Search results for ""Àmsterdam""

What is literature? Can we measure ‘literariness’ in texts themselves? The innovative Computational Humanities project The Riddle of Literary Quality asked thousands of Dutch readers for their opinion about contemporary Dutch and translated novels. The public shared which novels they had read, what they really thought of them, and how they judged their quality. Their judgments of the same novels were compared with the results of computational analysis of the books. Using evidence from almost 14,000 readers and building on more textual data than ever before, Van Dalen-Oskam and her team uncovered unconscious biases that shed new light on prejudices many people assumed no longer existed. This monograph explains in an accessible way how the project unfolded, which methods were used, and how the results may change the future of Literary Studies.

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This book is an introduction to Intercultural Communication (IC) that takes into account the much neglected dynamic paradigm of culture in the literature. It posits that culture is not static, context is the driving force for change, and individuals can develop a multicultural mind. It is also the first IC textbook in the field that incorporates insight from evolutionary biology and the newly emerging discipline of cultural neurosciences. Such an interdisciplinary approach provides readers with new angles, encourages critical thinking, and sometimes challenges conventional knowledge in the field. The combination of the author's multicultural academic and journalistic background contributes to a balance of diverse perspectives and world views on cultural theories and discourses. The book is ideal for courses in Intercultural Communication with study cases, discussion topics and class activities.

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Before the first purpose-designed exhibition spaces and painting exhibitions emerged, showing art was mainly related to the habit of dressing up spaces for political commemorations, religious festivals, and marketing strategies. Palaces, cloisters, façades, squares, and shops became temporary and privileged venues for art display, where sociability was performed, and the idea of exhibition developed. What were those places and events? What aesthetic, cultural, social and political discourses intersected with the early idea of exhibition space? How did displaying art shape a new vocabulary within these events, and conversely, how have these occasions conditioned exhibiting practices? This book traces the origins of the exhibition space by studying its visual and written imagery in the early modern period. It reconsiders events and habits that contributed to shaping the imagery of the exhibition space, and to defining exhibition-making practices, exploring micro-histories and long-term changes.

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Although modern life grows increasingly casual, in many sectors, protocol still reigns supreme. An Expert's Guide to International Protocol offers an overview of its associated practices, including those found within the context of diplomatic relations and the business world. Focusing on a wide range of countries and cultures, the book covers topics like precedence, seating arrangements, flags, ceremonies, invitations, dress codes, gifts and honours, and the roles of the protocol officer, guest and host. Throughout, influential diplomatic, business, and cultural figures share their own experiences with protocols around the world, also throughout the COVID-19 pandemic.

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Late medieval societies witnessed the emergence of a particular form of socio-legal practice and logic, focused on the law court and its legal process. In a context of legal pluralism, courts tried to carve out their own position by influencing people’s conception of what justice was and how one was supposed to achieve it. These “scripts of justice” took shape through a range of media, including texts, speech, embodied activities and the spaces used to perform all these. Looking beyond traditional historiographical narratives of state building or the professionalization of law, this book argues that the development of law courts was grounded in changing forms of multimedial interaction between those who sought justice and those who claimed to provide it. Through a comparative study of three markedly different types of courts, it involves both local contexts and broader developments in tracing the communication strategies of these late medieval claimants to socio-legal authority.

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An elaborately crafted and decorated tomahawk from somewhere along the North American east coast: how did it end up in the royal collections in Stockholm in the late seventeenth century? What does it say about the Swedish kingdom’s colonial ambitions and desires? What questions does it raise from its present place in a display cabinet in the Museum of Ethnography in Stockholm? Colonial Objects in Early Modern Sweden and Beyond is about the tomahawk and other objects like it, acquired in colonial contact zones and displayed by Swedish elites in the seventeenth century. Its first part situates the objects in two distinct but related spaces: the expanding space of the colonial world, and the exclusive space of the Kunstkammer. The second part traces the objects’ physical and epistemological transfer from the Kunstkammer to the modern museum system. In the final part, colonial objects are considered at the centre of a heated debate over the present state of museums, and their possible futures.

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Offering the most comprehensive analysis of Korean cinema from its early history to the present, and including the films of Park Chan-wook, Bong Joon-ho and Kim Ki-young, Korean Cinema in Global Contexts: Postcolonial Phantom, Blockbuster and Trans-Cinema situates itself in the local, Inter-Asian, and transnational contexts by mobilizing the critical frameworks of feminism, postcolonial critique and comparative film studies. It is attentive to an enmeshment of the cinematic, aesthetics, politics and cultural history.

