Academic literature on the topic 'Dutch writer'

The paper is dedicated to the dialogue between Ezra Pound and Sergey Tretyakov on the pages of a Dutch magazine Front edited by a Dutch writer Sonja Prins, and other periodicals. This particular episode of Pound’s contacts with left-wing writers hasn’t been duly researched so far. In spite of the dangerous political atmosphere in the 1930s, authors with different ideological views could freely exchange their ideas in the periodicals. The Front published a wide range of anti-bourgeois authors — their views varied from communist to fascist. The Federation of Organizations of Soviet writers (FOSP) was mentioned as a co-founder of Front, although later its name was withdrawn because of the magazine’s publishing policy, which allowed right-wing writers. Tretyakov’s essay “Writer-kolkhoznik” was published in the first issue of the Front; the next issue contained Pound’s response to this essay. In spite of his pro-fascist views, Pound seemed interested in Tretyakov’s work on the kolkhoz. Later both writers continued to argue outside the magazine — Tretyakov mentioned Pound in his Berlin lecture The Writer and the Socialist Village, Pound referred to Tretyakov, this time purely ironically, in Italian press. In the end the dialogue failed, both writers tended to speak about their own main topics — Tretyakov continued to reflect on the writer in the kolkhoz, and Pound was interested in the classical Russian literature and in the attitude to the classical Russian literary heritage in the new socialist Russia.

De receptie van Madelon Székely-Lulofsin de Hongaarse pers in het interbellum Madelon Székely-Lulofs occupies a distinguished place in the history of the Dutch-Hungarian li­terary relations. Through her marriage with Hungarian planter and writer László Székely she was able to develop closer contact with the Hungarian literary world of the 1930s than any other Dutch author in this period. The Székely-Lulofs couple considerably contributed to the strengthening of the literary relations between these two countries: thanks to their translations in the 1930s and 1940s, the Dutch readership became acquainted with some of the most outstanding Hungarian writers of the time. Furthermore, they stimulated the popularity of the Dutch literature in Hungary by translating the works of Dutch writers to Hungarian. In this paper, I focus on how her works were received in Hungary in the 1930s and compare her Dutch and Hungarian reception. My research is based on a corpus of articles published in the Hungarian literary press of the time.

Storytelling brings into vivid focus the emotions and affects that different classes and races of people experienced in the imperial Dutch Indies island worlds. The storyteller explored in this article is Maria Dermoût (1888–1962), a mixed-race Dutch woman (Indo) who was born and raised on Java in the Dutch East Indies and who spent more than thirty years there. This article argues that Dermoût is a key writer for understanding affective economies, because she devotes significant time and effort in her fiction to fleshing out Native characters, something that few writers of her time did. The novella Toetie, one of Dermoût’s last works, uncovers Indies and Dutch attitudes toward race and color, moving her work from the genre of Indies Letters, or Dutch colonial literature, to that of postcolonial critique, with an exploration of forms of servitude, affect, and the social relations of her time.

Abstract This article sets out to chart the success of the Dutch novelist, poet and travel writer Cees Nooteboom, who has achieved literary fame in several countries of the world while recognition in his home country lagged behind. To analyse the reasons for the conflicting images attributed to this cosmopolitan author, I will look behind the curtains of the transnational production and reception of his writings, investigating his success in five central or semi-central languages (Heilbron 2010). The study of how this writer has succeeded in transcending the peripheral position of the Dutch language in the world literary system will be carried out by combining the sociology of translation with reception studies and imagological considerations. Nooteboom appears to be a peculiar case of image building: he is internationally represented as a Dutch and a European writer, but his lack of Dutchness appears to have hindered his recognition in the Netherlands.

