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deshima - Page 2

  • Deshima – hors série n° 2

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    Strindberg et la ville / The cities of Strindberg

     

    Actes du XVIIe colloque international August Strindberg, Université de Strasbourg, 3-5 juin 2010

     

    Textes réunis par Elena Balzamo & Sylvain Briens


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    Sommaire

     

    Entre la ville et la campagne

    Elena Balzamo : Les villes épistolaires de Strindberg

    Barbara Lide: “Undrar fortfarande varför jag som stadshatare skall bo i stad.” Strindberg in Berlin


    Ville visible et invisible

    Massimo Ciaravolo : Stockholm-Paris: Interaction as Structure in Sleepwalking Nights on Wide-awake Days 

    Anita Persson : Walking with August Strindberg. Reading the city

     

    Ville sensible

    Jan Balbierz : Men on the Edge of Nervous Breakdown. Some Remarks on Strindberg, Hamsun, Medicine and the City 

    Franco Perrelli : Ensam: the Narrator, the Town and an Adventure of Perception

     

    L’espace urbain sur la scène 

    Rikard Schönström : The Enveloping Home. Envisioning the House in Strindberg’s Chamber Plays 

    Jørgen Stender Clausen : Strindberg’s The Ghost Sonata. A Mumming Play

     

    Ville hétérotopique

    Mickaëlle Cedergren : Le monastère ou le refuge hors ville. Une tentative de remasculinisation 

    Eszter Szalczer : The City as Stage

    Maxime Abolgassemi : « Une ville vibre toujours » : circulation dans le Paris hétérotopique d’Inferno

     

    Ville du présent, ville du passé 

    Annie Bourguignon : Stockholm dans Götiska rummen et Svarta fanor

    Antoine Guémy : Gamla Stockholm : le fantôme de la ville. Strindberg, ethnologue 


    La ville fin-de-siècle 

    Henrik Johnsson : Strindberg and the Esoteric City

    Cecilia Carlander : Milieux opposés : Au bord de la vaste mer, Inferno et l’imaginaire décadent 

     

    La ville comme outil littéraire 

    David Gedin : Constructs of Meaning: Red Room, Inferno, Alone

     

     

    Commander la revue Deshima

     

     

  • DESHIMA n° 5

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    Regards sur l’histoire africaine des pays nord-européens

     

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    Le dernier numéro de Deshima propose un dossier plein de surprises sur les liens entre Afrique et pays de l’Europe septentrionale. Côté littérature, la nouvelle Petit cheval du Néerlandais Tomas Lieske nous emmène à travers mythes et phobies dans une Égypte ancienne peuplée de centaures. Dans Adelheid, le jeune prosateur norvégien Gaute Heivoll étale sa virtuosité (restituée grâce à un collectif de traducteurs). Norvège à l’honneur aussi avec Torild Wardenœr dont Anne-Marie Soulier a traduit quatorze poèmes empruntés à divers recueils. Suivent sept poèmes du Flamand Peter Holvoet-Hanssen et six du Néerlandais Jaap Robben (illustrés par Benjamin Leroy et tirés du recueil pour enfants Zullen we een bos beginnen ?).

     

     

    Sommaire

     

     

    AFRIQUE

    Thomas Mohnike

    Itinéraires imbriqués : Éléments d’une histoire africaine des pays nord-européens

    Frederike Felcht

    On the topography of H.C. Andersen’s travelogue I Spanien (traduit de l’allemand par Ingo Maerker et Michelle Miles)

    Joachim Schiedermair

    Turmoil in the Dark Continent. Gender, Mimicry, and Colonial Resistance in Verner von Heidenstam and Peter Høeg (traduit de l’allemand par Ingo Maerker et Michelle Miles)

    Christine Smith-Simonsen

    Mythbusting. Looking for Norwegians in the colonies

    J.P.B. de Josselin de Jong

    Le « negerhollands » de Saint-Thomas et de Saint-Jean (présenté Thomas Beaufils, traduit du néerlandais et annoté par Pierre Meersschaert avec la collaboration de Thomas Beaufils)

    Claudia Huisman

    Soldats africains dans les Indes orientales néerlandaises. Belanda Hitam

    Wouter van der Veen

    Vermeer en Afrique. L’allégorie de l’histoire de Helmut Starcke

    Catherine Repussard

    JunkerInnen en Afrique. Les « fermes africaines » de Frieda von Bülow et Karen/Tania Blixen

    Frederike Felcht

    Les politiques de la faim dans Sult (La Faim) et Life & Times of Michael K

    Dorian Cumps

    Explorations dans l’imaginaire (sur l’œuvre de Tomas Lieske)

    Tomas Lieske

    Petit cheval (nouvelle traduite du néerlandais par Daniel Cunin)

     


    SAVANTS MÉLANGES

    Annie Bourguignon

    Peut-on lire Nordahl Grieg au XXIe siècle ?

    Karin Ridell

    Identités et appartenances linguistiques, nationales et régionales. Conversations dano-suédoises dans la région d’Öresund

    Martin Kylhammar

    Rompez ! Rompez ! L’art moderne de faire table rase du passé (traduit du suédois par Sylvain Briens et Max Stadler)

    Alexis Metzger & Martine Tabeaud

    Neiges et glaces dans les peintures hollandaises du Siècle d’or

    Odile Parsis-Barubé

    Les commencements de l’étrangeté. Nord et Midi dans l’imaginaire romantique français de la limite

     


    ARTS ET LETTRES DES PAYS DU NORD

    Annick Drösdal-Levillain

    Gaute Heivoll

    Gaute Heivoll

    Adelheid (nouvelle)

    Anne-Marie Soulier

    Torild Wardenær

    Torild Wardenær

    Poèmes (traduits du suédois par Anne-Marie Soulier)

    Peter Holvoet-Hanssen

    Poèmes (traduits du néerlandais par Daniel Cunin)

    Jaap Robben

    Six poèmes (illustrés par Benjamin Leroy, traduits du néerlandais par Daniel Cunin)

     

     

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    ABSTRACTS

     

    Frederike Felcht

    On the Topography of H. C. Andersen’s travelogue I Spanien

    Deshima, revue, Afrique, littérature, Norvège, Pays-Bas, HamsunThe article explores how space is represented in Hans Christian Andersen’s I Spanien (1863). The travelog begins at the French border and continues through Spain via Gibraltar, down to Morocco, and from there back to Spain via another route. It is characterized by precise observations, numerous poems, and passages of lyrical prose. The descriptions of architecture and infrastructures, landscapes and cities are enriched with inter-textual references, historical background information, and the emotions of the first-person narrator. This creates a complex image of the spaces described, which is analyzed with the help of David Harvey’s Marxist cultural geography and Edward Said’s postcolonial theory. The emphasis of this inquiry is on the relationship between Denmark, Spain, and Africa in the topography of I Spanien. The article demonstrates how I Spanien establishes a hybrid geography of mutual relations and thus opens a space for a different understanding of the relationship between Europe and Africa than was common in the nineteenth century.

     

    Joachim Schiedermair

    Turmoil in the Dark Continent. Gender, Mimicry, and Colonial Resistance in Verner von Heidenstam and Peter Høeg

    Deshima, revue, Afrique, littérature, Norvège, Pays-Bas, HamsunIn postcolonial studies, the subversion of binary ways of thinking is regarded as a useful device for resistance. One of the strategies used for overcoming binaries is “mimicry”, which means that the colonized imitate their colonizers in order to communicate on the same level. At the same time, imitation can never be just a copy; it will always change the original. This hypothesis is examined using two literary texts from Scandinavia: Peter Høeg’s Rejse ind i et mørkt hjerte (1990) and Verner von Heidenstam’s Endymion (1889). Both texts connect the colonial situation with the subversion of gender differences. Høeg meets our expectations, since in his text the breakdown of the gender paradigm causes the deconstruction of the domination of colonial power, whereas the analysis leads us to the surprising result in Heidenstam’s text that the subversion of gender differences stabilizes the colonial difference.