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This alternative study of archive and photography brings many types of image assemblages into view, always in relation to the regulated systems operating within the institutional milieu. The archive catalogue is presented as a critical tool for mapping image time, and the language of image description is seen as having a life, a worth and an aesthetic value of its own. Functioning at the intersection of text and image, the book combines media culture, archival techniques, and contemporary discourse on art and conceptual writing.

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The Muslim Brotherhood is often represented in mainstream media as a theocratic organisation that preaches Qur’an-based violence and is out to grab power in the West. As this book shows, such representations are wrought with prejudice and oversimplification; the organisation is in reality much more dynamic and diverse. Its goals, ideology and influence have never been static and vary greatly amongst its descendants in both Europe and the Middle East. Joas Wagemakers introduces the reader to this fascinating organisation and the major ideological and historical developments that it has gone through since its emergence in 1928.

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Sino-American Relations brings together high-quality research articles in order to examine one aspect of the political mechanism of modern China, from empire to the PRC: political initiatives to root out corruption. Proceeding chronologically, the eleven chapters explore modern political history through a particular focus on the anti-corruption campaigns of early modern and modern China. Our interdisciplinary analysis draws on methodologies from several distinct fields, including political science, civil law, and mass media. Such an analysis reveals the unique characteristics of China’s urbanization, which have transformed not only the country, but also the CCP – from a rural-based totalitarian party to a city-centered authoritarian party, and from a party of the people to a party of powerful interest groups by 2002–2016.

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The discussion about objects, ancestral remains and archives from former colonial territories is becoming increasingly heated. Over the centuries, a multitude of items – including a cannon of the King of Kandy, power-objects from DR Congo, Benin bronzes, Javanese temple statues, Maori heads and strategic documents – has ended up in museums and private collections in Belgium and the Netherlands by improper means. Since gaining independence, former colonies have been calling for the return of their lost heritage. As continued possession of these objects only grows more uncomfortable, governments and museums must decide what to do. How did these objects get here? Are they all looted, and how can we find out? How does restitution work in practice? Are there any appealing examples? How do other former colonial powers deal with restitution? Do former colonies trust their intentions? The answers to these questions are far from unambiguous, but indispensable for a balanced discussion.

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Spain has been a fruitful locus for the European imagination for centuries, and it has been most often perceived in black-and-white oppositions -- either as a tyrannical and fanatical force in the early modern period or as an imaginary geography of a ‘Romantic’ Spain in later centuries. However, the image of Spain, its culture and its inhabitants did not evolve inexorably from negative to positive. From the early modern period onwards, it responded to an ambiguous matrix of conflicting Hispanophobic and Hispanophilic representations. Just as in the nineteenth century latent negative stereotypes continued to resurface, even in the Romantic heyday, in the early modern period appreciation for Spain was equally undeniable. When Spain was a political and military superpower, it also enjoyed cultural hegemony with a literary Golden Age producing internationally hailed masterpieces. Literary Hispanophobia and Hispanophilia in Britain and the Low Countries (1550-1850) explores the protracted interest in Spain and its culture, and it exposes the co-existent ambiguity between scorn and fascination that characterizes Western historical perceptions, in particular in Britain and the Low Countries, two geographical spaces with a shared sense of historical connectedness and an overlapping, sometimes complicated, history with Spain.

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What does it mean to be a good citizen today? What are practices of citizenship? And what can we learn from the past about these practices to better engage in city life in the twenty-first century? Ancient and Modern Practices of Citizenship in Asia and the West: Care of the Self is a collection of papers that examine these questions. The contributors come from a variety of different disciplines, including architecture, urbanism, philosophy, and history, and their essays make comparative examinations of the practices of citizenship from the ancient world to the present day in both the East and the West. The papers’ comparative approaches, between East and West, and ancient and modern, leads to a greater understanding of the challenges facing citizens in the urbanized twenty-first century, and by looking at past examples, suggests ways of addressing them. While the book’s point of departure is philosophical, its key aim is to examine how philosophy can be applied to everyday life for the betterment of citizens in cities not just in Asia and the West but everywhere.

