Michel van Duijnen - Academia.edu (original) (raw)
Papers by Michel van Duijnen
DOAJ (DOAJ: Directory of Open Access Journals), Jul 1, 2020
The interplay between text and image was a central part of history writing on the Eighty Years' W... more The interplay between text and image was a central part of history writing on the Eighty Years' War, known as the Dutch Revolt (1568-1648). Already during the first quarter of the seventeenth century, the still ongoing Revolt became the subject of numerous extensively illustrated history books printed in the Dutch Republic. Initially, all major illustrated Dutch history works relied heavily on copies of older news prints produced by the Cologne-based print maker Frans Hogenberg and his workshop. In the second half of the seventeenth century, however, enterprising Dutch publishers reissued these histories and made significant investments to furnish them with new printed images. Rather than focusing on the Revolt as a news event or as the subject of political propaganda, as had been the case in the Hogenberg illustrations, these new printed images paid particular attention to personal and dramatic aspects of the history of the Dutch Revolt. Moreover, Dutch publishers accentuated the luxurious character of these history books and their high-quality images. In this article, I argue that these new printed images, guided by a commercial drive of mainly Amsterdam printers for the production of appealing illustrated books, marked a significant turning point in the visualisation of the Dutch Revolt. De combinatie van beeld en tekst was een belangrijk onderdeel van de geschiedschrijving over de Tachtigjarige Oorlog, ook bekend als de Nederlandse Opstand (1568-1648). Al in de eerste decennia van de zeventiende eeuw werden er in de Nederlandse Republiek rijk geïllustreerde boeken over de voortgang van de oorlog gedrukt. De hierin opgenomen illustraties waren meestal kopieën van nieuwsprenten vervaardigd door de Keulse prentmaker Frans Hogenberg en diens drukkerij. Vanaf 1670, ongeveer 25 jaar nadat de Nederlandse Opstand beëindigd was, deden Nederlandse uitgevers in de tweede helft van de zeventiende eeuw from artless to artful 5 van duijnen forse investeringen om de heruitgaven van deze historische studies te voorzien van een groot aantal nieuwe prenten. Deze nieuwe illustraties waren niet langer gericht op de nieuwswaarde van de Tachtigjarige Oorlog of op het verspreiden van propaganda, zoals wel het geval was geweest bij de prenten van Hogenberg, maar stelden juist de verbeelding van persoonlijke en dramatische verhalen centraal. Ook legden prentenmakers meer nadruk op het luxueuze karakter van de boeken en de hoge kwaliteit van de illustraties. In dit artikel betoog ik dat deze nieuwe prenten, die pasten binnen de commerciële handelswijze van voornamelijk Amsterdamse uitgevers, een doorslaggevende invloed hadden op de totstandkoming van een nieuwe verbeelding van de Tachtigjarige Oorlog. Introduction 1 Historians, publishers, and printmakers did not wait for the end of the Eighty Years' War in 1648 to start manufacturing printed histories of the conflict. Already in the first quarter of the seventeenth century, the war, also known as the Dutch Revolt, became the topic of extensively illustrated history books. During the Twelve Years' Truce (1609-1621) especially, books packed with prints flew off the presses in the Dutch Republic. This first cluster of Dutch illustrated histories examined in this article included the works of Pieter Christiaenz. Bor, Willem Baudartius, and Johannes Gysius, which provided the backbone of an emerging 'national' history of the Dutch Republic. Central to these publications were the reworked etchings of the sixteenth-century printmaker Frans Hogenberg (1535-1590), whose workshop in Cologne had covered much of the first half of the Eighty Years' War through the continuous production of news prints. By the 1640s, however, books on the Revolt rarely appeared with illustrations-a change in line with a more general slump in the Dutch printing industry. 2 The first edition of P.C. Hooft's Nederlandsche Historien, 1 This article is the result of my work as a PhDcandidate within the research programme
