Pub Date : 2020-01-02DOI: 10.1080/03096564.2019.1691847
G. Knight
ABSTRACT The subject of ‘Indies Lives in the Netherlands’ has been most extensively studied with reference to mid-twentieth century, postcolonial ‘returnees’ who arrived in the Netherlands in large numbers in the wake of Indonesian independence. There is, however, an important earlier history here. Throughout the late colonial period, many wealthy ‘Indies’ families maintained close and organic relations with the Dutch metropole. Some of these families (or branches of them), though originally Indies-based, relocated permanently to the Netherlands and established themselves among the Dutch bourgeoisie. This paper examines the history of such a family, one of mixed Scots-Javanese-Dutch ancestry, which settled in The Hague in the last decade of the nineteenth century. In so doing, it demonstrates the extent to which the plethora of recently available genealogical data can be used in the reconstruction of family histories to create a picture that can exist alongside – both complementing and complicating – any trend towards discourse-based approaches to the subject.
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Pub Date : 2020-01-02DOI: 10.1080/03096564.2019.1621426
H. Droste
Koopmans, Joop W., Early modern media and the news in Europe: perspectives from the Dutch angle, Brill, Leiden, 2018
乔普·W·库普曼，《近代早期媒体与欧洲新闻:从荷兰视角看》，布瑞尔，莱顿，2018
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Pub Date : 2019-11-18DOI: 10.1080/03096564.2019.1693200
Malgorzata N. Drwal
ABSTRACT This article explores points of contact between Olive Schreiner and Aletta Jacobs, two prominent first-wave feminists, presenting a case study of cultural mobility from South Africa to the Netherlands. Utilizing the histoire croisée approach, this contribution discusses the reception of Olive Schreiner’s Woman and Labour in the Netherlands. It argues that the profile of Aletta Jacobs, who translated the text into Dutch, was decisive in forming Dutch public’s reactions to the book. Schreiner, however, an influential South African writer and social theorist, was a radical voice among both South African and European feminists and her social vision was not entirely compatible with Jacobs’s views. This article proposes that reviews of Schreiner’s book in Dutch socialist and feminist press reflect the tensions between these two movements which played out in Europe in the late 19th and early 20th centuries and do not take into account Schreiner’s actual non-European perspective and her global approach to social processes where gender, class, and race function as intersecting concepts.
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Pub Date : 2019-09-02DOI: 10.1080/03096564.2019.1656792
Marsely L. Kehoe, J. Sadler
The following articles were originally presented at the 19th biennial Interdisciplinary Conference on Netherlandic Studies. Held in Bloomington at Indiana University in June 2018, the conference was organized by the American Association for Netherlandic Studies (AANS). The four articles published here approach the conference theme of the Changing Low Lands from a variety of angles that corresponds with the assortment of topics and disciplines presented at Bloomington. Isabella Lores-Chavez underscores the diversity of the Dutch Republic in the early seventeenth century and how Hendrick Avercamp’s charming winter scenes both reflect and actively shape this new identity. Sarah Dyer Magleby’s consideration of Adriaen van de Venne’s humorous image of ice-skating owls, taking on human characteristics, is of its seventeenth-century Dutch moment as it alludes to a series of proverbs and other visual culture to produce a multi-layered moral message. Derek Kane O’Leary’s paper takes us outside the geographical boundaries of