The Works and Times of Johan Huizinga (1872-1945) : : Writing History in the Age of Collapse.

• Superior document: Studies in the History of Knowledge Series
• Author: Rydin, Thor.
• Place / Publishing House: Amsterdam : : Amsterdam University Press,, 2023.; ©2024.
• Year of Publication: 2023
• Edition: 1st ed.
• Language: English
• Series: Studies in the history of knowledge
• Physical Description: 1 online resource (299 pages)

No detailed description available for "The Works and Times of Johan Huizinga (1872-1945)".

Table of Contents

Cover -- Table of Contents -- List of Illustrations -- Figure 0.1. Johan Huizinga and his daughter Laura in the summer of 1944. -- Figure 1.1. Huizinga's study at his home on Van Slingelandtlaan 4, Leiden. -- Figure 1.2. (A) One of the innumerable colouring pages Huizinga drew for his daughter Laura. (B) An ex-libris for his wife Mary by Huizinga. (C) A cartoon of the academic world by Huizinga. -- Figure 1.3. A drawing by Huizinga of his son Dirk on his deathbed (1920). -- Figure 1.4. (A) Huizinga's notes. In this document he describes his first car trip. (B) Huizinga on holiday with his children Leonhard, Jakob and Retha, year unknown. (C) Huizinga in costume for a seventeenth-century-themed student masquerade in Groninge -- Figure 1.5. Modernity brought new shapes to the Netherlands. Most Dutch cities, including Amsterdam, had been constructed according to a medieval urban anatomy: layers of circular streets lay around a city's central square. These circular structures did, -- Figure 1.6. De Tachtigers mediated the industrial transformation of Dutch society through an impressionist style. This style was meant to capture the fleeting nature of time amidst accelerated change. (A) Richard N. Roland Holst's Construction Site in Am -- Figure 1.7. De Negentigers launched their criticism against liberal individualism, amoralism and industrialization by rejecting impressionism and turning either to symbolism or socialist realism. The symbolist attempt to 'slow down' a history supposedly -- Figure 1.8. Huizinga commonly wrote his notes on strips of paper, usually on the back of paper that had already been written on, either by him or someone else. Next, he grouped and organized these strips in envelopes with particular designations. Sometim.

Figure 2.1. The canal along the Nieuwezijds Voorburgwal in Amsterdam had been dug in the fifteenth century and was drained in 1884 to accommodate traffic and the transportation of goods. As a consequence, the figure of Atlas, located on the roof of the r -- Figure 2.2. (A) The draining of canals opened up the possibility of implementing new technologies underneath the city's skin. Here a sewage system was installed on the Nieuwezijds Voorburgwal in 1884. (B) Berlage and his peers introduced modern, straight -- Figure 2.3. The modern world of commerce and technology was steeped in a Renaissance aesthetic. Berlage had been commissioned to build a new stock exchange in the 1885. The construction work started in 1898, and the building was revealed to the public in -- Figure 2.4. (A) Jan van Eyck's The Arnolfini Wedding (1434) is shown. On the right, two images show geometrical features of primary importance to the painting's art historical status. (B) A non-aligned, three-dimensional spatial orientation of the chande -- Figure 3.1. (A) An undated photograph of Ypres's Cloth Hall from before the war. (B) It is not known which photographs of Ypres Hoste added to the questionnaire he sent to Huizinga. Most likely, they looked something similar to the bottom image, which wa -- Figure 3.2. (A) A group of professors from the University of Leiden receive military training in the summer of 1915. Johan Huizinga is the fourth person from the left, just left of the standing lieutenant. (B) An undated photograph taken during the Great -- Figure 3.3. (A) A drawing of the Thomaskirche from 1749, by Joachim Ernst Scheffler. (B) A postcard image of the Thomaskirche displayed from the other side from 1918. The church's outer construction underwent a number of modifications during the nineteen.