Abstract At the end of the 1960s and in the beginning of the 1970s the South African poet Breyten Breytenbach had poetry and drawings published in the leading literary magazine Raster. The editor in charge at the time, H.C. ten Berge, gave the experimental writer and socially engaged Sestiger (the literary modernizing movement in South Africa in the sixties) pride of place in the line-ups of the Dutch modernist periodical. In the seventies, Ten Berge contributed to Vingermaan (1980), a collection of poems by Dutch writers (Lucebert, Kopland, Kouwenaar, Schierbeek) in support of the anti-apartheid activist. From 1975 Breytenbach was imprisoned in South Africa for political reasons. He served seven years of a nine year sentence. At that time, in the eighties, the Netherlands organized a cultural and economical boycott against the racist regime in Pretoria. Later on, Ten Berge presented his own poems dedicated to Breytenbach in his book of poetry Nieuwe gedichten (1981) and in the collection Materia prima: Gedichten 1963-1993 (1993). Before and during the imprisonment of Breytenbach Ten Berge played an important role in the introduction of the writer in the Low Countries. From a cultural-sociological point of view Breytenbach’s presence in the Dutch language area can be described, in the terminology of Francoise Lionnet and Shu-mei Shih and later on used by Louise Viljoen, as a transnational lateral movement in his writing career. This paper deals with the cultural transmission of an important political and experimental author in the literary system of Afrikaans and English in South Africa into the Dutch system. From a bibliographical viewpoint this paper affords special attention to the publication of Breytenbach’s volume of poetry in Skryt: Om ’n sinkende skip blou te verf ([1972] 1976), Vingermaan (1980) and Nieuwe gedichten ([1981] 1987). Ten Berge played an important role in the introduction of Breytenbach to the Low Countries in the way he presented the author’s political and aesthetic ideas to a Dutch-speaking audience.

ABSTRACT: In this article, the writer reveals the presence and struggles of Protestant churches in Indonesia doing God’s mission within world’s largest Muslim population country. Firstly, the writer explains the challenges and strives of Protestant churches since the time of Dutch colonialism, Japanese colonization, until Indonesian independence which includes the Old Order and the New Order. This article also highlights Indonesian churches’ struggle of independence to release themselves from the control of Dutch government, fully leaning to Christ, as well as the strategic role of Christianity in preventing nation’s disintegration to make Indonesia one. After that, the writer then performs critical reflection on the struggles of Protestant churches in Indonesia from the perspective of Reformed theology. The writer found that the presence of Christian mission in Indonesia is far from the force of arms and economic greed. However, churches in Indonesia cannot detach themselves from various challenges and suffering in God’s mission which includes Evangelical Mandate and Cultural Mandate. Therefore, while they are still entrusted by Christ, churches in Indonesia ought to perform their dutiful calling faithfully and joyfully. KEYWORDS: God’s mission, witness, evangelism, protestant church in Indonesia, ideology, religion-state relation, mission’s institution

Not all those who write philosophy are recognized as philosophers. In this paper I argue that Dutch writer Isabelle de Charrière, usually known as a novelist, is actually engaged in doing moral philosophy. In the second half of the eighteenth century, Charrière wrote novels about characters who endorsed moral theories and commitments. Her novels track the dilemmas that these characters face in trying to live according their moral theories and commitments. I consider the case for treating fiction as philosophically valuable, and argue that Charrière's novels fall into the category of philosophically valuable fiction.

Abstract This article discusses the Dutch poet Remco Campert’s involvement in the anti-apartheid movement in Holland by focusing on his magazine Gedicht (1974-1976) and his poem dedicated to the imprisoned South African writer Breyten Breytenbach. Campert’s international engagement is part of the actions undertaken by the Breytenbach-committee and other Dutch initiatives which tried to maintain public interest for the case of Breyten-bach’s imprisonment.

Etty (Esther) Hillesum was a young Jewish Dutch woman who kept a diary throughout the entire period of the Holocaust, until she met her own death in Auschwitz. The diary, written in the hellish environment of the Nazi occupation of Holland, provides us with an opportunity to explore the transformational power manifested in the mutual witnessing that takes place between the writer and the reader. The author reviews three aspects of the writer's testimony, each one of which embodies a unique reparative function: testifying about the events, testifying as evidence, and testifying to the reader.

