RMa Course – Cultures of reading

Date: April 29, May 13, May 20, May 27, June 3, June 10, June 17 2016
Time: 14:00 – 17:00
Venue: University of Amsterdam, May 20 Leiden (Bibliotheca Thysiana), June 3 Utrecht (Bucheliuszaal, De Uithof)
Open to: RMa Students, who are a member of a Dutch Graduate Research School (onderzoekschool). RMa Students who are members of the Huizinga Institute will have first access; PhD candidates can attend as auditor (limited number)
Fee (non members): € 150
Credits: 5 ECTS
Coordinator: Arnoud Visser (UU) and Ton Hoenselaars (UU)

Cultures of Reading

Since the early modern period, reading has been essential for the transmission of ideas, but it is also a vital skill for the cultural historian. Reading is not a stable form of communication. It may be done in many different ways, depending on a host of historical, social, and religious contexts. In the past three decades the ‘History of Reading’ has become a vibrant scholarly field, exploring both historical practices as well as our own as researchers of earlier periods in history. Historians such as Robert Darnton, Carlo Ginzburg, Roger Chartier, Anthony Grafton, and William Sherman have developed challenging new approaches, highlighting a diversity of reading styles and at least as great a variety of research opportunities.

This course serves as an introduction to the cultural history of reading. In a series of lectures and seminars spanning an 8-week period, the phenomenon of reading cultures is studied from a variety of different historical and disciplinary perspectives by academics from across the field of cultural history in the Netherlands, assisted by guest speakers from abroad.

The lectures and seminars that constitute the core of this course will be complemented by working visits to special collections of books in the Netherlands and Flanders.

Cursus Cultuurhistorisch Onderzoek (CCO)

Cursus Cultuurhistorisch Onderzoek (CCO)

Bestemd voor: Promovendi, verbonden aan het Huizinga Instituut
Urenbelasting: 6 ECTS
Data: 25 en 26 januari, 24 februari, 9 en 23 maart, en 6 en 20 april 2016. Eindsessie 18 mei 2016
Locatie: 26 en 27 januari en 18 mei Academiegebouw Utrecht – Belle van Zuylenzaal, Domplein 29, Utrecht
24 februari Universiteit van Amsterdam – Bungehuis, zaal B.1.01, Spuistraat 210, Amsterdam
Overige data, Universiteit van Amsterdam, Universiteitsbibliotheek, Belle van Zuylenzaal, Singel 425, Amsterdam
Coördinatoren: Helmer Helmers (UvA) & Eric Jorink (UL)
NB: Eerstejaars promovendi verbonden aan het Huizinga Instituut worden automatisch aangemeld voor deze cursus.

  • I. Introductie: 25 & 26 januari 2015
  • II. Perspectieven en debatten: 24 februari, 9 en 23 maart, en 6 en 20 april 2016; (iedere keer een ochtend en een middag sessie)
  • III. Schrijven paper: deadline 4 mei 2016, voor 13.00 uur.
  • IV. Afsluitende bespreking: 18 mei 2016

Call for papers – Narratives of War

Huizinga Institute Conference

 === It’s no longer possible to submit papers=== 

University of Amsterdam
24-26 February 2016

Keynote lecture: John Horne, Trinity College Dublin,

‘Narrating Battle in the Great War’

Each year the official Storyteller of Amsterdam performs an act entitled, ‘Why Tram Line 8 No Longer Runs’. It is ‘a deeply personal story of the heroic rescue of children by the Dutch Resistance during World War II’, told to 800 Amsterdam primary school children.

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.

War is often ‘a good story’, sometimes even a source of tall stories, told through a wide range of classic and modern media. Victims of traumatic war memories can find relief in telling their stories, but tales of war have also long been a source of regular entertainment and even pleasure. War narratives fulfil a function in processes of regime change, and have become part of trajectories of transitional justice. Narratives can help to identify and deny notions of victimhood and agency; competing versions often contain themed stories that may facilitate the recycling of repression of memories. They can provide foundational narratives for nations and states, and can become part of processes of mnemonic socialization. Such stories are often articulated, in the language of Michael Rothberg, in a multidirectional exchange between memory traditions, but this by no means excludes competition and disagreement about the story lines themselves. War narratives rarely remain unchallenged.

Call for Papers

The Huizinga Institute is the national Dutch research network for Cultural History in the broadest sense, and in 2015-16 it is celebrating its twentieth birthday. As part of the celebrations it will host this international conference in Amsterdam, partly in commemoration of 1914-18, on ‘Narratives of War’. 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 welcome papers and panels from all disciplines within the humanities; in these years of commemorating the First World War, the twentieth century will feature strongly, but proposals concerning all periods since the Middle Ages are welcome. Papers of 20 minutes or panels of three papers should address 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 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?

Abstracts of up to 300 words for papers, or 500 words for a panel, which should clearly indicate how the proposed paper addresses the conference aims outlined above, should be submitted to the programme committee at huizinga-fgw@uva.nl before 15 October 2015 (extended deadline). Please include a one-page academic CV. We will notify you of whether your abstract has been accepted before 1 November.  === It’s no longer possible to submit papers===

The Huizinga Institute intends to publish a selection of the papers with a refereed academic press.

Conference organizers

Remco Ensel, Michael Wintle (Huizinga Institute)
Nanci Adler, (NIOD Institute for War, Holocaust and Genocide Studies)

Bijeenkomst Werkgroep (Auto)biografie/Egodocumenten, Huizinga Instituut

Datum: Vrijdag 19 juni 2015
Aanvang: 14.00
Locatie: Bungehuis 101, Spuistraat 210 Amsterdam

Lezing (1)

Laura Nys – “Emotie, gender en discipline. Egodocumenten van jongeren in het Rijksopvoedingsgesticht voor lastige of weerspannige meisjes te Brugge (1927-1939)”

De persoonsdossiers van gedetineerden in het Rijksopvoedingsgesticht voor lastige of weerspannige meisjes te Brugge (opgericht in 1927) bieden een waaier aan egodocumenten. De dossiers bevatten niet alleen brieven die de meisjes richtten aan het bestuur van de instelling, de kinderrechter of familieleden, maar ook onderschepte briefjes die de gedetineerden heimelijk met elkaar uitwisselden. In deze zogeheten billets clandestins wisselden de meisjes roddels uit over hun medegedetineerden, praatten ze over hun toekomstdromen en sommigen smeedden gewaagde ontsnappingsplannen. Echter, meest opvallend in de briefjes is de frequente expressie van intense emoties. Aan de hand van James Scotts hidden transcripts en diverse concepten uit de emotiegeschiedenis wordt een verklaring gezocht voor deze nadrukkelijke aanwezigheid van emoties in het discours van de meisjes. Daarmee brengt deze view from below een element aan de oppervlakte dat onzichtbaar is in de officiele bronnen: de emotionele beleving van de opsluiting.

