Masterclass – Dr. Laura Tunbridge (University of Oxford)

Listening to Lieder between the Wars

Date: 26 & 27 May, 2016
Time: 26 May, 16.15-19.00 hours; 27 May, 9-13
Venue: Utrecht University (26 May: Janskerkhof 13, 0.06; 27 May: Drift 21, room 1.04)
Credits: 1-2 ECTS
Open to: Research Master students in Musicology and in the Humanities
Fee (non-members): € 100
Coordinated by:  Karl Kügle (UU)
Register here

The interwar period was an important time of transition for the performance and interpretation of music of all kinds, but perhaps especially for art song. On the one hand, repertoires could become charged with political meaning according to their nationality or the language in which they were performed. On the other hand, the dissemination of music through media technologies (recordings, radio, and cinema) seemed to promise a more mobile, international marketplace. In this masterclass we will be investigating how this combination of political and technological change influenced the interpretation of lieder – the songs of Franz Schubert, Robert Schumann, Johannes Brahms, Hugo Wolf, and Richard Strauss. While some consideration will be given to questions of performance practices, broadly conceived, discussion will also consider broader questions of listening habits in interwar culture; about not only what music was heard, but also how and where it was consumed.

Laura Tunbridge (*1974) gained a B.A. (Hons.) in Music from the University of Oxford, before completing a M.A. in Musicology at the University of Nottingham and a PhD at Princeton University. Her doctoral thesis (2002) was on Robert Schumann’s Szenen aus Goethe’s ‘Faust’ and music to Byron’s Manfred. She was a lecturer at the University of Reading and then a senior lecturer at the University of Manchester, before joining the Music Faculty at the University of Oxford in 2014, where she is also a Fellow of St Catherine’s College. Laura Tunbridge’s research focuses on German Romantic repertoire, with a particular interest in reception studies and performance cultures. Her publications include Schumann’s Late Style (Cambridge, 2007), The Song Cycle (Cambridge, 2010), the co-edited volume Rethinking Schumann (Oxford, 2011), and articles in Journal of the American Musicological Society and Representations. She is currently editor of the Journal of the Royal Musical Association.

This event is organised by the Huizinga Institute in cooperation with Research Group Musicology, Utrecht University.


This master class will consist of a lecture and a seminar on the same topic held by Laura Tunbridge. The lecture outlines the changing contexts for lieder performance during the interwar period, considering two songs from Schubert’s Schwanengesang – ‘Ständchen’ and ‘Der Doppelgänger’ – and a number of significant performances (by, among others, John McCormack, Paul Reimers and Hulda Lashanska, Richard Tauber, Alexander Kipnis, and Lauritz Melchior). The different spaces and contexts in which the song was presented will be considered, alongside questions of performance style. Questions to be asked will include: How are interwar performances different from today’s approaches towards Schwanengesang? Are the songs presented as high art or something more popular? What is the effect of hearing such songs in translation? To what extent does including the song outside of the concert hall (on film, radio, or on theatrical stages) change its meaning?

Following this lecture, the master class is designed to offer participants the opportunity to discuss and build on the materials and interrelations developed earlier. The main objective is to encourage participants to think about how performance contexts can radically shape interpretations of musical works, and the extent to which the status of lieder today is dependent on twentieth, rather than nineteenth-century, practices.

Preparation and readings:

The participants are asked to acquaint themselves with Schubert’s Schwanengesang (both by listening and reading the score). Martin Chusid’s edited volume A Companion to Schubert’s ‘Schwanengesang’: History, Poets, Analysis, Performance (New Haven: Yale University Press, 1996; on reserve in the Utrecht University Library, Drift 27, 3512 BR Utrecht) provides useful background material.

Further required readings:

  • Daniel Leech-Wilkinson, The Changing Sound of Music:  Approaches to Studying Recorded Musical Performance (London: CHARM, 2009). Chapter 4: ‘Changing Performance Styles: Singing’
  • John Potter, ‘Beggar at the Door: The Rise and Fall of Portamento Singing’, Music and Letters 87 (2006), 523–50.
  • Laura Tunbridge, ‘Singing Translations: The Politics of Listening Between the Wars’, Representations 123 (2013), 53-86.


Participants are requested to prepare an informal presentation and a short essay (750 words) on one song by Schubert, Schumann, Brahms, Wolf or Strauss, in three performances; at least one should be from the interwar period. Performances may be taken to mean recordings or writings about a performance (for example in reviews or memoirs). The assignment should consider:

  1. Significant differences between performances
  2. The implications of particular performances (or contexts for performances) for the understanding of the song.

Students may choose any one song from the following list:

  • Schubert: Ave Maria
  • Schubert: Du bist die Ruh
  • Schumann: Mondnacht
  • Brahms: Vergebliches Ständchen
  • Wolf: Wo find ich Trost?
  • Wolf: Auch kleine Dinge
  • Strauss: Ständchen

The written part of the assignment has to be submitted to on or before the deadline of 23 May 2016.

All assignments will be graded and receive 2 EC . Students wishing to audit the master class (1 EC) are expected to attend both sessions in full, do all preparatory readings, and participate actively in discussion but will not be called upon to submit written and do a classroom presentation.

Workshop: Early Modern Studies and the History of the Emotions

The Huizinga Institute is pleased to invite you to a Workshop on Early Modern Studies and the History of the Emotions

Thursday 7 April, 13.15–15.00
University of Leiden, P.N. van Eyckhof 4, Room 004

The emotions have been at the forefront of much recent work in the field of cultural history. Central to this work has been the idea that the ways in which emotions are experienced are powerfully shaped and mediated by cultural-historical contexts. During this workshop four scholars working in the field of early modern studies will reflect on current issues in the history of emotions. They will focus especially on the affective dimensions of early modern literary texts: on the role which literary representation plays in shaping the emotional regimes of its surrounding culture.

