1,721,083 research outputs found
Het wezen van de schilderkunst volgens Leonardo da Vinci : over de verhouding tussen kunsttheorie en de praktijk van de schilder in de Renaissance
No full textOp 19 oktober houdt prof. dr. Michael Kwakkelstein zijn oratie aan de Universiteit Utrecht over de verhouding tussen kunsttheorie en -praktijk bij Leonardo da Vinci. Kwakkelstein stelt dat Leonardo’s schilderkunst niet altijd beantwoordt aan de criteria voor goede schilderkunst die de grote Renaissance-kunstenaar zelf heeft geformuleerd. In de 'Mona Lisa' liet Leonardo theorie en praktijk echter op ultieme wijze samenvallen. Leonardo da Vinci (1452-1519) was niet alleen een voortreffelijk tekenaar en schilder, maar ook een origineel en veelzijdig theoreticus. Dat maakt hem bij uitstek geschikt voor onderzoek naar de verhouding tussen praktijk en theorie. De Mona Lisa, het beroemdste schilderij ter wereld (geschilderd tussen 1503-1506), beantwoordt op exemplarische wijze aan de kenmerkende eigenschappen van goede schilderkunst zoals Leonardo die had verwoord. Kwakkelstein vermoedt dat Leonardo in dit werk geen individu maar een ideaalbeeld heeft willen weergeven, en dat hij met dit schilderij - als met geen ander - heeft willen aantonen waartoe de schilderkunst in staat is. Kwakkelstein: “Het is veelzeggend dat Leonardo het schilderij na voltooiing nooit heeft afgestaan en het op zijn reizen meenam tot aan Amboise toe, waar hij overleed. Het is niet ondenkbaar dat Leonardo rond 1503 inzag dat hij vanwege de vele verplichtingen jegens belangrijke opdrachtgevers niet snel aan de publicatie van een verhandeling over de schilderkunst zou toekomen, en daarom besloot dit schilderij als ‘showpiece’ voor zichzelf en zijn leerlingen te bestemmen. Op deze manier bezien is het begrijpelijk waarom hij er over een periode van ruim 4 jaar aan heeft gewerkt.
Contemporary native American fiction (1968-2001) : subject-ivity and identity
No full textThis study is a literary critical analysis of post-1960s Native American fiction and its engagement in the concepts of subject-ivity and identity in relation to both tribal- and Euroamerican -generated socio-cultural discourses and paradigms. This study adds to the critical enquiry of previous studies in relation to subject-ivity and identity in several ways. Firstly, it aims to present and maintain throughout its extended analysis a clear theoretical delineation of subject-ivity and identity and the analytic paradigms most appropriate for each focus. The “subject” will be discussed specifically within the theoretical contexts that are mostly involved in the scrutiny of its positioning and the consequences thereof - (post)structuralism, (post)modernism, and (post)colonialism. The concept of “identity” originated within the domains of sociology and psychology and will be explored in the texts that will be discussed with respect to the formation and navigation of individual social identities, specifically in relation to group recognition and the acceptance of the individual, the effect of trauma on a tribal collective identity, and the performance of gendered identities. Furthermore, this study addresses certain Native subject-ivity and identity contexts which remain as yet under-explored by scholars; specifically the integration of aspects of Christianity into tribal worldviews, the impact of the re-assertion and performance of non-heterosexual genders within tribal communities, as well as the subject-ivity and identity issues of concern to and relating to Native children in Native–authored children’s literature, as briefly explored in the concluding sectio
Trompetters en tamboers in de Zeeuwse zeevaart ten tijde van de Republiek : plichten en Praktijken
No full textThe main objective of the research was to clarify the duties and responsibilities of ship’s trumpeters and drummers. They were mainly employed to provide signals to coordinate on board activities. In addition they performed at ceremonies and entertained the officers and crew. Trumpet signals were also used as a means of communication with other vessels or strangers on shore. The reason to focus on Zeeland is that here three organisations left behind a large part of the crew data that has been looked into. They were: the Chamber of Zeeland of the Vereenigde Oost-Indische Compagnie (VOC), the Middelburgsche Commercie Compagnie (MCC) and the Admiralty of Zeeland. Zeeland was rather isolated geographically and the province was the base for most of the Republic’s naval activities. The VOC tried to supply every large ship with a trumpeter. For want of trumpeters a large number of VOC ships were supplied with drummers. Between 1700 and 1780 about 92% of outward bound VOC vessels employed signal players. Muster rolls of ships of the MCC also mention trumpeters and