Lezing (2)

Annette Schmidt – “Tropenwee”

De Afrika afdeling van het Rijksmuseum van Volkenkunde heeft twee belangrijke dagboeken in haar bezit: het dagboek van Regeer uit 1873 en van Lankamp uit 1890. Beide heren waren werkzaam voor het (Nieuwe) Afrikaanse Handelsvennootschap als handelsagenten en verzamelaars voor de Nederlandse Etnografische musea. Tijdens hun verblijf in Congo hielden ze een dagboek bij waarin ze verslag doen van hun dagelijks leven en maakten ze foto’s (of lieten die maken). Objecten die zich in de Nederlandse Congo collectie bevinden worden in hun teksten in context geplaatst of het gebruik ervan wordt erin toegelicht. De publicatie geeft een Nederlands perspectief op een historische periode waarvan de museumcollectie de tastbare herinnering vormt.

Borrel na afloop

Informatie: Rudolf Dekker: email: rdekker123@gmail.com

Workshop – Pierre Boulez

Boulez: Composing – Performing – Reflecting

Workshop for young researchers in 20th and 21st century history of music
carried out in collaboration with the Holland Festival on June 1-2, 2015 with keynote speaker,

Venue: Amsterdam t.b.a.

Keynote – Mark Delaere (KU Leuven)
“Pierre Boulez, que me veux–‐tu?”

June 1, 2015 16:00
UT, room 301

This year, the Holland Festival honors the 90th birthday or French composer Pierre Boulez with a number of special concerts and events. For historians of 20th and 21st-century music this opens up a perspective on two central issues of their field. Boulez has given shape to 20th century music in many respects. He was active as a composer and conductor, he founded one of the major research institutions for researchers in sound and music, the Paris-based IRCAM, and he is the author of several volumes of critical and reflective writings. With the events at the Holland Festival another important perspective is added to this. Research on 20th- and 21st-century music history is happening under the condition of intense self-reflection. The question, how music history of the recent past can and should be investigated and written about is a major issue for musicologists, who, in addition face the mediated co-presence of historical times in the time span they are investigating.

Two events in this year’s programming of the Holland Festival were the point of departure of collaboration with this summer workshop. On June 1st, the eminent cellist Jean-Guihen Queyras will give a master class on how he worked with the composer on the referential recording of the piece Messagesquisse (1976/77). On June 2nd, the performance event Beyond the Score is scheduled in the Holland Festival, featuring a stage arrangement by Frank Gehry that integrates archival materials projected during the performance of a biographic overview of Boulez’ works.

The workshop will consist of the following constitutive elements. It will

  1. introduce into the work of Pierre Boulez (Introductory session Kursell/Beirens; keynote Mark Delaere);
  2. deepen the discussion of his historical embedding using a case study from the correspondences among the composers of serial music in the 1950s and 60s (workshop session Mark Delaere);
  3. discuss the use of live performance for assessing history and musical analysis (workshop session Kursell);
  4. and prepare the individual propositions for deliverables (intense workshop session Kursell/Beirens).

The students will be asked to prepare reading materials and deliver a report on the Masterclass as well as a paper of their own choice in the framework. The workload is calculated for 2 ECTS.

The workshop shall be advertised for enrollment via the Huizinga Institute; credit points being thus organized via the Huizinga Institute as well. Students from the Research MA Arts and Culture at the University of Amsterdam and the Research Master in Musicology at Utrecht University are the target group of the workshop. The workshop will be open for interested students (PhD or RMA) from The Netherlands and abroad. Students will have to pay a fee of 45,- Euro, which includes admission to the two events in the Holland Festival.

Bijeenkomst – Werkgroep Oral History

Datum: 29 mei 2015
Tijd: 15.00-17.00 (aansluitend borrel)
PC Hoofthuis 5.60, Spuistraat 134, Amsterdam
Voorzitter: Barbara Henkes
Registratie gewenst: L.Bakker2@uva.nl

De werkgroep Oral History organiseert op 29 mei een presentatie van 3 aio’s die op een unieke manier oral history onderzoek doen. Het zijn thema’s die niet eerder aan de orde kwamen. Maar die allen noden tot het gebruik maken van mondelinge bronnen.

Fleur Haalboom – In mijn promotie-onderzoek naar de historische omgang met infectieziekten die door mensen en dieren gedeeld worden gedurende de 20ste eeuw, gebruik ik interviews als bronnen, naast archiefmateriaal en publicaties. Ik zal uitleggen waarom de interviews belangrijke inzichten bieden in een van de hoofdlijnen van mijn project: de relatie tussen de  disciplines geneeskunde en diergeneeskunde. Geschreven bronnen hinten wel naar deze verhoudingen, maar blijven vaak impliciet, omdat het gaat om gevoelde verschillen in sociaal-culturele positie en status. Dit gevoelige onderwerp vormt tegelijkertijd soms ook een probleem bij het gebruik van de interviews.