The workshop will begin with three 15-minute presentations:

  • Kristine Steenbergh (VU University), ‘Practising Compassion in the Early Modern English Theatre’
  • Kristine Johanson (University of Amsterdam), ‘Melancholy, Time, and the Anxiety of the Inactive Body’
  • Frans Willem Korsten (University of Leiden), ‘The Possible, the “What If” and the Virtual: Affect and Agency from Job to Abraham and Isaac’

The presentations will be followed by a response by

  • Michael Schoenfeldt (John Knott Professor of English, University of Michigan)

After Professor Schoenfeldt’s response, the floor will be open for further debate among the four presenters and the audience.

The workshop is organized in tandem with a guest lecture by

Michael Schoenfeldt on Lessons from the Body: Disability, Deformity, and Disease in Shakespeare

Wednesday 6 April, 16.15,
Vossius Room, Leiden University Library.

You are also invited to attend this event.

For further information about the workshop and guest lecture, please contact Jan Frans van Dijkhuizen (University of Leiden) at

Huizinga Institute Summer School 2016

European Contested Heritage & the Politics of Commemoration

Including Masterclass: Competing Memories. European Cultural Heritage of War and Conflict

Date: 25 April 2016 (Masterclass) & 30 June/1 July 2016 (Summer School) Note changed dates!
Time: 15:00-18:00 (Masterclass) & 2-day workshop (Summer School)
Venue: University of Amsterdam
Credits: 2 ECTS (Masterclass) & 3 ECTS (Summer School)
Open to: PhDs & ReMa students
Fee (non-members): 200 EUR
Coordinated by: Prof. Rob van der Laarse & Dr. Ihab Saloul
Register here

The Summer School is fully booked, please send us an e-mail with your name, university and research school. We will put you on our waiting list.

Description & Themes

After 9/11 the ‘War on Terror’ peaked on the international political agenda. However the standard measure still is the Nazi-terror during World War II, as is shown in the so called Stockholm-declaration (2000) which laid the foundation for the consensus between western political leaders for the acknowledgement of the Holocaust as the basis for postwar human rights. But how deep is this consensus? In many new EU-nations which entered in 2004, the iconic status of Auschwitz competes with other ‘traumascapes’ and ‘terrorscapes’ that refer to their postwar communist ‘occupations’ from before 1989 and ethnic conflicts such as in former Yugoslavia. This asks for the need for a fundamental revision of European cultural heritage of war and conflict in general (origins and afterlives of Europe’s ‘Age of Extremes’, Hobsbawm). Key questions and themes include, but not limited to:

  • How do ‘competing memories’ relate within European space, and which memory wars are being fought on specific sites and places?
  • How does Europe’s cultural heritage of war and conflict (re-)shape our current understanding of the continent?
  • What are the effects of the integration process on European cultural diversity, and how has the disappearance of internal European borders challenge contemporary notions of heritage, memory and identity

Cursus – Rome lezen: de toeristische stad

Datum: 2 tot 16 mei 2016
Locatie: Koninklijk Nederlands Instituut te Rome
Voor: Promovendi en ReMa-studenten die lid zijn van het Huizinga Instituut (Italiaanse taalkennis niet nodig)
Credits: 6 ECTS (beschikbaar op verzoek)
Voertaal: Nederlands
Coördinatie: Prof.dr. Jan Hein Furnée (RU)
Docenten: Prof. dr. Jan Hein Furnée (RU), prof. dr. Harald Hendrix (KNIR) en gastdocenten
Registratie: Maximum aantal deelnemers: 10
Omdat er slechts 10 plaatsen beschikbaar zijn, vragen wij geïnteresseerde promovendi en ReMa-studenten een motivatie (inclusief affiliatie) van maximaal één A4 te schrijven en te sturen naar: Op basis van deze motivatie zal er een selectie plaatsvinden.
Inschrijven en motivatie insturen voor 10 januari 2016.

Geïnspireerd door het boek Steden lezen van de Duitse cultuurhistoricus Karl Schlögel richt deze cursus zich op de vraag: hoe wordt ‘de stad’ vanuit verschillende geesteswetenschappelijke en
sociaalwetenschappelijke disciplines gelezen? De stad kan worden opgevat als urbs, civitas en topos, dat wil zeggen als materiële ruimte, stedelijke samenleving en representatie. De belangrijkste intellectuele uitdaging is om deze drie dimensies op nieuwe manieren met elkaar te leren verbinden.

Om de verschillende (inter)disciplinaire benaderingen van de stad van elkaar te kunnen onderscheiden en aan elkaar te relateren, richten we ons in de cursus op het thema van de toeristische stad, met een focus op Rome. Een thema dat in het Jubeljaar 2016 met 33 miljoen verwachte bezoekers een bijzondere actualiteit zal krijgen.

In de cursus maken deelnemers op basis van programmatische teksten en case studies kennis met een breed palet aan (inter)disciplinaire invalshoeken en methodes om de impact van toerisme en pelgrimage op de ruimtelijke, sociaal-economische en culturele dynamiek van de stad te analyseren. Vervolgens zullen we aan de hand van combinaties van zelf te kiezen bronnen – bv. reisverslagen, gidsen, tijdschriften, prenten, schilderijen, foto’s, films, archieven van toeristische organisaties en lokale overheden – onderzoek doen naar de betekenis van Rome voor toeristen en de betekenis van toerisme voor Rome. In gesprekken met stadsbestuurders, journalisten, touroperators en vertegenwoordigers van de erfgoedwereld zullen we ten slotte van gedachten wisselen over de uitdagingen van de toeristische stad, en de bijdrage die wij met ons cultuurhistorische onderzoek daaraan kunnen leveren.

Klik hier voor het conceptprogramma.