drummers. However considerably fewer MCC ships employed trumpeters or drummers. Between 1575 and 1796 the Admiralty of Zeeland employed well over six hundred single trumpeters and almost ninety drummers. Drummers were put to work on war ships, trumpeters were found on war ships, caravels, guard ships and troop ships. The duration of service of trumpeters and drummers differed clearly. VOC trumpeters served for three years, drummers five, not counting the length of the voyages. MCC drummers and trumpeters served considerably shorter terms. The Admiralty made a distinction between a contract with indefinite length of service (“ordinaris”) and a service for the duration of an expedition (“extra ordinaris”). The majority of trumpeters as well as drummers were employed by the Admiralty between one and two years. Ship trumpeters’ pay with the VOC, MCC and the Admiralty were similar and differed no more than twelve to twenty guilders per month. Drummers earned less, equalling the pay of sailors. In particular among trumpeters and drummers who worked for the VOC there was a remarkable difference in their countries of origin. Trumpeters came from all over Western Europe. More than a third of them were German nationals. The percentage of German trumpeters with the Admiralty was significantly lower. Drummers generally came from present-day Benelux. The brass trumpets used were mostly made in Nuremberg and bought at the many Nuremberg shops in the Republic. Also most trumpets found in the wrecks of lost VOC ships were Nuremberg instruments. The Admiralty also used silver trumpets, which were decorated with braids and banners. From an entry of purchase, it can be concluded that these instruments were made in the Republic. After the “Glorious Revolution” and until 1705 some war ships employed fife players besides drummers, thus following the English practice. At the close of the eighteenth century ship trumpeters left the warships and their position was taken by drummers and fife players. What signals ship trumpeters and drummers gave, remains unknown
De Beaufort, een aanzienlijke familie tijdens de Republiek, de Bataafs-Franse tijd en het Koninkrijk 1613-1876
No full textIn 1613 Pierre de Beaufort aged 18, left the French town of Sedan for the Dutch Republic. At his death in 1661 in Hulst he had become a man of distinction. More than 200 years later on 30 May 1868 his direct descendant Pieter de Beaufort received from the Hoge Raad van Adel (High Court of Nobility) a diploma signed by King Willem I in which he was raised to the peerage. This elevation indicates that Pieter de Beaufort belonged to the prominent families of the country. The patent of nobility refers moreover to a number of special circumstances in the family history: the arrival of the ancestor to the Netherlands, marriages with offspring from prominent families and the incorporation in the nobility of a far relation on basis of a German patent of nobility. In this study the fortunes of the De Beaufort generations have been described against the background of the society in which they lived. Important issues are: how in the Dutch Republic the integration took place and the patronage networks were used. Furthermore, how they could function in a non-native layer of administration in the area of tension between a distant Hague authority and a largely Roman-Catholic local population in the so-called Gen-erality Lands. Afterwards the contacts between the family and the court of the stadholder will be discussed, how they dealt with the riots during the Patriot disorders and how they spent their private life during the Batavian French time. In the last chapter the new opportunities of the first decades of the Kingdom of the Netherlands are considered and how the aristocratic life style of the family was rewarded with their incorporation in the Dutch nobility. An im-portant question is why only a part of the De Beaufort family wanted to participate in the re-quest for elevation to the peerage. The social position of the members of the De Beaufort family puts their family biog-raphy on the level of an investigation of the élite. In the history of an individual family large scale social developments can be made visible and, the other way round, the history of a fami-ly may lead us to intimate and often unknown aspects of “la grande histoire”. In my biography of the De Beaufort family I will discuss the development and transfer of administrative positions, the family- and marriage-policy, the increase of financial power and the related inheritance planning during each generation. The self-image of the family dur-ing the years will be leading and in particular will be expressed in the way they tried to main-tain and direct the family-identity. The question how the ‘social power’ of the family was established and kept will be answered. To give the De Beaufort family history a place in the élite history is not without problems. Not much is known about the social and administrative development of regent families in the areas captured from the Spanish. From this family biog-raphy it must become clear whether the development of the reputation of the De Beaufort family went along similar lines as was usual in élite families in governing circles in the Dutch Republic or that the family followed a course of its own
