Pub Date : 2019-01-02DOI: 10.1080/03096564.2018.1559527
Luc Duerloo
ABSTRACT Although the Habsburgs never actually ruled the duchy of Burgundy, they persisted in using that ducal title from the late fifteenth until the opening years of the nineteenth century. This article explores four ways in which the title remained useful for the dynasty: to claim a preeminent place among the ruling dynasties of Europe, strengthen its position in the Holy Roman Empire, obtain diplomatic precedence, and secure its hold on the Order of the Golden Fleece. By exploring the resilience of the Burgundian claim it demonstrates the long-term importance of such empty titles in the construction of dynastic identity.
{"title":"The Utility of an Empty Title. The Habsburgs as Dukes of Burgundy","authors":"Luc Duerloo","doi":"10.1080/03096564.2018.1559527","DOIUrl":"https://doi.org/10.1080/03096564.2018.1559527","url":null,"abstract":"ABSTRACT Although the Habsburgs never actually ruled the duchy of Burgundy, they persisted in using that ducal title from the late fifteenth until the opening years of the nineteenth century. This article explores four ways in which the title remained useful for the dynasty: to claim a preeminent place among the ruling dynasties of Europe, strengthen its position in the Holy Roman Empire, obtain diplomatic precedence, and secure its hold on the Order of the Golden Fleece. By exploring the resilience of the Burgundian claim it demonstrates the long-term importance of such empty titles in the construction of dynastic identity.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":"22 1","pages":"63 - 77"},"PeriodicalIF":0.5,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77761707","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 : 2018-12-24DOI: 10.1080/03096564.2018.1559518
D. Raeymaekers
ABSTRACT In 1599 the Archdukes Albert and Isabella introduced a new ceremonial at their court in Brussels. Cobbled from the model that was in vogue at the royal court of Madrid, it was known as the ‘Burgundian’ ceremonial, as its origins could be traced back to the renowned court of the Dukes of Burgundy during whose reign the court of Brussels had thrived as never before. Strangely, the reforms met plenty of criticism among the courtiers, who accused the archdukes of putting aside time-honoured local traditions. The ‘Burgundian’ ceremonial was experienced by the Netherlandish nobility not only as ‘new’ but also as ‘foreign’, indicating that it was no longer recognizable as a direct derivative of the age-old tradition in Brussels. This article examines the origins of the ceremonial at the archducal court and shows how and why it came to deviate from the model that had traditionally been maintained in the Burgundian Netherlands.
{"title":"‘A La Mode De Bourgoigne?’ The ‘Burgundian’ Ceremonial at the Court of Albert and Isabella in Brussels (1598–1621)","authors":"D. Raeymaekers","doi":"10.1080/03096564.2018.1559518","DOIUrl":"https://doi.org/10.1080/03096564.2018.1559518","url":null,"abstract":"ABSTRACT In 1599 the Archdukes Albert and Isabella introduced a new ceremonial at their court in Brussels. Cobbled from the model that was in vogue at the royal court of Madrid, it was known as the ‘Burgundian’ ceremonial, as its origins could be traced back to the renowned court of the Dukes of Burgundy during whose reign the court of Brussels had thrived as never before. Strangely, the reforms met plenty of criticism among the courtiers, who accused the archdukes of putting aside time-honoured local traditions. The ‘Burgundian’ ceremonial was experienced by the Netherlandish nobility not only as ‘new’ but also as ‘foreign’, indicating that it was no longer recognizable as a direct derivative of the age-old tradition in Brussels. This article examines the origins of the ceremonial at the archducal court and shows how and why it came to deviate from the model that had traditionally been maintained in the Burgundian Netherlands.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":"87 2 1","pages":"47 - 62"},"PeriodicalIF":0.5,"publicationDate":"2018-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86424274","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 : 2018-12-03DOI: 10.1080/03096564.2018.1553332
Michał Wenderski
ABSTRACT This article presents a remarkable case study of artistic influences between two avant-garde artists who still gain insufficient recognition in international accounts of European modern art, namely between Mieczysław Szczuka and Hendrik Nicolaas Werkman – eminent representatives of Polish and Dutch interwar avant-gardes, respectively. They both lived and worked far from historiographical artistic ‘centres’, did not travel much, yet their work indicates considerable influence exerted by one of these ‘peripheral’ artists on the other. Interestingly, it is the Polish artist Szczuka whose works became a source of artistic inspiration for the Dutchman Werkman, providing a remarkable example of East-West artistic influence that has so far rarely been recognized by the historiographers of the avant-garde. This particular case study is based on an analysis of preserved historical material and selected artworks that give evidence of Szczuka’s influence on Werkman and at the same time question historiographical assumptions regarding cultural mobility ‘from centres to peripheries’ and ‘from West to East’.