Manchester University Press eBooks, Jan 26, 2021
In early modern Christian Europe, 'the Turk' played an important role in the imagination of viole... more In early modern Christian Europe, 'the Turk' played an important role in the imagination of violence. With the successful European campaigns of the Ottoman Empire in the sixteenth century, 'Turks' came increasingly to be seen as warriors that were equally cruel and formidable. 1 Sixteenth-century German propaganda prints would portray Turkish raiders as beasts that impaled children on lances, collected trophy heads, and ate the flesh of their victims. 2 In this way, 'the Turk' became a benchmark for excessive violence in the imagination of Christian Europe. During the wars of religion, both Catholic and Protestant factions would use this image of the Turk to denounce their Christian enemies. Rhetorically, heretics were described as just as cruel as the sultan's soldiers-if not more bloodthirsty in character. 3 Even the battle cry of some of the early Dutch Calvinist rebels in the Eighty Years' War, who claimed that they would 'rather [be] Turkish than Popish', 4 played on the general Christian-European fear of the ever-lurking Turkish threat. 5 However, these older sixteenth-century images started to be rapidly reconfigured during the Great Turkish War of 1683-99. In 1683, after a period of uneasy peace between the Austrian Habsburgs and the Ottoman Empire, Grand Vizier Kara Mustafa marched on Vienna in a spectacular show of military might. While the Ottoman army laid siege to the city, the king of Poland, John III Sobieski, took command of a relief expedition. After a gruelling siege of two months the relief force arrived and scattered Kara Mustafa's troops. Defeated at the gates of Vienna, the Ottoman forces were now put on the defensive.
Cultural history, 2021
This article studies the visual representation of violence in the Dutch Republic and the growth o... more This article studies the visual representation of violence in the Dutch Republic and the growth of a “staple market of images” in the early modern period. It introduces and employs the concept of imagineering for analysing what images can do to people when circulated in the context of a fast-expanding market. The advancement of the early modern print industry and imagery marketing produced a swirl of violent images. It was through this “spectacle of violence” and its related sensory and embodied experiences, that new ways of looking were introduced, which helped to craft new selves and realities. As the public manifestation of violence by ruling powers became less dominant, violence could become a matter of private consumption; a commodity to be enjoyed. Producers needed to create new markets as well as serve an existing one, satisfying clients in their inquisitive search for knowledge and excitement. Imagineering was not just a mimetic duplicate of its historical context, here, it ...
TMG Journal for Media History, 2014
This article sheds light on the use of the words ‘nationalism’, ‘nationalist(s)’ and ‘nationalist... more This article sheds light on the use of the words ‘nationalism’, ‘nationalist(s)’ and ‘nationalistic’in the news coverage of three Dutch newspapers about Macedonia during the breakup of Yugoslavia. A review of 280 newspaper articles shows that nationalism is often associated with extremism and violence, and is selectively linked to specific national groups and movements.Drawing upon the social-scientific term ‘banal nationalism’, this study argues that the selectiveuse of words associated with ‘nationalism’ constitutes both a rhetorical tool and an implicit formof moral judgement. More importantly, by focussing on this stereotype picture of nationalism,the media ensures that other nationalist phenomena, which do not fit this popular stereotype, are not discussed. Thus, a negative view of nationalist ideology leads to a ‘naturalization’ of thoseforms of nationalism that are deemed ‘non-extremist’. This paradox is explained both by the presence of ‘banal’ forms of nationalism in the West and the infamous ‘good guys - bad guys’distinction that crippled Dutch news coverage of the breakup of Yugoslavia.
