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Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No. -
The Development of Free Indirect Constructions in Dutch Novels
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2014 The development of free indirect constructions in Dutch novels Clement, Marja Abstract: Why is the free indirect style such a useful narrative means to portray characters’ minds in fictional texts? This article gives more insight into this phenomenon by analyzing texts fromearlier times. Previous studies state that the free indirect style for the representation of thoughts emerged in Dutch literary prose in the 19th century. However, this article shows that the roots of this technique were already present in 17th century Dutch popular literature novels. The analysis of these novels provides us with more insight into this phenomenon. Before the emergence of free indirect style, the most common form for the representation of a character’s consciousness was direct discourse. The suggestion that the character is ‘thinking out loud’ makes this thought representation unnatural, as emotions and feelings are often pre-verbal and wordless. Free indirect style gives the narrator the possibility to formulate that which the character cannot put into words. The free indirect style allows the author to merge descriptions of events and actions with the character’s inner life, feelings, questions and wishes without a change in the narrative style when it comes to personal pronouns and tense. DOI: https://doi.org/10.1515/jls-2014-0009 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-105884 Journal Article Published Version Originally published at: Clement, Marja (2014). -
This Cannot Happen Here Studies of the Niod Institute for War, Holocaust and Genocide Studies
This Cannot Happen Here studies of the niod institute for war, holocaust and genocide studies This niod series covers peer reviewed studies on war, holocaust and genocide in twentieth century societies, covering a broad range of historical approaches including social, economic, political, diplomatic, intellectual and cultural, and focusing on war, mass violence, anti- Semitism, fascism, colonialism, racism, transitional regimes and the legacy and memory of war and crises. board of editors: Madelon de Keizer Conny Kristel Peter Romijn i Ralf Futselaar — Lard, Lice and Longevity. The standard of living in occupied Denmark and the Netherlands 1940-1945 isbn 978 90 5260 253 0 2 Martijn Eickhoff (translated by Peter Mason) — In the Name of Science? P.J.W. Debye and his career in Nazi Germany isbn 978 90 5260 327 8 3 Johan den Hertog & Samuël Kruizinga (eds.) — Caught in the Middle. Neutrals, neutrality, and the First World War isbn 978 90 5260 370 4 4 Jolande Withuis, Annet Mooij (eds.) — The Politics of War Trauma. The aftermath of World War ii in eleven European countries isbn 978 90 5260 371 1 5 Peter Romijn, Giles Scott-Smith, Joes Segal (eds.) — Divided Dreamworlds? The Cultural Cold War in East and West isbn 978 90 8964 436 7 6 Ben Braber — This Cannot Happen Here. Integration and Jewish Resistance in the Netherlands, 1940-1945 isbn 978 90 8964 483 8 This Cannot Happen Here Integration and Jewish Resistance in the Netherlands, 1940-1945 Ben Braber Amsterdam University Press 2013 This book is published in print and online through the online oapen library (www.oapen.org) oapen (Open Access Publishing in European Networks) is a collaborative initiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. -
Almost Memories / Almost True Stories
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Flinders Academic Commons Cees Nooteboom, The Foxes Come at Night translated from Dutch by Ina Rilke (Quercus, 2011) Cees Nooteboom belongs to a generation of Dutch writers who were born before the war and with the death earlier this year of Harry Mulisch (The Discovery of Heaven, 1982) Nooteboom is one of the last alive. Unlike Mulisch who wrote relentlessly about the post-war Dutch landscape and whose work is thus closer to Gunther Grass in Germany, Nooteboom is more identifiable with writers such as the much younger Ian Buruma (Murder in Amsterdam, 2006) who, if they write about the Netherlands at all, do so from an outsider/expatriate viewpoint. Like Buruma, Nooteboom is an analytical essayist with an extensive oeuvre of travel writing and commentary about the arts. Nooteboom is unique however in that he is an experimenter and thus is not easily classifiable at all. In The Foxes Come at Night he pushes the boundaries of what we think of as the short story genre to the furthest edges of his imagination. Something else to keep in mind in any consideration of Nooteboom is that his father died in an Allied bombing raid during the war. He has known tragic, inexplicable death from an early age and, like Proust who came to realise that he was the subject of his writing, there is a sense that Nooteboom is studying himself in these stories. A melancholy, the black bile of ancient Greece, pervades all of Nooteboom’s work, an attraction to decay, ennui – the end of things. -