Voorbereiding en opdrachten

Voorbereidende opdracht; bijdrage aan discussies; presentatie; afsluitend essay. Een en ander rond 1 maart af te stemmen op de individuele belangstelling en leerdoelen van de deelnemers.


De overnachtingen in het KNIR zijn voor rekening van het Huizinga Instituut. Voor leden van het Huizinga Instituut is een reiskostenvergoeding tot €175,- beschikbaar. Voor maaltijden kan desgewenst gebruik worden gemaakt van de keuken in het KNIR.

Bijeenkomst: Werkgroep (Auto)biografie Huizinga Instituut

Datum: Vrijdag 22 april 2016
Locatie: Bungehuis (Universiteit van Amsterdam), Spuistraat 210 Amsterdam, Zaal 0.15
Aanvang: 14.00 (Zaal open 13.00)


Leonieke Vermeer:

‘Emotiewerk’ in dagboeken van ouders over ziekte en sterven van jonge kinderen (1780-1880) 

Ad van de Staaij:

Oekraïne 1922. De Melkrivierexpeditie van Rein Willink

Borrel na afloop

Informatie: Rudolf Dekker / email: / website:

Masterclass Prof. Catherine Saucier (Arizona State University)

Multiplicity, Meaning, and Interpretive Community: Reading Fifteenth- and Sixteenth-Century Motets

Date: 18-19 February 2016
Time: 18 February, 16.15-19.00 hours; 19 February, 9-13
Venue: Utrecht University (18 February: Kromme Nieuwegracht 80, Ravensteynzaal (1.06); 19 February: Janskerkhof 2-3, 3512 BK Utrecht, room 115)
Credits: 1-2
Open to: Research MA students in Musicology and in the Humanities Fee (non-members):
Coordinated by: Karl Kügle (UU)

From its inception in the thirteenth century, the motet was prized for its musical and verbal complexity—a genre characterized by a seemingly enigmatic multiplicity of voices, texts, and allusions decipherable only by the most erudite minds. Stylistic and thematic transformations in the fifteenth and sixteenth centuries reflect the increasingly diverse contexts in which the motet was heard, thereby multiplying the meanings that may have been associated with these allusive works. The motet of this period thus offers rich potential for hermeneutic analysis, as attested by the varied methods by which musicologists seeking to interpret the underlying meanings of individual motets have examined the interplay of music, text(s), and historical context(s).

Catherine Saucier, Associate Professor of Musicology at Arizona State University and Affiliate Faculty of the Arizona Center for Medieval and Renaissance Studies, holds a Ph.D. and M.A. in Music History from The University of Chicago and a B.M. in Cello Performance from Indiana University. Dr. Saucier specializes in late-medieval sacred music, hagiography, and city culture in the Low Countries, specifically the Belgian city of Liège, where she has conducted extensive archival and liturgical research supported by grants and fellowships from the Quebec government, the Medieval Academy of America, The University of Chicago, the Arizona Center for Medieval and Renaissance Studies, and ASU. Her current research focuses on the musical veneration of St John the Evangelist in the diocese of Liège and beyond. Her publications include A Paradise of Priests: Singing the Civic and Episcopal Hagiography of Medieval Liège (published in 2014 by the University of Rochester Press in partnership with Boydell & Brewer) and articles in Early Music History, The Senses and Society, Speculum, Acta Musicologica, and the Journal of the Alamire Foundation.

This event is organised by the Huizinga Institute in cooperation with Research Group Musicology, Utrecht University.


This master class will consist of a lecture and seminar on the same topic held by Catherine Saucier. Both the lecture and seminar will examine methods for interpreting the complex and varied genre of the motet in the fifteenth and sixteenth centuries, by addressing the following questions:  How was the motet of this period, more than other genres, conducive to the interplay of multiple meanings?  In which contexts did contemporaneous listeners hear these works?  What strategies do present-day musicologists use to uncover the many layers of meaning embedded in these texts, and which elements of the music do they prioritize?

The lecture will focus on a case study of the motet Hic est discipulus ille for St John the Evangelist by the sixteenth-century Netherlandish composer Nicolas Gombert. In his musical setting of the distinctive words In principio erat Verbum from the Gospel of John, Gombert quotes a pre-existing Gospel motet (by his alleged teacher Josquin des Prez) modeled on the Gospel tone to which this text was recited during Mass. Yet a careful reading of Gombert’s biblical imagery, and the medieval exegetical traditions with which it was understood, expands the referential horizons of Hic est discipilus ille well beyond these previously identified moments of musical quotation. Gombert thus evokes the Evangelist’s voice in multiple forms, creating an audible link to earlier musical traditions within an original framework—much the way exegetes repeated and reinterpreted the commentaries of their predecessors.

The masterclass will examine interpretive approaches to three additional motets, each representing a different subgenre. Starting from James Haar’s overview of the motet in this period and Rob Wegman’s introduction to broader concepts of multiplicity, meaning, and interpretive community, participants will explore the diverse ways in which hermeneutic analysis of a range of motet types intersects with historical understanding.

Preparation and readings:

Participants are asked to acquaint themselves with the following motets, by studying the scores (in the recommended modern editions and facsimiles, when available) and by listening to the suggested recordings.