{"title":"From ‘Peripheral’ Warsaw to No Less Marginal Groningen: Mieczysław Szczuka’s Artistic Influence on Hendrik Nicolaas Werkman","authors":"Michał Wenderski","doi":"10.1080/03096564.2018.1553332","DOIUrl":"https://doi.org/10.1080/03096564.2018.1553332","url":null,"abstract":"ABSTRACT This article presents a remarkable case study of artistic influences between two avant-garde artists who still gain insufficient recognition in international accounts of European modern art, namely between Mieczysław Szczuka and Hendrik Nicolaas Werkman – eminent representatives of Polish and Dutch interwar avant-gardes, respectively. They both lived and worked far from historiographical artistic ‘centres’, did not travel much, yet their work indicates considerable influence exerted by one of these ‘peripheral’ artists on the other. Interestingly, it is the Polish artist Szczuka whose works became a source of artistic inspiration for the Dutchman Werkman, providing a remarkable example of East-West artistic influence that has so far rarely been recognized by the historiographers of the avant-garde. This particular case study is based on an analysis of preserved historical material and selected artworks that give evidence of Szczuka’s influence on Werkman and at the same time question historiographical assumptions regarding cultural mobility ‘from centres to peripheries’ and ‘from West to East’.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":"3 1","pages":"283 - 293"},"PeriodicalIF":0.5,"publicationDate":"2018-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87724665","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 : 2018-12-03DOI: 10.1080/03096564.2018.1553007
M. Pólkowski
ABSTRACT This article discusses Anglo-Dutch recusant polemicist and publisher Richard Verstegan’s concern with the misuse of language and its impact on society, reflected in his religious–polemical publications. An analysis of pamphlets ascribed to Verstegan reveals that he acknowledged the existence of a close link between the misuse of power in Elizabethan England and the misuse of language. The former impacted linguistic communication through the foisting on English society of propaganda based on deliberate disinformation, and through the limiting of free speech. In his pamphlets, Verstegan used elements of mystification characteristic of the convention of ‘epistolary fiction’. In the final part of this article, therefore, an answer is provided to the question whether such a literary strategy may be classified as a form of misuse of language.
{"title":"From Propaganda to the Denial of Free Speech: Politics and the Misuse of Language in Elizabethan England in the Writings of Anglo-Dutch Polemicist Richard Verstegan (c. 1550–1640)","authors":"M. Pólkowski","doi":"10.1080/03096564.2018.1553007","DOIUrl":"https://doi.org/10.1080/03096564.2018.1553007","url":null,"abstract":"ABSTRACT This article discusses Anglo-Dutch recusant polemicist and publisher Richard Verstegan’s concern with the misuse of language and its impact on society, reflected in his religious–polemical publications. An analysis of pamphlets ascribed to Verstegan reveals that he acknowledged the existence of a close link between the misuse of power in Elizabethan England and the misuse of language. The former impacted linguistic communication through the foisting on English society of propaganda based on deliberate disinformation, and through the limiting of free speech. In his pamphlets, Verstegan used elements of mystification characteristic of the convention of ‘epistolary fiction’. In the final part of this article, therefore, an answer is provided to the question whether such a literary strategy may be classified as a form of misuse of language.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":"1 1","pages":"270 - 282"},"PeriodicalIF":0.5,"publicationDate":"2018-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77554930","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 : 2018-11-30DOI: 10.1080/03096564.2018.1552971
L. Viljoen
ABSTRACT This article discusses two volumes of ekphrastic poems by the South African author Marlene van Niekerk. The volumes are based on paintings by two relatively minor Dutch painters. The first, Gesant van die mispels [‘Emissary of the medlars’], centres on paintings by Adriaen Coorte who presumably lived from 1659 to 1708, whereas the second In die stille agterkamer [‘In the quiet backroom’] relates to paintings by Jan Mankes who was born in 1889 and died of tuberculosis in 1920. Taking its cue from the poet’s comments in an interview with Jan Steyn, the article explores the way in which writing ekphrastic poetry can be seen as a process during which artefacts produced in one semiotic system (the visual) are translated into artefacts in another semiotic system (the verbal), making use of theoretical insights by James Heffernan, W. J. T. Mitchell and Elizabeth Bergmann Loizeaux. The article also explores the further significance of publishing the original version of the poems written in the language Afrikaans next to their translations into Dutch, pointing out the significance of the fact that the poems highlight the historical connection between the two languages. The article also discusses the way in which the poet engages with the way in which the two artists dealt artistically with their respective realities. It includes analyses of two poems, one from each volume, in which the poet deals with certain profound qualities she finds in these painters’ work.
