and encouraging local demand at that time. Taken together, this demonstrates the early enmeshment of the region in transnational ‘circuits’ of slave-owning and the interconnected seepage of sugar across broader sections of the northern European economy than previously considered. A Scottish Highland-led circle is shown to have grown prior to the formal creation of the British Empire, simultaneous with the commercial activity of Dutch Suriname-based sugar planter, Henry MacKintosh, who developed strong ties linking the colony with New England, Rotterdam, and his home burgh of Inverness.
{"title":"Sugar, Slave-Owning, Suriname and the Dutch Imperial Entanglement of the Scottish Highlands before 1707","authors":"D. Worthington","doi":"10.1080/03096564.2019.1616141","DOIUrl":"https://doi.org/10.1080/03096564.2019.1616141","url":null,"abstract":"ABSTRACT This article uncovers the Scottish Highlands’ earliest-known overseas slave-owning circle and the imperial entanglement with the Dutch Empire and its sugar on which this depended. It thus provides a case study of the transnational, Dutch-influenced nature of commerce in a non-metropolitan part of northern Europe in the later seventeenth century. The article highlights two interconnected contemporary developments: the engagement of Highland migrants or exiles in the sugar-based enslavement of African and indigenous populations in Suriname; the region’s heavy reliance on the importation of sugar with origins in the Dutch Atlantic plantations. In this way, the article illuminates both north Highland agency in the oppressions of the ‘triangular trade’, and its merchant community’s opting for Dutch over Lowland Scottish-refined sugar when supplying and encouraging local demand at that time. Taken together, this demonstrates the early enmeshment of the region in transnational ‘circuits’ of slave-owning and the interconnected seepage of sugar across broader sections of the northern European economy than previously considered. A Scottish Highland-led circle is shown to have grown prior to the formal creation of the British Empire, simultaneous with the commercial activity of Dutch Suriname-based sugar planter, Henry MacKintosh, who developed strong ties linking the colony with New England, Rotterdam, and his home burgh of Inverness.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81730593","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 : 2020-01-02DOI: 10.1080/03096564.2019.1681058
D. Heath
Some years ago, Elsa Strietman reviewed Jane Fenoulhet’s book, Making the Personal Political: Dutch Women Writers 1919–1970 for Dutch Crossing and described it as ‘brave’ (Dutch Crossing: Journal o...
{"title":"Image, Knife, and Gluepot: Early Assemblage in Manuscript and Print","authors":"D. Heath","doi":"10.1080/03096564.2019.1681058","DOIUrl":"https://doi.org/10.1080/03096564.2019.1681058","url":null,"abstract":"Some years ago, Elsa Strietman reviewed Jane Fenoulhet’s book, Making the Personal Political: Dutch Women Writers 1919–1970 for Dutch Crossing and described it as ‘brave’ (Dutch Crossing: Journal o...","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77820166","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 : 2020-01-02DOI: 10.1080/03096564.2020.1717193
Duco van Oostrum
ABSTRACT In this article, I read Wij Slaven in the context of African American Literature, arguing that Wij Slaven should be read as a challenge to a Dutch master narrative that has excluded De Kom’s book, in similar ways that African American literature influenced an American literary discourse. The Atlantic literary model of intertwining histories and dialogue are themselves part of a characteristic Dutch Atlantic history, encapsulated in De Kom’s inclusive “Wij” as opposed to an “us and them” position. The book’s hybrid form accentuates a particular double consciousness, framed in his maternal-inspired vision of listening. I will analyse versions of a Dutch narrative of innocence and relative benign involvement in slavery, juxtaposing it to literary accounts of Dutch slavery both in Suriname and in North America to demonstrate De Kom’s crucial intervention. Wij Slaven’s literary strategy of intertwining economic, historical, autobiographical, and fictional discourses offers a unique reading of an inclusive, Dutch Atlantic modern literature.
{"title":"‘Someone Willing to Listen to Me’: Anton de Kom’s Wij Slaven van Suriname (1934) and the ‘We’ of Dutch Post-Colonial Literature in African American Literary Context","authors":"Duco van Oostrum","doi":"10.1080/03096564.2020.1717193","DOIUrl":"https://doi.org/10.1080/03096564.2020.1717193","url":null,"abstract":"ABSTRACT In this article, I read Wij Slaven in the context of African American Literature, arguing that Wij Slaven should be read as a challenge to a Dutch master narrative that has excluded De Kom’s book, in similar ways that African American literature influenced an American literary discourse. The Atlantic literary model of intertwining histories and dialogue are themselves part of a characteristic Dutch Atlantic history, encapsulated in De Kom’s inclusive “Wij” as opposed to an “us and them” position. The book’s hybrid form accentuates a particular double consciousness, framed in his maternal-inspired vision of listening. I will analyse versions of a Dutch narrative of innocence and relative benign involvement in slavery, juxtaposing it to literary accounts of Dutch slavery both in Suriname and in North America to demonstrate De Kom’s crucial intervention. Wij Slaven’s literary strategy of intertwining economic, historical, autobiographical, and fictional discourses offers a unique reading of an inclusive, Dutch Atlantic modern literature.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84500172","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}
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