  • Johannes Brassart, O rex Fridrice / In tuo adventu –see Johannes Brassart, Opera Omnia, vol. 2, ed. Keith Mixter, Corpus Mensurabilis Musicae 35 (1971), 27-31
  • Antoine Busnoys, Anthoni usque limina –see Antoine Busnoys Collected Works: Part 2, The Latin-Texted Works, ed. Richard Taruskin, Masters and Monuments of the Renaissance 2 (1990), 138-148
  • Anonymous, Vulnerasti cor meum –see Cristóbal de Morales, Opera Omnia, vol. 3, ed. Higinio Anglés, Monumentos de la Música Española 15 (1954), 166-171


  • Antoine Busnoys, Anthoni usque limina – see Choirbook of the Burgundian Court Chapel: Brussel, Koninklijke Bibliotheek Ms. 5557, ed. Rob Wegman (Peer: Musica-Alamire, 1989), fols.  48v-50r


  • Stimmwerck, Flos virginum: Motets of the 15th Century (CPO, 2015)
  • Pomerium, Antoine Busnoys: In hydraulis and Other Works (Dorian, 1993)
  • Orchestra of the Renaissance, Canticum canticorum, dir. Richard Cheetham (Glossa, 2000)
  • Further Required Readings:
  • James Haar, “Conference Introductory Remarks,” in Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance, ed. Dolores Pesce (New York: Oxford University Press, 1997), 12-16
  • Rob Wegman, “For Whom the Bell Tolls: Reading and Hearing Busnoys’s Anthoni usque limina,” in Hearing the Motet, 122-141
  • Catherine Saucier, “Acclaiming Advent and Adventus in Johannes Brassart’s Motet for Frederick III,” Early Music History 27 (2008): 137-179
  • Remi Chiu, “You Have Wounded My Heart: Songs of Songs Motets and the Wound of Desire, “ in The Motet Around 1500: On the Relationship of Imitation and Text Treatment?, ed. Thomas Schmidt-Beste (Turnhout: Brepols, 2012), 533-544


In an essay of 750-1,000 words, please respond to the following questions drawing upon ideas from each of the assigned readings, using one of the assigned motets as the basis for specific details:

  1. How was the motet of this period, more than other genres, conducive to the interplay of multiple meanings?
  2. How does the interpretation of signifiers intersect with historical understanding in present-day readings of these works?
  3. Reflect on one broader question of interpretation raised by these studies and/or the repertory itself.

Participants are also requested to prepare an informal presentation (5-10 minutes) of their responses to Questions 2 and 3.

Participants must submit their essays to on or before the deadline of 12 February 2016.

All assignments will be graded and receive 2 EC. Students wishing to audit the master class (1 EC) are expected to attend both sessions in full, do all preparatory readings, and participate actively in discussion but will not be called upon to submit written work or do a classroom presentation.

Graduate Lecture by James Turner

Putting the Cart before the Horse: Graduate Education and Discipline Formation in the Humanities.

Date/Time: Wednesday February 3, 16.00-17.30
Venue: University of Amsterdam, Bungehuis, room 101
Programme: Welcome, Interview of professor Turner, Lecture, Discussion, Drinks
More information

—> If you plan to come – please notify us through Facebook (, or email (FGW Graduate School

In this lecture, James Turner will discuss the formation of the modern humanities disciplines in British and American universities. This occurred in the later nineteenth and early twentieth centuries. The lecture will briefly discuss the uniqueness of modern disciplinarity and some long-term contexts for its development. This will set the stage for a hypothesis suggesting that graduate education was a historical pre-condition for humanities disciplines actually to form.

Professor James Turner is Cavanaugh Professor of Humanities at the History Department &History and Philosophy of Science of the University of Notre Dame. He is an acclaimed author of various books on the history of the humanities and academic discipline formation. In his last publication, Philology: The Forgotten Origins of the Modern Humanities Turner explains how philology – once the queen of the human sciences – did become little more than an archaic word. His book is acclaimed as “a monumental and capacious achievement, a career work”, and “a fascinating forgotten story of how the study of languages and texts led to the modern humanities and the modern university.”

CCO II – Anxiety with Sources

Anxiety with Sources

Date: 1 February 2016
Time: 10.00 – 17.00h
Location: University of Amsterdam. University Library – Belle van Zuylenzaal, Singel 425, Amsterdam.
ParticipantsPhD students (2nd year and on) who are affiliated with the Huizinga Instituut

Teacher: Joep Leerssen
Theme: De tension between the usage of sources (secundary literature) on the one hand, and a researcher’s will to present a completely original research – which is even one of the official academic prerequisites of a doctoral thesis – on the other hand.

Participants are requested to prepare a presentation from 5 up to 10 minutes on their own experiences with this ambivalence.

Further information to be announced.

Course Oral History and Life Stories (February-March 2016)

Course Oral History and Life Stories

Candidates: PhD candidates and advanced RMa students
Credits: 3 ECTS
Data: 4, 11, 15, 25 February 2016 & 3 March 2016
Time: 13:00 – 16:30
Location: University of Amsterdam:

  • 4 February 2016 – University Library, Singel 425 Amsterdam – Belle van Zuylenzaal
  • 11 February 2016 – University Library, Singel 425 Amsterdam – Belle van Zuylenzaal
  • 15 February 2016 – University Library, Singel 425 Amsterdam – Belle van Zuylenzaal
  • 25 February 2016 – University Theatre, Nieuwe Doelenstraat 16-18, Amsterdam – 1.01
  • 3 March 2016 – University Library, Singel 425 Amsterdam – Belle van Zuylenzaal

Fee: (non-members): € 250
Max. number of participants: 15
Coordinator & lecturer: prof. dr. Selma Leydesdorff and selected guest speakers
Register and send in your motivation letter before: 23 November 2015

The course

Historians and others who interview about the past often talk about memory and how they are informed by memory, while they know memory is a difficult and problematic source of historical knowledge. During this course we shall concentrate on the use of memory in historical research. We will investigate the various efforts to create a more systematic and theoretically grounded approach than ‘just talking about days long gone’. How can we create a research pattern that overcomes the incidental and replace it by acceptance of the changing character of spoken narratives about the past? We shall also compare spoken memories with other ego-documents, bearing in mind the many other existing and valid ways of interviewing about personal experience. We shall analyse the creation of a particular kind of knowledge, which produces alternative and unfamiliar viewpoints. As historical interviews ask a lot of research time, participants in this course will be asked to reflect on questions like: Do I really need interviews, what do I want to know, are there other ways to get this kind of knowledge?