Het stadsfabrieksambt : de organisatie van de publieke werken in de Noordelijke Nederlanden in de zeventiende eeuw
No full textThe cities and towns of the Dutch Republic were established fairly late in comparison to many other urban centres in Europe: starting around the mid-twelfth century with Dordrecht and followed in the thirteenth and fourteenth century by most other cities and towns. One or two officials were assigned to supervise the construction, condition and maintenance, as to control the finances of the municipal works. Major public works in this period included both buildings for trade and government, such as meat markets, weigh-houses, town halls and urban expansions in the fourteenth, and especially in the late sixteenth century. At the same time it took constant effort to maintain a city’s fortification, harbour, canals, locks, sluices, bridges, streets and existing municipal buildings. In the earliest stages until the sixteenth century, citizens and other city-dwellers were responsible for the maintenance of urban space: the maintenance of almost all streets, canals, quaysides and bridges was performed or financed by local residents, or was the task of the urban district in question. The laying-out, construction, building and maintenance of the fortification (town-walls, moats and gates), the town hall and city planning were the responsibility of the municipality. Late sixteenth, early seventeenth century, as a result of prosperity and urban expansions and the accompanying increase in both temporary and structural public works, many of the Dutch towns began to organize the execution and maintenance of their public works in a more technically skilled manner. The expansion of public works made a town like Groningen decide to contract out all their public works. Although other cities in the Republic also contracted out municipal works projects, they preferred to manage most such projects themselves. This meant setting up a small or large organization: the municipal building company. Amsterdam went furthest in this regard, partly to its great prosperity and two major expansions of the city. Around 1660 Amsterdam’s municipal building company employed master craftsmen with a fixed annual wage to supervise almost every conceivable branch of the building sector. In nearly every city and town the vast growth of public works during the seventeenth century eventually reached the point where the management, supervision or funding of municipal projects got sufficiently out of hand to need reorganization. During the closing decades of the century, the municipal building companies were either swiftly or gradually reduced to a ‘skeleton service’ so that municipal works could be maintained at minimum cost. On a governmental level all independent Dutch cities and towns managed their public works the same way. On the level of execution and maintenance all cities choose their own method, mostly based on local tradition and practice. The search for a efficient organization, to match local necessities, the economic situation, and the complexity of the area of responsibility, was in constant demand during the seventeenth century
Charlotte Salomon ou l’art de l'intermédialité
No full textIn exile on the Côte d’Azur Charlotte Salomon (Berlin 1917-Auschwitz 1943) painted Leben?oder Theater? (LT). The work, an impressive life-story, comprises more than a thousand pages: gouaches, painted text and text fragments on transparent paper. Since 1971 LT has been in the collection of the Jewish Historical Museum in Amsterdam. LT has been discussed from different perspectives. My accent will be on the use of three media – music, word, image – in interaction. LT springs from song, as Salomon tells in an introductory fragment. Music is present in quotes of melodies, from popular song to opera. This is undoubtedly connected with het stepmother, the opera singer Paula Lindberg and her singing teacher Alfred Wolfsohn. My text consists of three parts: the first part has a biographical character. Given the relationship between life and work of Charlotte Salomon, it is logical to go into both the autobiographical base and the work itself. The destinies of Charlotte Salomon and Charlotte Kann (alter ego in LT) are marked by suicide. In LT it is not the historical