     

    Christine Smith-Simonsen

    Mythbusting: Looking for Norwegians in the Colonies

    During the past ten years, a line of research has been published that puts the Norwegian self-image of imperial innocence under scrutiny. The myth that Norway never partook in any colonial adventures has been challenged by a series of studies showing how a number of Norwegians followed in the wake of colonialism, taking the opportunities at hand to establish trade and other enterprises, buy land, settle permanently, enlist in colonial services, and even run commercial estates of notable sizes.

     

    J.P.B. de Josselin de Jong

    Negro-Dutch in St. Thomas and St. Jean

    This article by J.P.B. de Josselin de Jong, translated from the Dutch original, retraces the question of the crossbreeding between African languages and Dutch in Negro-Dutch, which was spoken in the Danish Antilles until the beginning of the twentieth century. This Creole, essentially spoken by slaves, was influenced by the idioms of the former Dutch colonizers. In it, we can recognize traces of the language spoken by Zealand’s sailors, which dominated the triangle trading area and the sugar plantations in this region in the seventeenth century. In December 12, 1916, the Danish Antilles were sold to the United states of America who were interested in their strategic position near the Panama canal. Since then, they were named the Virgin Islands.

     

    Claudia Huisman

    Belanda Hitam: African Soldiers in the Dutch Indies

    Deshima, revue, Afrique, littérature, Norvège, Pays-Bas, HamsunStarting in 1830, the Dutch were obliged to reinforce their troops in the East Indies (now Indonesia) to extend their colonial domination. Because of the shortage of European soldiers, the Dutch turned to the Gold Coast in West Africa. As of 1637, they were in possession of Elmina, the commercial port of the Ashanti kingdom, from which tens of thousands of slaves were shipped to Brazil, Curacao, Surinam and other places to work on plantations. But the Dutch had little success recruiting Ashanti volunteers. Only 3,000 men left for Java between 1831 and 1872. These Belanda Hitam (Black Dutch) participated in military campaigns in Borneo, Bali, and Sumatra. They were considered to be “insolent Negroes,” unable to adapt to colonial society. And yet they eventually became completely integrated, and most of them stayed in Java and started families. To counterbalance their story of becoming Black Dutch citizens in the East Indies, I evoke the extraordinary adventure of two Ashanti princes, Kwasi and Kwame, who were sent to Holland to obtain a Dutch education and become Black Dutch citizens by striking the opposite path in a story related by Arthur Japin in his beautiful novel The Two Hearts of Kwasi Boachi.

     

    Wouter van der Veen

    Vermeer in Africa: The Muse of History of Helmut Starcke

    When the Dutch VOC settled in what was to become the Republic of South Africa in the middle of the seventeenth century, the San and Khoi populations they encountered did not realize that the end of their culture and way of life was in sight. The Dutch brought weapons, technology, and illnesses that would change the south coast of Africa forever. What they did not bring, surprisingly, was their art. It seems that seventeenth-century Dutch paintings were of no use overseas. German-born artist Helmut Starcke painted a true masterpiece by portraying his own interpretation of a world-famous work by Johannes Vermeer, The Art of Painting. This essay reflects on the questions raised by Helmut Starcke’s painting from a truly “art-historical” perspective, for Starcke gave his intriguing work the title The Muse of History.

     

    Catherine Repussard

    Gentlewomen in Africa. The African Farms of Frieda von Bülow and Karen (Tania) Blixen

    deshima,revue,afrique,littérature,norvège,pays-bas,hamsunAlthough Frieda von Bülow and Karen Blixen lived in different times, they shared a strange community of fate. Both of them staged their lives in East Africa in novels: Bülow in Im Lande der Verheißung (1899) and Blixen in Out of Africa / Den afrikanske Farm (1937). The two writers share a colonial attitude and treat Africa in similar ways. They confess their adoration for African nature and succumb to the spell of exoticism when encountering a continent of charming beauty, all the while reaffirming their attachment to their worlds of origin by relying on the image of an immense African farm overseen by a woman with a firm hand. In the two novels, a white, European aristocratic woman is depicted as exercising authority over the indigenous population, thus enacting a kind of “feudal colonial feminism” as a condition for her own liberty and liberation. The African farm thus becomes a symbol of a utopian social project that opens up a field of unlimited possibilities, combinations, hybridizations, and reconstructions, erasing borders of time and space as well as those of identity.


    Frederike Felcht

    The Motif of Hunger in Sult and Life & Times of Michael K

    Deshima, revue, Afrique, littérature, Norvège, Pays-Bas, HamsunThis essay demonstrates the analytical potential of the motif of hunger in Knut Hamsun’s Sult (Hunger) (1890) and J. M. Coetzee’s Life & Times of Michael K (1983). Sult was published in Norway at the end the nineteenth century and Life & Times of Michael K in South Africa almost one hundred years later. In spite of these different historical and geographical backgrounds, the motif of hunger in both texts reveals similar questions. They explore strategies working against the modern disciplining of the body. This article presents a short history of hunger and analyzes the motif of hunger in the texts from a comparative perspective. It focuses on the semantics of the descriptions of hunger, on the perception of time, and on forms of control that are contrasted with the protagonists’ behaviour, revealing a close relation between hunger and the modern bio-political practices reflected in the texts.

     

    Annie Bourgignon

    Can We Read Nordahl Grieg in the 21st-century?

    deshima,revue,afrique,littérature,norvège,pays-bas,hamsunNordahl Grieg (1902-1943) was a Norwegian traveller, journalist, poet, and a writer. In the 1930s, he became a communist and supported the USSR unconditionally. In interviews and features in the press, he approved of the Moscow trials (staged by Stalin against former Bolsheviks) and later the German-Soviet pact. But when the German army attacked his own country in April 1940, he immediately volunteered to defend it and became an ardent Norwegian patriot. In the novel Ung må verden ennu være (1938) (The World Must Still Be Young), Grieg describes the USSR, the trials, and the Spanish Civil War. He later stated that the novel was intended to justify soviet policy, including its more questionable sides. But when reading this work today, it appears rather to depict a dismal picture of soviet society. This article is an attempt to read Ung må verden ennu være from this perspective of what we know about its author. Grieg’s novel thus appears as a broad description of Europe in the 1930s, where the storm of major catastrophes is brewing.

     

    Karin Ridell

    Linguistic, National, and Regional Identities and Membership Categorizations. Danish-Swedish Conversations in the Öresund Region

    In this article, excerpts from talk-in-interaction between Danes and Swedes in the work place (a care home for the elderly) in the Öresund region (the cross-border region between Denmark and Sweden) are analyzed by focusing on how the participants express and negotiate their linguistic, regional, and national membership categorizations and identity. Conversation analysis and membership categorization analysis form the theoretical and methodological framework of this study. The analyses demonstrate that linguistic, national, and regional membership categorizations are made relevant in different sequential positions in different ways. It is argued that such categorization can result in attenuating a delicate situation or in keeping the channels of conversation open. Like all membership categorizations of a person in talk-in-interaction, linguistic, national, and regional membership categorizations have proven to be a powerful tool for performing interactional actions, such as refusing a request or creating social affiliation between different participants. It is also demonstrated that repair (self- or other-initiated), essentially of a linguistic trouble source, is just one of several sequence types in which linguistic membership categorization often occurs.