General starting-point for discussion is the study of life stories in oral history as a tradition in the humanities and in the social sciences. In due course, additional attention will be paid to alternative modes of in-depth interviews. Particular issues to be investigated concern the questions of intersubjectivity; (self) reflection; identification with the Other and her/his past; and the interviewer’s role in the process of meaning/knowledge production. What are our responsibilities towards people we interview, do we have particular responsibilities in our research communities? What does it mean to be close to an interviewee, what happens if there is distance or when we don’t like what we hear? Do we have to agree with our interviewees?

Since oral history is part of the digital humanities and a special programme is developed by the Centre for Humanities and Technology special attention will be given to:

  • How to store results of research.
  • How to use existing audio/visual sources for new research.
  • The implications of new ways to do research.
Preparation, literature and assignments

The readings consist of various articles, informing on how to organise a larger interview project, discussing how to analyze interviews. The various stages of such a large project will be followed. The list of literature is updated annually. There are always guest lecturers who explain how they overcome difficulties during their research, while the course also discusses more theoretical approaches. An element becoming more important is the use of websites for the dissemination of narrated accounts and interviewing with the help of a camera.

As usual, advanced researchers who want to refresh their knowledge with recent literature and who want to bring their problems and subjects to the discussion will be welcome. They are asked to accept a status in which they are equal with other participants. Students will be asked to prepare commentaries on the literature.

Details about the reading list and other assignments will be announced in due course.

In order to prepare for the literature and the course, participants are asked to write a short motivation letter.

Motivation letter

Due to the limited amount of places available, aspiring participants will have to write a motivation letter. Selection of candidates will be based on this letter. This letter should contain at least the following elements: 1) a paragraph briefly outlining your current position and current research project; and 2) a brief paragraph outlining why participation in this course is relevant to your own research.

Note: the main criterion for admission is that oral history and/or memory form an integral part of your research project. Therefore, make sure to articulate this clearly in your motivation letter.

Deadline: November 23, 2015. Send to: After the deadline has passed you will be informed as soon as possible about the final decision.

Testing and evaluative criteria

Will be announced in due course.


Will be announced in due course.

Credits & certificate

Certificates of participation and credits are available upon request after the event. The event coordinator will decide whether the participant has fulfilled all requirements for the ECTS. Please direct your request to and include the postal address you want the certificate sent to. Note: the certificate itself is not valid as ECTS, you need to validate it yourself at your local Graduate School.


Huizinga Institute Conference – Narratives of War

Amsterdam, 24-26 February 2016

The Huizinga Institute is celebrating its twentieth birthday. As part of the celebrations it will host an international conference in Amsterdam, partly in commemoration of 1914-18, on ‘Narratives of War’. War has been set down, recorded, and narrated for thousands of years, from Thucydides to Tolstoy, in fiction, non-fiction, museums and in the private sphere of the family. War narratives form a key component in historiography, from classic historism to post-modern narrativism. This conference sets out to map out this rich range of insights, and to do so by means of highlighting certain core themes.

The distinguished war historian John Horne, Professor of Modern European History and Director of the Centre for War Studies at Trinity College Dublin, has agreed to deliver our keynote lecture, ‘Narrating Battle in the Great War’. The organizers have welcomed papers and panels from all disciplines within the humanities, addressing one or more of the following topics:

1. War as a (good) story

Does the war story have a special narrative structure? Can war be recounted as simply a story of triumph or of loss? What are the other possible story lines? What are some of the overarching themes? Which narrative strategies can be identified? What is the influence of performance, and of different media on the representation of war?

2. War narratives and the politics of remembering and forgetting

Every war has its own post-war working-out and representation, and a politics of memory and forgetting. Issues of guilt and responsibility can lead to denial and Schuldabwehr. The urge to normalize the situation can lead to a desire to put aside memories of war, and to effect closure on the past as a sealed and finished period.

3. War Narratives and Transitional Justice

What is the role of the war story and of the witness in processing the past and in legal restitution? What is the function of the search for shared narratives in post-conflict societies? Is such a shared narrative necessary, and if so, how might it be achieved? Can any patterns be identified in the stories of perpetrators and of victims? And how to reconcile in this context the tension between the desire to remember in order to achieve closure, and the desire not to remember so as not to open old wounds?

4. Collective and individual war narratives

How does the personal story interact with collective forms of storytelling, whether by the state or by other interest groups? For example, how should we evaluate the substantial influence of war veterans on the national narrative of war? And how should we approach the narratives of collaborators – or those of their children?

5. War narratives in the museum

As Jay Winter once asked rhetorically, ‘Does war belong in the museums?’ The museum is the site par excellence where conflicting war stories compete for recognition. How do museum war storylines materialize, and what has been the effect on those lines of recent historiographical insights? How has the narrative of war as represented in museums affected views of war at large held by the state, and by groups and individuals?

6. Changing concepts of war, changing narratives of war

Do war stories alter in kind or form with new modes in the conduct of war in which friend and foe, front line and hinterland, are less clearly distinguished from each other, or where the enemy is hidden behind a drone? Do guerrilla warfare and jihad generate their own narratives?

Further information

For more information on the programme, attendance and speakers, please visit our Narratives of War website.

WOII Europe map


Masterclass Prof. Rebekah Ahrendt (Yale University)

Transposed Lives: Music, Migration, and Mobility

Date: 21-22 January 2016
Time: 21 January, 16.15-19.00hrs; 22 January, 9.00-13.00hrs.
Venue: Utrecht University (21 January: Kromme Nieuwegracht 80, Stijlkamer; 22 January, Janskerkhof 15A, 2.01)
Credits: 2 ECTS
Open to: Research MA students in Musicology and in the Humanities
Fee (non-members): € 50,00
Coordinated by: Prof. Karl Kügle (UU)

Music has always traveled. Whether in the bodies of musicians, as notes on paper, or as sound files, music’s mobility has both reflected and enabled the mobility of humans themselves. Yet, accounting for the migrancy of music presents special challenges. This is especially true in historical studies, which often turn on the availability of material records. While the origins (roots) and destinations of travel are a frequent topic of study in histories of music, the actual routes are often overlooked. How can a consideration of the roads traveled, the people met along the way, the possibility of there being no final destination, alter our conceptions of musical labor or stylistic change?