truth which comes first, but the experience as remembered and structured in a definite way. The political development was to be fatal to Charlotte Salomon, but not to her alter ego. In the second part musical quotes – mostly (part of) a line from an opera – are central. An intertextual interpretation shows that both the characters and the theme get more emphasis in that way, especially fate (Der Freischtz by Weber), love and jealousy (Carmen by Bizet), love, death and creativity (Orfeo ed Eurydice by Gluck). Characters as Franziska (Charlotte’s mother), Paulinka Bimbam and Amadeus Daberlohn are detached from their biographical roots and embedded in European culture. The relationship between word and image is the subject of part three, in the first place concentrated on text and subsequently on the motif of the window. The design of the text fragments is adapted to image, though a difference has to be made between text on transparent paper and text integrated in the image. Analysis of comics produces useful clues for LT, such as form, function and depth. In LT dialogues often appear in an undulating pattern, presented as a visual-spatial sign. The wave evokes associations with movement and water (suicide, happiness), and music (counterpart of suicide). Te window as gateway to another world is hardly surprising, but it does not explain why this motif occurs so often. From an analysis of motif and text emerges the association between (breaking) glass and a fragile Jewish identity. The window, however, can also function as a refuge for the imagination or dream world. The end of LT fits in with the beginning: Charlotte Salomon converges with her alter ego. The frame of Charlotte Kann’s transparent sketchbook functions as window to the past and as a gateway to her imagination. The pages will, just as LT, be evidence of creativity and as a victory over fate
'Een woonplaats voor fatsoendelijke luyden': De soevereine baronie IJsselstein 1720-1820
No full textThis study focuses on the question in what way the council and people of the barony of IJsselstein used their autonomous position within the Dutch Republic. What possibilities and what problems were created by that special position? The research covers the period between 1730 and 1820. The autonomy meant that IJsselstein could issue his own laws and decisions. It could offer asylum to people that had fallen foul of the law in the Dutch Republic. This came to an end when Marie Louise van Hessen-Kassel became baroness of IJsselstein. She sought to actively attract a different class of citizen: pensioners with enough money to live in relative luxury, but with not enough wealth to be able to live on their capital in the bigger cities in Holland. To be attractive to these people, IJsselstein offered low taxation, a strong middle class, good schools and a nice environment for walking, gardening and hunting. This policy met with success. In 1749 the barony was described as a place for people who had earned their money with hard work and could now relax and live on their independent means. After her death her son, William V, took over the barony. His position deteriorated after a war with Great-Britain started. Many people blamed him for the militairy weakness of the Republic and its economic decline. Even in IJsselstein, his own barony, some people tried to infiltrate the local militia to start a democratic revolution. This led to strife within the barony’s government, but in the end the democrats, the so-calles Patriots, had to flee the Republic because of the Prussian Army that came to the rescue of William V. The French Revolution in 1789 gave the Patriots hope of a political change in the Dutch Republic. When the French armies scattered the Anglo-Dutch army and conquered the Republic in January 1795 a revolution followed in many cities, including IJsselstein. For IJsselstein this meant a long period of parytstrife between the moderate and radical Patriots. A big problem was the status of IJsselstein. As possession of the stadholder, William V, the French saw the barony as loot. To prevent a French pillage, the IJsselstein government decided to give up their political autonomy and become part of the province of Holland. They tried to keep their financial autonomy, so important for the local economy. Until 1802 this met with success. Then IJsselstein became part of the new Batavian Republic. War in the wake of the French ally meant ever increasing taxation. This meant the end for a prosporous IJsselstein. The rich inhabitants moved away also the other economic fundaments of the barony fell on hard times. The osier industry and the rope industry were throttled by the French blockade. The son of the last stadholder was crowned the first king of the Kingdom of the Netherlands in 1813. For the new king it was just another municipality. This made it very clear: the special position of IJsselstein had irreversibly ended