     

    Martin Kylhammar

    The Modern Art of Burying the Past

    This essay deals with the project of modernity – what it consists of, and the value placed on its results. Modernity is the dream of a good society. It would not be altogether wrong to call this project a dream, since dreams are always on the verge of becoming nightmares. The men involved in this project have always looked forward. This, I argue, is for a good reason, and the results have been spectacular. However, it also implies that modernity has a special relationship to the past, and that we have searched, more or less successfully, for methods with which to assess the efforts of the past before disposing of them.

     

    Alexis Metzger, Martine Tabeaud

    Snow and Ice in Dutch Paintings in the Golden Age

    deshima,revue,afrique,littérature,norvège,pays-bas,hamsunIn the Dutch Golden Age, the production of winter scenes in paintings reached a climax. In focusing on these representations of winter and coldness, one might wonder whether the paintings correlated with the actual weather. If so, do the paintings genuinely show the weather at the time they were painted? In this article, I discuss that, because the winter scenes became exceedingly appreciated by a buying public, painters began to produce these paintings without taking the actual weather into account. Eventually, they painted winter scènes de genre and developed a typology of images for these winter scenes. The unusual, rough coldness of the Little Ice Age winters actually taking place outside generally disappeared from the paintings, and joyful winter scenes were preferred.

     

    Odile Parsis-Barubé

    The Beginnings of Strangeness: The North and the Midi in the French Imaginary of limits

    This article is a study of how travel narratives in France in the first half of the nineteenth century contributed to producing the impression of strangeness and otherness to which the North and the Midi were connected in a nationalized space. Construed as an expression of a system of oppositions, they relate to a complex process of cultural references, sensitive perceptions, and anthropological presuppositions. By exploring these interactions, this article contributes to the study of localized conceptions of romantic notions.

     

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  • Deshima, n° 4

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    Louis Couperus et la France

    Arts & Lettres du Nord

     

    Le numéro 4 de Deshima, revue d’histoire globale des pays du Nord, vient de paraître, une livraison entièrement en langue française. Il contient un dossier de de 210 pages sur l’un des plus grands écrivains néerlandais, Louis Couperus (1863-1923), l’auteur de La Force des ténèbres (De stille kracht, 1900), roman que Paul Verhoeven se propose de porter à l’écran et dont la traduction française a paru en 1986 aux éditions du Sorbier.

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    Avant-propos

     

    Le présent numéro de Deshima offre une large place à la littérature ainsi qu’à l’histoire et la traduction littéraires. Tout d’abord à travers un dossier consacré à l’écrivain haguenois Louis Couperus – des articles sur sa vie et son œuvre ainsi que des nouvelles et feuilletons en traduction –, ensuite par une contribution sur un romancier originaire de la Flandre française : Paul Gadenne, enfin grâce à des pages pour la plupart inédites de poètes d’expression française (le Suisse François Debluë et la Québécoise Louise Warren qui évoque ses séjours en Flandre, en particulier dans l’ancienne maison des traducteurs de Leuven) et d’expression néerlandaise (les Flamands Roland Jooris et Paul Bogaert). Cette attention portée à la littérature se prolonge dans la partie du volume consacrée aux pays scandinaves : des contributions du traducteur Philippe Bouquet, une étude de Marthe Segrestin sur Ibsen et Strindberg ainsi que des poèmes de Pia Tafdrup.

    La Hollande est par ailleurs à l’honneur dans une évocation de la peintre Charley Toorop (article de Catherine Jordy), la Flandre à travers les propos d’une grande figure du monde musical, Paul Van Nevel, recueillis par la romancière bruxelloise Sandrine Willems.

     

    Couperusdeshima4.pngÉcrivain méconnu aujour- d’hui en France, Louis Couperus (1863-1923) oc- cupe dans la littérature de son pays une place de tout premier plan. En quarante ans de vie littéraire, il a laissé une œuvre monumentale à bien des titres : somptuosité de la langue, profondeur de l’observation mariée à une légèreté de ton, diversité des genres – poésie, nouvelle, feuilleton, récit, conte my- thologique, roman (historique, psychologique, mytho- logique, symbolique…). Les Volledige Werken (Œuvres complètes) éditées à la fin du XXe siècle regroupent pas moins de 50 volumes.

    Né à La Haye le 10 juin 1863 dans un milieu de hauts fonctionnaires coloniaux, Louis Couperus a passé une partie de ses jeunes années à Batavia, capitale des Indes néerlandaises, la future Djakarta. Grand itinérant, il retournera dans cet archipel (pour y écrire une de ses plus belles œuvres : De stille kracht), voyagera en Scandinavie (on trouve des échos de cette période dans le roman Noodlot), en Angleterre, en Espagne, séjournera par ailleurs en Algérie (voir l’article de José Buschman), au Japon et bien souvent aussi en Suisse ou encore en Allemagne. La France et l’Italie l’accueilleront, lui et sa cousine germaine Elisabeth qu’il a épousée en 1891, durant de nombreuses années. Encore adolescent, sa découverte de l’œuvre pétrarquienne le confirme dans sa vocation d’écrivain. La première nouvelle qu’il donne à lire à ses compatriotes met d’ailleurs en scène une rencontre entre Pétrarque et Boccace. À l’âge de 23 ans, il publie un deuxième recueil de poèmes qui contient en particulier un cycle intitulé « Laure ». Mais c’est au genre romanesque, à celui du feuilleton et à la nouvelle qu’il va consacrer la plus grande partie de son temps jusqu’à sa mort survenue le 16 juillet 1923. Connu en France – et plus encore en Angleterre et en Allemagne – dès la fin du XIXe siècle, époque de la parution aux éditions Plon de deux de ses romans (Majesté et Paix Universelle), il s’établit avec son épouse à Nice en 1900. Il vivra dix ans dans cette ville proche de l’Italie qu’il affectionne tout particulièrement (voir « La sultane blanche. Louis Couperus et Nice » de Christian Marcipont). Il est alors l’un des rares si ce n’est le seul écrivain hollandais à vivre de sa plume. Aux Pays-Bas, ses œuvres sont publiées dans des éditions magnifiques – qui font aujourd’hui le régal des collectionneurs – dont les couvertures sont conçues et dessinées par de grands artistes, par exemple Jan Toorop (voir la couverture de ce numéro), Theo Neuhuys, B.W. Wierink, C.A. Lion Cachet ou encore H.P. Berlage. Un de ces col- lectionneurs, Ronald Breugelmans, décédé le 5 février dernier, a laissé un ouvrage qui répertorie les différentes traductions des ouvrages du Haguenois : Louis Couperus couvforcesténèbres.pngin den vreemde (2ème édition revue et augmentée, Leyde, 2008). Aux lecteurs n’ayant pas accès à la langue néerlandaise, on conseillera la lecture du roman « indonésien » La Force des ténèbres (De stille kracht, 1900), dans la traduction de Selinde Margueron éditée par Le Sorbier en 1986 avec une préface de Philippe Noble. En anglais et en allemand, de nombreuses œuvres de Cou- perus sont accessibles dans des traductions de qualité.