In the course of history there have been different schools of thought about how texts should be translated, and the effect translations have on the target language literature, either directly or indirectly. Garmt Stuiveling, formerly professor of Dutch Studies at the University of Amsterdam, and for many years chairman of the Dutch Writers' Union, produced the following dictum: in a translation sixty-five per cent of what the author has tried to express, reaches the reader. In translators' circles a variety of views can be heard. This one for instance: the profession of a translator is more demanding than that of a writer. A writer uses his own style, but a translator must master a number of styles, since he translates different authors. Or this one: the achievement of a translator is equal to that of a writer; the source language version and the target language version provide texts of equal literary value. A more modest view, and the one held by the writer of the present article, could be phrased as follows: literary translation is a craft, a creative craft to be sure, but still a craft. And playing with words and stylistic features is part of that craft. A literary translator is to be compared to a performing artist, rather than his creative counterpart. It is noted that there has never been any research into the norms of present day translators. This means that judging translations, whether for purposes of reviews, a jury's decision or the awarding of grants, is often a matter of inspired guesswork. If such research were ever carried out, it should also discover whether translators actually use in their own work the translation strategies they profess to be using. Finally a selection of translating errors culled from literary works is proof that translators are not always good readers, to judge by the non-sense they sometimes manage to produce.

Thesis (MPhil)--Stellenbosch University, 2012.<br>ENGLISH ABSTRACT: This study determines whether media reporting has any influence on members’ image formation processes of the Dutch Reformed Church (DRC). The aim of this study was (a) to determine respondents’ attitudes towards the Church, (b) to determine respondents’ image of the Church, (c) to establish whether media reporting has any influence on members’ image formation of the DRC, and (d) to define such influence, if any. This study is based on the Integrated Communication Model for Image Formation and Projection (the IFP model) as theoretical foundation. The IFP model suggests that certain document design aspects, such as content, style, structure and graphics, may influence a company or organisation’s image. Following on the IFP model this study determined the effect that rhetorical content devices in media reports have on DRC members’ image of the Church. The rhetorical devices that were analysed are direct criticism, contrast, laden words, implication phenomena, sarcasm and insinuation. The study investigated how these rhetorical devices are employed to have a harmful effect on the image of the DRC. A total of 127 respondents, all of them DRC members, were selected from four congregations in the Boland region. The congregations are situated in Worcester (rural), Malmesbury (semi-rural), Paarl (semi-urban) and Durbanville (urban). Gender and age were incorporated as independent variables of this study. Members’ attitude and image with regard to the DRC and media reporting were determined by means of a questionnaire survey as primary methodology, while the possible influence of media reporting was established through a text analysis (rhetorical discourse analysis, or RDA) – another primary methodology. Professor Martin Kidd from Stellenbosch University’s Centre for Statistical Consultation prepared the statistical processing of the survey responses. The results are depicted by means of histograms and other statistical methods. The results show that members’ attitudes towards, and image of, the Church are less positive than what the Church may have hoped for: Members generally have a cautiously positive image of the Church. In addition, results indicate that media reporting does indeed influence the image formation processes of the DRC; that this influence is negative, and that it contributes to a less positive image of the Church.<br>AFRIKAANSE OPSOMMING: Hierdie studie bepaal of mediaberiggewing enige invloed op die beeldvormingsprosesse van individue van die Nederduitse Gereformeerde (NG) Kerk het. Die doel van die ondersoek was (a) om respondente se houding teenoor die Kerk te bepaal, (b) om respondente se beeld van die NG Kerk te bepaal, (c) om vas te stel of mediaberiggewing enige invloed op lidmate se beeldvormingsprosesse van die NG Kerk het, en (d) om sodanige invloed, indien enige, te omskryf. Die Geïntegreerde Kommunikasiemodel vir Beeldvorming en -projeksie, oftewel die IFPmodel (“Integrated Communication Model for Image Formation and Projection”), is die teoretiese model waarbinne die studie uitgevoer sal word. Die IFP-model beweer dat sekere dokumentontwerpaspekte, soos inhoud, styl, struktuur en grafika, ʼn instansie se beeld kan beïnvloed. Na aanleiding hiervan het dié studie dus die uitwerking van inhoudelike retoriese meganismes in mediaberigte op NG Kerk-lidmate se beeld van die Kerk bepaal. Die retoriese meganismes wat ontleed is, is direkte kritiek, kontras, gelade woorde, implikasieverskynsels, sarkasme en insinuasie. Daar is ondersoek ingestel na hoe hierdie retoriese meganismes aangewend word om die beeld van die NG Kerk negatief te beïnvloed. Altesaam 127 respondente, almal NG Kerk-lidmate, is uit vier gemeentes in die Bolandomgewing gekies. Die gemeentes is geleë in Worcester (platteland), Malmesbury (semiplatteland), in die Paarl (semistad) en Durbanville (stad). Geslag en ouderdom is as onafhanklike veranderlikes in aanmerking geneem. Lidmate se houding en beeld ten opsigte van die NG Kerk en mediaberiggewing is deur middel van ʼn vraelysondersoek as primêre metodologie bepaal, terwyl die moontlike invloed van die mediaberigte met behulp van ʼn teksanalise (retoriese diskoersanalise, of RDA) – nóg ʼn primêre metodologie – ontleed is. Prof Martin Kidd van die Universiteit Stellenbosch se Sentrum vir Statistiese Konsultasie het die vraelysantwoorde statisties verwerk. Die uitslag word met histogramme en ander statistiese metodes uitgebeeld. Die resultate toon dat lidmate se houding jeens, en beeld van, die Kerk minder positief is as wat die Kerk dalk hoop: Lidmate het in die algemeen ʼn versigtig positiewe beeld van die Kerk. Resultate suggereer voorts dat mediaberiggewing wél die beeldvormingsprosesse van die NG Kerk beïnvloed; dat sodanige invloed negatief is, en dat dit gevolglik tot ʼn minder positiewe beeld van die Kerk onder lidmate bydra.