本文讨论了南非女作家玛琳·范·尼克尔克的两本散文诗。这些书是根据两位相对较小的荷兰画家的绘画创作的。第一个，Gesant van die mispels(“紫花使者”)，集中于Adriaen Coorte的画作，他大概生活在1659年到1708年，而第二个In die stille agterkamer(“在安静的后屋”)与Jan Mankes的画作有关，Jan Mankes出生于1889年，1920年死于肺结核。从诗人在接受Jan Steyn采访时的评论中获得线索，本文利用James Heffernan, W. J. T. Mitchell和Elizabeth Bergmann Loizeaux的理论见解，探讨了如何将写诗视为一个过程，在这个过程中，一种符号系统(视觉)中产生的人工制品被翻译成另一种符号系统(口头)中的人工制品。文章还探讨了将这些以南非荷兰语写成的诗歌的原版与荷兰语译本一起出版的进一步意义，指出这些诗歌突出了这两种语言之间的历史联系。文章还讨论了诗人与两位艺术家以艺术方式处理各自现实的方式。它包括对两首诗的分析，每卷一首，其中诗人处理了她在这些画家的作品中发现的某些深刻的品质。
{"title":"Ekphrasis and/As Translation in Marlene van Niekerk’s Volumes of Poetry Gesant van die mispels and in die stille agterkamer","authors":"L. Viljoen","doi":"10.1080/03096564.2018.1552971","DOIUrl":"https://doi.org/10.1080/03096564.2018.1552971","url":null,"abstract":"ABSTRACT This article discusses two volumes of ekphrastic poems by the South African author Marlene van Niekerk. The volumes are based on paintings by two relatively minor Dutch painters. The first, Gesant van die mispels [‘Emissary of the medlars’], centres on paintings by Adriaen Coorte who presumably lived from 1659 to 1708, whereas the second In die stille agterkamer [‘In the quiet backroom’] relates to paintings by Jan Mankes who was born in 1889 and died of tuberculosis in 1920. Taking its cue from the poet’s comments in an interview with Jan Steyn, the article explores the way in which writing ekphrastic poetry can be seen as a process during which artefacts produced in one semiotic system (the visual) are translated into artefacts in another semiotic system (the verbal), making use of theoretical insights by James Heffernan, W. J. T. Mitchell and Elizabeth Bergmann Loizeaux. The article also explores the further significance of publishing the original version of the poems written in the language Afrikaans next to their translations into Dutch, pointing out the significance of the fact that the poems highlight the historical connection between the two languages. The article also discusses the way in which the poet engages with the way in which the two artists dealt artistically with their respective realities. It includes analyses of two poems, one from each volume, in which the poet deals with certain profound qualities she finds in these painters’ work.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":"3 1","pages":"331 - 348"},"PeriodicalIF":0.5,"publicationDate":"2018-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78885744","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 : 2018-11-29DOI: 10.1080/03096564.2018.1551479
Yiming Wang
ABSTRACT The period of the Dutch East Indies holds a special position in the colonial history of the low countries. Of the many historical sub-disciplines that study this period, the history of printing has not been reviewed adequately. Very little research has been done on the history of Chinese printing in the Dutch East Indies. This article focuses exclusively on Chinese printing in the colony and discusses 11 printers active at the time, some of which were previously unknown to the academic community.
