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In Nederlands onderwijs wordt steeds vaker 10 minuten gelezen aan het begin van de les. Deze bijdrage legt uit waarom dat geen zoden aan de dijk zet.

This article elaborates on the concept of 'rijke teksten' ('rich texts') in Dutch language education, focusing on the ambiguity of this term in the curriculum. It presents some learning situations in which this ambiguity comes to the fore, and proposes how to convey the term in literary education.

Contains fulltext : 235564.pdf (Publisher’s version ) (Open Access) 14 p.

Contains fulltext : 206002.pdf (Publisher’s version ) (Open Access) 12 p.

Hoe divers is het Nederlandse literatuuronderwijs? Uit wetenschappelijk onderzoek blijkt dat er een serieus onevenwicht is tussen mannelijke en vrouwelijke, westerse en niet-westerse, Nederlandse en Vlaamse auteurs in de boekkeuzes die leerlingen maken.

For many, literature and marketing are considered opposite phenomena. This book discusses cases in which the two are closely connected. It argues that literature is subject to the same mechanisms as other commercial products: our experience of literary texts is prefigured by brands, trademarks that identify a product and differentiate it from its competitors. From the early modern period onwards, literary authors and their texts are constantly ‘branded’ and have been both the object and the trailblazer of a complex marketing process. The authors of this volume analyze this branding process throughout the centuries, focusing on the Netherlands. To what extent is our experience of Dutch literature prefigured by brands, and what role does branding play when introducing European authors in the Dutch literary field (or vice versa)? By answering these questions, Branding Books Across the Ages seeks to show how literary scholars understand branding – a phenomenon that has long been intertwined with literature.

This article poses the research question of how readers of poetry react to the phenomenon of “corona poetry” by assessing their attitude toward poems on Covid-19, especially focusing on the specifi...

In this chapter we present Friederike Mayröcker and Lucienne Stassaert, both of whom are considered to be the main women writers with a distinct profile in their respective experimental contexts during the 1960s. This chapter wants to explore how, if at all, this shared exceptional gender related status is reflected in their self-positioning and poetics. What was their relationship with their respective male dominated artistic environments like? How did their artistic practice take shape? As we will show, both authors share(d) a preference for Einzelgängertum [going it alone] and volatility in their literary self-positioning, with a similar evolution towards less explicit experimentalism around 1970. Their concrete literary practice of the late 1960s, however, diverges greatly. Related though they are regarding their position in the literary field, their texts demonstrate that this does not lead up to a uniform gendered poetics. Biographically too, differences come to the fore, especially concerning the generations they belong to, as well as the national and institutional context they grew up in, as the following paragraphs will make clear.

Wat mag er wel en niet op de leeslijst? Het is een vraag die soms tot hevige discussies tussen leraren Nederlands leidt. De onderliggende vraag daarbij is wat wel en niet tot de literatuur behoort, en hoe belangrijk het is dat leerlingen daar kennis van nemen. In deze bijdrage aan het handboek legt literatuurwetenschapper Jeroen Dera uit waarom er eigenlijk geen sluitende definitie van het begrip ‘literatuur’ mogelijk is. Hij zet daartoe een functionalistische definitie van literatuur af tegen een essentialistische definitie. Ook bespreekt hij hoe het literatuuronderwijs zelf voortdurend bijdraagt aan het beeld dat mensen van literatuur hebben, en verkent hij enkele onderzoeksperspectieven waarmee we dat beeld verder kunnen aanscherpen.

Previous research shows conflicting findings for the effect of font readability on comprehension and memory for language. It has been found that—perhaps counterintuitively–a hard to read font can be beneficial for language comprehension, especially for difficult language. Here we test how font readability influences the subjective experience of poetry reading. In three experiments we tested the influence of poem difficulty and font readability on the subjective experience of poems. We specifically predicted that font readability would have opposite effects on the subjective experience of easy versus difficult poems. Participants read poems which could be more or less difficult in terms of conceptual or structural aspects, and which were presented in a font that was either easy or more difficult to read. Participants read existing poems and subsequently rated their subjective experience (measured through four dependent variables: overall liking, perceived flow of the poem, perceived topic clarity, and perceived structure). In line with previous literature we observed a Poem Difficulty x Font Readability interaction effect for subjective measures of poetry reading. We found that participants rated easy poems as nicer when presented in an easy to read font, as compared to when presented in a hard to read font. Despite the presence of the interaction effect, we did not observe the predicted opposite effect for more difficult poems. We conclude that font readability can influence reading of easy and more difficult poems differentially, with strongest effects for easy poems.