Steven van der Laan – In mijn onderzoek naar de geschiedenis van de varkensfokkerij zijn de jaren zeventig en tachtig bijzonder belangrijke decennia omdat toen de enorme schaalvergroting van de de Nederlandse varkenshouderij plaatsvond. De mensen die betrokken waren bij deze schaalvergroting en verantwoordelijk voor tal van innovaties in de praktijk van de varkensfokkers kunnen nog steeds geinterviewd worden en geven een interessante inkijk in het verloop van de gebeurtenissen destijds. Deze interviews geven een zeer welkome aanvulling op de verslagen over dezelfde onderwerpen die ze dertig jaar eerder schreven, waar het format toch vooral een afstandelijke en opsommende beschrijving van hun onderzoek betrof

Jesper Oldenburger – Woorden als ‘innovatie’ en ‘verandering’ lijken soms haaks te staan op een discipline als de schapenfokkerij – de focus van mijn dissertatie – een discipline waarbij traditionele methoden en ideeën veelal nog steeds het uitgangspunt zijn. Wetenschappers die door de jaren heen de fokkers hebben geprobeerd te bewegen tot een meer ‘rationele’ fokkerij, door bijvoorbeeld te pleiten voor een meer kwantitatieve aanpak, kwamen dan ook vaak van een koude kermis thuis. Door gebruik te maken van interviews is het mogelijk om het verwijt dat de fokkers toentertijd veelal kregen, dat ze ouderwets en vastgeroest waren, in een ander daglicht te stellen. Fokkers hadden een eigen rationaliteit en deze was bovendien voor een belangrijk gedeelte verantwoordelijk voor het internationale succes van de Nederlandse schapenfokkerij. Zonder het gebruik van interviews wordt een dergelijk verhaal te eenzijdig en doet het geen recht aan de kennis en ervaringen van de mensen uit de praktijk.



Masterclass Dr. Fabian Kolb (Johannes Gutenberg University Mainz)

Concepts and Strategies of Spatial Sound Organisation in the 19th-Century Symphonic Repertoire

Date: 18–19 June 2015
Time: 4–7 pm, 9am–1pm
Venue: Utrecht University, Janskerkhof 13, 0.06 and TBA
Credits: 1-2
Open to: Research MA students in Musicology and in the Humanities
Fee (non-members): € 50.00
Coordinated by: Fabian Kolb (University of Mainz), Karl Kügle (UU)

During the 19th century, a number of philosophical, acoustical, musico‐physiological and musico-psychological concepts of space were developed. These concepts influenced the architecture of concert halls and reflect changes in the awareness of audience and orchestral dispositions as well as in the general discourse of the period about the aesthetics and the reception of instrumental music. In this master class we will discuss different conceptions of space as well as modes and strategies of spatial composition in nineteenth-century symphonic music. Specifically, we shall examine examples in works of Beethoven, Berlioz, and Mahler. The focus will be a) on the dispositions of separate orchestral groups (e.g., the use of distant offstage instruments and/or orchestras, including the so-called Fernorchester) as well as b) on internal orchestral evocations and interpretations of space (including dynamics, harmony, instrumentation, timbres, idioms, ‘scenarios’, and ‘narrative’ processes). To what extent did composers develop genuine creative possibilities to design (sound-)spaces for the ‘great form’ of orchestral music in the interplay of performance venues, listener expectations, and the historical developments that can be traced through particular compositions? To what extent was the potential of expansive, large-scale instrumental music affected by the generation of something akin to specific symphonic space?

Fabian Kolb (*1980) studied Musicology, Romance studies and Philosophy at the universities of Bonn and Cologne. After having earned his MA in 2006 with a thesis entitled Exponent des Wandels. Joseph Weigl und die Introduktion in seinen italienischen und deutschsprachigen Opern (Münster/Berlin: LIT-Verlag, 2006), he completed his doctoral dissertation on the French Symphony around 1900 (»Tradition austère qui devient de plus en plus complexe«. Diversifikation und Pluralisierung in der französischen Symphonik 1871–1914, Cologne University, 2010, published by Olms-Verlag, Hildesheim, in 2012). Since 2010, Fabian Kolb is Assistant Professor (Assistent) at the Institut für Kunstgeschichte und Musikwissenschaft, Johannes Gutenberg-Universität Mainz. His research interests are focused on French music history, the history of the symphony, the history of opera around 1800, and the music of the later Middle Ages. In 2012, Kolb was awarded the Walter Kalkhof-Rose-Gedächtnispreis by the Akademie der Wissenschaften und der Literatur, Mainz.

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


This master class will be consist of a lecture and a seminar on the same topic held by Fabian Kolb the morning after the lecture. Outlining the broad spectrum of spatial composition strategies in the development of nineteenth-century symphonic music, the lecture discusses works by Joseph Haydn (London Symphonies), Ludwig van Beethoven (Wellingtons Sieg oder die Schlacht bei Vittoria, and Symphony no. 9), Hector Berlioz (Symphonie fantastique), and Felix Mendelssohn Bartholdy (The Hebrides). Connecting their work concepts and compositional operations with the preconditions given by the specific settings of the concert halls (audience and orchestral seating), the survey then proceeds to include remarks by Robert Schumann, Johannes Brahms and Anton Bruckner, finally pointing to Gustav Mahler as a kind of ‘summa’ of different spatial composition techniques using examples from his first, second and eighth symphonies.

Following this lecture, the master class is designed to offer participants the opportunity to discuss, intensify and exemplify the materials and interrelations developed the afternoon before. The main objective is to sensitize participants to the dimensions of space in the art of instrumental music – an art often regarded predominantly as developing in time. This is done through a close listening of significant musical exemples (including an intensive look at the scores), and complemented by reading / looking at some historical sources. Underpinned by short oral presentations based on the preparatory assignments, the main component of the master class is critical dialogue and discussion.

After a short introduction which raises the problem of spatial composition by some observations concerning the London Symphonies of Joseph Haydn and Ludwig van Beethoven’s Wellingtons Sieg oder die Schlacht bei Vittoria, we shall study in depth the concepts of Hector Berlioz as developed in his Grand Traité d’instrumentation et d’orchestration modernes and implemented, for instance, in the Symphonie fantastique. Which relevance is attributed to questions of orchestral seating (and acoustics) and how does Berlioz create and play with specific spatial effects in his music? To sharpen and contrast these strategies, in a short excursus, we glance at the different attitude to space phenomena as it becomes manifest at the same time in German music of the Leipzig symphonic ‘school’ (Felix Mendelssohn Bartholdy). At this juncture, amongst others, the results are to be connected with observations concerning architecture of concerts halls and seating plans of orchestras.