Early Modern Low Countries, 2018
Cultural History, 2021
This article studies the visual representation of violence in the Dutch Republic and the growth o... more This article studies the visual representation of violence in the Dutch Republic and the growth of a “staple market of images” in the early modern period. It introduces and employs the concept of imagineering for analysing what images can do to people when circulated in the context of a fast-expanding market. The advancement of the early modern print industry and imagery marketing produced a swirl of violent images. It was through this “spectacle of violence” and its related sensory and embodied experiences, that new ways of looking were introduced, which helped to craft new selves and realities. As the public manifestation of violence by ruling powers became less dominant, violence could become a matter of private consumption; a commodity to be enjoyed. Producers needed to create new markets as well as serve an existing one, satisfying clients in their inquisitive search for knowledge and excitement. Imagineering was not just a mimetic duplicate of its historical context, here, it performatively altered the imagination through the effective use of a new cultural infrastructure that enabled a visual abundance and continuous repetition and remediation of images.
TSEG - The Low Countries Journal of Social and Economic History
BMGN - Low Countries Historical Review
BMGN - Low Countries Historical Review
BMGN - Low Countries Historical Review
Early Modern Low Countries, 2018
For a version with high quality images, follow the link to the original article in Early Modern L... more For a version with high quality images, follow the link to the original article in Early Modern Low Countries: https://www.emlc-journal.org/articles/10.18352/emlc.73/#
In 1685, Dutch Calvinist publishers brought to the market a new edition of the Anabaptist martyrology Het bloedig tooneel. Marketed mainly towards wealthy Dutch Anabaptists, the book included 104 high-quality etchings made by the Amsterdam artist Jan Luyken. Famous for their explicit depiction of executions, these images of martyrdom have been studied and explained mainly with reference to Luyken’s Anabaptist leanings, older illustrated martyrologies, and the textual elements of Het bloedig tooneel. However, Luyken matched his work on martyrdom with an impressive production of secular execution prints that are often indistinguishable from their religious counterparts. Taking these similarities as a point of departure, this article will argue that Luyken’s work was not solely concerned with religious and political views, but also with judicial violence as a visual theme in its own right. Besides partisan or sacred readings of violence, Luyken’s prints framed executions in terms of diversity and specificity, leading to the production of a wide variety of explicit and unique images of beheadings, hangings, and burnings. Within this context, Luyken’s execution prints turned scaffold violence into a marketable theme that was eagerly exploited by Amsterdam publishers across a wide variety of illustrated books.
The early modern period witnessed an explosion of the representation and performance of violence.... more The early modern period witnessed an explosion of the representation and performance of violence. In European cities, renaissance and baroque theatre staged gruesome and passionate plays, while in the streets, during religious festivals and public entries of sovereigns, state and church conjured up violent images of subjection and suffering. The book market added to this spectacle of violence, as the early modern period saw the development of an advanced material infrastructure for the production, distribution, consumption, and appropriation of such imagery. A fast-growing body of texts and prints registered violent episodes of the past and the present. On a daily basis, the public could study in detail the techniques used in battle, to torture martyrs or execute criminals. How can we explain this apparent fascination for violence? What effects and affects did these scenes aim to arouse? What relationships were enforced between the audience and the depicted or enacted scenes? What groups were depicted as violent and did they obtain specific violent qualities?
This article sheds light on the use of the words ‘nationalism’, ‘nationalist(s)’ and ‘nationalist... more This article sheds light on the use of the words ‘nationalism’, ‘nationalist(s)’ and ‘nationalistic’ in the news coverage of three Dutch newspapers about Macedonia during the breakup of Yugoslavia. A review of 280 newspaper articles shows that nationalism is often associated with extremism and violence, and is selectively linked to specific national groups and movements.Drawing upon the social-scientific term ‘banal nationalism’, this study argues that the selective use of words associated with ‘nationalism’ constitutes both a rhetorical tool and an implicit form of moral judgement.
More importantly, by focussing on this stereotype picture of nationalism,the media ensures that other nationalist phenomena, which do not fit this popular stereotype, are not discussed. Thus, a negative view of nationalist ideology leads to a ‘naturalization’ of those forms of nationalism that are deemed ‘non-extremist’. This paradox is explained both by the presence of ‘banal’ forms of nationalism in the West and the infamous ‘good guys - bad guys’ distinction that crippled Dutch news coverage of the breakup of Yugoslavia.