    Pour être vraiment complet, notre dossier aurait d’ailleurs dû s’intéresser aux traductions françaises et aux traducteurs (Georges Khnopff, Louis Bresson, Paul Eyquem, Félicia Barbier…) de Couperus ainsi qu’aux gens de lettres qui lui ont consacré quelques pages en français : Theodor de Wyzewa, Renée d’Ulmès, Maurice Spronck, Adrienne Lautère, Jules Béraneck, Julien Benda, Christiane Fournier… L’adaptation que le Haguenois a donnée de Chantecler d’Edmond Rostand aurait mérité un article dans la veine de celui que Bertrand Abraham propose sur la « traduction » de La Tentation de saint Antoine de Gustave Flaubert. Un contretemps nous a empêché de terminer une contribution sur les écrits que l’écrivain a laissés sur des villes françaises où il a séjourné au début de l’automne 1909, Arles et Avignon, des pages dans lesquelles le grand lecteur qu’était Couperus – voir la contribution de Kim Andringa – s’inspire par endroits d’un beau travail de son contemporain André Hallays : Avignon et Le Comtat Ve- naissin.

    Les nouvelles retenues dans ce volume – dont l’emblématique « Les jumelles de théâtre » – éclairent deux ou trois facettes de l’œuvre du romancier : certaines illustrent le ton badin qu’il aimait à employer tout en nous conduisant dans quelques-uns de ses lieux de prédilection, en l’occurrence Scheveningen et Nice ; « Le jeune roi » revient sur une thématique qu’il avait développée à la fin du XIXe siècle dans ses « romans des rois » ; « Comment on écrit un roman » nous livre certains secrets de la cuisine de l’écrivain. Le texte que le Haguenois a publié sur Paris en 1921 et que Marjan Krafft-Groot évoque dans « Paris au regard de Métamorphose de Louis Couperus » aurait certes eu sa place dans ce petit florilège.

    Ouvrage de H.T.M. van Vliet consacré aux couvertures des livres de Couperus

    couvvanvliet.jpgNous tenons à remercier Thomas Beaufils qui nous a invité à réaliser ce numéro de Deshima et bien entendu toutes les personnes qui ont fourni une contribution, en particulier Christian Marci- pont pour ses traductions. Nos remerciements vont aussi au professeur H.T.M. van Vliet qui nous a autorisé à publier des nouvelles de Louis Couperus dans des traductions basées sur les Volledige Werken, immense projet éditorial qui a été mené à bien sous sa direction ; à José Buschman qui  a eu la gentillesse de nous fournir bien des conseils ainsi que nombre de photographies reproduites dans le présent numéro ; à Ronald Breugelmans qui, avant sa disparition, a toujours accepté avec enthousiasme de nous fournir maints documents et renseignements ; à Tom Van de Voorde du Fonds Flamand des Lettres pour son rôle auprès des poètes flamands dont nous publions des pages ; au NLPVF pour son concours au financement des traductions ; au Letterkundig Museum de La Haye ; enfin à Thomas Mohnike, Ersie Leria, Sandra Miller et Bertrand Abraham pour la couverture, la maquette, la mise en page ou encore le travail de relecture.

    Relevons pour finir que l’association qui défend l’œuvre de Couperus, la Louis Couperus Genootschap, propose un magnifique site. Par ailleurs, à La Haye, un musée est dédié à cette grande figure des lettres néerlandaises. Une de ses œuvres, inspirée de Pindare, L’Ode, est disponible, dans une traduction de Louise de Gursé. Enfin, le lecteur trouvera divers textes et documents sur le présent blogue.

    Daniel Cunin

     


    Sommaire & résumés

     

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    Marjan Krafft-Groot

    Paris au regard de Métamorphose de Louis Couperus

    Paris through the eyes of Louis Couperus’ Metamorphosis

    couvMetamorfoze.gifThe present article strives to investigate the importance of Couperus’ Paris journey for his work and aesthetics, taking one of his masterpieces, Metamor- phosis, as its focal point. The analysis shows the interaction of life and literary work, sug- gesting traces of literary works and persons that may have ins- pired and influenced the author.

     

    Kim Andringa

    Les lectures françaises de Louis Couperus

    “Uitheemse meesters naar eigen, geheel oorspronkelijken trant”. The French readings of Louis Couperus

    CouvArabesken31.jpgThis article offers an insight into the French readings of Louis Couperus which left their marks on his work. He is at first attracted by art for art’s sake, but Zola opens his eyes to realism. His personal natu- ralism is less theoretical and more psychological than Zola’s, which makes him a fellow of Bourget. His interest for the life of the soul reveals the influence of Maeterlinck. In his historical novels, Cou- perus sets greater value than Flaubert or Lombard in the psychology of his protagonists. His “king’s novels”, like the one by Lemaître, show us a king in doubt about monarchy, but he insists on the human rather than the political dimension. Couperus was an inspired reader, taking from his French masters the elements that allowed him to let his personal voice as a writer be heard.

     

    Christian Marcipont

    La Sultane banche. Louis Couperus et Nice

    The white sultana. Louis Couperus and Nice

    NiceMuzeAzur.pngThe article explores the im- portance of the city of Nice for the life and oeuvre of Louis Couperus. In June 1899, Louis Couperus (who had the idea for some time to leave the Nether- lands for good) and his wife stayed for the first time in Nice merely by chance, as they came here to wait for the ship that would take them to Dutch East Indies, today’s Indonesia. In the work of Couperus, Nice appears at first as a place of aristocratic cosmo- politism, but than even and foremost as a place of sensuality and liberty – as opposed to the North, particularly The Hague, which is described as op- pressing and frigid. The Hague represents traditions and conventions, Nice the emancipation from tradition; the North is melancholic, the South enthusiastic. Nice becomes feminized; a sultana gleaming of purity and whiteness.

     

    José Buschman

    Un dandy en Orient. Louis Couperus en Algérie

    A dandy in the Orient. Louis Couperus in Algeria

    CouvCouperusJosé.jpgIn the winter of 1920, Louis Couperus made a trip of six months to Algeria. His im- pressions were published in a book in 1921, after being serialized in a Dutch weekly. At the beginning, Couperus was overwhelmed by the “Oriental dream”, which he thought he met everywhere. Later, however, his enthusiasm was tempered. In her article, José Buschman reveals what Couperus must have witnessed in Northern Africa, but did not describe. Her explanation for this reticence draws upon new psychological insights in Couperus’ life and art.

     

    Bertrand Abraham

    La Tentation de Saint Couperus

    The temptation of Saint Couperus

    couvarabeskens34.pngUsing several Dutch articles and an unpublished Paris IIISorbonne Nouvelle docto- ral thesis by Margje Antje Groot from 1986 as a point of departure, the article analyzes the relationship of Flaubert’s La Tentation de Saint Antoine and its “translation” by Louis Couperus. My reading strives to show, by reorganizing the scattered data in a coherent manner, in what way the choices made by Couperus in his “translation” (“choices” is employed here in all its meanings, particularly even its most literal sense, as his “translation” cuts down the text in a significant manner) are symptomatic for an aesthetic that is more that of Couperus than Flaubert. The meaning of the term “translation” is at the same time questioned and contested: In which extend does the text by Couperus translate the one by Flaubert? In which way does that “translation” represent a step forward in the evolution of the Dutch author’s oeuvre? Our analysis doesn’t pretend to refer to the research in its totality, but draws upon its principal results.

     

    Louis Couperus

    Seven Short Stories

    Les Jumelles de théâtre

    The Opera GlassescouvcouperusVanTRicht.png

    Le Jeune roi

    The Young King

    La Vie imaginée

    The Imagined Life

    Incognito à Nice

    Incognito in Nice

    Le Deuxième regard

    The Second Glance

    Le Suicide manqué

    The Wasted Suicide

    Comment on écrit un roman

    How to Write a Novel?

