1. Areas 2. Language 3. "Pertaining 4. Inhabitants to the area" and variants a. The Dutch language area (de Nederlanden); a. (Nederlands); a. (Nederlands); a. (Nederlander(s)!Vlaming(en{raquo}: the Netherlands Dutch Netherlandish Netherlander(s) b. The country whose capital is Amsterdam b. (Noordnederlands); b. {laquo}Noord)nederlands); b. (Nederlander(s{raquo}; (Nederland); Northern Dutch Northern; Northern Netherlander(s); the Northern Netherlands; Holland Dutch Dutch(man) c. The Dutch speaking part of Belgium c. (Zuidnederlands); c. (Vlaams); c. (Vlaming(en{raquo}; (V laanderen); Southern Dutch Southern Netherlander(s); Southern; the Southern Netherlands; Flanders Flemish Fleming(s) d. The western provinces of Holland d. (Hollands); d. (Hollands); d. (Hollander(s{raquo}: (Holland = Noord-Holland and Hollands Hollander(s) Hollands Zuid-Holland); the provinces of Holland e. The western provinces of Flanders e. (Vlaams); e. (Vlaams); e. (Vlaming(en{raquo}: (Vlaanderen ('de Vlaanders') = West Vlaams Vlaams Vlaming(en) Vlaanderen and Oost-Vlaanderen); the provinces of Flanders The Dutch terms are italicized. LINGUISTICS APPLIED LINGUISTICS IN THE SEVENTEENTH CENTURY, AND THE DUTCH GRAMMAR OF WILLEM BEYER, 1661, 1681 JOHN GLEDHILL In the flourishing culture of the Northern Netherlands in the early seventeenth century, a proportionate amount of attention was paid to the state of the language. Between 1623 and 1625 several of the leading literary figures, including Hooft and Vondel, had joined in a series of meetings to discuss many aspects of linguistic usage in literature. In this atmosphere it is to be expected that several grammars of the language would appear, and this is indeed the case.

For the first time in one volume in English are the spiritual writings of this outstanding intellectual figure (1401-1464) whose work anticipated modern problems of ecumenicity and pluralism, empowerment and reconciliation, and tolerance and individuality.

An Index to Music in Selected Historical Anthologies of Western Art Music is the essential reference for music history and music theory instructors for finding specific listings and details for all the pieces included in more than 140 anthologies published between 1931 and 2016. Containing over 5,000 individual listings, this concise book is an indispensable tool for teaching music history and theory. Since many anthologies exist in multiple editions, this Index provides instructors, students, and researches with the means to locate specific compositions in both print and online anthologies. This book includes listings by composer and title, as well as indexes of authors, titles, and first lines of text for music from antiquity through the early twenty-first century.

Published as Kerkhistorische Bijdragen , Documenta Anabaptistica , volume 6.

Using Pieter de Marees' Description and Historical Account of the Gold Kingdom of Guinea (1602) as her main source material, author Elizabeth Sutton brings to bear approaches from the disciplines of art history and book history to explore the context in which De Marees' account was created. Since variations of the images and text were repeated in other European travel collections and decorated maps, Sutton is able to trace how the framing of text and image shaped the formation of knowledge that continued to be repeated and distilled in later European depictions of Africans. She reads the engravings in De Marees' account as a demonstration of the intertwining domains of the Dutch pictorial tradition, intellectual inquiry, and Dutch mercantilism. At the same time, by analyzing the marketing tactics of the publisher, Cornelis Claesz, this study illuminates how early modern epistemological processes were influenced by the commodification of knowledge. Sutton examines the book's construction and marketing to shed new light on the social milieus that shared interests in ethnography, trade, and travel. Exploring how the images and text function together, Sutton suggests that Dutch visual and intellectual traditions informed readers' choices for translating De Marees' text visually. Through the examination of early modern Dutch print culture, Early Modern Dutch Prints of Africa expands the boundaries of our understanding of the European imperial enterprise.

The Tactics of Toleration examines the preconditions and limits of toleration during an age in which Europe was sharply divided along religious lines. During the Age of Religious Wars, refugee communities in borderland towns like the Rhineland city of Wesel were remarkably religiously diverse and culturally heterogeneous places. Examining religious life from the perspective of Calvinists, Lutherans, Mennonites, and Catholics, this book examines how residents dealt with pluralism during an age of deep religious conflict and intolerance. Based on sources that range from theological treatises to financial records and from marriage registries to testimonies before secular and ecclesiastical courts, this project offers new insights into the strategies that ordinary people developed for managing religious pluralism during the Age of Religious Wars. Historians have tended to emphasize the ways in which people of different faiths created and reinforced religious differences in the generations after the Reformation’s break-up of Christianity, usually in terms of long-term historical narratives associated with modernization, including state building, confessionalization, and the subsequent rise of religious toleration after a century of religious wars. In contrast, Jesse Spohnholz demonstrates that although this was a time when Christians were engaged in a series of brutal religious wars against one another, many were also learning more immediate and short-term strategies to live alongside one another. This book considers these “tactics for toleration” from the vantage point of religious immigrants and their hosts, who learned to coexist despite differences in language, culture, and religion. It demands that scholars reconsider toleration, not only as an intellectual construct that emerged out of the Enlightenment, but also as a dynamic set of short-term and often informal negotiations between ordinary people, regulating the limits of acceptable and unacceptable behavior. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.

J.S. Bach’s Musical Offering is a broadly known and extensively studied collection of musical pieces, written in 1747 shortly after his visit to the Potsdam court of Frederick the Great. The composition, however, survived in separated sheets of different formats, and finding the logic of its organization into a cycle became a great challenge for scholars of the following centuries. Based on ground-breaking findings by Christoph Wolff, who revealed the main principles of the Musical Offering’s structure, as well as those promulgated by Hans Theodor David, and more recently by G. Butler, W. Wiemer, R. Tatlow, and many other scholars, this book develops and revises their ideas, arriving at a unique conception of the possible original structure of the Musical Offering. While the rods of the collection do not provoke disagreements among scholars, the ordering of the ten canons (including the Fuga canonica) remains mysterious in many aspects, and this text gives them a close examination. It considers their kinds (thematic and contrapuntal); textual inscriptions; the canons’ function within the cycle (as vignettes to the main pieces); and their location, among other aspects. The volume includes profuse references to historical and cultural context; court etiquette; contrapuntal techniques; the history of the ricercar; expertise in Bach’s handwriting and habits of music layout in his manuscripts; and the Baroque principles of organization in arts.