Historical musicology stands poised to contribute centrally to studies of cultural mobility, particularly given the ways that performances by displaced musicians become sites of cultural negotiation. By accounting for the processes of migration and studying what changes when music crosses boundaries, the crucible of migratory environments focuses attention on identity formation itself. The last decades have seen an explosion of theorizing of diaspora, migration, and cultural mobility–Stephen Greenblatt’s “Cultural Mobility: A Manifesto” (2010) is but one noteworthy call to arms–but while such studies provide intellectual cohesion in other fields, musicology seems to lag behind. Especially urgent, as isolated musical studies multiply, is a pointed consideration of the theoretical directions that might prove most fruitful for our discipline. Other fields, like anthropology or sociology, have provided models, but music presents a special or otherwise case, requiring adaptation, if not a new model altogether.

While Ahrendt’s lecture proposes that transposition can provide a productive model for theorizing mobility, the masterclass will explore other models as well.

Rebekah Ahrendt (PhD University of California at Berkeley, 2011) is Assistant Professor in the Yale University Department of Music. Her work on music, migration, and identification at the turn of the eighteenth century has been internationally recognized, most recently by a Visiting Scholarship at St John’s College, Oxford (2015). She is a former Mellon Postdoctoral Scholar in the Humanities at Tufts University, and in 2014 she was a Scaliger Fellow at Leiden University. Much of Ahrendt’s recent work has focused on the interactions between music and international relations. She is the co-editor of Music and Diplomacy from the Early Modern Era to the Present (Palgrave Macmillan, 2014), which drew in part on the Utrecht Early Music Festival symposium she organized in 2013, “Negotiating Music.” Her current monograph project, The Republic of Music, illuminates the musical networks maintained by the refugees, exiles, and migrants who traversed the landscape of the Dutch Republic. A graduate of the Royal Conservatory, The Hague, Ahrendt continues to perform and record on the viola da gamba.

This event is organised by the Huizinga Institute in cooperation with Research Group Musicology, Utrecht University, and Centre for Humanities, Utrecht University.


This master class will consist of a lecture and a seminar on the same topic held by Rebekah Ahrendt. The lecture outlines the stakes of mobility, whether of persons or of music, by examining the career of Charles Babel, a major performer and copyist at the turn of the eighteenth century. The lecture, and in turn the masterclass, departs from the following standpoint: While the origins (roots) and destinations of travel are a frequent topic of study in histories of music, what is often overlooked are the actual routes. How can a consideration of the roads traveled, the people met along the way, the possibility of there being no final destination alter our conceptions of musical labor or stylistic change? Part of the work in this seminar will thus be studying the practicalities and motivations of actual travel. How did music, instruments, and people get around? What motivated travel? What modes of transportation and communication were available? What sort of paperwork was necessary? Participants will also consider whether mobility-as-concept can serve as a metaphor for musical performance and composition.

Preparation and readings

To stimulate discussion, participants will read the following (in order) and prepare a short paper to present in class (instructions below).


Two positions on mobility

  • Clifford, James. Routes: Travel and Translation in the Late Twentieth Century (Cambridge, MA and London: Harvard University Press, 1997): Prologue.
  • Greenblatt, Stephen, ed. Cultural Mobility: A Manifesto (Cambridge and New York: Cambridge University Press, 2010): 1-23 and 250-53.

Early modern mobilities

  • Groebner, Valentin. Who Are You? Identification, Deception, and Surveillance in Early Modern Europe, translated by Mark Kyburz and John Peck (New York: Zone Books, 2007): Preface and Chapter 1.
  • Blanning, T. C. W. The Pursuit of Glory: Europe, 1648-1815 (London: Allen Lane, 2007; other editions available). Chapter 1, “Communications.”
  • Agnew, Vanessa. “Hearing Things: Music and Sounds the Traveller Heard and Didn’t Hear on the Grand Tour.” Cultural Studies Review 18, no. 3 (2012): 67-84.
  • Ahrendt, Rebekah. “Armide, the Huguenots, and The Hague.” Opera Quarterly 28 (2012): 131-158.

Postmodern reflections

  • Levitz, Tamara. “Introduction.” Colloquy: Musicology Beyond Borders? Journal of the American Musicological Society 65 (2012): 821-25.


You will prepare a short essay (max. 1000 words) and an informal presentation to share with the group.
To begin, briefly summarize the positions of Clifford and Greenblatt. What perspectives do you find useful? What might you question? Next, consider the special contingencies presented by studying past mobilities, as discussed by Groebner, Blanning, Agnew, and Ahrendt. What sorts of materials are available? What are the major differences (if any) between past and present migrations? How can we account for the distance of time as well as place? Finally, read Levitz’s position piece, which offers one perspective on how music scholars today ought to be conscious of movement.

Synthesize your reactions and thoughts into a brief, well-written piece of prose. Feel free to speak from your own perspective and to issue questions and challenges that we can discuss as a group. Most importantly: relate these broader questions of migration, mobility, travel, etc. to your own work. How might such considerations shape your future work, or how have they shaped your past? You may choose to focus your ideas on a piece of music from your own repertory. Be prepared to share your thoughts with the group in an informal presentation of c. 5 minutes.

The written part of the assignment has to be submitted to on or before the deadline of 21 January 2016, 9 am.