The introduction of new media intensifies the need of traditional media to re-evaluate their institutional function and, more importantly, to reshape their identity. Presenting a case study from the field of book reviewing, this article critically explores this tension between old and new media. In order to grasp such a friction, it makes use of the concept of institutional identity, which is defined as a complex blend of an institution’s auto-presentation and hetero-presentation. Analyzing the institutional identity of the Dutch book reviewing website “De Reactor,” the article shows how a discrepancy between the acts of auto-presentation and hetero-presentation reveals a discursive battle between old and new media.

As soon as radio became a mass medium in the 1920s and 1930s, broadcasting organizations aired programmes on literary topics. This article explores the function of literature in De radiogids, the weekly periodical of the Dutch socialist broadcaster VARA. Focusing on the pre-war period, the article shows that literary radio programmes received little attention in De radiogids, despite the efforts of literary programme maker Martien Beversluis to establish a literary feature in the magazine. Although these findings suggest that literary radio programmes were of little interest to the VARA, De radiogids contains valuable cultural-historical sources concerning the relationship between radio and literature in the interwar period.

Contains fulltext : 129109.pdf (Publisher’s version ) (Open Access) Departing from the claim that media actively co-construct gender relations in a society, this article focuses on the interwar literary features of the Dutch Catholic radio broadcaster KRO. Similar to all broadcasting organizations in the Dutch Interbellum, the KRO aired these literary features in order to contribute to the cultural elevation of its listeners. Remarkable about the KRO, however, is that it created a division between an official literary feature, which was aired on Sunday afternoons, and a series composed of literary contributions aimed specifically at women, which was broadcast on Tuesday afternoons. Specifically focusing on their repertoires, this article primarily aimed to analyze the differences between these two features. It appears that the books of female writers were underrepresented in the official feature and overrepresented in the women’s feature, which indicates that Dutch radio reflected the hegemonic gender relations in the interwar literary field. 15 p.

As soon as radio became a mass medium in the 1920s and 1930s, broadcasting organizations aired programmes on literary topics. This article explores the function of literature in De radiogids, the weekly periodical of the Dutch socialist broadcaster VARA. Focusing on the pre-war period, the article shows that literary radio programmes received little attention in De radiogids, despite the efforts of literary program maker Martien Beversluis to establish a literary feature in the magazine. Although these findings suggest that literary radio programmes were of little interest, De radiogids contains valuable cultural-historical sources concerning the relation between radio and literature in the interwar period.

Contains fulltext : 149454.pdf (Publisher’s version ) (Open Access) 18 p.

This article discusses two adaptations of Gerard Reve’s De avonden (‘The Evenings’): Rudolf van den Berg’s 1989 movie and Dick Matena’s 2007 graphic novel. Arguing that the practice of fidelity criticism within the field of adaptation studies is highly problematic, the author proposes to study adaptations through Francesco Casetti’s concepts of ‘reappearance’ and ‘reprogramming the reception’. His analysis concentrates on elements of hypotext reappearing in new historical contexts and media, with a focus on the relation between the adaptation and the novel’s reception history. Regarding this relation, the article points out that Van den Berg’s movie resembles the psychological interpretation of De avonden, which was dominant in the 1960s and 1970s, whereas Matena’s graphic novel echoes the sociological interpretation which was characteristic of the time of the novel’s initial reception.

This article examines the literary features of the Catholic radio broadcaster KRO between1928 and 1940. The KRO's literary program is considered to be a remarkable case inDutch broadcasting history ,for it included both an official feature on literature and a so-called'women's hour’, that frequently aired lectures on novels and poetry as well. Bycritically comparing the two features, the article argues that the gender-based stratificationof the Dutch literary field in the interwar period also affected the practices of literarycriticism.