DOAJ (DOAJ: Directory of Open Access Journals), Jul 1, 2020
The interplay between text and image was a central part of history writing on the Eighty Years' W... more The interplay between text and image was a central part of history writing on the Eighty Years' War, known as the Dutch Revolt (1568-1648). Already during the first quarter of the seventeenth century, the still ongoing Revolt became the subject of numerous extensively illustrated history books printed in the Dutch Republic. Initially, all major illustrated Dutch history works relied heavily on copies of older news prints produced by the Cologne-based print maker Frans Hogenberg and his workshop. In the second half of the seventeenth century, however, enterprising Dutch publishers reissued these histories and made significant investments to furnish them with new printed images. Rather than focusing on the Revolt as a news event or as the subject of political propaganda, as had been the case in the Hogenberg illustrations, these new printed images paid particular attention to personal and dramatic aspects of the history of the Dutch Revolt. Moreover, Dutch publishers accentuated the luxurious character of these history books and their high-quality images. In this article, I argue that these new printed images, guided by a commercial drive of mainly Amsterdam printers for the production of appealing illustrated books, marked a significant turning point in the visualisation of the Dutch Revolt. De combinatie van beeld en tekst was een belangrijk onderdeel van de geschiedschrijving over de Tachtigjarige Oorlog, ook bekend als de Nederlandse Opstand (1568-1648). Al in de eerste decennia van de zeventiende eeuw werden er in de Nederlandse Republiek rijk geïllustreerde boeken over de voortgang van de oorlog gedrukt. De hierin opgenomen illustraties waren meestal kopieën van nieuwsprenten vervaardigd door de Keulse prentmaker Frans Hogenberg en diens drukkerij. Vanaf 1670, ongeveer 25 jaar nadat de Nederlandse Opstand beëindigd was, deden Nederlandse uitgevers in de tweede helft van de zeventiende eeuw from artless to artful 5 van duijnen forse investeringen om de heruitgaven van deze historische studies te voorzien van een groot aantal nieuwe prenten. Deze nieuwe illustraties waren niet langer gericht op de nieuwswaarde van de Tachtigjarige Oorlog of op het verspreiden van propaganda, zoals wel het geval was geweest bij de prenten van Hogenberg, maar stelden juist de verbeelding van persoonlijke en dramatische verhalen centraal. Ook legden prentenmakers meer nadruk op het luxueuze karakter van de boeken en de hoge kwaliteit van de illustraties. In dit artikel betoog ik dat deze nieuwe prenten, die pasten binnen de commerciële handelswijze van voornamelijk Amsterdamse uitgevers, een doorslaggevende invloed hadden op de totstandkoming van een nieuwe verbeelding van de Tachtigjarige Oorlog. Introduction 1 Historians, publishers, and printmakers did not wait for the end of the Eighty Years' War in 1648 to start manufacturing printed histories of the conflict. Already in the first quarter of the seventeenth century, the war, also known as the Dutch Revolt, became the topic of extensively illustrated history books. During the Twelve Years' Truce (1609-1621) especially, books packed with prints flew off the presses in the Dutch Republic. This first cluster of Dutch illustrated histories examined in this article included the works of Pieter Christiaenz. Bor, Willem Baudartius, and Johannes Gysius, which provided the backbone of an emerging 'national' history of the Dutch Republic. Central to these publications were the reworked etchings of the sixteenth-century printmaker Frans Hogenberg (1535-1590), whose workshop in Cologne had covered much of the first half of the Eighty Years' War through the continuous production of news prints. By the 1640s, however, books on the Revolt rarely appeared with illustrations-a change in line with a more general slump in the Dutch printing industry. 2 The first edition of P.C. Hooft's Nederlandsche Historien, 1 This article is the result of my work as a PhDcandidate within the research programme
Manchester University Press eBooks, Jan 26, 2021
