Shakespeare, Vermeer, Lope de Vega, Molière, and Diderot dont usually keep company with one another. But in this acclaimed book, Richard Helgerson shows that each contributed to a common project of great significance: the artistic promotion of the middle-class home. In a study that stretches over two centuries, Helgerson looks beneath European drama and painting to reveal an unexpected prehistory of modern domesticity.
The Ambiguity of Virtue
Bernard Wasserstein Harvard University Press, 2014 Library of Congress D804.6.W3713 2014 | Dewey Decimal 940.531809492352
Working with the Nazi-appointed Jewish Council in Amsterdam, Gertrude van Tijn helped many Jews escape. But she faced difficult moral choices. Some called her a heroine; others, a collaborator. Bernard Wasserstein's haunting narrative draws readers into this twilight world, to expose the terrible dilemmas confronting Jews under Nazi occupation.
Amsterdam Human Capital
Edited by Willem Salet and Sako Musterd Amsterdam University Press, 2003 Library of Congress HT395.N42A464 2003 | Dewey Decimal 949.2352
The changing spatial organization of the city of Amsterdam reflects a larger-scale process: the familiar shape of Western cities is changing across the globe. For centuries, the urban core was taken for granted as the focal point for international contacts and day-to-day activities. The essays collected here consider how urban spaces have been transformed—not only spatially but socially, economically, and culturally—into multi-centered metropolitan arrays, with contributors examining the new urban identities that may emerge from such changing conditions.
Studies of Nazi persecution and destruction of Jews have to date largely been based on the accounts of men. And yet gender difference in Western society is so profound that women and men seem to have divergent experiences, speak different languages, and see and hear in dissimilar ways. Denise de Costa's book explores the significance of sex and gender differences in the construction of history and society-specifically, the Nazi genocide of Jews in World War II-by focusing on the writing of two Jewish women, Anne Frank and Etty Hillesum.
De Costa argues that although both of these writers have received much attention, little has been done to understand how the significant difference occasioned by both gender and Jewishness helps to define cultural or personal identity in relation to the Holocaust. De Costa uses a variety of psychoanalytic and feminist theories to approach the writing of Frank and Hillesum. Critiquing as well as employing the concepts of Julia Kristeva, Hélène Cixous, Luce Irigaray, and Simone de Beauvoir among others, she presents a detailed and rich discussion of each writer.
De Costa approaches Anne Frank largely from a psychoanalytical perspective that emphasizes the function of writing itself in the development of self-identity. For Etty Hillesum, she is more concerned with how writing establishes a philosophy, and a faith, that can entertain and is indeed based in doubleness and paradox. Her assessment of these two writers makes a significant contribution to our understanding of the Holocaust as a cultural and historical phenomenon, of the role of writing in the production and expression of gendered identity, and of the complex relation between women, writing, and culture.
This is the first book to offer a translation into English-as well as a critical study-of a Spanish treatise written around 1650 by Rabbi Saul Levi Morteira, whose most renowned congregant was Baruch Spinoza. Aimed at encouraging the practice of halachic Judaism among the Amsterdam-based descendants of conversos, Spanish and Portuguese Sephardic Jews who had been forced to convert to Christianity, the book stages a dialogue between two conversos that ultimately leads to a vision of a Jewish homeland-an outcome that Morteira thought was only possible through his program for rejudaisation.
Using a life-cycle model for Roman soldiers, Johan Nicolay interprets the large quantity of first-century finds as personal memorabilia brought home by ex-soldiers as a reminder of their twenty-five years of service and a symbol of their newly-acquired veteran status. Underpinning Nicolay’s research is an extensive inventory of militaria from urban centers, rural settlements, rivers, and graves—presented in nearly one hundred individual color plates. Introducing a considerable body of unpublished data, as well as offering a perspective on daily life in the northern frontier of the Roman Empire, this volume is a valuable addition to Roman military and material history.
In this study of Amsterdam's Golden Age cultural elite, John Michael Montias analyzes records of auctions from the Orphan Chamber of Amsterdam through the first half of the seventeenth century, revealing a wealth of information on some 2,000 art buyers' regional origins, social and religious affiliations, wealth, and aesthetic preferences. Chapters focus not only on the art dealers who bought at these auctions, but also on buyers who had special connections with individual artists.
An insightful account of the challenges of neutrality in an era of total war, The Art of Staying Neutral shows how the Netherlands remained peaceful throughout World War I. This sustained neutrality, Maartje Abbenhuis demonstrates, was the result of many factors, including masterly diplomacy, careful adherence to international laws and a decisive measure of good fortune. Neutrality, however, did not come without considerable costs to the nation’s economy and security.
This book is a major contribution both to the study of neutrality and the domestic history of the Netherlands.
Samuel van Hoogstraten is familiar to scholars of Dutch art as a talented pupil and early critic of Rembrandt, and as the author of a major Dutch painting treatise. In this book, Celeste Brusati looks at the art, writing, and career of this multi-faceted artist.
Analyzing van Hoogstraten's painting treatise, illusionistic pictures, ingenious perspective boxes, and witty trompe-l'oeil images, Brusati reveals the crucial role these endeavors played in the forging of van Hoogstraten's professional and social identity. Brusati looks at the historical circumstances of van Hoogstraten's career, which he fashioned from a convergence of Dutch cultural practices, family genealogy, and his considerable entrepreneurial acumen. She shows how Van Hoogstraten exploited the court patronage system to secure the worth of his work in the newer market culture of the Dutch Republic.