the Low Countries in detailing the efforts of nineteenth-century New Yorkers to integrate the region’s Dutch history into the developing national narrative of the antebellum United States. Finally, Joshua Sander examines the National Socialist effort to shape expatriate Germans and Dutch citizens in the image of the Reich through the German Schools in the Netherlands in the 1930s and 1940s. Our two art historical papers together illustrate the variety of methodologies and potential readings in this discipline, with very different approaches to that celebrated Dutch sport of ice skating. With television host Katie Couric’s much-mocked 2018 explanation of why the Dutch Olympic team dominated in speed-skating (because frozen canals are a major mode of transport in the Netherlands, she argued), it’s clear the world associates ice skating with the Netherlands, but these papers show that ice skating is about more than sport in the Dutch Golden Age. Read as anthropology or allegory, the scholars consider the solidity of the ice, the placement of the skates, the costumes of the skaters, and the setting of the frozen surface, and provide context from the historical and cultural moment to elucidate this imagery and speak to Dutch seventeenth-century morals and identity. The two historical papers plunge into archival sources to investigate the ways in which educational institutions attempted to shape national identities in the nineteenth and twentieth centuries. Though the antebellum New York Historical Society differed greatly from educational ministers who oversaw German International Schools in the Netherlands prior to and during Nazi rule, both saw education as a central component to the development of narratives of national unity. Where a succession of German education ministers attempted to mold the German Schools into a bulwark against ‘Dutchification,’ while constantly redefining what it meant to be German, the New York DUTCH CROSSING 201
以下文章最初发表于第19届荷兰研究两年一次的跨学科会议上。该会议于2018年6月在印第安纳大学布卢明顿举行，由美国荷兰研究协会(AANS)组织。这里发表的四篇文章从不同的角度探讨了低地变化的会议主题，这与在布卢明顿提出的各种主题和学科相对应。伊莎贝拉·洛雷斯-查韦斯强调了17世纪早期荷兰共和国的多样性，以及亨德里克·阿弗坎普迷人的冬季场景如何反映并积极塑造了这种新的身份。Sarah Dyer Magleby对Adriaen van de Venne的溜冰猫头鹰的幽默形象的考虑，呈现出人类的特征，是17世纪荷兰的时刻，因为它暗示了一系列谚语和其他视觉文化，以产生多层次的道德信息。Derek Kane O 'Leary的论文将我们带到了低地国家的地理边界之外，详细介绍了19世纪纽约人将该地区的荷兰历史融入到内战前美国发展中的国家叙事中的努力。最后，约书亚·桑德(Joshua Sander)考察了国家社会主义在20世纪30年代和40年代通过荷兰的德国学校，以帝国的形象塑造外籍德国人和荷兰公民的努力。我们的两篇艺术史论文共同说明了这一学科的各种方法和潜在的阅读，用非常不同的方法来研究著名的荷兰滑冰运动。电视节目主持人凯蒂·库里克(Katie Couric)在2018年对荷兰奥运代表队为何在速滑项目上占据主导地位的解释备受嘲笑(她认为，因为冰冻运河是荷兰的主要交通方式)，很明显，全世界都把滑冰与荷兰联系在一起，但这些论文表明，在荷兰的黄金时代，滑冰不仅仅是一项运动。作为人类学或寓言，学者们考虑了冰的坚固性，溜冰鞋的位置，溜冰者的服装，以及冰冻表面的设置，并提供了历史和文化时刻的背景，以阐明这一意象，并与17世纪荷兰的道德和身份对话。这两篇历史论文深入研究了档案资料，调查了19世纪和20世纪教育机构试图塑造国家身份的方式。尽管战前的纽约历史学会(New York Historical Society)与在纳粹统治之前和统治期间监管荷兰德国国际学校(German International Schools)的教育部长有很大不同，但他们都认为教育是国家统一叙事发展的核心组成部分。历届德国教育部长都试图将德国学校塑造成反对“荷兰化”的堡垒，同时不断重新定义德国人的含义，《纽约荷兰穿越》2019年第43卷，第1期。3, 207-208 https://doi.org/10.1080/03096564.2019.1656792
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Pub Date : 2019-09-02DOI: 10.1080/03096564.2019.1656798
Isabella Lores-Chavez
ABSTRACT In the first decades of the seventeenth century, Hendrick Avercamp was among the first Dutch painters to prioritize local landscape subjects as a source of pictorial interest. Avercamp’s ice-skating scenes offer a vision of a prosperous society emerging in the Northern provinces in the midst of the Dutch Revolt against Spain. This paper argues that Avercamp’s work, rather than simply celebrating a quaint pastime, invites a more political reading. Avercamp’s use of nascent symbols of Dutch identity – particularly the tricolour flag – tie his paintings inextricably to the political cause of Dutch autonomy, and suggest the political consciousness of the citizens of the young Republic.