In a second section, the focus will be concentrated on Gustav Mahler and his Wunderhorn Symphonies (particularly some selected spots in the symphony no. III). Here, by a close reading, we can observe the use of topoi evoking various types of movements and distant ‘sceneries’ or ‘places’, as well as the specific operation with offstage orchestral groups. As a kind of ‘culmination’ of spatial composition procedures, the discussion of Mahler might lead to a final discussion about which importance is to be attributed to spatial dimensions in nineteenth-century symphonic music.

Preparation and readings:

The participants are asked to acquaint themselves with the following repertoire (both by listening and reading the scores):

  • Ludwig van Beethoven, Wellingtons Sieg oder die Schlacht bei Vittoria
  • Hector Berlioz, Symphonie fantastique
  • Gustav Mahler, Symphony no. III in D minor

Students will mark anything which might have to do with spatial effects (the focus may be on performance directions and score inscriptions such as “von der äußersten Entfernung”, “derrière la scène”, or “in der Höhe postiert”, etc., as well as on internal orchestral evocations of space like striking instrumentations, significant dynamics, drastically shifting idioms, etc.).

Furthermore, the reading of some sections of Hector Berlioz’ Grand Traité d’instrumentation et d’orchestration modernes (chapters The orchestra and parts of The conductor and his art) is required: English translation and commentary by Hugh Macdonald, Berlioz’s Orchestration Treatise, Cambridge 2002, p. 319-335, and p. 358-359.

Further required readings:

  • Daniel J. Koury, Orchestral Performance Practices in the Nineteenth Century. Size, Proportions, and Seating, Ann Arbor 1986 (Studies in Musicology 85), p. 173–237
  • A. Peter Brown, The Symphonic Repertoire, Bloomington 2002 et seqq., vol. II (The First Golden Age of the Viennese Symphony: Haydn, Mozart, Beethoven, and Schubert), p. 530-531 [Beethoven, Wellingtons Sieg]; vol. III/A (The European Symphony from ca. 1800 to ca. 1830: Germany and the Nordic Countries), p. 699-729 [Berlioz, Symphonie fantastique]; vol. IV (The Second Golden Age of the Viennese Symphony: Brahms, Bruckner, Dvorak, Mahler, and Selected Contemporaries), p. 590-612 [Mahler, Symphony no. III]


Based on the readings (especially the music scores!), participants are requested to prepare an informal presentation underpinned by a written preparatory and problem-oriented assignment (ca. 500 words) concerning the following questions: (a) Which aspects of (musical) space does Berlioz develop in his orchestration treatise, and how does he use (concrete and implicit) space dimensions in his Symphonie fantastique (ca. 500-750 words)? (b) With which elements of creating sound space does Mahler work in his Third Symphony, and how do they contribute to create a specific (symphonic) dramaturgy (ca. 500-750 words)?

The assignment has to be submitted to fabiankolb@uni-mainz.de (and c.c. to huizinga-fgw@uva.nl) on or before the deadline 8 June 2015.


Workshop – Images of the news, 1550-1950

Using images of the news in historical research

With Rutger van der Hoeven (UU, Groene Amsterdammer) and Ramon Voges (Universität Paderborn)
Date: 29 May 2015 (CHANGED DATE)
Time: 13.00-17.00
Venue: UvA – University Library – Belle van Zuylenzaal
Organised by: Thomas Smits (RU) & Rosanne Baars (UvA)
Chair: Dr. Michiel van Groesen

In the last two decades under influence of the so-called visual culture studies historians have started to tread images as a serious historical source. Recent research in the field focuses specifically on images of news events. However, the theoretical basis of visual culture studies is biased towards ‘modern’ media, like photography and film, while earlier ones, like the woodcut and lithograph, are often left untreated. Images and maps of the news were already used in the second half of the sixteenth century. The work of engravers and printers, like Frans Hogenberg in Cologne and Jacques Tortorel en Jean Perrissin in Geneva, was disseminated throughout Europe. Europeans could no longer only read the news, they could also see it. The dissemination of ‘news images’ continued to rise in the seventeenth, eighteenth and nineteenth century. Before the application of the half-tone process in the 1880’s, which enabled the widespread use of photographs in newspapers in magazines, illustrated newspapers, like the world renowned Illustrated London News, reached millions of ‘viewers’ with their illustrations of the news. This workshop aims to bring together students and experts from different fields (history, art-history and media studies) to discuss the use of images of the news. Is ‘image of the news’ a useful category to analyze visual culture from the sixteenth until the twentienth century? Is there a fundamental difference between ‘modern’ and ‘pre-modern’ images of the news? And especially for text-oriented historians: how can images be used in the historical field, not only as a viable source but also as a medium for presenting results? Can a historical narrative be presented visually? Rutger van der Hoeven, (Utrecht University an editor at ‘De Groene Amsterdammer’) will talk about ‘Nieuwsfoto’s als vorm van collectief geheugen’.  Ramon Voges (Universität Paderborn) is working on a PhD-project on the historiographical prints of Frans and Abraham Hogenberg, two sixteenth-century print-makers from the Southern Netherlands. He recently published an article on the representation of power and massacre in the news prints of Frans Hogenberg.


13.15-13.45Lecture 1
14.00-14.30Lecture 2
15.15-17.00Discussion with PhDs en RMas)
17.00-17.15Concluding remarks


All participants are expected to read five of the listed articles or chapters. In addition, they should also bring a visual source – an illustration, photograph or painting, preferably concerning a news event – to the workshop. Please send the image and a list of the articles you have read to the organizers a week before the workshop. Participants who want to receive 2 ECTS are expected to complete the following assignment.

1: Essay (only for participants wanting to receive credits)

Describe in an essay of approximately 1500 words how you use, or could use, visual material in your research. What is the value of images as historical source in your project? What theories do you use? Would the category ‘images of the news’ be valuable addition to your theoretical framework? Please contact the organizers if you have any questions.

2: Image (all participants)

Please bring a visual source – an illustration, photograph or painting, preferably concerning a news event – to the workshop.

3: Literature (all participants)

Please read at least five of the listed articles or chapters. Please send the organisers a list of the articles/chapter you have a read a week before the workshop.


  • P. Benedict, ‘The Visual Reporting of Current Events in Europe before 1570 and the Pictorial Language of the Prints’, in: P. Bendict, Graphic History. The Wars, Massacres and Troubles of Tortorel and Perrissin (Genève 2007) 75-121.
  • K. Barnhurst en J. Nerone, ‘Civic Picturing vs. Realist Photojournalism. The Regime of the Illustrated News, 1856-1901’, Design Issues 16:1 (2000) 59-79.
  • W. Benjamin, ‘The Work of Art in the Age of Mechanical Reproduction’ in: W. Benjamin, Illuminations (London 1997) 211-245.
  • P. Burke, ‘Introduction’, ‘Photographs and Portraits’; ‘Iconography and Iconology’, in: P. Burke, Eyewitnessing – the Uses of Images as Historical Evidence (London 2001) 9-46.
  • M. Kleppe, ‘Icoonfoto’s’, in: M. Kleppe, Canonieke Icoonfoto’s: de rol van (pers)foto’s in de Nederlandse geschiedschrijving (Delft/Zutphen 2013) 20-43.
  • H. Beunders and M. Kleppe, ‘Een plaatje bij een praatje of bron van onderzoek?: fotografie verwerft geleidelijk een plek in de historische wetenschap’, Groniek 43: 187 (2010) 121-139.
  • C. Klinkert, ‘Het beeld als historische bron’:’Militair nieuws en militaire nieuwsprenten’, in:
  • C. Klinkert, Nassau in het nieuws. Nieuwsprenten van Maurits van Nasssaus militaire ondernemingen uit de periode 1590-1600 (Zutphen, 2005), 22-49.
  • Ramon Voges, ‘Augenzeugenschaft und Evidenz. Die Bildberichte Franz und Abraham Hogenbergs als visuelle Historiographie’,  in: Sybille Krämer, Sibylle Schmidt und Ramon Voges (eds.) Politik der Zeugenschaft. Zur Kritik einer Wissenspraxis (Bielefeld 2011) 159-181.
  • Ramon Voges, ‘Macht, Massaker und Repräsentation. Darstellungen asymmetrischer Gewalt in der Bildpublizistik Franz Hogenbergs’, in: Jörg Baberowski und Gabriele Metzler (eds.), Gewalträume. Soziale Ordnungen im Ausnahmezustand. (Frankfurt am Main: Campus Verlag 2012) 29-69.

Masterclass – David Armitage (Harvard University)

The History Manifesto

Date: Wednesday May 13 2015
Time: 10.00-12.30
Venue: UvA, Bungehuis 1.01, Spuistraat 210 Amsterdam
Open to: RMa students and PhD candidates (Huizinga, OPG, OZS Mediëvistiek)
Organisers: Inger Leemans (VU) and Matthijs Lok (UvA)
Information: huizinga-fgw <huizinga-fgw@uva.nl>
Note: This event is fully booked, please send us an e-mail with your name, university and research school. We will put you on our waiting list.

David Armitage will also give two public lectures on the 11th and 12th of May. More information about the lecture on May 11th can be found on http://www.globalintellectualhistory.org/. More information about the lecture on May 12th can be found on https://www.knaw.nl/nl/actueel/agenda/david-armitage-long-and-short-termism.

Masterclass David Armitage

In economics, politics and even history, we are haunted by the “ghost of short-termism”. In their History Manifesto, David Armitage and Jo Guldi make a strong plea for a return to long-term thinking in history, and the importance of historical perspectives for contemporary society. The future of history lies in the longue durée: “big is back.”

11-13 May, professor Armitage will be in Amsterdam for two public lectures and a masterclass for PhD Candidates and Researchmaster Students. His first public lecture, on May 11, (hosted by UvA) will cover the global history of ideas. His second public lecture (hosted by KNAW), on May 12, will encompass a debate about the history manifesto.

In this masterclass, participants will engage in a discussion with professor Armitage on the History Manifesto, on the role of longue durée in history, and on the global history of ideas.

David Armitage is the Lloyd C. Blankfein professor of History and Chair of the Department of History at Harvard University. He is an expert in the fields of both intellectual history and international history.

He was born in Britain and educated at the University of Cambridge and Princeton University; before moving to Harvard in 2004, he taught for eleven years at Columbia University. A prize-winning teacher and writer, he has lectured on six continents and has held research fellowships and visiting positions in Britain, France, the United States and Australia.

David Armitage is the author or editor of fifteen books, among them The Ideological Origins of the British Empire (2000), which won the Longman/History Today Book of the Year Award, The Declaration of Independence: A Global History (2007), which was chosen as a Times Literary Supplement Book of the Year, Foundations of Modern International Thought (2013). His articles and essays have appeared in journals, newspapers and collections around the world and his works have been translated into Chinese, Danish, French, Italian, Japanese, Portuguese and Spanish, with others soon to appear in Dutch, Greek and Turkish.


  • Jo Guldi and David Armitage, History Manifesto (Cambridge MA, 2014). Available online at: http://historymanifesto.cambridge.org/
  • David Armitage, ‘What’s the Big Idea? Intellectual History and the Longue Durée’, History of European Ideas 38, 4 (2012) 493-507.


Participants are required to have attended at least one of prof. Armitage’s lectures (see above). They are also required to prepare for and actively participate in a discussion on the History Manifesto. In addition, participants are required to write a short essay (max. 500 words) in which they connect their own research to the work of professor Armitage. The short essay should end with a question for professor Armitage.


RMa-cursus – Imagining the Self and the Other

Imagining the Self and the Other

Data: 6 maart 2015 – 22 mei 2015 (bijeenkomsten op 6, 13 en 27 maart, 10 en 24 april. 1 mei  en 22 mei (bespreking van de essays)
Tijd: 13:00-16:00 (let op: op 6 maart van 10:00 – 13:00)
Locatie: 6 maart OMHP C 0.23; 13 maart BH 4.01; 27 maart BH 0.15; 10 april BH 0.04; 24 april BH 0.04; 1 mei  PCH 6.05; 22 mei OMHP C 2.23; allen Amsterdam (zie adressen onderaan dit document)
Bestemd voor: Researchmaster-studenten; promovendi kunnen als auditors deelnemen
Kosten (niet leden): € 150
Credits: 3 ECTS (certificaat op aanvraag)
Coordinator: Yolanda Rodríguez Pérez (UvA, y.rodriguezperez@uva.nl)
Gast docenten: Ton Hoenselaars, Lotte Jensen, Joep Leerssen, Michael Wintle
Note: This course fully booked, please send an e-mail to huizinga-fgw@uva.nl with your name, university and research school. We will put you on our waiting list.

Deze cursus introduceert het verschijnsel van beeldvorming in onze westerse cultuur sinds de Middeleeuwen. Aandacht wordt besteed aan de basisbegrippen “Zelf” en “Ander”, vanuit een theoretisch perspectief en binnen een historisch kader. Tekstuele (waaronder literaire) uitingen en visuele percepties (cartografie, schilderijen, standbeelden) van identiteit en alteriteit spelen hierbij een belangrijke rol. Tevens is er aandacht voor de vorming van een Europese identiteit, en de ervaring van het ‘exotische’ die Europese reizigers met name in de zestiende eeuw beleefden. Dit seminar gaat ervan uit dat de manier waarop wij over onszelf en anderen denken nooit vanzelfsprekend is of neutraal, maar wordt bepaald, geconditioneerd zelfs, door een aantal culturele conventies zoals stereotypen die eeuwenlang de beeldvorming kunnen bepalen. In dit seminar presenteren vier wetenschappers hun werk, en wordt de research masterstudent uitgedaagd om hierover in discussie te gaan, teneinde zo zijn eigen inzichten te testen voor zover deze betrekking hebben op diens eigen onderzoek. In de loop van de cursus bereidt de student een presentatie voor over een of meer van de werken die zijn gelezen en besproken, of over een eigen onderwerp (zoals eigen lopend onderzoek). Deze presentatie vormt dan de basis van het afsluitend essay voor deze cursus.


Week I
Vrijdag, 6 maart 2015, 10:00-13:00
OMHP C 0.23, Amsterdam

College I – Ton Hoenselaars (Universiteit Utrecht): “Inleiding”


  • Nancy Gail Selleck, The Interpersonal Idiom in Shakespeare, Donne, and Early Modern Culture (Houndmills: Palgrave Macmillan, 2008): (a) “Introduction: Other Selves,” pp. 1-20; (b) “Properties of a ‘Self’: Words and Things, 1580-1690,” pp. 21-55.
  • Jerrold Seigel, The Idea of the Self: Thought and Experience in Western Europe since the Seventeenth Century (Cambridge: Cambridge University Press, 2005), “Dimensions and Contexts of Selfhood,” pp. 3-44.

Week II
Vrijdag, 13 maart 2015, 13:00-16:00
BH 4.01, Amsterdam

College II – Joep Leerssen (Universiteit van Amsterdam): “Beeldvorming binnen een historisch, Europees kader”


  • Joep Leerssen, Spiegelpaleis Europa: Europese cultuur als mythe en beeldvorming (Nijmegen: Vantilt, 2011)

Week III
Vrijdag, 27 maart 2015, 13:00-16:00
BH 0.15, Amsterdam

College III – Michael Wintle (Universiteit van Amsterdam): “‘Defining the Continent: European Othering and Identity in the Age of Enlightenment’


  • M. J. Wintle, The Image of Europe: Visualizing Europe in Cartography and Iconography throughout the Ages (Cambridge: Cambridge University Press, 2009), hoofdst. 1 & 6.


  • S. Muthu, Enlightenment against Empire (Princeton: Princeton University Press, 2003).
  • S. Poeschel, “The Iconography of the Continents in the Visual Arts from the Origins to the Age of Tiepolo,” in Luisa Passerini & Marina Nordera (eds.), Images of Europe (Florence: European University) 2000), 61-83.

Week IV

Vrijdag, 10 april 2015, 13:00-16:00 + voorbespreking presentatie (15:00-16:00)
BH 0.04, Amsterdam

College IV – Lotte Jensen (Radboud Universiteit Nijmegen): ‘The shaping of a Dutch identity in a European context’


  • Lotte Jensen, ‘The Dutch against Napoleon. Resistance literature and national identity, 1806-1813’. In: Journal of Dutch Literature vol.2, nr. 2 (2011), 5-26.
  • Primaire bron (nader bekend te maken)

Week V

Vrijdag, 24 april 2015, 13:00-16:00 (Rodríguez Pérez)
BH 0.04, Amsterdam

Werkcollege – Presentatie over Research Essay

Week VI

Vrijdag, 1 mei 2015, 13:00-16:00 (Rodríguez Pérez)
BH PCH 6.05

Werkcollege – Presentatie over Research Essay

Maandag 11 mei, voor 09.00 uur: deadline Research Essay (2500 woorden)

Week VII          

Vrijdag 22 mei, 11:00-14:00 Aftermath (bespreking essays)
OMHP C 2.23

Voorbereiding, presentatie & paper

Voor elke bijeenkomst leest de student aandachtig het opgegeven materiaal, met de gedachte dat hierover tijdens het betreffende college een discussie wordt gevoerd. Studenten kunnen op elk moment de coördinator van de cursus benaderen over de presentatie en het uiteindelijke essay (y.rodriguezperez@uva.nl). Er is een speciale sessie voor de voorbespreking van de presentatie en het essay in Week IV (vrijdag 10 april, 15:00-16:00).

Presentatie: 15 minuten incl. discussie in Week V (vrijdag 24 april 13-16:00).
Paper: 2500 woorden (hoeveelheid literatuur e.d. in overleg met coordinator)
Deadline paper: maandag 11 mei, 09:00.


BH – Bungehuis
Spuistraat 210
1012 VT Amsterdam

OMHP – Oudemanhuispoort
Oudemanhuispoort 4-6
1012 CN Amsterdam

PCH – PC Hoofthuis
Spuistraat 134
1012 VB Amsterdam

Zie ook: http://www.uva.nl/over-de-uva/de-uva-in-amsterdam/locaties/locaties.html


Workshop – Space: A useless category for historical analysis?

Workshop by Leif Jerram (University of Manchester)

Date: 22 May 2015
Time: 10.30-13.00
Intended for: PhD candidates and RMa students
Maximum number of participants: 15
Venue: Bungehuis 1.01
Coordination: Enno Maessen (UvA), Tymen Peverelli (UvA)
Credits: 1 EC
Fee: free (incl lunch)
Note: This event is fully booked, please send us an e-mail with your name, university and research school. We will put you on our waiting list.

Over the past few decades there has been much talk of a “spatial turn” in the humanities and social sciences. Especially in the wake of the pioneering work of scholars such as Henri Lefebvre, Michel de Certeau, David Harvey and Edward Soja in the 1970s and ‘80s, historians, sociologists and geographers alike have contributed to an enormous rise in academic research on questions of space, location and place. Although much historical work in this area has been done, to this day the field remains strikingly fragmented and under-theorized, leaving the scholar with divergent notions of what these spatial concepts actually mean and implicate for their research.

This workshop, jointly facilitated by the Huizinga Institute for Cultural History, the Amsterdam Centre for Urban History (ACUH), and the Amsterdam School for Regional, Transnational and European Studies (ARTES) of the University of Amsterdam, aims to tackle this problem by offering interested PhD candidates and RMa students of all disciplines the possibility of addressing these questions in an informal intellectual exchange. Central to the workshop is the question of how spatial concepts could be applied usefully as categories of analysis to (urban) historical research.

Leif Jerram, senior lector in Modern History at the University of Manchester, has published extensively on the history of modern European cities, with a strong emphasis on Germany. His research has mainly focused on the urban built environment and its influence on the lives of ordinary people. A recurring question in his work is how space has shaped human behaviours, and experiences, from the cinema to the urinal, the council house to the department store, and the factory to the bedroom. Important publications are, among others, Streetlife: The Untold History of Europe’s Twentieth Century (Oxford UP, 2011) and Germany’s Other Modernity: Munich and the Making of Metropolis, 1895-1930 (Manchester UP, 2007).


Participants are asked to

  • read three seminal articles
  • formulate a critical question concerning each of the required readings
  • prepare a short essay (ca. 500 words) on the relationship between their own research and the discussion topic
  • send the essay at least three weeks before the workshop to T.Peverelli [at] uva [dot] nl (deadline: 1 May 2015)
  • read the other participants’ essays

required readings

  • Pierre Bourdieu, ‘The Kabyle house or the world reversed’, in: Pierre Bourdieu, Algeria 1960, trans. Richard Nice (Cambridge: Cambridge University Press, 1979) 133-153.
  • Leif Jerram, ‘Space: A useless category for historical analysis?’, History and Theory 52 (2013) 400-419.
  • Chris Otter, ‘Making liberalism durable. Vision and civility in the late Victorian city’, Social History 27 (2002) 1-15.


The workshop is organized as an interactive daytime meeting, including an introduction by Leif Jerram, followed by several sessions, in which the articles and the participants papers will be presented (ca. 5 minutes per presentation) and discussed.

After the workshop, Leif Jerram will give a lecture to which all participants, and others, are cordially invited.
The lecture will take place at 17.00h, see http://www.spui25.nl/programma for more information.

Poster final.indd

Workshop – De ‘Golden Road’ naar Open Access in de Geesteswetenschappen

De ‘Golden Road’ naar Open Access in de Geesteswetenschappen

Workshop voor landelijke onderzoeksscholen GW

Voor wie: Promovendi en staf van onderzoeksscholen RMeS, NICA, OSL, Huizinga;
Wanneer: Vrijdag 17 april 2015, van 14:30 – 17 uur
Waar: SPUI25, Amsterdam
Registratie: Promovendi en staf van onderzoeksscholen RMeS, NICA, OSL, Huizinga kunnen zich registreren via de RMeS website.
Overige geïnteresseerde kunnen zich registreren via de website van SPUI25.

NWO heeft een nieuwe stap gezet in hun Open Access beleid. Volgens een nieuwsbericht uit oktober 2014 zal NWO voortaan vragen om alle door NWO gefinancierd onderzoek in volledig Open Access (Golden Road) te publiceren. De afgelopen drie jaar heeft NWO ook de oprichting van Open Access tijdschriften gestimuleerd met een startsubsidie. Met behulp van partner instituten is onder meer NECSUS European Journal of Media Studies en het Journal for Dutch Literature hieruit ontstaan. Verschillende uitgeverijen, nationaal en internationaal hebben een open access publicatiemogelijkheid. Ook Amsterdam University Press, de uitgever van NECSUS, heeft een actief Open Access beleid. Nu de initiële subsidie is gestopt is het voortbestaan van het journal (en vele andere journals van gelijksoortige aard) precair. APCs (Article Processing Charges) zijn nog lang niet overal haalbaar, en alternatieve financiering blijkt moeilijk te vinden.

De voordelen van Open Access zijn evident. Maar de problemen en zelfs ‘chaos’ rondom deze nieuwe vorm van publiceren zijn niettemin even groot.[1] Grootste problemen lijken te zijn dat het APC-model de kwaliteit van publicaties niet perse ten goede komt (wie betaalt die publiceert), en dat de kosten bovendien onevenredig op het bord van de wetenschappers en universiteiten komen te liggen (vaak ten faveure van grote commerciële uitgevers). In de Humanities en Sociale (HSS) wetenschappen komt daarbij nog het bijkomende probleem dat er binnen de onderzoeksbudgetten weinig tot geen geld beschikbaar is om op dergelijke manier te publiceren. Zijn er alternatieven mogelijk? Met NECSUS als case study, wil deze workshop het veel bredere probleem van wetenschappelijk publiceren in de toekomst aankaarten. Op welke manieren kunnen we de Golden Road naar Open Access bewandelen? Hoe blijven de kosten beheersbaar, en blijft de kwaliteit en toegang tot wetenschappelijk publiceren en wetenschappelijke publicaties gegarandeerd?