Figure 4.1. In the 1910s and '20s, cinematographic culture was booming in the Netherlands as it was all over Europe. (A) Cinema Rembrandt in Amsterdam on Rembrandtplein (1927). (B) Interior of Cinema Tuschinski in Amsterdam (1921). (C) A film poster by E -- Figure 4.2. A new kind of public sports such as cycling, gymnastics and football entered the public arena around 1900 in the Netherlands. (A) Bike race in Amsterdam around 1900. (B) Public display by the General Gymnastics Association in Amsterdam in 190 -- Figure 4.3. (A) Employees in an Amsterdam sweatshop around 1900. (B) Employees in the Philips lightbulb factory in Eindhoven 1910-25. -- Figure 4.4. Two murals by Jan Toorop from 1902. (A) The Past. (B) The Future. The former shows submission by workers and women to an unjust system -- the latter reveals the just equality supposedly brought by industry and mechanical labour. A third mural, -- Figure 4.5. Huizinga's image of American culture and its cultural degeneration is for several reasons typical of the male perspective of his times. The Dutch women's suffrage movement typically cultivated a much brighter image of American culture. (A) A -- Figure 4.6. (A) The barbed wire's 'revenge' at the Dutch-Belgian border as depicted by the Dutch cartoonist Albert Hahn (1877-1918) in 'Deathwire' in De Notenkraker, 24 July 1915. (B) The mural The Homestead and the Building of Barbed Wire Fences, by Joh -- Figure 5.1. Drawings from Berlage's manifesto The Pantheon of Humanity (1919). -- Figure 5.2. Another example of Dutch internationalist culture at the beginning of the twentieth century: several board games celebrating peace and cooperation were brought onto the market in the 1900s and 1910s, both by commercial and public institutions.

Figure 5.3. A committee headed by the Dutch Catholic architect Pierre Cuypers (1827-1921) was installed to judge the proposals for the Peace Palace. Above, submissions by (A) F. Wendt, (B) Greenley and Olin, (C) L. Cordonnier and (D) F. Schwechten have b -- Figure 5.4. Rembrandt's Syndics of the Drapers' Guild (De Staalmeesters), painted in 1662. -- Figure 6.1. (A) An NSB poster from 1935 stating: 'Do not let your boy grow up [queuing] at the welfare office.' (B) Men queuing on 2 August 1933 to collect a free tax exemption for bike ownership, for which they were eligible due to economic hardship. (C -- Figure 6.2. (A) Cartoon in Het Volk (03-02-1935) after the existence of the German concentration camp Oranienburg became known. The text reads: 'A rip in the national socialist curtain'. (B) A cartoon in De Groene Amsterdammer (06-03-1936). Hitler is por -- Figure 6.3. Calm Water (Kalm Water), painted 1640-50 by Simon de Vlieger (1601-1653) and currently part of the Boijmans Van Beuningen collection in Rotterdam. The location of the site painted is unknown, but it is known that De Vlieger spent most of his -- Foreword -- Referring to Huizinga -- 1. Writing History in Times of Loss: A New Johan Huizinga -- Repetitions called Huizinga -- Huizinga's moral sympathies -- Huizinga's academic training and intellectual perspective -- Method and material -- Method -- Material -- Structure -- 2 'The Tyranny of the Present' -- A modern city and its ruins -- Burckhardt's uomo singolare -- Huizinga's medieval homo ludens -- Autumntide of the Middle Ages (1919) -- Interlude: Van Eyck's mirror -- The Problem of the Renaissance (1920) -- Conclusion -- 3 An Irretrievably Lost Past -- Ypres and the 'irreparable' disappearance of the past -- Lamprecht's laws -- Two perspectives on a church -- Huizinga's opposition to Lamprecht's Methode after 1919 -- Conclusion.

4 The Future, a Machine -- A past turned silent -- Anton Pannekoek and Huizinga's historical materialism in 1917-18 -- Frederik van Eeden and Huizinga's experience of generations -- Tocqueville's America: a social phenomenon -- Huizinga's America: a mechanical phenomenon -- Man's land and no man's land -- Conclusion -- 5 The Delay of the 'Grotian Hour' -- Huizinga and the 'Peace Palace generation' -- Huizinga and the Peace Palace -- Spengler's critique of Kosmopolitismus -- Huizinga's hope -- Huizinga's critique of Spengler in 1921 -- Huizinga's critique of Spengler after 1935 -- Spengler's Rembrandt versus Huizinga's Rembrandt -- Conclusion -- 6 The Looming Loss of a Democratic Order -- The autumntide of democracy: Huizinga's experience of the political in the 1930s -- Schmitt's Ernstfall: an agonistic term? -- Homo homini lupus versus homo ludens -- Land and sea: two perspectives on a river delta -- Conclusion -- Conclusion: In the Image of Loss -- Experiences of loss -- Writing in the image of loss: a way of life -- Bibliography -- Index of Names.