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Pub Date : 2019-08-27DOI: 10.1080/03096564.2019.1656851
Sarah Dyer Magleby
ABSTRACT Delft-born Adriaen van de Venne (1580–1662) is an artist well-known for his genre scenes, portraits, and book illustrations. He also created images with great moralistic and comic value, such as his painting Hoe dienen wij bij een!, made between c. 1614 and 1662. This painting portrays two brown and black-spotted owls in the guise of humans skating on a frozen lake. As other more conventional birds soar above the distant skeletal trees, these feathered creatures both wear contemporary clothing. The male owl also clenches a rope in his beak with a pair of glasses knotted at the end. This same rope attaches behind him to the female owl’s chest, but instead of spectacles, her end holds several dead mice. Above the two anthropomorphic animals floats a banderole, which translates to ‘How well we go together!’ Although scholars believe van de Venne intended this work as lighthearted with only a vague message of foolishness, I contend that through the artist’s use of iconographic imagery and well-known proverbs and themes, van de Venne produced a humorous painting with a moralizing and didactic message which condemned the vice of adultery and warned the male audience about the dangers of a cunning woman.
出生于代尔夫特的Adriaen van de Venne(1580-1662)是一位以其类型场景，肖像和书籍插图而闻名的艺术家。他还创作了具有重大道德和喜剧价值的图像，如他的画作《我们在一起!》，约1614年至1662年制作。这幅画描绘了两只棕色和黑色斑点的猫头鹰伪装成人类在冰冻的湖面上滑冰。当其他更传统的鸟类在远处的骨骼树上翱翔时，这些有羽毛的生物都穿着现代的衣服。雄猫头鹰还用嘴叼着一根绳子，绳子的末端结着一副眼镜。在他身后，同样的绳子绑在雌猫头鹰的胸前，但不是眼镜，而是她的一端挂着几只死老鼠。在这两只拟人化的动物上方，漂浮着一个小标语，意思是“我们在一起多好啊!”“虽然学者们认为，范·德·维纳的意图是让这幅作品轻松愉快，只是模糊地传达了愚蠢的信息，但我认为，通过艺术家对肖像意象和众所周知的谚语和主题的使用，范·德·维纳创作了一幅幽默的画作，其中带有道德和说教的信息，谴责通奸的恶习，并警告男性观众警惕狡猾的女人的危险。”
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Pub Date : 2019-08-19DOI: 10.1080/03096564.2019.1656854
J. Sander
ABSTRACT Successive German governments in the twentieth century used the system of German International Schools to achieve their cultural policy goals in the Netherlands. Prior to the Nazi assumption of power, the Weimar government and local German community leaders in the Netherlands saw the schools as bastions of German culture and as tools to prevent the ‘Dutchification’ of Germans living abroad. With Hitler’s accession to the Chancellorship, the purpose of these schools changed to include the inculcation of a National Socialist and Germanic worldview among the students. Finally, with the German occupation during the Second World War, these schools, which the Nazi occupiers significantly expanded, were seen as models for the future development of Dutch education. Although the ultimate Nazi defeat limited the effect of these German International Schools upon the larger Dutch educational establishment, the changes the German Schools underwent in the 1930s were largely mirrored by Dutch institutions during the occupation. The German International Schools therefore stand as further evidence of the Nazis’ larger designs for the Netherlands after the hoped-for German victory.
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Pub Date : 2019-08-17DOI: 10.1080/03096564.2019.1656852
D. O’Leary
ABSTRACT In nineteenth-century New York, the collection, translation, and republication of documents related to colonial Dutch history was about more than antiquarianism or the ethno-centrism of Dutch-descended Americans. With the unprecedented support of the state of New York and U.S. ministers in Europe, the New York Historical Society (NYHS) orchestrated a much more ambitious project to reinscribe Dutch imperialism within a grander narrative of the state. This, they hoped, would situate New York at the centre of national history, and its archive as the nation’s most important historical record. In doing so, the stewards of the state’s archives and history worked to displace the burlesque rendition of New York’s past popularized by Washington Irving, in favor of a unified, progressive, celebratory narrative.
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Pub Date : 2019-08-13DOI: 10.1080/03096564.2019.1654793
R. Eßer
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Pub Date : 2019-08-12DOI: 10.1080/03096564.2019.1654196
Tanja Collet
ABSTRACTThe Gazette van Detroit was one of many immigrant newspapers started up in the United States shortly after the outbreak of the First World War. During the war, it kept the Belgian community...
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