  • prof. dr. Patricia Pisters (UvA)
  • Jeroen Sondervan (AUP)
  • prof. dr. Thomas Vaessens (UvA)
  • Eelco Ferwerda (OAPEN)
    Annemarie Bos (NWO)
  • Wilma van Wezenbeek (TU Delft)

Moderator: Prof. dr Annie van de Oever (RUG)

[1] Zie het artikel ‘De chaos van Open Access’ in NRC 10 Januari 2015 (online alleen toegankelijk via betaling of voor abonees).

Bijeenkomst Werkgroep (Auto)biografie/Egodocumenten – Saskia Bultman (RU)

Lezing Saskia Bultman (RU)

Datum: vrijdag 27 februari 2015
Aanvang: 14.00 uur
Plaats:  Belle van Zuylenzaal in de Universiteitsbibliotheek, Singel 425
(Dus niet zoals gebruikelijk in het Bungehuis!)


Saskia Bultman (Promovendus en docent Radboud Universiteit Nijmegen Afd.Geschiedenis) spreekt over haar onderzoek naar het Rijksopvoedingsgesticht voor meisjes in Nederland, 1858-1975. Het onderzoek betreft de kennistechnieken waarmee de meisjes werden bestudeerd en gecategoriseerd. Eén van de kennistechnieken was het autobiografie-schrijven. De levensgeschiedenissen van nieuw binnengekomen meisjes tussen 1925-1975 zijn een bron hiervoor, waarbij in het bijzonder wordt gekeken naar de manier waarop het karakter van de techniek van het autobiografie-schrijven, dat door de tijd heen verandert, van invloed is op de scripts aan de hand waarvan de meisjes hun levensgeschiedenis schrijven.

Borrel na afloop

Informatie en regstratie: Rudolf Dekker: email: rdekker123@gmail.com

CCO 2 – Anxiety with Sources

Anxiety with Sources

Datum: 2 februari 2015 (LET OP: Datum is gewijzigd)
Tijd: 10.00 – 17.00 uur
Locatie: Universiteit van Amsterdam. Universiteitsbibliotheek – Belle van Zuylenzaal, Singel 425, Amsterdam.
Deelnemers: 2e en 3e jaars promovendi lid van het Huizinga Instituut

Docent: Joep Leerssen
Thema: De spanning tussen enerzijds dankbaar gebruik maken van de bronnen (secundaire literatuur) en anderzijds de noodzaak voelen om in de dissertatie volstrekt origineel onderzoek te presenteren.

Deelnemers bereiden een presentatie van vijf tot tien minuten voor, waarin zij een casus presenteren van hun ‘anxiety’

Meer informatie volgt snel.






Masterclass – Darrin McMahon (Dartmouth)

The Return of the History of Ideas?

Date: Tuesday February 3 2015
Time: 10.00 – 12.30
Venue: UB – Belle van Zuylenzaal, Singel 425 Amsterdam
Open to: RMa students and PhD candidates (Huizinga and OPG)
Fee (non-members): € 50,00
Organisers: Annelien de Dijn & Matthijs Lok (UvA)
Information: m.m.lok@uva.nl

Darrin McMahon will also give a public lecture on Monday February 2: 15:00-17:00
at the Doelenzaal (UB Universiteit van Amsterdam, Singel 425) 
‘The Return of the History of Ideas?
More information: http://www.globalintellectualhistory.org/events/


Long dismissed as a hopelessly outdated form of inquiry, the “history of ideas” is today making a comeback as a viable form of intellectual history.  What are the promises and the pitfalls of a renewed history of ideas?  In this discussion, Professor McMahon will take up the question both from the standpoint of past criticism and current methodological concerns.

Darrin M. McMahon is a historian, author, and public speaker, who lives in Somerville, Massachusetts and is a Professor of History at Dartmouth College. Formerly McMahon was the Ben Weider Professor of History and Distinguished Research Professor at Florida State University.

Born in Carmel, California, and educated at the University of California, Berkeley and Yale, where he received his PhD in 1998, McMahon is the author of Enemies of the Enlightenment: The French Counter-Enlightenment and the Making of Modernity (Oxford University Press, 2001) and Happiness: A History (Atlantic Monthly Press, 2006), which has been translated into twelve languages and was awarded Best Books of the Year honors for 2006 by the New York Times, The Washington Post, the Library Journal, and Slate Magazine.

McMahon has just completed a history of the idea of genius and the genius figure, Divine Fury: A History of Genius, published in October of 2013 with Basic Books. He is also the editor, with Ryan Hanley, of The Enlightenment: Critical Concepts in Historical Studies, 5 vols. (Routledge, 2009), and, with Samuel Moyn, of Rethinking Modern European Intellectual History (Oxford University Press, 2014).

McMahon has taught as a visiting scholar at Columbia University, New York University, Yale University, the University of Rouen, the École Normale Supérieur, and the University of Potsdam. His writings have appeared in such publications as the New York Times, the Boston Globe, the New York Times Book Review, the Washington Post, and the Wall Street Journal.

Preparation and reading
  • David Armitage (2012): What’s the Big Idea? Intellectual History and the Longue Durée , History of European Ideas, 38:4, 493-507.
  • Darrin McMahon, ‘The return of the history of ideas?’ in: Darrin M. McMahon, Samuel Moyn (red.),  Rethinking Modern European Intellectual History (2014), 13-31.

Participants are required to prepare a few (at least one) questions for Professor McMahon regarding his paper, preferably relating to your own research. In addition, participants are requested to prepare a short statement (max. 500 words) on their research interests. Please email questions and short research statement by Wednesday January 28 2015 to: m.m.lok@uva.nl