Geschiedschrijving Als Opdracht
Geschiedschrijving als opdracht Abel Herzberg, Jacques Presser en Loe de Jong over de jodenvervolging Conny Kristel bron Conny Kristel, Geschiedschrijving als opdracht. Abel Herzberg, Jacques Presser en Loe de Jong over de jodenvervolging. Meulenhoff, Amsterdam 1998 Zie voor verantwoording: http://www.dbnl.org/tekst/kris004gesc01_01/colofon.htm © 2007 dbnl / Conny Kristel 7 Woord vooraf Wie een boek schrijft over de jodenvervolging heeft veel uit te leggen. Wanneer ik de afgelopen jaren vertelde waar ik mee bezig was, vroeg menigeen verbaasd en nieuwsgierig hoe ik tot dit onderwerp gekomen was. Vervolgens voelden mensen die de oorlog min of meer bewust hebben meegemaakt zich vrijwel altijd geroepen mij deelgenoot te maken van hun herinneringen aan de oorlogsjaren. Leeftijdgenoten - ik werd geboren in 1955 - reageerden opvallend vaak ongeduldig of zelfs geprikkeld. Sommigen van hen legden me uit dat ook niet-joden geleden hebben onder de oorlog. Anderen meenden dat er inmiddels wel genoeg over het lot van de joden was geschreven. Nu krijgt elke contemporain historicus te maken met uitgesproken meningen en opvattingen van tijdgenoten. Maar het lijkt me duidelijk dat het onderwerp van dit boek uitzonderlijke reacties teweegbrengt. Wat Bram de Swaan in 1965 opmerkte over de respons op Pressers Ondergang, geldt kennelijk nog steeds en ook voor mijn boek: de mensen zitten er erg mee. Dit verklaart misschien dat mij behalve naar mijn motivatie verder nauwelijks iets werd gevraagd. Mijn belangstelling voor de nasleep van de jodenvervolging dateert uit mijn studietijd. In 1987 schreef ik een doctoraalscriptie over de repatriëring van Nederlandse overlevenden uit de Duitse concentratiekampen. Nadien ben ik me blijven verdiepen in de gevolgen van de perfect georganiseerde massamoord, vooral op het leven en denken van de overlevenden. -
Ers'oonlijkheden
ers'oonlijkheden Doeko Bosscher Abel Ja ob Herzberg >- In aeze aflevering van Persoonlijkheden verklaart Doeko Bosscher zijn bewondering voor het werk van de Joodse schrijver Abel Herzberg en diens wil om de mens in al r- zijn facetten te begrijpen. Voor wie koestert een mens fascinatie? In mijn geval voor iemand die ogen opent en tot denken aanzet; tot het heroverwegen van standpunten. Omdat hij een origineel denker was, in alles wat hij schreef goed voor een paar nieuwe gezichtspunten, koester ik hoge achting voor Abel J. Herzberg. Mijn respect geldt voor hem als auteur (toneel, poëzie en proza) en als rolmodel voor iedereen die, op zoek naar de kern van het begrip humani teit, in waarheid wll proberen te leven. Dergelijke lieden zijn dun gezaaid. Hun bijzondere talent, hun genie, blijkt mee tal pas in omstandigheden die hen dwingen het beste naar boven te laten komen. Herzberg zou zelf de eerste zijn, zoals hierna wel blijkt, om het belang van omstandigheden voor de ontdekking van zijn eigen gaven te erkennen. Hij was een typische structuralist, die mens en context uit elkaar hield. De mens is niet; hij wordt gemaakt. Herzberg was naast een heleboel andere dingen ook zionist, een woord dat bij mij (kind van de jaren zestig) altijd negatieve associaties wekte vanwege de vernedering van de Palestijnen, die met de nederzettingenpolitiek op de Westbank gepaard ging. Zionisme, dat was dan wel oorspronkelijk een reactie op allerlei kwalijke vormen van discriminatie en vervolging en was als zodanig goed te begrijpen, maar stelde het in de latere praktijk niet het ene onrecht voor het andere kwaad in de plaats? Ik vond (en vind) het bestaansrecht van Israël binnen veilige grenzen even vanzelfsprekend als de aanspraak van de Palestijnen op erkenning van hun rechten. -
Anne Frank, the Young Diarist from Amsterdam, May Be
“Poor devils” of the Camps Dutch Jews in Theresienstadt, 1943–19451 Anna Hájková nne Frank, the young diarist from Amsterdam, may be the best-known victim of the Holocaust.2 Her diary breaks off with the capture of the Jews hiding at 263 Prinsengracht Street, and, with the termination of the diary, Anne Frank Ais as good as dead. Anne’s incarceration in Auschwitz-Birkenau and later in Bergen-Belsen, where she died seven months after her arrest, are often presented as a footnote to her story.3 This treatment of Anne Frank’s last seven months is symptomatic of the story of the Dutch Jews once they were deported outside of the Netherlands; this topic has been widely neglected in large parts of the historiography of the Holocaust of Dutch Jewry.4 Many scholars of the 1 This article was a long time in the making, and I am extremely grateful to many colleagues and friends for their help, advice, support, and reading and commenting along the way. Among others, I’d like to thank Guido Abuys, Merav Amir, Doris Bergen, Hubert Berkhout, Hartmut Kaelble, the late René Kruis, Anna Manchin, Jaroslava Milotová, Ted Muller, the late Miloš Pojar, Corinna Unger, and Lynne Viola; and the many people who in 2001 were so helpful and generous talking with me about their Terezín experience. 