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The Lion of Flanders is an historical novel, relating the Flemish struggle for freedom against France in the medieval times.
The language of some eighteen million people living at the junction of the two great cultures of western Europe, Romance and Germanic, is now taught by some 262 teachers at I43 universities outside the Netherlands, ineluding Finland, Hungary, Poland, Russia, Czecho slovakia, Portugal, Japan, Malaysia and South Korea. These teachers obviously need to keep in regular and elose touch with the two countries whose culturallife forms the subject of their courses. Yet the first international congress of Dutch teachers abroad did not take place until the early sixties, since when the Colloquium Neerlandicum has become a triennial event, meeting alternately in the Netherlands and Belgium, in The Hague (I96I and I967), Brussels (I964) Ghent (I970) with the fifth Colloquium planned for Leiden in I973. Financial support from the Dutch and Belgian governments enables the majority of European colleagues, and a number of those from other continents, to attend a conference lasting for four or five days and ineluding discussions of the problems involved in teaching Dutch abroad and papers on various aspects of current Dutch studies of interest to those who are working in a certain degree of isolation abroad. At the first Colloquium a Working Committee of Professors and Lecturers in Dutch studies at Universities abroad was set up.
This volume focuses on how travel writing contributed to cultural and intellectual exchange in and between the Dutch- and German-speaking regions from the 1790s to the twentieth-century interwar period. Drawing on a hitherto largely overlooked body of travelers whose work ranges across what is now Germany and Austria, the Netherlands and Dutch-speaking Belgium, the Dutch East Indies and Suriname, the contributors highlight the interrelations between the regional and the global and the role alterity plays in both spheres. They therefore offer a transnational and transcultural perspective on the ways in which the foreign was mediated to audiences back home. By combining a narrative perspective on travel writing with a socio-historically contextualized approach, essays emphasize the importance of textuality in travel literature as well as the self-positioning of such accounts in their individual historical and political environments. The first sustained analysis to focus specifically on these neighboring cultural and linguistic areas, this collection demonstrates how topographies of knowledge were forged across these regions by an astonishingly diverse range of travelling individuals from professional scholars and writers to art dealers, soldiers, (female) explorers, and scientific collectors. The contributors address cultural, aesthetic, political, and gendered aspects of travel writing, drawing productively on other disciplines and areas of scholarly research that encompass German Studies, Low Countries Studies, comparative literature, aesthetics, the history of science, literary geography, and the history of publishing.
Realist novels are celebrated for their detailed attention to ordinary life. But two hundred years before the rise of literary realism, Dutch painters had already made an art of the everyday--pictures that served as a compelling model for the novelists who followed. By the mid-1800s, seventeenth-century Dutch painting figured virtually everywhere in the British and French fiction we esteem today as the vanguard of realism. Why were such writers drawn to this art of two centuries before? What does this tell us about the nature of realism? In this beautifully illustrated and elegantly written book, Ruth Yeazell explores the nineteenth century's fascination with Dutch painting, as well as its doubts about an art that had long challenged traditional values. After showing how persistent tensions between high theory and low genre shaped criticism of novels and pictures alike, Art of the Everyday turns to four major novelists--Honoré de Balzac, George Eliot, Thomas Hardy, and Marcel Proust--who strongly identified their work with Dutch painting. For all these writers, Dutch art provided a model for training themselves to look closely at the particulars of middle-class life. Yet even as nineteenth-century novelists strove to create illusions of the real by modeling their narratives on Dutch pictures, Yeazell argues, they chafed at the model. A concluding chapter on Proust explains why the nineteenth century associated such realism with the past and shows how the rediscovery of Vermeer helped resolve the longstanding conflict between humble details and the aspirations of high art.
TLC: The Low Countries is a yearbook which aims to inform the English-speaking world about the culture of Flanders and the Netherlands. The articles in this yearbook survey the living, contemporary culture of the Low Countries as well as their cultural heritage. In its words and pictures The Low Countries provides information about literature and the arts, but also about broad social and histroical devlopment in Flanders and the Netherlands. The culture of Flanders and the Netherlands is not an isolated phenomemnonl its development over the centuries has been one of continuous interaction witht he outside world. In consequence the yearbook also pays due attention to the Low Countries and the world beyond their borders. By drawing attention to the diversity, vitality and international dimension of the culture of Flanders and the Netherlands, The Low Countries contributes to a lively dialogue between differing cultures. This yearbook again displays a sample of the diversity of art and culture to be found in that delta region once sneeringly labelled 'that indigested vomit of the sea' by the seventeenth-century English. Writers, painters, visual artists past and present, culture managers, landscape architects, the Veluwe's cultured nature and naturalised culture, Belgians who speak German, conflict management in Belgium itself as the political consultative model seems to have reached its limits, architects, musicians, film-makers, sociologists and philosophers. They all help to shape this part of Europe. ILLUSTRATIONS 300 colour illustrations
During the seventeenth century, the Dutch Republic was transformed into a leading political power in Europe, with global trading interests. It nurtured some of the period's greatest luminaries, including Rembrandt, Vermeer, Descartes and Spinoza. Long celebrated for its religious tolerance, artistic innovation and economic modernity, the United Provinces of the Netherlands also became known for their involvement with slavery and military repression in Asia, Africa, and the Americas. This Companion provides a compelling overview of the best scholarship on this much debated era, written by a wide range of experts in the field. Unique in its balanced treatment of global, political, socio-economic, literary, artistic, religious, and intellectual history, its nineteen chapters offer an indispensable guide for anyone interested in the world of the Dutch Golden Age.
When it comes to Christian morality tales, most people think of Bunyan's Pilgrim's Progress. Before Pilgrim's Progress, there was The Summoning of Everyman (more commonly known as Everyman); much like Bunyan's classic work, Everyman uses allegorical characters to examine the question of salvation and how man can receive it. The text is present with both the original translation and a modern translation. Please note, this story is also included in the collection “Everyman and Other Old Religious Plays In Plain and Simple English.”
This text takes a wholly new look at a major early twentieth-century Dutch poet and novelist from the perspective of world literature, situating his work in both a national and a world literary context as measured against contemporaries and near-contemporaries such as Conrad, Pound, Brecht, Segalen, and Malraux. Exemplifying how an author from a “minor” literature may be a “major” world author, this book considers the debates within World Literature regarding the classification of literatures as ‘major’ and ‘minor’, canon formation within Dutch literature, Slauerhoff's position in the Dutch tradition as well as well as his contribution to world literature, particularly focusing on his East Asian poems, his East Asian novels and stories and his poetry and prose set in Latin America. This book is a key read for scholars and students of comparative literature, world literature, European literature, and Dutch literature. Lucid in style, innovative in approach, surprisingly fresh qua topic, this book opens new horizons for literary studies.