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Results: 329
Number of items: 329
  • Leerssen, J. (2013). A cross-country foxhunt: claiming Reynard for the national literatures of nineteenth-century Europe. In P. J. Geary, & G. Klaniczay (Eds.), Manufacturing Middle Ages: entangled history of medievalism in nineteenth-century Europe (pp. 259-277). (National cultivation of culture; No. 6). Brill.
  • Open Access
    Leerssen, J. (2013). Notes towards a definition of Romantic Nationalism. Romantik, 2(1), 9-35. http://ojs.statsbiblioteket.dk/index.php/rom/article/view/20191/17807
  • Open Access
    Coenen, A. J. L. (2013). The image of Spain in Dutch travel writing (1860-1960). [Thesis, externally prepared, Universiteit van Amsterdam]. Uitgeverij BOXPress.
  • Open Access
    van Drunen, H. F. (2013). «A sanguine bunch». Regional identification in Habsburg Bukovina, 1774-1919. [Thesis, externally prepared, Universiteit van Amsterdam].
  • Leerssen, J. (2012). Ethnotypen sind Akteure: zur Poetik und Rhetorik des Vorurteils. In B. Engler (Ed.), Wir und die Anderen: Stereotypen in der Schweiz = Nous et les autres: stéréotypes en Suisse (pp. 5-20). Academic Press Fribourg.
  • Leerssen, J. (2012). Memory transfer. In O. Frawley (Ed.), Memory Ireland. - Vol. 2: Diaspora and memory practices (pp. 137-148). (Irish studies). Syracuse University Press.
  • van Ginderachter, M., & Leerssen, J. (2012). Denied ethnicism: on the Walloon movement in Belgium. Nations and Nationalism, 18(2), 230-246. https://doi.org/10.1111/j.1469-8129.2011.00511.x
  • Leerssen, J. (2012). The indipensable Miss Brooke [Review of: L. Ní Mhunghaile (2009) Charlotte Brooke's Reliques of Irish poetry]. Irish Review, 44, 148-150.
  • Leerssen, J. (2012). Oral epic: the nation finds a voice. In T. Baycroft, & D. Hopkin (Eds.), Folklore and nationalism in Europe during the long nineteenth century (pp. 11-26). (National cultivation of culture; No. 4). Brill.
  • Leerssen, J. (2012). The bard's garb: Ossian's dress sense. In G. Bär, & H. Gaskill (Eds.), Ossian and national epic (pp. 277-289). (Passagem; No. 6). Peter Lang.
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