2 On Anne Frank as the point of departure for an important new history of the Ho- locaust in the Netherlands, see Katja Happe, “Die Geschichte der Judenverfolgung in den Niederlanden: Schwerpunktsetzungen innerhalb eines neuen Projekts” in Krijn Thijs und Rüdiger Haude, eds., Grenzfälle: Transfer und Konflikt zwischen Deutschland, Belgien und den Niederlanden im 20. -
A Prisoner's Conviction: Time, Space, and Morality in W.F. Hermans's The
A Prisoner’s Conviction: Time, Space, and Morality in W.F. Hermans’s The Darkroom of Damocles and Harry Mulisch’s The Assault Marc VAN ZOGGEL Huygens Instituut voor Nederlandse Geschiedenis Introduction: Time, Space, and the Prison Narrative In his landmark essay “Forms of Time and of the Chronotope in the Novel” (1938-1939), Russian literary critic Mikhail Bakhtin coined the concept of the ‘chronotope’ (literally, ‘time space’) in order to capture “the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature” (Bakhtin 84). The chronotope, in other words, serves to describe the transformation of the physical notions of time and space into the artistic, i.e. literary categories of form and substance: In the literary artistic chronotope, spatial and temporal indicators are fused into one carefully thought-out, concrete whole. Time, as it were, thickens, takes on flesh, becomes artistically visible; likewise, space becomes charged and responsive to the movements of time, plot and history. This intersection of axes and fusion of indicators characterizes the artistic chronotope. (ibid.) Bakhtin envisages the chronotope as a central concept in what he calls the discipline of ‘historical poetics’. For example, in his discussion of ancient Greek romances – semi- historical adventure stories – Bakhtin shows how prison scenes are instrumental in the deceleration and freezing of plot movement: “Captivity and prison presume guarding and isolating the hero in a definite spot in space, impeding his subsequent spatial movement toward his goal, that is, his subsequent pursuits and searches and so forth” (Bakhtin 99; italics in original). The prison thus plays a vital role in the semi-fictional biographies presented in these stories. -
Western Europe
Western Europe Anglo-Jewry Since World War II GROWTH IN NATIONAL IMPORTANCE and a decline in number; a heightened self-consciousness and a loss of identity; a deepening of religious fervor and a fragmentation of religious institutions; a proliferation of educational facilities and a widespread indifference to things Jewish—all these paradoxes characterize the postwar evolution of British Jewry. The immediate postwar period set the scene for all later developments. Wartime evacuation and dispersal initiated a movement away from city centers to the suburbs and beyond. The struggle of the late 1940s to establish and support Israel, often in conflict with the Labour government's policy, foreshadowed the later much closer identification with Israel. The reduced hierarchical structure of postwar Britain, itself in part a product of wartime dislocation, facilitated the entry of Jews into new occupational and social spheres. The wider diffusion of wealth and enhanced living standards gave opportunity to Jewish entrepreneurs in building, entertainment, publishing, the consumer-oriented industries, and the professions. The educational expansion, initiated during the war, likewise created openings for the intellectual and academic on an unprecedented scale. The Anglo-Jewish community of the late 1970s is recognizably the heir to that of the late 1940s—but it is also recognizably different. Demographic Decline One outstanding feature is a demographic decline, though it is only since the 1960s, when the Board of Deputies established a statistical and demographic unit —itself a sympton of unease—that the measure of decline can be ascertained. Whereas members of the community occupy leading positions in many spheres of the arts, sciences, and politics, demographers forecast that, in the foreseeable future, the Jewish population may fall to 225,000, compared with the 410,000 currently estimated. -
Representations of the Holocaust in Texas World