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At a time when intense dynamics of urban development of Asian cities puzzle and disorient, Ideas of the City in Asian Settings offers knowledge about the concepts, representations, and ideas that lie beneath the historical and contemporary production of cities in Asia, in order to deepen our understanding of the processes and meanings of urban development in the continent. The book sheds more light on the vast array of rules and innovations and aspirations that make cities into complex objects that are continuously ‘in the making’. Because Asian cities have experienced unprecedented dynamics of urban development during the last fifty years, they are considered as crucial places to question the perspectives that multiple actors project onto changing urban environments, as well as the evolution of the role of cities in globalisation.

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The Heritage Turn in China: The Reinvention, Dissemination and Consumption of Heritage focuses on heritage discourse and practice in China today as it has evolved from the ‘heritage turn’ that can be dated to the 1990s. Using a variety of disciplinary approaches to regionally and topically diverse case studies, the contributors to this edited volume show how particular versions of the past are selected, (re)invented, disseminated and consumed for contemporary purposes. These studies explore how the Chinese state utilises heritage not only for tourism, entertainment, educational and commercial purposes, but also as part of broader political strategies on both the national and international stage. Together, they argue that the Chinese state deploys modes of heritage governance to construct new modernities while strengthening collective national identity in support of both its political legitimacy and its claim to status as an international superpower. The authors also consider ways in which state management of heritage is contested by some stakeholders whose embrace of heritage has a different purpose and meaning.

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Historians not only have knowledge of history, but by writing about it and engaging with other historians from the past and present, they make history themselves. This companion offers young historians clear guidelines for the different phases of historical research; how do you get a good historical question? How do you engage with the literature? How do you work with sources from the past, from archives to imagery and objects, art, or landscapes? What is the influence of digitalisation of the historical craft? Broad in scope, Writing History! also addresses historians’ traditional support of policy makers and their activity in fields of public history, such as museums, the media, and the leisure sector, and offers support for developing the necessary skills for this wide range of professions.

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Statistics is the science that focuses on drawing conclusions from data, by modeling and analyzing the data using probabilistic models. In 'An Introduction to Mathematical Statistics' the authors describe key concepts from statistics and give a mathematical basis for important statistical methods. Much attention is paid to the sound application of those methods to data. The three main topics in statistics are estimators, tests, and confidence regions. The authors illustrate these in many examples, with a separate chapter on regression models, including linear regression and analysis of variance. They also discuss the optimality of estimators and tests, as well as the selection of the best-fitting model.Each chapter ends with a case study in which the described statistical methods are applied. This book assumes a basic knowledge of probability theory, calculus, and linear algebra.

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Rereading Huizinga: Autumn of the Middle Ages, a Century Later explores the legacy and historiographical impact of Johan Huizinga’s 1919 masterwork a century after its publication. Often considered one of the most successful books in medieval European history, its reception has varied over the last hundred years, popular with non-academic readers, and appraised more critically by fellow historians and those more generally in the field of medieval studies. There is broad consensus, however, about the work’s absolute centrality, and the authors of this volume assess the Autumn of the Middle Ages reception, afterlife, and continued vitality.

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This timely book takes an original transnational approach to the theme of Nazism and neo-Nazism in film, media, and popular culture, with examples drawn from mainland Europe, the UK, North and Latin America, Asia, and beyond. This approach fits with the established dominance of global multimedia formats, and will be useful for students, scholars, and researchers in all forms of film and media. Along with the essential need to examine current trends in Nazism and neo-Nazism in contemporary media globally, what makes this book even more necessary is that it engages with debates that go to the very heart of our understanding of knowledge: history, memory, meaning, and truth.

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Motivated by ongoing debates over welfare state retrenchment and growing economic insecurity, this book compares the situation of older workers in Germany and the United States over the past three decades. Both nations are seeing a rise in insecurity for older workers, but the differences in support programs, pensions, and retirement options have led to differing outcomes for workers faced with early retirement or job loss.