     

      

    Catherine Jordy

    Charley, fille de Toorop ou l'amour du travail

    Charley, Toorop’s daughter. A passion for work

    couvtooropParis.jpgCharley Toorop (18911955) is one of the most important Dutch painters of the 20th century. In the midst of the fascination for abstraction, she remained truth to realism in her painting, becoming a true portraitist and more specifically a selfportraitist, as Rembrandt or Van Gogh could be. She also practiced other genres, inclu- ding landscapes, still lives and group portraits. Her style is remarkably sharp, precise and, above all, she used to paint like a man, in a constant search for perfection.

     

    Sandrine Willems

    Entretien avec Paul Van Nevel

    Interviews with Paul Van Nevel

    couvDVDVanNevel2.pngThis pages form extracts of interviews that Sandrine Wil- lems conducted with Paul Van Nevel, the founder and direc- tor of the Huelgas Ensemble, while she prepared her docu- mentary Chants et soupirs des Renaissants selon Paul Van Nevel, Renaissance Voices, in- terpreted by Paul Van Nevel.

     

     

    Didier Sarrou

    Paul Gadenne et les Flandres

    Paul Gadenne and Flanders

    couvgadennepoésie.jpgPaul Gadenne, the author of La Plage de Scheveningen, was born in French Flanders. This region, however is not predominant in his oeuvre. The article seeks to analyze to what extend the author was marked by it, and asks, what place he gives in his work to Flanders in general. It seems that the region of his childhood is too near to him; he could not manipulate the landscape as he wanted. Flanders is an element of his imaginative substratum that re-emerges every now and then, often when an intense moment of innocence, purity, happiness illuminates the soul of a character.

     

    Roland Jooris

    Solesmes

    An evocation of Pierre Reverdy’s oeuvre by a great Flemish poet.

     

    Louise Warren

    Pensées de Flandre

    Thoughts of Flanders 

    Evocation of stays in Flanders.

     

    couvfrancoisdeblue.pngPaul Bogaert

    the Slalom soft

    Poems.

     

    François Debluë

    Automne flamand

    Flemish Autumn

    Poems.

     

    Pia Tafdrup

    Dronningeporten

    Poems.


    Marthe Segrestin

    Ibsen et Strindberg face au théâtre français. L'étranger en règle et l'étranger sans papiers

    Ibsen, Strindberg and French theatre. The legal alien and the illegal immigrant

    Ibsen and Strindberg fascinated the most innovating directors in Europe from the last decade of the 19th century. But whereas they helped to reshape the German stage, they remained underestimated in France until World War II. Their plays meant a real threat to French dramaturgy and the Parisian stage did not tolerate the intruders. Only Ibsen was finally accepted, when he was made out to be a good imitator of the French playwrights. Strindberg, however, has long been seen as too much a perturber of the French theatre tradition of the well made play.

     

    Philippe Bouquet

    Les paradoxes de la traduction littéraire

    The paradoxes of the literary translation

    The Decalogue of a translator of Scandinavian lan- guages

     

    Philippe Bouquet

    Notes de lecture

    Reviews

    couvtestamentgouttespluie.jpg

     

     

    Arni Thorarinson, Le Dres- seur d’insectes, Métaillé, 2008, &  Einar Már Guð- mundsson, Le Testament des gouttes de pluie, Gaïa, 2008, both translated from the Icelandic by Éric Boury.

     

     

     

     

    illustrations

     

    Louis Couperus, Metamorfoze, Amsterdam, L.J. Veen, 1897, cou- verture dessinée par Jan Toorop.

    Arabesken, n° 31, mai, 2008, revue publiée par l’Association des Amis de Louis Couperus, La Haye (en couverture : Louis Couperus).

    Nice, muze van azuur, Amsterdam, Bas Lubberhuizen, 2004 (recueil de textes - dans la série Het Oog in 't Zeil - consacrés à Nice réunis par Dirk Leyman : Michel Butor, J.M.G. Le Clezio, Marco Daane, Bart van Loo, Emmanuel Waegemans, Caroline de Westenholz, David van Reybrouck, Paul Gellings…) 

    José Buschman, Zoo ik ièts ben, ben ik een Hagenaar, une promenade littéraire à travers le La Haye de Louis Couperus, introduction de Caroline de Westenholz, Amsterdam, Bas Lubberhuizen, 1996.

    CouvCouperusCahier11.jpgArabesken, n° 34, novembre 2009, avec entre autres un essai de Nienke Timmers : « Maladie et suicide chez Madame Bovary, Anna Karénine et Eline Vere ». Voir aussi sur Flaubert et Couperus le Couperus Cahier  n° 11 : Maarten van Buuren, Emma Bovary, Anna Karenina, Eline Vere. Drie fatale vrouwen in het fin de sièlce (Emma Bovary, Anna Karénine, Eline Vere. Trois femmes fatales de la fin de siècle), La Haye, Louis Couperus Genootschap, 2010.

    H.W. van Tricht, Louis Couperus. Een verkenning, La Haye, Bert Bakker-Daamen, 1965.

    Charley Toorop, Catalogue de l’exposition présentée au Musée d’Art moderne de la Ville de Paris, du vendredi 19 février 2010 au dimanche 9 mai 2010, 240 illustrations couleurs et 20 illustrations noir & blanc, Paris Musées, 2010.

    Chants et soupirs des Renaissants selon Paul Van Nevel, un documentaire de Sandrine Willems,  Les Piérides - CBA - Canvas - Alizé production, 2001 (détail de la pochette du DVD)  

    Paul Gadenne, Poèmes, Arles, Actes Sud, 1983.

    François Debluë, Troubles fêtes, Lausanne, L’Âge d’Homme, 1995.

    Einar Már Guðmundsson, Le Testament des gouttes de pluie,  Montfort-en-Chalosse, Gaïa, 2008.

     

     

    prix du numéro de Deshima 15 euros : toutes les infos

     

    couperustête.png

    Frédéric Bastet, Louis Couperus. Une biographie, couverture (détail)

     

  • Europe du Nord

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    DESHIMA, hors-série n° 1

     

    Après trois ans d'existence, la revue française des mondes néerlandophones Deshima s'élargit au reste des pays du Nord. Cela devrait se traduire par un rythme de parution plus soutenu : deux numéros par an au lieu d'un, l'un étant plutôt consacré à la Scandinavie, l'autre aux terres d'expression néerlandaise.