Brusati explores Van Hoogstraten's use of illusionistic artifice in his art and writing to shed new light on the much-disputed nature of Dutch "realism", and she discusses how a notion of "experimental artistry", which linked representational craft to the production of knowledge, informed Van Hoogstraten's many projects and framed the terms within which he and his colleagues understood artistic achievement during this period.
In November 2004, the controversial Dutch filmmaker Theo van Gogh was killed on a busy street in Amsterdam. A twenty-six-year-old Dutch citizen of Moroccan descent shot van Gogh, slit his throat, and pinned a five-page indictment of Western society to his body. The murder set off a series of reactions, including arson against Muslim schools and mosques. In The Assassination of Theo van Gogh, Ron Eyerman explores the multiple meanings of the murder and the different reactions it elicited: among the Amsterdam-based artistic and intellectual subculture, the wider Dutch public, the local and international Muslim communities, the radical Islamic movement, and the broader international community. After meticulously analyzing the actions and reputations of van Gogh and others in his milieu, the motives of the murderer, and the details of the assassination itself, Eyerman considers the various narrative frames the mass media used to characterize the killing.
Eyerman utilizes theories of social drama and cultural trauma to evaluate the reactions to and effects of the murder. A social drama is triggered by a public transgression of taken-for-granted norms; one that threatens the collective identity of a society may develop into a cultural trauma. Eyerman contends that the assassination of Theo van Gogh quickly became a cultural trauma because it resonated powerfully with the postwar psyche of the Netherlands. As part of his analysis of the murder and reactions to it, he discusses significant aspects of twentieth-century Dutch history, including the country’s treatment of Jews during the German occupation, the loss of its colonies in the wake of World War II, its recruitment of immigrant workers, and the failure of Dutch troops to protect Muslims in Srebrenica in 1995.
Finalist for 2012 National Jewish Book Award in the Holocaust category
David Koker's diary is one of the most notable accounts of life in a German concentration camp written by a Jew during the years of the Holocaust. First brought to attention when the Dutch historian Jacob Presser-Koker's history teacher in high school-quoted from Koker's diary in his monumental history, published in English as The Destruction of the Dutch Jews (1968), the diary itself became a part of the Dutch literary canon when it was published in 1977 as Dagboek geschreven in Vught (Diary Written in Vught). It has remained in print ever since, and is notable for its literary qualities, weaving poetry and powerful observations of the emotional life of a camp prisoner, including reflections after an in-person visit by Heinrich Himmler. Surprisingly, the book has never before been translated into English.
During his time in the Vught concentration camp, the 21-year-old David recorded on an almost daily basis his observations, thoughts, and feelings. He mercilessly probed the abyss that opened around him and, at times, within himself. David's diary covers almost a year, both charting his daily life in Vught as it developed over time and tracing his spiritual evolution as a writer. Until early February 1944, David was able to smuggle some 73,000 words from the camp to his best friend Karel van het Reve, a non-Jew.
With an informative introduction, annotation, and list of dramatis personae by Robert Jan van Pelt, At the Edge of the Abyss offers an immediate and wholly original look into the life of a concentration camp prisoner.
Due to the rapid rise of globalization, the Netherlands has never been more politically, socially, and economically connected to other countries. To address this development, the Scientific Council for Government Policy is providing new reflections on Dutch foreign policy in this report. The most important suggestions include more governmental transparency, smart use of nongovernmental organizations, and adapting government structures to take advantage of the Netherlands’ position within Europe.
"Here is the first full translation into English of one of the 20th century's few undoubted classics of history." —Washington Post Book World
The Autumn of the Middle Ages is Johan Huizinga's classic portrait of life, thought, and art in fourteenth- and fifteenth-century France and the Netherlands. Few who have read this book in English realize that The Waning of the Middle Ages, the only previous translation, is vastly different from the original Dutch, and incompatible will all other European-language translations.
For Huizinga, the fourteenth- and fifteenth-century marked not the birth of a dramatically new era in history—the Renaissance—but the fullest, ripest phase of medieval life and thought. However, his work was criticized both at home and in Europe for being "old-fashioned" and "too literary" when The Waning of the Middle Ages was first published in 1919. In the 1924 translation, Fritz Hopman adapted, reduced and altered the Dutch edition—softening Huizinga's passionate arguments, dulling his nuances, and eliminating theoretical passages. He dropped many passages Huizinga had quoted in their original old French. Additionally, chapters were rearranged, all references were dropped, and mistranslations were introduced.
This translation corrects such errors, recreating the second Dutch edition which represents Huizinga's thinking at its most important stage. Everything that was dropped or rearranged has been restored. Prose quotations appear in French, with translations preprinted at the bottom of the page, mistranslations have been corrected.
"The advantages of the new translation are so many. . . . It is one of the greatest, as well as one of the most enthralling, historical classics of the twentieth century, and everyone will surely want to read it in the form that was obviously intended by the author." —Francis Haskell, New York Review of Books
"A once pathbreaking piece of historical interpretation. . . . This new translation will no doubt bring Huizinga and his pioneering work back into the discussion of historical interpretation." —Rosamond McKitterick, New York Times Book Review