Van kwade droes tot erger : een historisch onderzoek naar de rol van het militaire paard in de oorlogvoering, zijn leven, zijn lijden en zijn veterinaire verzorging (1762-1874)
No full textMy research regarding the function of the horse mentioned in the literature of military history, and the development of equine medicine in particular since 1762, when the first veterinary school was opened in Lyon, occurred as a result of two happenings. The first was the transcription of the diary of my great-great-great grandfather, General Jan Egbert van Gorkum, written during the famous Hundred Days War, which began with Napoleon's flight from Elba and ended with the Battle of Waterloo; in the diary the subject of horses was of particular interest to me. The second was my discovery of a monument in Winchester, England, in memory of the four hundred thousand horses which perished during the Boer War. The most important conclusion which can be drawn as a result of my historical research is that the role of the military horse in times of war is minimal in literature. For the horse to be mentioned is a great exception. As the British historian Keegan indicated in 'The face of battle' where he wanted to give attention to the ordinary soldier, as in most literature works only kings, princess, commanders and generals are mentioned, I wanted to pay attention in this dissertation to the functioning, the life and the suffering of the military horse. Horses were amongst the most important protagonists in war during the last two thousand five hundred years. What progress has been made in medical support and care of the horse as a result of the advance of equine veterinary knowledge since the middle of the eighteenth century? That the appearance of the military equine veterinary surgeon in the eighteenth and nineteenth centuries occasioned no noteworthy improvement for the military horse can be attributed to diverse factors. Firstly, the fact that equine veterinary knowledge, as was the case with human medical knowledge, was largely based on ideas stemming from humorale pathology, as a result of which the treatment had frequently little effect, and indeed could be harmful for the patient. Besides, the hierarchical position of the military veterinary surgeon was so low that his instructions and advice given, mainly on zoological matters (feed, housing, care etc.) although extremely useful, were mostly ignored by his superiors. The cooperation of the farriers was also far from ideal as the importance of their role had considerably decreased with the introduction of the Alfort School. The former were of the opinion that their practical knowledge was far greater than the theoretical knowledge introduced by the 'artistes veterinaires'. In this dissertation, it is also highlighted that the glanders and horse scurvy were the most frequent infectious diseases which affected the military horse. Both diseases could be effectively fought towards the end of the nineteenth century, when the causes were identified and effectively treated. Most military forces treated the diseases effectively, but in the French army the infections lasted, as the French were of the opinion that the diseases appeared spontaneously; they did not accept the diagnosis,and thought that treatment was therefore not necessary
Palimpsest : langzaam denken, over actorschap en revolutie
No full textPalimpsest. Slow Thinking, on Agency and Revolution. This dissertation advocates for the application of psychoanalytical methodology in the humanities and develops a theory of subversive agency and change. At the same time, the book gives an introduction to (the works of) Teresa of Avila and Sigmund Freud. They are not treated as case studies, but as partners in a process of transformation. The research shows in detail how Freud and Teresa develop a subversive agency that can not be defined as revolutionary according to the Enlightenment tradition. Only a careful remembering, repeating and reworking, in close connection to a certain praxis, can alter neo-colonial, patriarchal styles of thinking. Change is acknowledged as slow change and the new is created via accompanying 'slow' methods. The epistemological and methodological aspects of this endeavor, where science/scholarship becomes a dialogical practice, are elaborated in detail and linked with what Michel Foucault has labeled ‘genealogy’. Genealogy requires, similar to the psychoanalytic talking cure, a historical lens that is able to deconstruct the evolutionary perspective and enables inter-generational dialogues. Thus, a non-dualist, non-rationalist, materialist subject theory is formulated, in the tradition of Montaigne and