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Maakt Nederland tegenwoordig een herhaling van de Gouden Eeuw mee?
153-161Views:9De tegenwoordige tijd lijkt voor veel mensen binnen en buiten Nederland als een soort herhaling (of heropleving) van de Gouden Eeuw waargenomen te worden. Dat blijkt uit een versterkte belangstelling voor de vaderlandse geschiedenis en met name voor de zeventiende eeuw. De bloeiperiode van Nederland wordt in deze optiek gezien als de bakermat van alle waarden die ook aan de grondslag liggen van het poldermodel. Religieuze tolerantie, gedoogbeleid en multiculturele samenleving lijken op die manier uitingen van eenzelfde gedachte te zijn. Ook op internationaal vlak valt er een parallellie op met de Gouden Eeuw: het gaat/ ging economisch goed met Nederland en er is/was – zeker mede als gevolg daarvan – wereldwijd een grote belangstelling voor Nederlandse cultuur en ook literatuur.
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Die Geschichte, wie sie in Holland geschrieben worden war…: Die ungarische Rezeption der niederländischen Geschichtsideen im 17. Jahrhundert* - Dem Andenken von Willem Teellinck gewidmet
161-184Views:22The ideas on history in Protestant Holland in 17-century had much more impact on ideology of Hungarian Peregrinants, than it was considered to be before, not only in ecclesiastical, but in secural area of research history also. It had to be emphasied that there was a turn at the beginning of the 17th century: beside the Barokk, the dominant art and cultural historcal viewpoint came up a general spiritual reform that had several label, and lived without determining its confession. There were in protestant (e.g. Nadere reformatie, Puritanism, Pietism, Herrnhutianism, Methodism) and in catholical denominations (e.g. Jansenism), but also in Jewish religion (e.g. hasidical misticism). In parallel with that phenomenon had changed theories on history. The Hungarian undergraduates had from 1622 in Franeker and in the other Universities in Holland studied, and perceived the alteration of world view. In that paper my scope was investigating the circumstances of that changing, and demonstrating the difficulty of the research.
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H.C. Zentgraaff contra het echtpaar Székely-Lulofs: Wie was die man?
133-143Views:16In 1931 and 1932, Madelon Lulofs published her novels Rubber and Koelie; in 1935 Van oerwoud tot plantage appeared, a translation of the novel Őserdőktől az ültetvényekig by her spouse, László Székely, that came out in the same year. The novels give a realistic and revealing look into the harsh life on the plantations of Deli at the East Coast of Sumatra. Although the books were generally well received in the Netherlands and were considered by progressive critics to be accusations against the colonial administration, the Dutch East Indian press responded with indignation: the colony, as they concluded, was put in a bad light, which created a wrong impression amongst the general public abroad. Besides, equally importantly, these novels served as an evidence of colonial oppression for Indian nationalists, they argued. The Székely-Lulofs couple was heavily rebuked for it. The hate campaign against them was led by journalist H.C. Zentgraaff.
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Warum eben Holland? Zur Anwendbarkeit theoretischer Ansätze zeitgenössischer niederländischer Gesellschaftswissenschaftler bei der Interpretation des Romans Die Geschichte meiner Frau von Milán Füst
199-221Views:15The present study tries to re-read Milán Füst’s novel with the help of theories of three contemporary Dutch scholars. Mieke Bal’s academic bestseller, The Travelling Concepts helps us to recognize that static notions of masculinity as well as national and gender stereotypes, which are challenged by the novel, have always been changing dynamically. On the basis of Johan Goudsblom’s theories on the relationship between fire and civilization, on time regimes and on the mystery of the origin of the masculine power one can also prove that Füst’s novel keeps on playing with virtues believed to be masculine, such as the self-control and power over the women. And finally, the essays of the socio-psychologist Douwe Draaisma provide explanation for how the autobiographical memory of the narrator-protagonist determines the special narrative structure of the novel, why he is dwelling on superfluous details and why he leaves out years of his life story.