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Rembrandt’s extraordinary paintings of female nudes – Andromeda, Susanna, Diana and Her Nymphs, Danaë, Bathsheba – as well as his etchings of nude women, have fascinated many generations of art lovers and art historians, but they have also elicited vehement criticism. They were considered against-the-grain, anti-classical, even ugly and unpleasant. However, Rembrandt chose conventional subjects, keeping close to time-honored pictorial schemes, and was well aware of the high prestige accorded to the depiction of the naked female body. Why, then, do these works deviate so radically from the depictions of nude women by other artists? To answer this question the author examines Rembrandt’s paintings and etchings against the foil of established pictorial traditions in the Netherlands as well as Italy. Exploring Rembrandt’s intense dialogue with the works of predecessors and peers, the author demonstrates that, more than any other artist, it was Rembrandt’s purpose to incite the greatest possible empathy in the viewer. This had far-reaching consequences for the moral and erotic implications of the subjects Rembrandt chose to depict. In this richly illustrated study the author presents an innovative approach to Rembrandt’s views on the art of painting, his attitude towards antiquity and Italian art of the Renaissance, his sustained rivalry with the works of other artists, his handling of the moral and erotic issues inherent in subjects with female nudes, and the nature of Rembrandt’s artistic choices. This title was shortlisted for the Charles Rufus Morey Award of the College Art Association in 2007

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To what extent is queer anti-identitarian? And how is it experienced by activists at the European level? At queer festivals, activists, artists and participants come together to build new forms of sociability and practice their ideals through anti-binary and inclusive idioms of gender and sexuality. These ideals are moreover channelled through a series of organisational and cultural practices that aim at the emergence of queer as a collective identity. Through the study of festivals in Amsterdam, Berlin, Rome, Copenhagen, and Oslo, Queer Festivals: Challenging Collective Identities in a Transnational Europe thoughtfully analyses the role of activist practices in the building of collective identities for social movement studies as well as the role of festivals as significant repertoires of collective action and sites of identitarian explorations in contemporary Europe.

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Vincent van Gogh's Sunflowers are seen by many as icons of Western European art. Two of these masterpieces — the first version painted in August 1888 (The National Gallery, London) and the painting made after it in January 1889 (Van Gogh Museum, Amsterdam) — have been the subject of a detailed comparison by an interdisciplinary team of experts. The pictures were examined in unprecedented depth using a broad array of techniques, including state-of-the-art, non-invasive imaging analytical methods, to look closely at and under the paint surface. Not only the making, but also the subsequent history of the works was reconstructed, including later campaigns of restoration. The study’s conclusions are set out in this book, along with the fascinating genesis of the paintings and the sunflower’s special significance to Van Gogh. More than 30 authors, all specialists in the field of conservation, conservation science and art history, have contributed to the research and publication presenting the outcomes of this unique project.

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Statistics is more topical than ever. Numerous decisions depend on statistical considerations: just think of the Corona crisis or decisions about approving new drugs or other products. If researchers announce they have proved some fact using statistical tests, can we then always be sure that their claim is correct? How, and more importantly why, does statistics work? What can we expect from statistics and what not? 'Fact or Fluke?' is not a textbook that explains statistical tests to the reader; instead, it discusses what comes before those tests: the philosophy behind the statistics. Should one carry out tests, or are there other ways to look at statistics? Ronald Meester and Klaas Slooten use a variety of examples – from court cases to theoretical physics – to present different views on statistics and provide arguments for what they think is the best point of view. This book is meant for anyone who is in some way concerned with, or interested in, statistical evidence: scientific researchers, students, teachers, mathematicians, philosophers, lawyers, managers, and no doubt many others.

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Performing Moving Images: Access, Archive and Affects presents institutions, individuals and networks who have ensured experimental films and Expanded Cinema of the 1960s and 1970s are not consigned to oblivion. Through a comparison of recent international case studies from festivals, museums, and gallery spaces, the book analyzes their new contexts, and describes the affective reception of those events. The study asks: what is the relationship between an aesthetic experience and memory at the point where film archives, cinema, and exhibition practices intersect? What can we learn from re-screenings, re-enactments, and found footage works, that are using archival material? How does the affective experience of the images, sounds and music resonate today? Performing Moving Images: Access, Archive and Affects proposes a theoretical framework from the perspective of the performative practice of programming, curating, and reconstructing, bringing in insights from original interviews with cultural agents together with an interdisciplinary academic discourse.

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Traditional scholarship on post-Roman western culture has tended to examine the ethnic identities of Goths, Franks, and similar groups while neglecting the Romans themselves, in part because modern scholars have viewed the concept of being Roman as one denoting primarily a cultural or legal affiliation. As this book demonstrates, however, early medieval 'Romanness' also encompassed a sense of belonging to an ethnic group, which allowed Romans in Iberia and Gaul to adopt Gothic or Frankish identities in a more nuanced manner than has been previously acknowledged in the literature.