All assignments will be graded and receive 2 EC. Students wishing to audit the master class (1 EC) are expected to attend both sessions in full, do all preparatory readings, and participate actively in discussion but will not be called upon to submit written work or give a presentation.

Course – Databases for young historians

Date: January 25th, 26th, 27th and February 19th, 2016
Time: 10am-5pm
Venue: Huygens ING, The Hague
Open to: RMa Students, PhD candidates (limited to 15 participants)
Fee: free
Organizers: Leonor Álvarez Francés MA (UL), Thomas Delpeut MA (UvA), Fieke Smitskamp MA (VU)

Course description: 

The goal of this course is to provide participants with elementary skills and knowledge to start working on their own database during the meetings and continue doing so independently afterwards. The course will be mostly practical, with candidates working with laptops on different organized tasks and homework assignments. Creating an efficient, well-defined set of data is the first step toward any significant computational exploration; whether the researcher is interested in an interactive map, a network visualization, or statistical analysis. Being able to present and share the database and/or the resulting visualizations online allows young historians to support their research conclusions with the data they are based on and serves as proof of their computational skills for future applications.

The course is organized for a group of 15 young historians ideally in their PhD or final phase of their Research Master. No previous knowledge on databases or programming is required. In advance of the course, applicants will be asked to write preliminary ideas for a database and to prepare a (small) set of data.


Meetings 1 & 2 (January 25th and 26th):
Theory and practice – data structures and design of own dataset
Teaching: Pim van Bree & Geert Kessels (Lab1100)

Meeting 3 (January 27th):
– Morning: Guest speakers: Susanna de Beer: e-Rome project; Sebastiaan Derks: Huygens ING´s projects; Jaco Zuijderduijn: Edam project; speaker t.b.a.: SPIN; Kathleen Lotze: Cinema projects

– Afternoon: Visualization and interpretation: possibilities and limitations
Teaching: prof. Charles van den Heuvel

Meeting 4 (February 19th):
Presentations own projects
Feedback from Pim van Bree, Geert Kessels and prof. Charles van den Heuvel

Application: due to the limited places available, applicants are asked to submit a motivation letter (250-300 words) explaining why they wish to take part in the course. To apply, send your motivation, name, affiliation (educational programme and institution) to: (Leonor Álvarez Francés).

Deadline: December 15th 2015

Evaluation: the participants will build up an individual database with their historical data, write a short paper on the process, and present it during the last meeting on February 19th.

This course has been made possible by: Posthumus Institute; Huizinga Institute; Amsterdam Centre for Cultural Heritage and Identity (ACHI, UvA); Huygens ING.

RMA Course – Environmental Humanities

Course taught in January 2016 (4 weeks).
Lectures: on Friday 8, 15, 22, and 29 January, 13.30-16.15hrs.
Venue: VU Main Building, De Boelelaan 1105, Amsterdam, Room 12A-22.
Open to: Research Master students in History, Literature, and RMA student members of the Huizinga Institute for Cultural History.
Lecturer: Dr Kristine Steenbergh ( and guest lecturers
Credits: 3 ECTS

The environmental humanities is an interdisciplinary field that is emerging from a number of disciplinary fields which have known their own traditions in environmental research since the 1970s: ecocritism in literature and cultural studies departments, environmental philosophy, environmental history, cultural geography, anthropology. This new field addresses urgent questions related to climate change, the relations between humans and other animals, between the local and the global, between nature and culture. The humanities offer new perspectives on pressing concerns that lead to a fuller understanding of environmental problems that have predominantly been analyzed from a scientific perspective, by showing that the environment has historical, ethical, and cultural dimensions. The environmental humanities therefore aim to be interdisciplinary and activist, influencing both the work in the other sciences and shaping public policy

This course, open to RMA students in Literature, History, and members of the Huizinga Institute for Cultural History, brings together two strands within the environmental humanities: environmental history and ecocriticism. In a period of four weeks, we focus on the topic of ‘timescales’ in the environmental humanities. We engage with the knowledge which the disciplines of history and literature bring to concepts of time in an environmental context and also look at the ways in which environmental concepts such as climate change and the anthropocene impact established concepts of time and temporality in these disciplines. As Deborah Bird Rose put it in the first issue of the journal Environmental Humanities in 2012: the natural world is not a backdrop for human history, rather “traditional human histories are situated dynamically within broader earth histories” (“Thinking Through the Environment, Unsettling the Humanities”).

Each week, we will focus on a different aspect of the question of timescales, such as the notion of the “anthropocene”, slow violence, the longue durée, deep time, linearity and other forms of time, post-humanism, images of the apocalypse, and relating the past to present and future.


The reading list for this month-long course will be distributed to registered participants by e-mail in advance of the course, around 15 December. The selected texts will be open access material or texts that are available through university libraries as much as possible.


Lectures on Friday 8, 15, 22, and 29 January, 13.30-16.15hrs.

Venue: room 12A-22, Main Building, Vrije Universiteit Amsterdam.


At the end of this course, students will:

  • have a broad grasp of the field of environmental humanities;
  • have an understanding of the main theoretical frameworks from which the role of timescales is considered within the environmental humanities (focusing on environmental history and/or ecocriticism);
  • know how and where to find secondary literature in the fields of environmental history and ecocriticism;
  • have analyzed a research question on timescales in the environmental humanities and documented the results in a 3000-word essay.


A concept map with bibliography (20%), presentation (20%), essay (3000 words; 60%). The three modes of assessment focus on the topic of the student’s individual research project, which (s)he is encouraged to begin as early as possible during the course. Students are asked to analyze an aspect of one of the topics discussed during the course, using three new pieces of secondary literature next to the material on the syllabus. Their research can focus on a theoretical question, can apply the theoretical framework to a case study of choice. Students first hand in a concept map of the ways in which concepts and ideas they encountered in the seminars, the reading for the course, and their individual reading relate to their research question, accompanied by an annotated bibliography of three articles or chapters they read on the topic. In the final week of the course, students will present their research project and submit an essay of 3000 words.