     

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    Les responsables éditoriaux s'expliquent : « Deshima entre dans sa quatrième année, et comme chaque être vivant, elle se renouvelle de temps en temps. Ce nouveau numéro de Deshima comporte deux innovations majeures. Il s’agit d’une part du premier volume hors-série publié dans la revue. D’autre part, et c’est sans doute plus inattendu, Deshima se dote d’un nouveau sous-titre: « Revue d’histoire globale des Pays du Nord ». Cette évolution nous a paru logique. En effet, dans les trois numéros précédents, Deshima ne s’occupait pas uniquement des Pays-Bas et de la Belgique, mais donnait également une large place aux contacts culturels avec d’autres pays. Dès sa création, Deshima a présenté l’histoire dans une perspective qu’on appelle aujourd’hui en anglais « global history » et que nous voudrions rendre ici en français par l’expression « histoire globale ». Le choix de l’élargissement aux pays du Nord a également ses raisons. Les départements d’études néerlandaises et scandinaves de l’Université de Strasbourg collaborent régulièrement depuis plusieurs années. À travers le dernier numéro de Deshima et les séminaires intitulés « Chemins du Nord » organisés par les deux départements, nous avons découvert au fil de ces rencontres une histoire intimement imbriquée entre les pays néerlandophones et ceux de la Scandinavie. À titre d’exemple, dès le XVIIe siècle, des Suédois (C.-P. Thunberg) et même des Allemands (Philipp Franz von Siebold) étaient engagés par la Compagnie néerlandaise des Indes Orientales pour sillonner les mers du globe et partir à la découverte de terres encore inexplorées par les Européens. Ce mélange de nationalités était monnaie courante sur l’île de Deshima dans la baie de Nagasaki, alors que les Japonais ne pensaient avoir à faire qu’à des Néerlandais. Notre collaboration nous a finalement paru tellement fructueuse, que nous avons décidé de l’institutionnaliser en ouvrant Deshima aux autres pays du Nord pour que nos lecteurs puissent en profiter également. Bien entendu, la littérature occupera toujours une place de choix dans les prochains numéros. Pour mener à bien cette nouvelle orientation, Thomas Mohnike entre dans la direction de la revue en tant que spécialiste des pays scandinaves. Thomas Beaufils, quant à lui, travaille désormais à l'Université de Lille 3, mais reste bien entendu fidèle à son propre enfant. Sylvain Briens, nommé à l’Université Paris IV, contribuera également régulièrement à la rédaction de numéros. »

     

    Sommaire du numéro hors-série 1 - 2009

    Capitales culturelles et Europe du Nord /

    Kulturhauptstädte Nordeuropas

     

    Thomas Beaufils & Thomas Mohnike, « Deshima grandit ! », p. 5

    Sylvain Briens, « Capitales culturelles. Quelques éléments de définition », p. 7

    Arne Melberg, « Wo ist der Süden? Wo ist der Osten?  Literarische Varianten europäischer Grenzen », p. 17

    Sylvain Briens, « Paris, capitale culturelle scandinave du XIXe siècle ? Pèlerinages symboliques et transferts culturels », p. 33

    Javier Maestro, « Helsingfors (Helsinki), capitale culturelle à la fin du XIXe siècle », p. 51

    Lidia Gluchowska, « Totenmesse, Lebensfries und Die Hölle. Przybyszewski, Munch, Vigeland und die proto- expressionistische Kunsttheorie », p. 79

    Annie Bourguignon, « Art et mégalopole. Vilhelm Ekelund et Berlin », p 117

    Hubert F. van den Berg, « Der Sturm als Kunsthandlung und Nachrichtenbüro in der deutschen Propagandapolitik in den neutralen Nachbarländern während des Ersten Welt- kriegs », p. 135

    Klaus Müller-Wille, « CoBrA und Fin de Copenhague. Strategien kultureller Dekapitation im Umfeld Asger Jorns », p. 153

    Per Bäckström, « Stockholm – Hauptstadt der skandi- navischen Avantgarde der 1960er Jahre », p. 183

     

    CouverturesDeshima.png

     

    Résumés

     

    Sylvain Briens, Paris as Nordic Cultural Capital of the 19th century? Symbolic pilgrimages and cultural transfers

    At the end of the 19th century, a number of Nordic writers met in Paris, which represented a cultural capital for modernity in Europe. They wanted to escape from the intellectual environment of the Nordic capitals, which they considered as peripheries, in search for inspiration, stimulation and recognition. The aim of the article is to analyse in which way Paris became, in parallel with other cities such as Berlin, a place for aesthetic innovation and a centre for the Nordic writers in the construction of the modern project. It mainly focuses on the impact of Parisian intellectual environment on Nordic literary production at the end of the 19th century. By studying geographical, intellectual and social contexts of cultural fields, as well as by analyzing transfers and cultural mediations, it attempts to define the role of Paris as Nordic cultural capital of the 19th century.

     

    Arne Melberg, Wo ist der Süden? Wo ist der Osten? Literarische Varianten europäischer Grenzen

    Borders and limits are of obvious importance in Europe: this is demonstrated daily by masses of more or less illegal immigrants and by other forms of so-called trafficking. The article analyses literary versions of two specific frontiers in the works of a wide range of European authors: The South and the East, both showing quite different characteristics. The literary version of the border called South gives us something that is definite and dividing – although the components making up the borderline have shifted during the ages. The border called East, on the other hand, seems vague and extensive, more of a zone than a dividing line. In both cases, however, mythological interest is invested: the border – line or zone – is a place of drama and conflict, ultimately a drama of civilization. However, the literary investigations of the border are not concerned with law or traffic. The borders described are all located in the haven of imagination.

     

    Javier Maestro, Helsinki (Helsinfors) as Cultural Capital at the turn of the century?

    Helsinki, the capital of Finland, was called at the turn of the century by its Swedish name Helsingfors. At that time, it was the capital city of the Grand Duchy of Finland, a territory that was part of the Russian Empire. The article describes the cultural and political development of Helsingfors during the 19th Century. It evaluates the influence of Saint Petersburg and the heritage of the Swedish culture in the process that would lead Finland to autonomy. Through the creation of a number of modern newspapers published in Swedish or in Finnish and based in Helsingfors, the city contributed to the creation of a liberal public opinion in Finland. The article stresses finally the importance of the world exhibitions in Paris and London for the international recognition of a Finnish national cultural identity.

     

    Lidia Głuchowska, Requiem Mass, Frieze of Life and Hell. Przybyszewski, Munch, Vigeland and the proto-expressionistic art theory

    The article investigates in the beginnings of expressionistic art theory. It emphasises hereby the importance of the cross-aesthetic dialogue between the Norwegian artists Edvard Munch and Gustav Vigeland with the Polish-German author and critic Stanisław Przybyszewski. They made their acquaintance in the modernist milieu of end 19th century Berlin, but expanded their dialogue and activities to the major cities of Eastern, Central and Western Europe as Paris and Prague. Przybyszewski’s studies on Munch and Vigeland express an understanding of the artist and the viewer not merely as an aesthetic sensual subject, but as creators of their own right. These works did have an incontestable influence on the two artists and far beyond. However, those impacts remain to be studied in detail.

     

    Annie Bourguignon, Art and Megapolis. Vilhelm Ekelund and Berlin

    The article analyses the circumstances that led the Swedish poet and aphorist writer Vilhelm Ekelund to stay several years in Berlin at the beginning of the 20th century. Although Ekelund production is considered as one of the first examples of modernist poetry in Sweden, his attitude towards modernity has been globally negative. During his stay in Berlin, he suffered of the urban environment. In his essays and articles on the city, he condemned the way of life in the megapolis. His main interest in the German cultural life was the Neo-Hellenist tradition from Lessing to Nietzsche and the work of Goethe. The reading of Nietzsche was decisive for Ekelund and his inclination for Pre-Socratic philosophy. He claimed that the German culture represented classicism as opposed to modernity. He never became a poet of the megapolis. However, he did not reject totally the urban environment he experienced, and his stay in Berlin would have some influence on his later literary production.

     

    Hubert F. van den Berg, Der Sturm as art gallery and intelligence agency in German propaganda in the neutral neighbouring countries during the First World War

    In the centre of studies that analyze the processes of transnational cultural transfers, individual agents often figure as artists and patrons or institutions like theatres, museums, publishing companies or galleries. However, intelligence agencies may have developed an important influence as well. The article describes the secret activities of the well known expressionistic Berlin based gallery Der Sturm as one private branch of German propaganda politics during First World War. That private secret news agency, steered by Nell Walden-Rosland, used its image as apolitical art institution to promote covertly specific political contents in Scandinavian and Dutch press that would depict Germany as a cultural power.