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This intense yet panoramic novel is based on an actual episode during the battle of Wagram, in Austria, as it appears in the diary of one of Napoleons generals: two cavalry regiments that did their best to annihilate each other before the gates of Vienna in 1809 belonged to the Prince of SaxeTeschen, and on his orders fought on opposing sides. Re-baptized SaxeSalza in the novel, the Prince, on the eve of the battle, transfers his wife's young lover from his own unit to the other regiment, so that he may kill and be killed by his brothers-in-arms. But long before that climactic moment, against the backdrop of the French Revolution, the fortunes of the Hapsburgs and the conquests of Napoleon, an exalting and terrifying love has engulfed Clemence of Saxe-Salza and Otto Apfelgrun. Diplomacy, court intrigue, the marching and countermarching of marvelously uniformed and accoutered toy soldiers, explodes in sudden carnage, and the love of Clemence and Otto is buried beneath a hundred thousand of the dying and the dead.

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This book, which covers new ground, is a study of high and low art, official and unofficial, in the Soviet Union and the West in the Cold War years, 1945–62. It is a paradox that the Soviet Union, a nation born of revolution, should have encouraged 'official' art which was conservative and conformist, whereas Western Europe, and the USA in particular, should preach traditional values, but have a high art which spoke of dissent. Other curious contradictions and parallels emerge—Soviet 'official' art was predominantly realist in style and popular with the general public, as were popular prints in the West. Both have largely been ignored by the western art establishment. It is the unofficial art of the Soviet Union and the high art of the West—for example, Rothko, Pollock, Bacon and Dubuffet—which have always attracted critical attention. Christine Lindey's pioneering study examines these paradoxes and illustrates many artists, notably those from the Soviet Union, whose work has rarely been seen in the West. As glasnost changes our perceptions of the contemporary Soviet Union, here is the first history of all aspects of art there in the postwar years, set in the political context, and comparing it with developments in art in the West.

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In this powerful and visionary novel of Celtic Britain in the tenth century, Sian Hayton writes of the Christianizing of the pagan world that was the overthrow of woman; of one particular woman in the north of Britain who comes to the monks to learn about the new faith, and they are scandalized by her beauty and her physical strength–is not all flesh incurably foul and corrupt?–and her candid heart–did not Eve in her accursed innocence betray mankind to woe? And they rejected her, and she set off on foot to return whence she had come. One of the monks, Selyf, a roan no longer young, follows after her in the hope of finding her traces, and overtaking her, and sifting her to establish whether she is a witch or merely ignorant of God's word. What he learns, and retails in letters to his bishop, is a stupendous legend of chathonic powers and of a race that dies in every generation to be reborn with all the knowledge of its line. Selyf's letters are studied by his successor, a younger and more worldly man, whose marginal gloss makes it clear that neither man has lived a life that will help him to assess the evidence before him, and neither can determine whether the woman is good or evil. Sian Hayton's language is simple, direct, and numinous, Her allegory is the fable of life.

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...A valid and informed analysis of the Victorian stage and a sourcebook that is remarkably rich...-Theatre Notebook

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Leon Edel has recently noted that "there exists, I am sorry to say, no criticism of biography worthy of the name. Reviewers and critics have learned how to judge plays, poems, novels—but they reveal their helplessness in the face of a biography." The Biographer's Art, by concentrating on the aesthetics of the genre, responds to the need for serious criticism of life-writing. This book is both a history of the genre and a substantial analysis of the great literary biographies from Johnson's Life of Savage (1744) and Boswell's Life of Johnson (1791) through Strachey's Eminent Victorians (1918) and Symons' The Quest for Corvo (1934) to the three greatest biographies of the mid-twentieth century: Ellmann's James Joyce (1959), Painter's Marcel Proust (1959, 1965), and Edel's monumental Henry James (1953-72). The masterful biographies by Ellmann, Painter, and Edel, that continue the tradition begun by Johnson and Boswell and show the influence of Strachey's innovative work, confirm that biography is still a flourishing art form. By firing the facts of an author's life with their own imagination, illuminating the relationship between daily existence and imaginative life, these life-writers follow the same process as fiction writers and create their own significant works of art.

