Women’s History Behind the Dykes: Reflections on the Situation in the Netherlands (original) (raw)
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This survey offers an outline of women's and gender history , the key terms they deployed, and controversies that redirected the course of study in these fields. Focusing on the relationship between history, women's history, and politics, during the dynamic periods from 1900 and the Second World War, and from the 1970s to the 2000s, this critical survey draws on the notion of the 'supplement' to describe the research and writing that '"include women" in 'any of the great movements which, brought together, constitute the historians' view of the past'. This term, as linguists and historians have noted, is equivocal, denoting an addition of material to the body of knowledge about the past that is relative to that body and perhaps marginal to it, but may also serve to challenge and relativize the very thing that we define as history. The notion of the supplement may serve as a general framework to help locate women's and gender history, as fields of study and a set of practices, in relation to modern history and to politics. What was the significance of the recovery of women as a subject of history? How did women's history relate to developments in the wider discipline? Has research and writing about women had the potential of making a difference to British history? These questions have been raised in debates, However, the interpretations have tended towards a linear description of the development of the field, according to which women's history developed from a herstory, to "social gender", to a feminist post-structuralist history . The article criticizes narratives of 'progress' or 'regress' , exploring instead the tensions between these trends with their potential of the 'supplement'.
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Long overdue in the history of the Netherlands Yearbook for History of Art, this volume foregrounds women as creators, patrons, buyers, and agents of change in the arts of the Low Countries. Venturing beyond the participation of ‘exceptional’ individuals, chapters investigate how women produced paintings, sculptures, scientific illustrations, and tapestries as well as their role in architectural patronage and personalized art collections. Teasing out a variety of socio-economic, legal, institutional, and art-theoretical dimensions of female agency, the volume highlights the role of visual culture in women’s lived experience and self-representation, asking to what extent women challenged, subverted, or confirmed societal norms in the Netherlands.
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How did women determine their attitude towards the transforming nation-state at the end of the 19th century? What stylistic strategies did they use and what were the consequences for the political power relations between the sexes? These questions form the guiding principle for the book "A Fatherland for Women". In this richly illustrated - partly English - collection, the National Exhibition of Women's Labor in 1898 is the starting point. The first part discusses the history of the (inter)national industrial exhibitions and makes clear how important contacts between women from different countries were in the design of women's exhibitions. Despite national differences, certain similarities between these manifestations are striking. The articles in the other three parts deal with themes that received a lot of attention at the Hague Women’s Exhibition: social care and labor; colonial relationships; secondary and higher education. A special photo section shows replicas of the postcards produced during the 1898 Exhibition, showing the exhibition building, the display of objects, working-class at work during the exhibition, the colonial display of a Javanese village and a photo of the Surinamese woman Lousie Yda.