The Low Countries are famous for their radically changing landscape over the last 1,000 years. Like the landscape, the linguistic situation has also undergone major changes. In Holland, an early form of Frisian was spoken until, very roughly, 1100, and in parts of North Holland it disappeared even later. The hunt for traces of Frisian or Ingvaeonic in the dialects of the western Low Countries has been going on for around 150 years, but a synthesis of the available evidence has never appeared. The main aim of this book is to fill that gap. It follows the lead of many recent studies on the nature and effects of language contact situations in the past. The topic is approached from two different angles: Dutch dialectology, in all its geographic and diachronic variation, and comparative Germanic linguistics. In the end, the minute details and the bigger picture merge into one possible account of the early and high medieval processes that determined the make-up of western Dutch.

Dutch Resistance to the German Occupation of Holland 1940-45.

“A thoroughly researched and provocative revisionist study.” — Wall Street Journal “Going Dutch is elegant and thought-provoking. . . . Jardine evokes a dialogue of civilizations.” — Lisa Ko, author of The Leavers “She explores the fascinating Anglo-Dutch relationship to answer how and why two sworn foes became friends so seamlessly. . . . A highly original work that will appeal to fans of Simon Schama’s The Embarrassment of Riches.” — Publishers Weekly “Jardine meticulously studies the exchange of ideas between England and Holland...she leaves no stone unturned...Absorbing, enjoyable reading.” — Kirkus Reviews “Jardine understands and appreciates her sources, and she writes exceptionally lively history. A pleasure to read, this book is enthusiastically recommended...” — Library Journal

Designed as a catalogue for an exhibition at the Rijksmuseum in 1994, this offers a survey of the paintings, drawings, prints, sculpture and applied art produced 1580-1620. The book contains five essays followed by a catalogue which reproduces work from the era along with data on the artists.

A young girl who loves Double Dutch is caught in the crossfire of the secrets she, her best friend, and the school bullies are keeping in this emotional middle grade novel. Delia loves Double Dutch more than just about anything, and she’s really good at it—so good she and her teammates have a shot at winning the World Double Dutch Championships. Delia would die if she couldn’t jump—but she’s hiding something could keep her off the team next year. Delia’s friend Randy has a secret too, one that has him lonely and scared. And while Delia and Randy struggle to hide parts of themselves, their school is abuzz with rumors about what malicious mischief the terrible Tolliver twins—who just may have a hidden agenda of their own—are planning. Delia and Randy’s secrets collide on what should be the happiest day of Delia’s life, and the collision threatens to destroy their friendship. Why can’t life be as easy for Delia as Double Dutch?

Pictures depict busy people in a town throughout the year.

In the 1630s the Netherlands was gripped by tulipmania: a speculative fever unprecedented in scale and, as popular history would have it, folly. We all know the outline of the story—how otherwise sensible merchants, nobles, and artisans spent all they had (and much that they didn’t) on tulip bulbs. We have heard how these bulbs changed hands hundreds of times in a single day, and how some bulbs, sold and resold for thousands of guilders, never even existed. Tulipmania is seen as an example of the gullibility of crowds and the dangers of financial speculation. But it wasn’t like that. As Anne Goldgar reveals in Tulipmania, not one of these stories is true. Making use of extensive archival research, she lays waste to the legends, revealing that while the 1630s did see a speculative bubble in tulip prices, neither the height of the bubble nor its bursting were anywhere near as dramatic as we tend to think. By clearing away the accumulated myths, Goldgar is able to show us instead the far more interesting reality: the ways in which tulipmania reflected deep anxieties about the transformation of Dutch society in the Golden Age. “Goldgar tells us at the start of her excellent debunking book: ‘Most of what we have heard of [tulipmania] is not true.’. . . She tells a new story.”—Simon Kuper, Financial Times

In Shakespeare and the Dawn of Modern Science, renowned astronomy expert Peter Usher expands upon his allegorical interpretation of Hamlet and analyzes four more plays, Love's Labour's Lost, Cymbeline, The Merchant of Venice, and The Winter's Tale. With painstaking thoroughness, he dissects the plays and reveals that, contrary to current belief, Shakespeare was well aware of the scientific revolutions of his time. Moreover, Shakespeare imbeds in the allegorical subtext information on the appearances of the Sun, Moon, planets, and stars that he could not have known without telescopic aid, yet these plays appeared coeval with or prior to the commonly accepted date of 1610 for the invention and first use of the astronomical telescope. Dr. Usher argues that an early telescope, the so-called perspective glass, was the likely means for the acquisition of these data. This device was invented by the mathematician Leonard Digges, whose grandson of the same name contributed poems to the First and Second Folio editions of Shakespeare's plays. Shakespeare and the Dawn of Modern Science is an important addition to literature, history, and science collections as well as to personal libraries.

In the past 20 years, a wave of right-wing populist movements has swept over Europe, changing the face of European politics. The Netherlands has been one of the more iconic countries to partake in this shift. Known internationally as an emblem of progressivism and tolerance, the country soon became a frontrunner in the revival of nationalist and anti-immigrant sentiment. This is the first study to offer an extensive engagement with the ideas behind the Dutch swing to the right. The emergence of Dutch populism, this book shows, formed an integral part of a broader conservative tendency, identified as the Dutch New Right. In the US and the UK, the term New Right has been used to describe conservative backlash movements that arose in opposition to the progressive movements of the 1960s. The Dutch swing to the right, this book argues, formed a belated iteration of the New Right backlash that occurred overseas. This text will be essential reading for students and scholars in the fields of European Studies and Political Science, and Dutch politics and society more specifically.

Despite the tremendous number of studies produced annually in the field of Dutch art over the last 30 years or so, and the strong contemporary market for works by Dutch masters of the period as well as the public's ongoing fascination with some of its most beloved painters, until now there has been no comprehensive study assessing the state of research in the field. As the first study of its kind, this book is a useful resource for scholars and advanced students of seventeenth-century Dutch art, and also serves as a springboard for further research. Its 19 chapters, divided into three sections and written by a team of internationally renowned art historians, address a wide variety of topics, ranging from those that might be considered "traditional" to others that have only drawn scholarly attention comparatively recently.