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Chinese culture, to readers of English, is somewhat veiled in mystery. Fundamentals of Chinese Culture, a classic of great insight and profundity by noted Chinese thinker, educator and social reformist Liang Shuming, takes readers on an intellectual journey into the five-thousand-year-old culture of China, the world’s oldest continuous civilization. With a set of "Chinese-style" cultural theories, the book well serves as a platform for Westerners' better understanding of the distinctive worldview of the Chinese people, who value family life and social stability, and for further mutual understanding and greater mutual consolidation among humanities scholars in different contexts, dismantling common misconceptions about China and bridging the gap between Chinese culture and Western culture. As a translation of Liang Shuming’s original text, this book pulls back the curtain to reveal to Westerners a highly complex and nuanced picture of a fascinating people.

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This ground-breaking volume on early modern inter-Asian translation examines how translation from plain Chinese was situated at the nexus between, on the one hand, the traditional standard of biliteracy characteristic of literary practices in the Sinographic sphere, and on the other, practices of translational multilingualism (competence in multiple spoken languages to produce a fully localized target text). Translations from plain Chinese are shown to carve out new ecologies of translations that not only enrich our understanding of early modern translation practices across the Sinographic sphere, but also demonstrate that the transregional uses of a non-alphabetic graphic technology call for different models of translation theory.

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The Southern Gothic on Screen explores a body of screen texts that conform to certain generic conventions and aesthetics that, since the early twentieth century, have led to the construction of the American South as a space of ruin, decay, melancholy, loss, and haunting. The book considers the cultural significance of the Southern Gothic on screen by examining southern otherness as the primary mechanism through which the South is rendered a space of darkness and danger. This opens up a critical space for the Southern Gothic to be discussed as a screen genre with its own complex visual, thematic and narrative codes. The book establishes a perspective that synthesizes a broad understanding of Southern Gothic genericity with pre-existing cultural and political discourses on the South, resulting in an analysis that is specific to film and television while remaining heedful of the intersecting discourses that inform both the Gothic and the South as historic and mediated constructs.

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The subject of this study is a relatively rare category of artefacts, bronze and terracotta statuettes that represent deities, human figures and animals. They were introduced in the northwestern provinces by Roman troops from the end of the 1st century BCE onwards. The statuettes have been recovered from military and non-military settlements, the surrounding landscape and, to a far lesser extent, from sanctuaries and graves. Until now, their meaning and function have seldom been analysed in relation to their find-spots. Contrary to traditional studies, they have been examined as one separate category of artefacts, which offers new insights into the distribution pattern and iconographic representation of deities. When studying a group of artefacts, a large research area or a large dataset is required, as well as dateable artefacts and find-contexts. These conditions do not apply to the Netherlands and to the majority of statuettes that are central to this study. Moreover, although the changing appearance of statuettes suggest a transformation of cults, the identities of the owners of these statuettes remain invisible to us. Therefore, the issue of Romanization is not put central here. Instead, the focus is on a specific aspect of religion, known as lived religion, within the wider subject of its transformation in the Roman period: how people used statuettes in everyday life, in the context of their houses and settlements.

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Between the sixth and twentieth centuries, the Benedictine Abbey of Monte Cassino (est. 529) experienced a cycle of atrocities which forever transformed its identity. This book examines how such a tumultuous history has been constructed, remembered, and represented from the Middle Ages to the present day. It uses this singular and pivotal case to analyse the historical process of remembering and its impact on modern representations of the past. Exactly how Monte Cassino is remembered is distinctive and diagnostic. The abbey is recognizable today as a beacon of western civilization, culture, and learning precisely because of its 'destruction tradition' over fourteen centuries. The Destruction and Recovery of Monte Cassino, 529.1964 asks how the abbey’s fragmented past has been ideologically, politically, and culturally constituted and preserved; how its experience with destruction and suffering . and recovery and rebirth . has become incorporated into a modern narrative of progress and triumph.

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This collection embraces the increasing interest in the material world of the Renaissance and the early modern period, which has both fascinated contemporaries and initiated in recent years a distinguished historiography. The scholarship within is distinctive for engaging with the agentive qualities of matter, showing how affective dimensions in history connect with material history, and exploring the religious and cultural identity dimensions of the use of materials and artefacts. It thus aims to refocus our understanding of the meaning of the material world in this period by centring on the vibrancy of matter itself. To achieve this goal, the authors approach "the material" through four themes – glass, feathers, gold paints, and veils – in relation to specific individuals, material milieus, and interpretative communities. In examining these four types of materialities and object groups, which were attached to different sensory regimes and valorizations, this book charts how each underwent significant changes during this period.