Masterclass – prof. dr. Elizabeth (Liz) Buettner: Postcolonial Europe

Postcolonial Europe: Legacies and Memories of Empire in Everyday Life and the Imagination

Date: Tuesday 10 November 2015
(plus a preliminary 2-hour pre-meeting, Thursday October 29, from 10.30 – 12.30. PC Hoofthuis 6.06, Spuistraat 134, Amsterdam)
Time: 10:30 am – 5:30 pm
Venue: University of Amsterdam, University Library – Potgieterzaal, Singel 425, Amsterdam
Credits: 2 EC
Open to: Research Master students and PhD Candidates
Fee (non-members): € 50,00
Coordinated by: Prof. dr. Elizabeth (Liz) Buettner

This Masterclass concerns the aftermath of empire in Europe after 1945 and focuses on comparing and contrasting how different societies have come to terms—or failed to come to terms—with the many types of imperial legacies that continue to shape the lives and mental horizons of increasingly multi-ethnic European populations.   How have Europeans remembered and forgotten overseas empires through the prisms of decolonization, the Cold War, European integration, inward migration from ex-colonies and other places, and intense cultural transfers that characterize an era of accelerating globalization (among other shifts)? Although this class places social and cultural dimensions at center stage, participants may also reflect on the political aspects of these issues.   Participants are encouraged to consider not only larger social and cultural processes but explore how former empires have shaped lived experience and ways of thinking at the grassroots and local levels among different social sectors—together with the ways imperial legacies have acquired visibility at different moments in time across an ever-longer postcolonial era.

Liz Buettner started as Professor of Modern History at the University of Amsterdam in January 2014. Her research centres on British imperial, social and cultural history since the late nineteenth century along with other European nations’ histories of late colonialism, decolonization and their domestic ramifications. She has just completed a book manuscrript entitled Europe After Empire: Decolonization, Society and Culture (to be published by Cambridge University Press in 2016) that examines British, French, Dutch, Belgian and Portuguese histories of coming to terms with the end of empires after the Second World War, focusing on the domestic impact of decolonization, postcolonial migration, the emergence of contemporary multicultural societies, and selective memories of empire. In the coming years she looks forward to expanding upon previous research on postcolonial South Asian migration and cultures in diaspora, placing South Asians in Britain within wider transnational contexts. Buettner received her BA from Barnard College of Columbia University and her MA and PhD from the University of Michigan at Ann Arbor. She has taught in England at the University of York since 2000 and in 2012-2013 held a senior research fellowship at the Freiburg Institute for Advanced Studies in Germany in conjunction with a British Academy mid-career fellowship. Buettner’s publications include Empire Families: Britons and Late Imperial India (Oxford University Press, 2004) together with articles in the Journal of Modern History, History &Memory, Scottish Historical Review, Annales de Démographie Historique, Ab Imperio, Food and History, the Journal of Imperial and Commonwealth History, and a number of edited collections.

This event is organised by the Huizinga Institute in cooperation with the Department of History (Geschiedenis, Europese Studies, en Religiestudies), University of Amsterdam


Tuesday 10 November 2015

10:30-12:00   Introductory keynote/lezing by Liz Buettner, followed by questions and discussion from participants

12:00-1:00   Lunch

1:00-3:00   Participant Research Presentations, followed by questions (15-20 minutes each)

3:00-3:30   Coffee and tea

3:30-4:30   Participant Research Presentations, followed by questions (15-20 minutes each)

4:30-5:30   Round table Discussion, reflecting on how the different presentations connect with each other and building upon wider scholarship (including the required readings) on postcolonial European memories and legacies

[Refreshments will be provided during the Round table Discussion]

Preparation and readings:


At a 2-hour pre-meeting (Thursday October 29), participants will be assigned 2 or 3 required readings (articles and/or book chapters) to read and reflect upon prior to 10 November. Everyone will briefly introduce themselves and their research topics, indicating what they propose to discuss in their mini-presentations during the Masterclass. Afterwards, they will prepare these individual presentations that will take place on 10 November, each of which will last between 15-20 minutes. The presentations should concern participants’ own research as it connects to the specific subject matter of this Masterclass, and position it in dialogue with wider issues illuminated by the required readings (and other relevant texts).


  • Reading and analysing the required articles/chapters in preparation for 10 November
  • Preparing and completing the 15-20 minute presentation on 10 November
  • Asking questions and constructively engaging in the round table discussion that forms the concluding session of the Masterclass
  • Writing a c. 2,000-word paper after the Masterclass that builds upon the 15-20 minute presentation, embedding participants’ individual research topics within broader scholarship—including (but not necessarily limited to) the themes highlighted by the required readings and by the other work presented during the lezing/keynote and by fellow participants. This assignment should be submitted no later than 10 days after the Masterclass takes place (20 November 2015).

After successfully completing all the requirements for this Masterclass, you can obtain a certificate of the credits upon request ( With this certificate you can validate the credits at your own local Graduate School.


Bijeenkomst Werkgroep (Auto)biografie/Egodocumenten, Huizinga Instituut

Datum: Vrijdag 23 oktober 2015
Aanvang: 14.00 (Borrel na afloop)
Plaats:  Bungehuis, Spuistraat 210, Amsterdam, Zaal 1.01


Bob van Zijderveld spreekt over zijn dissertatie “”Een Duitse familie in Nederland (1804-1913). Carrièrisme en netwerken van Hermann Schlegel en zijn zonen Gustav en Leander” (2014).

Petra Zegveld spreekt over haar promotie-onderzoek “”Individueel leesgedrag in de Tweede Wereldoorlog in Nederland”.   

Informatie: Rudolf Dekker / email: