Editors Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online
Sir Francis Seymour Haden, and the etching revival of the nineteenth century
Catherine B. Scallen
This paper explores Klopstock’s presentation copies of his drama Hermanns Schlacht in the context of his efforts to gain favor with the imperial court in Vienna. It focuses in particular on Klopstock’s attention to the materiality of the presentation copies and his strategies to adjust to court protocol. In this vein, the essay highlights his dissatisfaction with the quality of German books in general, which he felt undermined his efforts to establish himself with his patrons. At the same time, Klopstock seized on the book’s materiality as an opening to reframe the relationship of author to patron. He envisioned a new kind of relationship, which would be more reciprocal. By trying to redefine the author’s position at court, Klopstock aimed to elevate the authorial role more generally. Klopstock’s leveraging of the material book to elevate the author was part of a wider eighteenth-century debate concerning the status of authors in their relation to patrons. Klopstock aimed not only to redefine this relationship as one of equals but also to commit the emperor to provide recognition and financial support for German writers, thus securing the stature of German letters. In this context, Klopstock’s binding choices are shown to be bold moves through which he tried to break the cultural conventions attached to the medium of the presentation copy. Klopstock’s own designs of his presentation copies to the imperial court have to be seen as—ultimately failed—attempts to recalibrate cultural power structures.
This article examines the political and ideological circumstances surrounding the two French translations of Adolf Hitler’s Mein Kampf during the 1930s. It focuses on the personal histories of the translation agents involved in the production, translation and dissemination of Mein Kampf—such as diplomats, politicians, investors, publishers, editors and translators. By uncovering and exposing their ideological attitudes, this study shows how Hitler’s book was altered, censored and repurposed in France to suit different political agendas. Consequently, it argues that the two French translations during the prewar period, entitled Mon Combat (1934) and Ma Doctrine (1938), should be regarded as historical artifacts in their own right, rather than mere reproductions.
Lorraine Janzen Kooistra
This article examines for the first time Il Corriere Ordinario, an Italian-language newspaper which appeared bi-weekly between 1671 and 1723 in Vienna. This specific newspaper title is remarkable because it was published in the Italian language in a predominantly German-speaking city. The two printers responsible for producing this periodical had recently migrated to Vienna from the Habsburg Low Countries. Despite recent advances in scholarship, acknowledging the importance of international news flows, foreign language newspaper ventures such as Il Corriere Ordinario have hitherto been largely ignored. This article investigates why this newspaper was printed in Vienna and argues that it was intended both for a local and international Italian(ate) audience. As a semi-official news bulletin of the imperial Habsburg government, it publicised foreign political news of its allies and became a useful tool in the fight against French propaganda. Using the case of this remarkable newspaper, I will demonstrate why and how political information moved across state and linguistic borders.
This essay considers the contrast between plainness and eloquence in some canonical English (secular) lyrics and plays from Wyatt through Shakespeare. Its claim is that in the relevant body of work, and in the culture as a whole, each of the styles bore a specifiable ideological charge. It shows that English secular poetry and drama in the sixteenth and early seventeenth century was profoundly aware of the ideologies associated with the two levels or kinds of style, and profoundly divided in its commitments. In lyric poetry, this is true in Wyatt at the beginning of the sixteenth century and of Sidney at the end. In drama, Shakespeare is profoundly aware both of the styles and of the ideologies with which they are associated. He uses and also critiques both of these in the poems and the plays. Othello is the culmination of both the use and the critique.