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Sidestone Press is currently working on the publication of facsimile-editions of the series De inlandsche kunstnijverheid in Nederlandsch Indie by J.E. Jasper and M. Pirngadie. This 5-book series describes the material culture of the former Dutch East Indies (present-day Indonesia) and was first published between 1912 and 1930. Part IV is the second volume to be republished and deals with the objects of gold and silver. The different types of body ornaments are described, as well as the techniques and tools used in the production of these objects. The book is richly illustrated, partly in colour. Original copies of all five books, provided by the Dutch National Museum of Ethnology in Leiden, are scanned and digitally edited. The drawings by Mas Pirngadi are reproduced in colour. Volume 1 will contain an elaborate introduction about the authors and the series De inlandsche kunstnijverheid in Nederlandsch Indie, written by dr. H.I.R. Hinzler. Entire series is Dutch text.
This volume deals specifically with escape and evasion in the Netherlands, Belgium and France, an operation in which the author himself was directly involved, and discusses the role which these lines of escape played in the lives of airmen who were forced to bail out over enemy territory. He describes the ever-present risks the often nameless patriots faced, such as the danger of exposure and the threat of traitorous infiltration. Specific lines are traced geographically and their main participants discussed. Special emphasis is placed on the role of women in this resistance operation. Throughout the book, the reader benefits not only from the author's own personal recollections but also from his later on-location research. The final chapter concludes with statistical information directly related to this little known aspect of World War II. Appendices include lists of the airmen helped by the resistance movement.
During the last two decades of the nineteenth century the Dutch drama, which had lapsed into astate of somnolence since the glorious days of VondeI, suddenly awoke to vigorous life. Not only did gifted dramatists appear, but talented directors, actors, and actresses brought new splendor to the theatre. Yet this brilliant flame did not burst forth in a vacuum, and to appre ciate the quality of its light, it must be viewed against the back ground of its origins in the European drama. After the middle of the century the emphasis in literary creation had shifted from a subjective, emotional point of view to a more objective and rationalistic attitude. If this seems only a roundabout way of saying that Romanticism yielded its dominance to Realism and Naturalism, the conc1usion is justified, but we should not yield too readily to the pseudo-scientific mania which urges us to force literature into a genus and species type of c1assification. It is customary to say that in the eighties and nineties, Nat uralism won a decisive victory over Romanticism and drove the partisans of the older movement from the field. At first glance this does, indeed, appear to be true. Hugo yields to Zola, Pushkin to Tolstoi, Tieck to Hauptmann. It is all quite simple.