Diderot, beyond the postmodern declaration of ‘the death of the subject’. The anti-humanist position is denounced. In an allusion to Hume, Freud and Derrida, the subject is described as a bundle of forces or drives, or as the place were, unconsciously, all kinds of (symbolic, structural, biological) agencies meet. Palimpsest. Langzaam denken, over actorschap en revolutie. Dit proefschrift pleit voor de toepassing van psychoanalytische methoden in de geesteswetenschappen en ontwikkelt een theorie over subversief actorschap en verandering. Bovendien geeft het een introductie tot (het denken van) Teresa van Avila en Sigmund Freud. Deze verschijnen als partners in een veranderingsproces. Het onderzoek laat zien hoe Freud en Teresa een vorm van subversief actorschap ontwikkelden via herinneren, herhalen en doorwerken, in nauwe samenhang met een praktijk. Dit kan neokoloniale, patriarchale denkstijlen veranderen. Verandering is hier langzaam, en het nieuwe ontstaat via bijbehorende langzame methoden, zoals bij de slow food en slow fashion beweging. Verder wordt een non-dualistische, non-rationalistische, materialistische subjecttheorie geformuleerd, in de traditie van Montaigne en Diderot, voorbij de postmoderne 'dood van het subject'. Een anti-humanistische posititie wordt afgewezen. In een verwijzing naar Hume, Freud en Derrida verschijnt het subject als een bundel van krachten of driften, of als een plek waar, onbewust, allerlei soorten van (symbolische, structurele, biologische) 'agencies' elkaar treffen
Het geschreven werk van Piet Mondriaan : voorstel tot een editie. Deel II: de toelichtingen
No full textThe Writings of Piet Mondrian Piet Mondrian (1872 - 1944) was both a prolific painter and writer in his days. He left behind an impressive number of texts in Dutch, French and English, mainly on the subject of art in relationship to man and society. He wrote most texts by far between 1917 and 1943, that is to say, from the age of forty-five to seventy-one, although there were periods when he wrote little and spent more time on his paintings. However, it is remarkable, that Mondrian’s writings have never been available in its original wording and as a complete corpus. At this moment nine editions with collections of texts by Mondrian are known. None of these editions meets the criteria of a scientific edition. Firstly, because the aforesaid editions do not contain all (versions of) texts by Mondrian. Secondly, because the aforesaid editions do not render Mondrian’s texts in the original language and wording. Thirdly, because the editions lack exhaustive commentary. And fourthly, because in these editions the corrections by Mondrian in the manuscripts and typescripts are not perceptible to the reader. In this thesis a new edition of the Mondrian texts is proposed, which includes all texts by Mondrian known so far. It concerns published and unpublished texts, completed and unfinished texts, notes and scrawls, but no correspondence. The crux of the thesis consists of explanations of the Mondrian texts. The elucidations are preceded by three chapters. The first chapter underlines the necessity and importance of a critical edition of the Mondrian texts. The second chapter gives a survey of all editions with collected texts by Mondrian that have appeared so far. But also the failed attempt by Mondrian himself and various attempts by others to have the texts collected are discussed here. In the third chapter the starting points that have been used by the presentation and the explanations of the corpus are expounded. The user of the here presented critical edition has the possibility to consult the transcribed sources in the third (digital) part in the ‘Basis texts’ chapter and thus take note of the so-called diplomatic rendering of the basic texts from which the reading texts have been constructed. The corrections in the basic text have been marked with diacritical signs . We would like to achieve two things with our critical edition. First of all, the edition wants to serve explicitly as a work of reference. For example, the user could find answers to questions such as - ‘Which texts did Mondrian write in 1926?’ or ‘What is Mondrian writing in his letters about a certain text?’ ‘How was a certain passage formulated in the original language?’ ‘Which translations of a given text are available?’ Secondly, the critical edition wants to provide a basis for further scientific research into Mondrian’s work and serve as a starting point for other editions (translations for example). With this critical edition - as presented in this thesis - we think we can contribute substantially to the research into Mondrian’s writings and thus add to the conservation of an essential part of the Dutch cultural heritag
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