{"title":"The Development of Chinese Printers in the Dutch East Indies (1800–1900)","authors":"Yiming Wang","doi":"10.1080/03096564.2018.1551479","DOIUrl":"https://doi.org/10.1080/03096564.2018.1551479","url":null,"abstract":"ABSTRACT The period of the Dutch East Indies holds a special position in the colonial history of the low countries. Of the many historical sub-disciplines that study this period, the history of printing has not been reviewed adequately. Very little research has been done on the history of Chinese printing in the Dutch East Indies. This article focuses exclusively on Chinese printing in the colony and discusses 11 printers active at the time, some of which were previously unknown to the academic community.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":"14 1","pages":"49 - 65"},"PeriodicalIF":0.5,"publicationDate":"2018-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85165167","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 : 2018-11-28DOI: 10.1080/03096564.2018.1551295
Jesse van Amelsvoort
ABSTRACT As the representation of Western modernity’s dark undercurrent, the Gothic novel has since its inception in the 1760s developed and transformed alongside that modernity. This paper looks at two contemporary Gothic novels from the Low Countries, Herman Franke’s Wolfstonen (2003) and Saskia de Coster’s Wat alleen wij horen (2015), which are occupied with contemporary globalisation and immigration to the Netherlands and Belgium. Both novels cast the apartment buildings that are central to their plots as Gothic spaces fraught with images of modern, globalised society, as well as widespread anxiety over societal cohesion in ethnically and culturally diverse cities. An interdisciplinary reading constituted by gothic and postcolonial reading practices brings to the fore new elements of the Dutch and Flemish cultural imaginary. It reveals the continuous renewal of the gothic itself, but also into the changes brought to the Low Countries as a result of globalisation and immigration. These have their effect on the construction of community, a process that is articulated in both the form and the content of the novels’ narratives. Ultimately, I argue, the gothic is put to work in these novels as a way of dealing with the anxieties about and uncertainties of a postcolonial world.
{"title":"Anxious about a Changing World: Twenty-First Century Low Countries Gothic Novels","authors":"Jesse van Amelsvoort","doi":"10.1080/03096564.2018.1551295","DOIUrl":"https://doi.org/10.1080/03096564.2018.1551295","url":null,"abstract":"ABSTRACT As the representation of Western modernity’s dark undercurrent, the Gothic novel has since its inception in the 1760s developed and transformed alongside that modernity. This paper looks at two contemporary Gothic novels from the Low Countries, Herman Franke’s Wolfstonen (2003) and Saskia de Coster’s Wat alleen wij horen (2015), which are occupied with contemporary globalisation and immigration to the Netherlands and Belgium. Both novels cast the apartment buildings that are central to their plots as Gothic spaces fraught with images of modern, globalised society, as well as widespread anxiety over societal cohesion in ethnically and culturally diverse cities. An interdisciplinary reading constituted by gothic and postcolonial reading practices brings to the fore new elements of the Dutch and Flemish cultural imaginary. It reveals the continuous renewal of the gothic itself, but also into the changes brought to the Low Countries as a result of globalisation and immigration. These have their effect on the construction of community, a process that is articulated in both the form and the content of the novels’ narratives. Ultimately, I argue, the gothic is put to work in these novels as a way of dealing with the anxieties about and uncertainties of a postcolonial world.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":"9 1","pages":"102 - 117"},"PeriodicalIF":0.5,"publicationDate":"2018-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81912581","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 : 2018-09-30DOI: 10.1080/03096564.2018.1524645
Adam Sammut
ABSTRACT This article looks at a well-known but little-studied print series depicting the Wonders of the Ancient World, published in Amsterdam in the maelstrom of the Dutch Revolt. Viewed as visual dialogues in Renaissance humanism against the existential crisis posed by the Netherlands beeldenstorm, the prints are compendiums of antiquarian knowledge which sermonize Christian righteousness. By advocating a ‘third way’ between idolatry and iconoclasm, Heemskerck sought to vindicate his raison d’être as an artist, whose virtuous and virtuosic prints earned their place in the gentleman-scholar’s cabinet of curiosities. Of especial focus are three outstanding images: the peculiar and iconic Colossus of Rhodes, the Walls of Babylon and Martial’s ‘eighth wonder’, the Roman Colosseum.
{"title":"Maarten van Heemskerck’s Eight Wonders of the Ancient World : Contesting the Image in an Age of Iconoclasm","authors":"Adam Sammut","doi":"10.1080/03096564.2018.1524645","DOIUrl":"https://doi.org/10.1080/03096564.2018.1524645","url":null,"abstract":"ABSTRACT This article looks at a well-known but little-studied print series depicting the Wonders of the Ancient World, published in Amsterdam in the maelstrom of the Dutch Revolt. Viewed as visual dialogues in Renaissance humanism against the existential crisis posed by the Netherlands beeldenstorm, the prints are compendiums of antiquarian knowledge which sermonize Christian righteousness. By advocating a ‘third way’ between idolatry and iconoclasm, Heemskerck sought to vindicate his raison d’être as an artist, whose virtuous and virtuosic prints earned their place in the gentleman-scholar’s cabinet of curiosities. Of especial focus are three outstanding images: the peculiar and iconic Colossus of Rhodes, the Walls of Babylon and Martial’s ‘eighth wonder’, the Roman Colosseum.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":"88 1","pages":"27 - 49"},"PeriodicalIF":0.5,"publicationDate":"2018-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90601162","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 : 2018-09-10DOI: 10.1080/03096564.2018.1475045
Paola Gentile
ABSTRACT This paper seeks to investigate the image of the Netherlands in Italy, a topic which has so far received scant attention in Dutch Studies. Drawing on the theoretical framework of imagology1 – which analyses how clichés about a country or a population appear in different communication media – this study will lie its focus on the contrast between the stereotypes on the Netherlands spread by the Italian press and the image of the Dutch that emerges from the translation of Dutch novels into Italian. An online search into the archives of the two most sold Italian newspapers2 from 1990 to 2017 and the database of Dutch novels translated into Italian in the same time span revealed that the Netherlands is portrayed in two different ways, especially when it comes to religion-related debates. The results seem to suggest that different media tend to create different images of the same country.
{"title":"Religious Images of the Netherlands in Italy: An Analysis of Press Articles and Novel Translations","authors":"Paola Gentile","doi":"10.1080/03096564.2018.1475045","DOIUrl":"https://doi.org/10.1080/03096564.2018.1475045","url":null,"abstract":"ABSTRACT This paper seeks to investigate the image of the Netherlands in Italy, a topic which has so far received scant attention in Dutch Studies. Drawing on the theoretical framework of imagology1 – which analyses how clichés about a country or a population appear in different communication media – this study will lie its focus on the contrast between the stereotypes on the Netherlands spread by the Italian press and the image of the Dutch that emerges from the translation of Dutch novels into Italian. An online search into the archives of the two most sold Italian newspapers2 from 1990 to 2017 and the database of Dutch novels translated into Italian in the same time span revealed that the Netherlands is portrayed in two different ways, especially when it comes to religion-related debates. The results seem to suggest that different media tend to create different images of the same country.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":"44 1","pages":"81 - 101"},"PeriodicalIF":0.5,"publicationDate":"2018-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82594433","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 : 2018-09-10DOI: 10.1080/03096564.2018.1512255
Coen van’t Veer
ABSTRACT Nineteenth century fiction about the sailing ships (around the Cape) that crossed the seas between the Netherlands and the Dutch East Indies between 1850 and 1890 are presented as micro colonies in the novels: a condensed version of colonial society. In the analyzed novels, women are represented as passengers who are finding their ways to exercise power in a colonial micro cosmos that is been dominated by white men.
{"title":"The Sea Voyage as a Marriage Snare: Gender in Novels about the Passage between the Netherlands and the Dutch East Indies (1869–1891)","authors":"Coen van’t Veer","doi":"10.1080/03096564.2018.1512255","DOIUrl":"https://doi.org/10.1080/03096564.2018.1512255","url":null,"abstract":"ABSTRACT Nineteenth century fiction about the sailing ships (around the Cape) that crossed the seas between the Netherlands and the Dutch East Indies between 1850 and 1890 are presented as micro colonies in the novels: a condensed version of colonial society. In the analyzed novels, women are represented as passengers who are finding their ways to exercise power in a colonial micro cosmos that is been dominated by white men.","PeriodicalId":41997,"journal":{"name":"Dutch Crossing-Journal of Low Countries Studies","volume":"32 1","pages":"257 - 269"},"PeriodicalIF":0.5,"publicationDate":"2018-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77900931","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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