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This study of ludic literary society in sixteenth-century France addresses Italianate practices of philosophical and literary sociability as they took root there. It asserts that entertainment activities of women-led circles illustrate the richly complex precursors of the seventeenth-century salons. Notions from the philosophy of play, such as those developed by Johan Huizinga, Eugen Fink, and Roger Caillois, who argue that play is critically intertwined with the development of society, provide a theoretical path across these periods of women’s engagement in literary culture. The barrister Estienne Pasquier, whose voluminous network of literary and legal connections permitted him entry into the society of such women, acts as an eyewitness to sixteenth-century circles. Ultimately, we see that the ludic activities in such society produced powerful influences that extended beyond the confines of the groups in question to shape ideas, attitudes, and activities—such as those of the salon cultural norms to come.

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The future of work is at the centre of debates related to the emerging digital society. Concerns range from the inclusion, equity, and dignity of those at the far end of the value chain, who participate on and off platforms, often in the shadows, invisible to policymakers, designers, and consumers. Precarity and informality characterize this largely female workforce, across sectors ranging from artisanal work to salon services to ride hailing and construction. A feminist reimagining of the futures of work—what we term as “FemWork” —is the need of the day and should manifest in multiple and various forms, placing the worker at the core and drawing on her experiences, aspirations, and realities. This volume offers grounded insights from academic, activist, legal, development and design perspectives that can help us think through these inclusive futures and possibly create digital, social, and governance infrastructures of work that are fairer and more meaningful.

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This is an original and accessible introduction to the modern idea of history and its value, and an indispensable companion to the study of history and its philosophical underpinnings. The book answers two basic questions: What is history? And what is its value? It also shows how the answers to these questions are mutually dependent. The old view that history is the teacher of life, for instance, assumes that the past is a reservoir of examples from which moral lessons for the present can be drawn. The subjects discussed include history as the teacher of life, the need for truth and objectivity, the moral standards of the historian, realism and the value of historical insight, historical explanation and understanding, the intelligibility of the historical process, the tragedy of history, the politics of history-writing, and the close connection between history, narrative, and the desire for justice. These topics are discussed with the help of inspiring and influential historians and philosophers such as Thucydides, Ranke, Hegel, Nietzsche, Collingwood, Arendt, White, Hunt, and Ankersmit.

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In early Ireland, there were many names for what scholars have dubbed the ‘Otherworld’: the Plain of Delights, the Land of Youth, the Land of Promise, and more. Many of the myths and legends from this period involve an encounter between a hero and a woman from this Otherworld, with sufficient frequency to form a distinct theme within the literature. This book examines the particularities and consequences of these otherworldly encounters, attending in particular to the question of gender and the social dynamics at work. Five stories purportedly from the lost book Cín Dromma Snechta receive detailed analysis, alongside material from other sources, in order to reconstruct the mindset of the early Irish who told these stories about the Otherworld and their views about women in general.

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Television before TV rethinks the history of interwar television by exploring the medium’s numerous demonstrations organized at national fairs and international exhibitions in the late 1920s and 1930s. Building upon extensive archival research in Britain, Germany, and the United States, Anne-Katrin Weber analyses the sites where the new medium met its first audiences. She argues that public displays offered spaces where television's symbolic, cultural, political, and social definitions were negotiated and eventually stabilized; for the historian, the exhibitions therefore constitute crucial events to understand not only the medium's pre-war emergence, but also its subsequent domestication in the post-war years. Designed as a transnational study, her book highlights the multiple circulations of artefacts and ideas across borders of democratic and totalitarian regimes alike. Richly illustrated with 100 photographs, Television before TV finally emphasizes that even without regular programmes, interwar television was widely seen.