In early modern Christian Europe, 'the Turk' played an important role in the imagination of viole... more In early modern Christian Europe, 'the Turk' played an important role in the imagination of violence. With the successful European campaigns of the Ottoman Empire in the sixteenth century, 'Turks' came increasingly to be seen as warriors that were equally cruel and formidable. 1 Sixteenth-century German propaganda prints would portray Turkish raiders as beasts that impaled children on lances, collected trophy heads, and ate the flesh of their victims. 2 In this way, 'the Turk' became a benchmark for excessive violence in the imagination of Christian Europe. During the wars of religion, both Catholic and Protestant factions would use this image of the Turk to denounce their Christian enemies. Rhetorically, heretics were described as just as cruel as the sultan's soldiers-if not more bloodthirsty in character. 3 Even the battle cry of some of the early Dutch Calvinist rebels in the Eighty Years' War, who claimed that they would 'rather [be] Turkish than Popish', 4 played on the general Christian-European fear of the ever-lurking Turkish threat. 5 However, these older sixteenth-century images started to be rapidly reconfigured during the Great Turkish War of 1683-99. In 1683, after a period of uneasy peace between the Austrian Habsburgs and the Ottoman Empire, Grand Vizier Kara Mustafa marched on Vienna in a spectacular show of military might. While the Ottoman army laid siege to the city, the king of Poland, John III Sobieski, took command of a relief expedition. After a gruelling siege of two months the relief force arrived and scattered Kara Mustafa's troops. Defeated at the gates of Vienna, the Ottoman forces were now put on the defensive.
Cultural history, 2021
This article studies the visual representation of violence in the Dutch Republic and the growth o... more This article studies the visual representation of violence in the Dutch Republic and the growth of a “staple market of images” in the early modern period. It introduces and employs the concept of imagineering for analysing what images can do to people when circulated in the context of a fast-expanding market. The advancement of the early modern print industry and imagery marketing produced a swirl of violent images. It was through this “spectacle of violence” and its related sensory and embodied experiences, that new ways of looking were introduced, which helped to craft new selves and realities. As the public manifestation of violence by ruling powers became less dominant, violence could become a matter of private consumption; a commodity to be enjoyed. Producers needed to create new markets as well as serve an existing one, satisfying clients in their inquisitive search for knowledge and excitement. Imagineering was not just a mimetic duplicate of its historical context, here, it ...
TMG Journal for Media History, 2014
This article sheds light on the use of the words ‘nationalism’, ‘nationalist(s)’ and ‘nationalist... more This article sheds light on the use of the words ‘nationalism’, ‘nationalist(s)’ and ‘nationalistic’in the news coverage of three Dutch newspapers about Macedonia during the breakup of Yugoslavia. A review of 280 newspaper articles shows that nationalism is often associated with extremism and violence, and is selectively linked to specific national groups and movements.Drawing upon the social-scientific term ‘banal nationalism’, this study argues that the selectiveuse of words associated with ‘nationalism’ constitutes both a rhetorical tool and an implicit formof moral judgement. More importantly, by focussing on this stereotype picture of nationalism,the media ensures that other nationalist phenomena, which do not fit this popular stereotype, are not discussed. Thus, a negative view of nationalist ideology leads to a ‘naturalization’ of thoseforms of nationalism that are deemed ‘non-extremist’. This paradox is explained both by the presence of ‘banal’ forms of nationalism in the West and the infamous ‘good guys - bad guys’distinction that crippled Dutch news coverage of the breakup of Yugoslavia.