REPRESENTATIONS OF THE HOLOCAUST IN TEXAS WORLD HISTORY TEXTBOOKS FROM 1947 TO 1980 by RYAN NOLAN ABT Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN HISTORY THE UNIVERSITY OF TEXAS AT ARLINGTON MAY 2015 Copyright © by Ryan Nolan Abt 2015 All Rights Reserved ii Acknowledgements I first thank my patient and encouraging wife, Maggie, who spurred me toward this accomplishment and without complaint accepted the difficulties to which seeking it led. She encourages me and I am the better man for having her. I thank my mother for her diligence in editing the entire work and for her positivity in doing so. To all my family I extend thanks for their support in this endeavor. From my very early time at the University of Texas at Arlington, Dr. Thomas Adam has been an encourager, a mentor, and a firm motivator. His work with me has made me who I am as a scholar and has taught me so very much in the way that I approach the discipline of history. I have found my time in his class and working through my thesis to be of the greatest value. I also appreciate the great time and effort of Dr. Andrew Milson and Dr. Steven Reinhardt. Without their work on my behalf, I would not have succeeded in accomplishing this goal. When I consider how much I have developed in the past few years, I cannot help but thank all those professors whose classes I attended while at UTA. -
Zou Moeten Doen. En Ook Zijn Houding Tegenover Het Liberalisme Is Soms Merkwaardig Ingewikkeld, Zoals We Trouwens Uit Zijn Brieven Aan Groen Al Wisten
RECENSIES zou moeten doen. En ook zijn houding tegenover het liberalisme is soms merkwaardig ingewikkeld, zoals we trouwens uit zijn brieven aan Groen al wisten. Aan de ene kant be schouwde hij het Belgische en Franse liberalisme van die jaren als ondermijnend; hij meende echter ook dat 'men de woeste kracht der heerschende begrippen niet door tegen werking, maar door ze te regelen, meester zal worden' (zoals hij op 21 maart 1831 aan C. J. van Assen schreef: 140 en cf. 145). En hij liet zich niet meeslepen door de 'zelfver heffing der natie' tijdens de tiendaagse veldtocht waar hij, evenmin als Groen, heil in zag. Wat dit deel aantrekkelijk maakt naast de mogelijkheid om Thorbeckes lotgeval zo nauw keurig te volgen zijn twee dingen: ten eerste, de informatie die zijn correspondenten hem verschaffen, zoals zijn oudere vriend J. de Vos over de stemming in Amsterdam en zijn generatiegenoot Schimmelpenninck van der Oye over de houding van de Gelderse katho lieken in 1830 en 1831; ten tweede de emotionaliteit die ook nu weer zijn contacten met Duitse relaties bij hem losmaken. In het derde deel van het Thorbecke-Archief hadden we na 1828 geen levensteken meer aangetroffen van zijn opgewonden Dresdense vriendin (zijn latere schoonmoeder), mevrouw Solger. In Hooykaas' deel verschijnt ze weer in de zomer van 1831 maar pas uit 1833 is enige briefwisseling bewaard die de inleiding blijkt tot Thorbeckes zomerreis van dat jaar naar mevrouw Solger en haar dochters in Dresden en, op de terugweg, naar verschillende andere vrienden uit zijn Duitse periode. Mevrouw Solger en hij blijken trouw te zijn gebleven aan de geëxalteerde stijl die zij er ook in de vroege jaren twintig op na hielden. -
Poor Devils of the Camps: Dutch Jews in the Terezín Ghetto, 1943-1945
“Poor devils” of the Camps Dutch Jews in Theresienstadt, 1943–19451 Anna Hájková nne Frank, the young diarist from Amsterdam, may be the best-known victim of the Holocaust.2 Her diary breaks off with the capture of the Jews hiding at 263 Prinsengracht Street, and, with the termination of the diary, Anne Frank Ais as good as dead. Anne’s incarceration in Auschwitz-Birkenau and later in Bergen-Belsen, where she died seven months after her arrest, are often presented as a footnote to her story.3 This treatment of Anne Frank’s last seven months is symptomatic of the story of the Dutch Jews once they were deported outside of the Netherlands; this topic has been widely neglected in large parts of the historiography of the Holocaust of Dutch Jewry.4 Many scholars of the 1 This article was a long time in the making, and I am extremely grateful to many colleagues and friends for their help, advice, support, and reading and commenting along the way. Among others, I’d like to thank Guido Abuys, Merav Amir, Doris Bergen, Hubert Berkhout, Hartmut Kaelble, the late René Kruis, Anna Manchin, Jaroslava Milotová, Ted Muller, the late Miloš Pojar, Corinna Unger, and Lynne Viola; and the many people who in 2001 were so helpful and generous talking with me about their Terezín experience. 2 On Anne Frank as the point of departure for an important new history of the Ho- locaust in the Netherlands, see Katja Happe, “Die Geschichte der Judenverfolgung in den Niederlanden: Schwerpunktsetzungen innerhalb eines neuen Projekts” in Krijn Thijs und Rüdiger Haude, eds., Grenzfälle: Transfer und Konflikt zwischen Deutschland, Belgien und den Niederlanden im 20.