During the First World War, some Dutch journals were explicitly oriented towards the culture of one of the belligerent nations. In periodicals such as the pro-German weekly De Toekomst (The Future) and the French oriented La Revue de Hollande, Dutch and foreign intellectuals and artists discussed the cultural identity of the Netherlands. This article draws attention to the latter journal. La Revue de Hollande pretended to be an intellectual trait d"union between the Netherlands and France. How did the editors try to achieve that aim? What does a first exploration of this magazine reveal about bilateral periodicals and their circles during the Great War? KEYWORDS Transnational relations, bilateral magazines, institutional analysis, discourse analysis INLEIDING Vanaf hun ontstaan in de late zeventiende eeuw speelden tijdschriften een belangrijke rol in de ontwikkeling van "de idee Europa". De geschiedenis van Europa als culturele ruimte (de geschiedenis ook van deze grote metafoor) is onlosmakelijk verbonden met tijdschriften die als knooppunten fungeerden in een land-en taalgrensoverschrijdende wetenschappelijke en culturele infrastructuur. Onderzoek naar het vroegmoderne geleerdentijdschrift toonde al aan hoe cruciaal deze periodieken waren voor de internationale productie en verspreiding van kennis. 1 Ook het succes van die grote Europese uitvinding, het nationalisme, kan voor een deel worden toegeschreven aan tijdschriften, voor zover zij vorm gaven aan nationale communicatiegemeenschappen. 2 Kortom: wie geïnteres

Within ayear after its initial publicationinGermanyin1929, Alfred Döblin's Berlin Alexanderplatz was translated into Dutch. Both, the original book and its translation wereread and discussed against the background of asearch for arenewal of prose writing.A uthorsa nd critics weref ascinateda nd puzzled by a novel that showed modernm etropolitan life in all its fury and thats eemed to break with the conventions of traditionalp sychological realism. The societal and political dimensions of the book however were largely ignored.This article explores the earlyreception of Berlin Alexanderplatz in the Netherlands in order to studyt he wayD utch critics classified, interpreted, and evaluated this book. The term Nieuwe Zakelijkheid was widelyp resent in literary criticism when Döblin'sb ook and its translation werel aunched on the Dutch book market (seeW agner 2019). It is plausible to assume that this new literary phenomenon constituted one of the contexts in which Döblin'sb ook was read. The research question underlying this exploration is twofold: how did Berlin Alexanderplatz function in contemporary critical discourse on literature, and to what extent did the Dutch reception show similarities with the Germanreception of the novel?T he analysis of reception documents from Dutch newspapers and periodicals from adiscursive and institutional perspective forms the basisof this exploration. After abrief introduction into the reception of foreign literature in the Netherlands duringt he 1930s (2)a nd as tate of affairs in research on the relationship between Berlin Alexanderplatz and Nieuwe Zakelijkheid (3), this chapter focuses on the analysis of the Dutch translation (4.1)and on the interpretation and evaluation of Döblin'sbook by Dutch critics (4.2 and 4.3). The conclusion (5) summarizes the findingsa nd makes suggestions for future research.

During the First World War and the interwar period, bilateral societies played an important role in the processes of literary and cultural transfer between the Netherlands and the surrounding countries. This article sets out to explore part of the reception of French literature and culture in the Netherlands by studying the cultural repertoire developed within the “Genootschap Nederland-Frankrijk” (The Netherlands-France Society) between 1916 and 1919. Analysis of the institutional settings and discursive practices concerning this international transfer brings to light how some prominent spokesmen in and around the Society constructed a strategic repertoire in order to (re)define Dutch cultural identity.

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Vallen is als vliegen by Manon Uphoff has been widely praised for the author’s courage to face a traumatic past. Critics also admired the novel’s originality, its enchanting style, glowing imagination and rich intertextuality. This article aims to answer the question as to how this novel engages its readers. Which literary techniques are used to seduce and guide the reader in her or his perception of the story? An analysis of the peritexts, some intertexts and the narrator’s point of view reveals the novel’s ambiguous nature. Its fundamental ambivalence can be understood against the background of an aesthetic experience that has come to be known as the sublime. Nederlandstalig abstract Vallen is als vliegen van Manon Uphoff werd alom geprezen vanwege de moed waarmee de schrijfster een traumatisch verleden onder ogen had gezien. Critici bewonderden ook de oorspronkelijkheid, de betoverende stijl, de gloedvolle verbeelding en de rijke intertekstualiteit van deze roman. Dit artikel beantwoordt de vraag hoe deze roman zijn lezers engageert. Welke literaire kunstgrepen worden gebruikt om de lezer te verleiden en te sturen in haar of zijn perceptie van het verhaal? In een analyse van de periteksten, enkele interteksten en de houding van de verteller zal het spel met ambiguïteit aan het licht worden gebracht. De fundamentele ambivalentie van deze roman kan worden begrepen tegen de achtergrond van een esthetische ervaring die bekend staat als het sublieme.