     

    Klaus Müller-Wille, CoBrA and Fin de Copenhague – Strategies of cultural decapitation in the milieu of Asger Jorns

    The theme of cultural capitals and the intimately connected ideas of modernity and avant-gardes had been in the centre of critical assertions by the Danish artist Asger Jorn from his early beginnings. The article studies texts from different periods of his production, deriving from his various engagements in groups as CoBrA, the International movement for an Imaginist Bauhaus and The Situationist International. All these endeavors tented to subvert the predominance of cultural capitals and the homogenization of European avant-garde movements. As a counterpoint, specific national traditions are used to enforce the development of art in the Post-war period.

     

    Per Bäckström, Stockholm – Capital of the Nordic Avant-Gardes of the 1960s

    The topic of this article are challenges inherent in writing the history of the Nordic neo-avant-garde. Firstly, I will present a brief outline of the historical situation in which the movement developed in the 1960s, with focus on Stockholm as the cultural capital of the time, and on the international exchange that took place between artists and groups. Secondly, the “art-works” of the neo-avant-garde will be discussed. These can often be characterized as both cross-aesthetic and performative, a fact that articulates certain problems for a historical analysis. I will proceed from the easily describable to more complex issues, in order to illustrate some of the main difficulties for the study of the Nordic avant-garde.

     

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  • Deshima, n° 3

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    RENDEZ-VOUS MANQUÉS ?

     

    Histoires de rendez-vous manqués, le numéro 3 de la revue thématique annuelle Deshima vient de paraître. Il présente, en près de 500 pages, un épais dossier sur l’anthropologue et linguiste J.P.B. Josselin de Jong, un autre (en grande partie en langue anglaise) sur l’Extrême-Orient vu par des scientifiques allemands et scandinaves à l’époque de la VOC (dont un article sur l’île de Deshima !), quelques articles sur Calvin et le calvinisme, deux nouvelles et des poèmes d’auteurs néerlandais en traduction française, un essai sur le romancier W.F. Hermans et, pour finir, une escapade sous les rafales bataves.

     

    deshima,littérature,ethnologie,anthropologie,hollande,japon

     

    Table des matières

     

    Avant-propos                  Thomas Beaufils (p. 5)

     

    Dossier : J.P.B. de Josselin de Jong

    Biographie de J.P. B. de Josselin de long (p. 11)

    Discours de Claude Lévi-Strauss (prononcé lors de la remise du prix Erasme 1973) (p. 13)

    Thomas Beaufils, « Tache aveugle ». L’absence d’un contrepoint visuel a-t-elle été fatale au « structuralisme » hollandais ? (p. 21)

    Nicoletta Diasio,Au grand air. L’écriture photographique de Claude Lévi-Strauss, contrepoint visuel du structuralisme (p. 47)

    Kirsten Beukenkamp, Entre décolonisation et démocratisation de l’université : Quelle place pour une anthropologie des mondes contemporains aux Pays-Bas ? (p. 67)

    Jean-Baptiste Beaufils, Rêve et culture chez J. P. B. De Josselin de long (p. 81)

     

    Choix d'articles de J. P. B. de Josselin de jong

    Les danses des Piegans (p. 105)

    Histoire de la linguistique (p. 131)

    Types culturels et phases culturelles (p. 163)

    L’archipel malais, un champ d’étude ethnologique (p. 189)

    Manifeste (p. 209)

    Un peuple en devenir (p. 213)

    Les Indes de Meijer Ranneft (p. 219)

    Culture et rêve (p. 239)

    De l’ethnolinguistique (p. 255)

     

    Les pays du Nord et l’Extrême-Orient

    Thomas Mohnike, L’Europe du Nord et l’Extrême-Orient au temps de la VOC. Quelques remarques introductives (p. 275)

    Susanne Friedrich, Gottorf et ses collections d’histoire naturelle provenant des Indes orientales. Objets et « savoir» des non-spécialistes (p. 285)

    Stefan Ehrenpreis, Germans in the VOC : scribal communication, patronage and family relations (p. 303)

    Martin Krieger, The Dutch Beginnings of the Danish intro-Asiatic trade (p. 311)

    Wolfgang Behschnitt, The Dutch East lndia Company in a Swedish perspective. The 1667-edition of Nils Matson Kiöping’s and Olof Eriksson Willmans travel accounts (p. 321)

    Peter Rietbergen, Japon and Europe ca 1800: the pivotal role of Deshima (p. 337)

    Carl Jung, An Exchange of ldeas: C.P. Thunberg’s Encounter with the Scholars of Western Studies in Japon (p. 359)

     

    Savants mélanges

    Spiros Macris, Le calvinisme hollandais et la mécanique des consciences (p. 379)

    Spiros Macris, Un pamphlet différé. Vondel : Op de Ionghste Hollantsche Transformatie (p. 393)

    Anonyme, La prédestination. Extrait des Canons du Synode de Dordrecht (p. 399)

    Guillaume Groen van Prinsterer, La Hollande et l’influence de Calvin (p. 405)

     

    Lettres néerlandaises

    deshima,littérature,ethnologie,anthropologie,hollande,japon

    Willem Frederik Hermans fumant une Gauloise

    4ème du recueil de nouvelles De laatste roker

     

    Vonne van der Meer, L’adieu à Phœbé (p. 423)

    Willem ]an Otten, Chronique d’un fils qui devient père (p. 433)

    Willem Jan Otten, BW-PLO (poème) (p. 450)

    Gerry van der Linden, Poèmes (p. 451)

    Raymond J. Benders, Solitude, ma mère (essai sur W.F. Hermans) (p. 465)

     

    Au fil du vent du nord

    Gilles Fumey, Moulins et vélos aux Pays-Bas : quand le vent est dans la roue (p. 481)

    Auteurs (p. 489)

    Résumés (p. 491)

     

    Résumés (sauf textes traduits et textes anciens)

     

    Thomas Beaufils, So many things left to do... the forgotten texts of J.P.B. de Josselin de Jong

    Through a closer observation, Dutch’s anthropologists are not very interested in the works of J.P.B. de Josselin de Jong. Of course, we can read a series of articles on the famous FAS (Field of anthropological study), the concept developed by JPB in his well-known inaugural discourse: “The Malay Archipelago as a field of ethnological study”. Meanwhile, by J.P.B.’s death, in a memoriam which dated back to 1965, anthropologist Van Baal found hard to find the qualities of our researcher: “What did this man have, so that he were able to assure such influence? It’s not his life, nor his works”. To Lévi-Strauss, the Dutch have done everything to denigrate their own research’s’ results. At the French’s side, we have been participating in an embellishment process to emphasize the works of Lévi-Strauss, which naturally finish by gaining the entire merit. At the same time, the works of J.P.B. are also as prominent. But there is still so much to do to revalorise and to embellish these works and also to make it more accessible to publics. JPB’s family owns documents (photos, letters) which researchers obtain piece hy piece. Unpublished manuscripts await to be published one day. This article focuses on the necessity of giving lights on his life on the study fields. So that one day he will gain the place he merits. 

    deshima,littérature,ethnologie,anthropologie,hollande,japon

    J.P.B. Josselin de Jong, portrait reproduit dans la revue Deshima

     

    Nicoletta Diasio, “In the open air”. Photography by Claude Lévi-Strauss, a visual counterpoint of the structuralism

    The pictures realized by Lévi-Strauss during the expeditions in Brazil (1935-1939), reveal some implicit tensions in all the work of the author: the oscillation between scientific rigorous concern and passion for the artistic creation, the report of the rational and the sensitive as means of knowledge, the imperative of the distance and the implicitly reflexive dimension. His photographic style weaves between the fascination for the « savage », the nostalgia of the fugitive and the wish to give a body, a face and a concrete presence to the ethnographic subjects. It discloses the change of paradigm in the fieldwork during the 30s.

