This lively collection of essays examines the link between public opinion and the development of changing 'Netherlandish' identities in the sixteenth and seventeenth centuries.
By looking at rhetoric and politics, this book offers a novel account of Juan Luis Vives’ intellectual oeuvre. It argues that Vives adjusted rhetorical theory to a monarchical context in which direct speech was not a possibility, demonstrated how Erasmian languages of ethical self-government and political peace were actualised rhetorically and critically in a princely environment, and finally, rethought the cognitive and emotional foundations of humanist rhetoric in his late and famous De anima et vita (1538). Ultimately, towards the end of his life, Vives epitomised a distinctively cognitive view of politics; he maintained that political concord was not a direct outcome of institutional or legal reform or of the spiritual transformation of the Christian world (an optimistic Erasmian interpretation) but that concord could only be upheld once the dynamics of emotions that motivated political action were understood and controlled through responsible rhetoric that respected decorum and civility.
Hadrianus Junius (1511-1575) is generally regarded as the greatest humanist in the Northern Netherlands between the death of Erasmus in 1536 and the foundation of Leiden University in 1575. For both literary authors and professional philologists of the Golden Age, Junius remained the only significant point of reference on Dutch soil in the second and third quarters of the sixteenth century. As physician, lexicographer, historiographer, emblematist, poet, mycologist, chronologer and philologist, he was a prolific editor (and translator) of Latin and Greek texts. Yet we still know little about the kind of scholarship this stuttering polymath pursued, and about the connections between his numerous works. The chapters in this book analyse Junius’ most important works, some of which have never been studied before. All chapters contextualise his works in light of the tradition of humanism so familiar to Junius.
Dwelling on the rich interconnections between parody and festivity in humanist thought and popular culture alike, the essays in this volume delve into the nature and the meanings of festive laughter as it was conceived of in early modern art. The concept of 'carnival' supplies the main thread connecting these essays. Bound as festivity often is to popular culture, not all the topics fit the canons of high art, and some of the art is distinctly low-brow and occasionally ephemeral; themes include grobianism and the grotesque, scatology, popular proverbs with ironic twists, and a wide range of comic reversals, some quite profound. Many hinge on ideas of the world upside down. Though the chapters most often deal with Northern Renaissance and Baroque art, they spill over into other countries, times, and cultures, while maintaining the carnivalesque air suggested by the book's title.
Scholarly traditions of the nineteenth and twentieth centuries have led us to assume that national traditions were defining in a way that they may not have been during the Renaissance, when Latin remained an international language. This collection interrogates the historical importance of national traditions, many of which depend upon geographical boundaries that took their shape only after the emergence of the nation state in the modern period. In a seminal essay on Scottish literature, R.D.S. Jack delineates the problems of defining a national literature. Zirka Zaremba Filipczak traces connections between Italy and The Netherlands while Jozef Ijsewijn examines the use of Italian models by neo-Latin authors and Francis M. Higman offers a preliminary study of European translations of Reformation authors. Paul W. Knoll reminds us that the division between western and eastern Europe dates from this century by demonstrating the impact of Italian humanism on Polish universities. Divisions among disciplines are also challenged by the contributors to this volume. Arthur F. Kinney brilliantly shows that literature is enriched by an understanding of historical and political texts. Jacqueline L. Glomski questions the division between historiography and art while Howard Mayer Brown indicates the importance of literary concepts such as rhetoric and genre for the Italian madrigal, and Norman K. Farmer, Jr, of theological texts for interpreting poetry. Minna Skafte Jensen traces the impact of a major reformer on some Danish poets. Conceptual forms of internationality are explored in essays by Bart Westerweel on time, Bruce P. Lenman on geography, and Karen Skovgaard-Petersena and Karin Tilmans on historiography. Taken together, the essays in this volume offer a compelling and persuasive justification for an interdisciplinary and international aproach to the study of Renaissance culture.
The Eighty Years’ War and the partition of the Low Countries led to the publication of numerous chorographical works on towns and regions in the Northern and Southern Netherlands. This book offers a comparison of these histories reflecting political change and promoting new identities.
The little-known author Jan van Naaldwijk, whose two early sixteenth-century Dutch chronicles of Holland are preserved in autograph manuscripts in the British Library, wrote at a moment reputed to be the turning point between medieval and Renaissance modes of historical writing. While he primarily relied on the medieval historical tradition of Holland, he expanded it in ways that allow us to appreciate the broader impact of innovations occurring at the same time in more 'professional' scholarly circles. This is the first in-depth study of these chronicles and their relation to their sources, placed in the wider context of history writing running from the mid-fourteenth century into the eighteenth, providing new insights into the continuities and transitions that characterized the historical tradition of Holland from the late middle ages well into the early modern period. An accompanying cd-rom contains transcriptions of both Jan's chronicles. Winner of the Society for Renaissance Studies Book Prize 2012 Short-listed for the Royal Historical Society Gladstone Prize 2012.
In 1572, towns in the province of Holland, led by William of Orange, rebelled against the government of the Habsburg Netherlands. The story of the Dutch Revolt is usually told in terms of fractious provinces that frustrated Orange's efforts to formulate a coherent programme. In this book James D. Tracy argues that there was a coherent strategy for the war, but that it was set by the towns of Holland. Although the States of Holland were in theory subject to the States General, Holland provided over 60 per cent of the taxes and an even larger share of war loans. Accordingly, funds were directed to securing Holland's borders, and subsequently to extending this protected frontier to neighbouring provinces. Shielded from the war by its cordon sanitaire, Holland experienced an extraordinary economic boom, allowing taxes and loans to keep flowing. The goal - in sight if not achieved by 1588 - was a United Provinces of the north, free and separate from provinces in the southern Netherlands that remained under Spanish rule. With Europe increasingly under the sway of strong hereditary princes, the new Dutch Republic was a beacon of promise for those who still believed that citizens ought to rule themselves.