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Teyler’s Foundation in Haarlem and its ‘Book and Art Room’ of 1779, edited by Ellinoor Bergvelt and Debora Meijers, examines for the first time this remarkable institution in the context of scientific, museological, political, artistic, religious and philosophical developments.
A unique analysis of psychiatric care and the emerging field of mental health nursing in the Netherlands at the turn of the 19th century.
The growing interest in the history of Indonesia has made it desirable to have an English summary of the principal works of the Dutch historian Dr H. J. de Graaf, who in several books and articles published between 1935 and 1973 has given a description of the development of the Javanese kingdom of Mataram, based both on European and in digenous material. His works form a substantial contribution to the study of the national history of Indonesia. The Summary contains references to the paragraphs of the Dutch books and articles. This makes it easy for those readers who have a know ledge of Dutch to consult the original texts. The List of Sources for the study of Javanese history from 1500 to 1700 is composed of the lists in the summarized books and articles, and the Index of Names refers not only to the present Summary but also to the eight original texts. Many names of persons and localities in the Index have been provided with short explanatory notes and references to other lemmata as a quick way to give some provisional information on Javanese history.
In The Early Dutch Sinologists Koos Kuiper gives a detailed account of the studies and work of the 24 Dutchmen trained as “interpreters” for the Netherlands Indies before 1900. Most began studying at Leiden University, then went to Amoy to study southern Chinese dialects. Their main functions were translating Dutch law into Chinese, advising the courts on Chinese law and checking Chinese accounts books, later also regulating coolie affairs. Actually their services were not always appreciated and there was not enough work for them; later many pursued other careers in the Indies administration or in scholarship. This study also analyses the three dictionaries they compiled. Based on a wealth of primary sources, it gives a fascinating picture of personal cross-cultural contacts.
Tussen 1899 en 1902 woedde in Zuid-Afrika een oorlog tussen de Boerenrepublieken en het Britse Rijk. Veel Nederlanders steunden in die tijd de Boeren. Dit uitte zich in een vloedgolf aan propagandamateriaal om een tegenwicht te bieden aan de Britse berichtgeving over de oorlog. Dit boek bevat een grondige analyse van de Nederlandse pro-Boeren-beweging vanaf haar begin in de jaren 1880. Kuitenbrouwer gaat in op de organisaties die de banden tussen Nederland en Zuid-Afrika trachtten aan te halen en zo belangrijke knooppunten werden in een internationaal netwerk. Aan de hand van bronnenmateriaal toont de auteur aan dat de propagandacampagne voor de Boeren nog lang nagalmde in de twintigste eeuw.0.
The Dutch painter Jan Steen (1626-1679) has long enjoyed a reputation for his dissolute life, redeemed only by a keen eye for the follies of his contemporaries and an exquisite ability to capture his observations in paint. Steen's paintings of unruly households, rambunctious revels, and wily seductresses have come to define our image of the delicious and immoral excesses of the Golden Age. But rather than simply recording the illicit pleasures of Dutch burghers and peasants, Steen transformed them into ambitious genre paintings that rival the peasant epics of Bruegel the Elder and jest with the genteel idylls of Vermeer and Terborch. By placing Steen within Dutch society and culture of the seventeenth century, Mariet Westermann shows how the contradictions and parallels between his life and his art were essential to his innovative achievements. In a detailed analysis of his career and audience, she suggests how Steen became a comic painter and why his pictures appealed to prosperous urban connoisseurs. Documented throughout with seventeenth-century jokes, poems, and plays, The Amusements of Jan Steen gives the first full account of Steen's creative relationship to comic literature and performance.