     

    Kirsten Beukenkamp, Between decolonization and democratization of university: Where to place the anthropology of the contemporary world in the Netherlands?

    Dutch anthropology is strongly related to the national colonial history in which it finds its origins and to empiricism in comparison to theoretical frameworks. Anthropology of the contemporary world seems, as it questions these elements, not to have found its place in the Netherlands yet. These elements are equally present at local level. By looking at the positions and work of the Utrecht University anthropologists and the preparation of my own master research, the article tries to understand the present-day definition and meaning of Dutch anthropology as well as the new possibilities a contemporary anthropology could offer.

     

    Jean-Baptiste Beaufils, “Culture and dream” of J.P.B. de Josselin de Jong

    In his 1946 conference, Culture and dream, De Josselin de Jong seeks to establish the individual / culture report from the unconscious point of view. To this end, he questions the anthropological theories, very fashionable at the time, using Freudian theory of latent and manifest contents of the dream. But he severely criticised and rejected them when they try a junction between individual and culture by using the concept of the prevalence of symbolism in the dream. Actually, unbeknownst to him, these criticisms recur the real thought of Freud: the theory of the interpretation by the symbol is really to attribute to Jung. Well, Freud separated from Jung for the most part for that point. For his part, De Josselin de Jong concluded that it was not the approach that was absurd, but the concepts used. So, it was necessary to suspend to find the solution. My researches in development of the book De la colonisation de l’esprit allowed me to notice that further to De Josselin de Jong, Lacan and Lévi-Strauss, each constructed a piece of the solution. On the one hand, a model of the dynamics of language in the performances of an individual through the transformations in his individual myth in the cure (diagram double mirror). On the other hand, in the culture, by the myth and its dynamic in the collective, universalized by the canonical formula of myths. It appears that a culture in potential is directly organized in the individual at the level of a pre-oedipe. Freud has assumed it from his clinic. This pre-historic oedipal is the dream umbilicus and the object of a denial.

     

    Susanne Friedrich, Gottorf and his natural history collections from oriental Indies - objects and “knowiedge” of the “unlearned” authors

    This article deals with the inventory of the ‘Kunstkammer’ in Gottorf and three travelogues edited by Adam Olearius in the middle of the 17th century. During the production of these books Olearius faced objects of the Gottorf collection and the cognitions of ‘unlearned’ authors with approved knowledge. On the basis of examples mostly from the Indonesian area, a specific interaction between site, practices, accounts, and objects can be observed. This results in a more complex conception of the Scandinavian contribution to European knowledge in regard to Asia.

     

    Stefan Ehrenpreis, Germans in the VOC – scribal communication, patronage and family relations

    The paper discusses the importance of scribal communication of employees of the VOC for the spread of knowledge about Asia in the German-speaking countries. Departing from the very different examples of Johannes Stahlenbecker and Willem van Imhoff, it is shown that the distance between two continents did not define the social space established by communication. On the contrary, letters permitted to integrate people in over-sea contexts into early modern societies in Europe. As the example of Imhoff shows, letters were important for the long-term stability of family relations between Europe and Asia. The letters of Stahlenbecker served to prolong constructions of patronage. Additionally, they were read publicly and became a mean for the transmission of individual experiences of Europeans in Asia and were, thus, an important source of knowledge of Asia.

     

    Martin Krieger, The Dutch Beginnings of the Danish intra-Asiatic trade

    This paper investigates the Dutch impact on the establishment of Danish trade in the Indian Ocean region. It can be shown that the Dutch VOC served as a model for the foundation of the first Danish East India Company on an institutional as well as on a personal level. Private Dutch enterprise entered into a fruitful, but also dangerous liaison with the efforts of the Danish monarchy to enhance overseas trade during the first half of the seventeenth century.

     

    Wolfgang Behschnitt, The Dutch East India Company in a Swedish perspective. The 1667-edition of Nils Matson Kiöping’s and Olof Eriksson Wiliman’s travel accounts

    The first Swedish travel accounts from the East Indies were published in 1667. Their authors, Nils Matson Kiöping and Olof Eriksson Willman, had both served in the Dutch East India Company, so their accounts can serve as proof for the important role the VOC played for the spreading of knowledge about the new colonial world in Scandinavia. This article aims to interrogate the particular manner in which their publication transported, transformed and sometimes even distorted this knowledge subject to political and economic tensions between Sweden and the Netherlands. Special attention will be given to Willman’s description of Japan and its relation to François Caron’s widely spread account.

     

    Peter Rietbergen, Japan and Europe ca 1800. The pivotal role of Deshima

    Due to economic-political reasons, around the turn of the 18th century, Deshima was almost unreachable for Europeans. This negatively impacted the cultural transfer that had been going on since the 1630s. This essay describes the various groups who constituted the complex chain through which various kinds of textual / material culture were mediated between Japan and the West. It analyses their interests in the process. The article stresses that, during the two centuries of Deshima’s unique role, in Europe at least knowledge about Japan was not cumulative but, rather repetitive, also because each generation needed to create its own image of Japan. The important contribution - but unfortunately little impact - of the work of Isaac Titsingh, in this very period, is dealt with in detail. Last, but not least, attention is given to Japan’s (changing) interest(s) in things European, between scholarly / scientific curiosity and exoticism – Japan’s ‘occidentalist’ phase mirrors Europe’s ‘orientalist’ gaze. I argue that, moreover, in many ways, Japan’s authorities manipulated Europe for its own ends.

     

    Carl Jung, An Exchange of Ideas. C.P. Thunberg’s Encounter with the Scholars of Western Studies in Japan

    During his stay in Japan as an employee of the Dutch United East India Company in the years 1775 and 1776, the Swedish physician and botanist Carl Peter Thunberg (1743-1828) had the opportunity to engage in an extensive intellectual discussion with a number of Japanese scientists that were versed in the so called Western sciences. Whereas the exchange of goods with overseas regions was very common in 18th century Europe, this is a rare example of an exchange of ideas with extra-European people.

     

    Spiros Macris, Dutch Calvinism and the mechanism of the conscience

    This paper explores the conflict between secular power and the Reformed Church in the Netherlands. In the early 17th century, the young Republic needed a strong and unified Reformed Church to preserve the confederation, but it could not tolerate the Calvinists’ theocratic claim. For this reason, the Reformation’s influence was to be cultural instead of religious: even dissenters and the large Catholic community accepted it.

    And still today, with only 19 % Reformed churchgoers, while Catholics can count on 29 %, and despite 42 % non-believers, Calvinist ethics are widely accepted and part of Dutch national identity.

     

    Gilles Fumey, When the wind is in the wheel. Windmills and bicycles in the Netherlands

    Without any doubt, wind constructs the Netherlands. Windmills have permitted to gain some lands over the sea. Bicycles induce extensions of the city and play an incomparable art of living in Europe. The genius spirit of the Dutch is to have, in each phase of their history, domesticated the wind by the wheels. Whether for windmills or bicycles, there is an equal attention given to space, which spread from the fascination for the wheels.

     

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