Early Modern Low Countries, 2018
Cultural History, 2021
This article studies the visual representation of violence in the Dutch Republic and the growth o... more This article studies the visual representation of violence in the Dutch Republic and the growth of a “staple market of images” in the early modern period. It introduces and employs the concept of imagineering for analysing what images can do to people when circulated in the context of a fast-expanding market. The advancement of the early modern print industry and imagery marketing produced a swirl of violent images. It was through this “spectacle of violence” and its related sensory and embodied experiences, that new ways of looking were introduced, which helped to craft new selves and realities. As the public manifestation of violence by ruling powers became less dominant, violence could become a matter of private consumption; a commodity to be enjoyed. Producers needed to create new markets as well as serve an existing one, satisfying clients in their inquisitive search for knowledge and excitement. Imagineering was not just a mimetic duplicate of its historical context, here, it performatively altered the imagination through the effective use of a new cultural infrastructure that enabled a visual abundance and continuous repetition and remediation of images.
TSEG - The Low Countries Journal of Social and Economic History
BMGN - Low Countries Historical Review
BMGN - Low Countries Historical Review
BMGN - Low Countries Historical Review
Early Modern Low Countries, 2018
For a version with high quality images, follow the link to the original article in Early Modern L... more For a version with high quality images, follow the link to the original article in Early Modern Low Countries: https://www.emlc-journal.org/articles/10.18352/emlc.73/#
In 1685, Dutch Calvinist publishers brought to the market a new edition of the Anabaptist martyrology Het bloedig tooneel. Marketed mainly towards wealthy Dutch Anabaptists, the book included 104 high-quality etchings made by the Amsterdam artist Jan Luyken. Famous for their explicit depiction of executions, these images of martyrdom have been studied and explained mainly with reference to Luyken’s Anabaptist leanings, older illustrated martyrologies, and the textual elements of Het bloedig tooneel. However, Luyken matched his work on martyrdom with an impressive production of secular execution prints that are often indistinguishable from their religious counterparts. Taking these similarities as a point of departure, this article will argue that Luyken’s work was not solely concerned with religious and political views, but also with judicial violence as a visual theme in its own right. Besides partisan or sacred readings of violence, Luyken’s prints framed executions in terms of diversity and specificity, leading to the production of a wide variety of explicit and unique images of beheadings, hangings, and burnings. Within this context, Luyken’s execution prints turned scaffold violence into a marketable theme that was eagerly exploited by Amsterdam publishers across a wide variety of illustrated books.
The early modern period witnessed an explosion of the representation and performance of violence.... more The early modern period witnessed an explosion of the representation and performance of violence. In European cities, renaissance and baroque theatre staged gruesome and passionate plays, while in the streets, during religious festivals and public entries of sovereigns, state and church conjured up violent images of subjection and suffering. The book market added to this spectacle of violence, as the early modern period saw the development of an advanced material infrastructure for the production, distribution, consumption, and appropriation of such imagery. A fast-growing body of texts and prints registered violent episodes of the past and the present. On a daily basis, the public could study in detail the techniques used in battle, to torture martyrs or execute criminals. How can we explain this apparent fascination for violence? What effects and affects did these scenes aim to arouse? What relationships were enforced between the audience and the depicted or enacted scenes? What groups were depicted as violent and did they obtain specific violent qualities?
This article sheds light on the use of the words ‘nationalism’, ‘nationalist(s)’ and ‘nationalist... more This article sheds light on the use of the words ‘nationalism’, ‘nationalist(s)’ and ‘nationalistic’ in the news coverage of three Dutch newspapers about Macedonia during the breakup of Yugoslavia. A review of 280 newspaper articles shows that nationalism is often associated with extremism and violence, and is selectively linked to specific national groups and movements.Drawing upon the social-scientific term ‘banal nationalism’, this study argues that the selective use of words associated with ‘nationalism’ constitutes both a rhetorical tool and an implicit form of moral judgement.
More importantly, by focussing on this stereotype picture of nationalism,the media ensures that other nationalist phenomena, which do not fit this popular stereotype, are not discussed. Thus, a negative view of nationalist ideology leads to a ‘naturalization’ of those forms of nationalism that are deemed ‘non-extremist’. This paradox is explained both by the presence of ‘banal’ forms of nationalism in the West and the infamous ‘good guys - bad guys’ distinction that crippled Dutch news coverage of the breakup of Yugoslavia.