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Revolutionary Worlds looks at the Indonesian revolution (1945-1949) from a local and regional perspective. With seventeen contributions, Indonesian and Dutch researchers bring to life the revolutionary world from widely differing perspectives. The authors explain how Indonesian, Chinese, Indian and Eurasian civilians, fighters, farmers and officials experienced and shaped the often volatile period between 1945 and 1950. The book focuses on different ideas of independence, survival strategies, mobilization, minorities, contestation of authority and the use of force against the backdrop of Indonesian and Dutch authorities’ efforts to gain or maintain control. Bringing together two national historiographical traditions which have long remained largely separate, Revolutionary Worlds is the result of a collaboration between the Indonesian research project Proklamasi Kemerdekaan, Revolusi dan Perang di Indonesia ('Proclamation of Independence, Revolution and War in Indonesia', Universitas Gadjah Mada, Yogyakarta) and the Dutch research group of the Regional Studies project, under the umbrella of the research programme Independence, Decolonization, Violence and War in Indonesia, 1945-1950. The authors of this book – Taufik Ahmad, Galuh Ambar Sasi, Maarten van der Bent, Martijn Eickhoff, Farabi Fakih, Roel Frakking, Apriani Harahap, Anne-Lot Hoek, Sarkawi B. Husain, Julianto Ibrahim, Gerry van Klinken, Erniwati, Mawardi Umar, Anne van der Veer, Abdul Wahid, Tri Wahyuning M. Irsyam, and Muhammad Yuanda Zara – work with various universities and research institutes in Indonesia and the Netherlands.

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Through the lens of a hitherto unstudied repertoire of Dutch abolitionist theatre productions, Repertoires of Slavery prises open the conflicting ideological functions of antislavery discourse within and outside the walls of the theatre and examines the ways in which abolitionist protesters wielded the strife-ridden question of slavery to negotiate the meanings of human rights, subjecthood, and subjection. The book explores how dramatic visions of antislavery provided a site for (re)mediating a white metropolitan—and at times a specifically Dutch—identity. It offers insight into the late-eighteenth- and early-nineteenth-century theatrical modes, tropes, and scenarios of racialised subjection and considers them as materials of the “Dutch cultural archive,” or the Dutch “reservoir” of sentiments, knowledge, fantasies, and beliefs about race and slavery that have shaped the dominant sense of the Dutch self up to the present day.

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The Lao People’s Democratic Republic is nearly fifty years old, and one of the few surviving one-party socialist states. Nearly five decades on from its revolutionary birth, the Lao population continues to build futures in and around a political landscape that maintains socialist rhetoric on the one hand and capitalist economics on the other. Contemporary Lao politics is marked by the use of cultural heritage as a source of political legitimacy. Researched through long-term detailed ethnography in the former royal capital of Luang Prabang, itself a UNESCO-recognized World Heritage Site since 1995, this book takes a fresh look at issues of legitimacy, heritage, and national identity for different members of the Lao population. It argues that the political system has become sufficiently embedded to avoid imminent risk of collapse but suggests that it is facing new challenges primarily in the form of rising Chinese influence in Laos.

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Dutch Edition/Nederlandse editie: Over de grens On 17 August 1945, two days after the Japanese surrender that also brought an end to the Second World War in Asia, Indonesia declared its independence. The declaration was not recognized by the Netherlands, which resorted to force in its attempt to take control of the inevitable process of decolonization. This led to four years of difficult negotiations and bitter warfare. In 2005, the Dutch government declared that the Netherlands should never have waged the war. The government’s 1969 position on the violence used by the Dutch armed forces during the war remained unchanged, however: although there had been ‘excesses’, on the whole the armed forces had behaved ‘correctly’. As the indications of Dutch extreme violence mounted, this official position proved increasingly difficult to maintain. In 2016, the Dutch government therefore decided to fund a broad study on the dynamics of the violence. The most important conclusions of that research programme are summarized in this book. The authors show that the Dutch armed forces used extreme violence on a structural basis, and that this was concealed both at the time and for many years after the war by the Dutch government and by society more broadly. All of this – like the entire colonial history – is at odds with the rose-tinted self-image of the Netherlands.

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Buddhist Revitalization and Chinese Religions in Malaysia tells the story of how a minority community comes to grips with the challenges of modernity, history, globalization, and cultural assertion in an ever-changing Malaysia. It captures the religious connection, transformation, and tension within a complex traditional belief system in a multi-religious society. In particular, the book revolves around a discussion on the religious revitalization of Chinese Buddhism in modern Malaysia. This Buddhist revitalization movement is intertwined with various forces, such as colonialism, religious transnationalism, and global capitalism. Reformist Buddhists have helped to remake Malaysia’s urban-dwelling Chinese community and have provided an exit option in the Malay and Muslim majority nation state. As Malaysia modernizes, there have been increasing efforts by certain segments of the country’s ethnic Chinese Buddhist population to separate Buddhism from popular Chinese religions. Nevertheless, these reformist groups face counterforces from traditional Chinese religionists within the context of the cultural complexity of the Chinese belief system.

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