Thesis (DLitt (Afrikaans and Dutch))--University of Stellenbosch, 2004.<br>ENGLISH ABSTRACT: Since the 1980s the narrative prose of male writers in Afrikaans has been characterised by an intensive questioning of consolidated masculine subjectivity with the (political) father as its primary manifestation. The growing influence of postmodernism and the greater freedom enjoyed by women and gay authors to write about gender issues, facilitated the process of paternal emancipation in Afrikaans narrative. This dissertation is a study of the representation of masculine subjectivity in Afrikaans prose writing from 1980 to 2000 concentrating on the diverse expressions of masculine subjectivity in literary texts with reference to the work of Luce Irigaray (1980 and 1985) on subjectivity, and the theory of R.W. Connell (1995) on the plurality of masculinities. The position of the father in conveying political values to the son within the Oedipal context is examined in a number of texts with specific emphasis on the contrasting processes regulating the hegemonic masculinity of the white father (Alexander Strachan 1984 and Mark Behr 1993) and the marginalised masculinity of the coloured father during apartheid (Benjamin 1997). The work of Alexander Strachan (1994), Piet van Rooyen (1997) and Johann Botha (1997) are examples of texts that display resemblance to the literature of the “School of Virility” identified by Peter Schwenger (1984: 13). Unlike the male protagonists in colonial texts, the masculine subjects in the work of Van Rooyen and Botha can no longer escape the political and historical turmoil of civilisation by finding refuge in “pristine” and unpoliticised hunting fields. Since 1994 the loss of political power, which for so long conditioned the masculine subjectivity of Afrikaner men, has also reached the hunting fields of postcolonial southern Africa. Through the influence postmodernism, a productive tension in literature and theory has developed between the autonomous, consolidated masculine subject, and the decentered masculine subject. Breyten Breytenbach’s representation of the fragmented masculine subject opens up the possibility of a move away from the historical imperatives of the totalising, and often violent, masculine subject. However, Breytenbach (1998) suggests that, in some instances, the fragmented masculine subject may be co-opted by the historically persistent discourse of the autonomous (and violent) masculine subject. Gay writers Koos Prinsloo (1992) and Johann de Lange (1996 and 2000), and to a lesser extent Hennie Aucamp (1981), devote themselves to a sceptical interrogation of identity and subjectivity as categories that are based on heterosexist values. Prinsloo and De Lange employ sexuality as a way to give expression to their antihumanist critique of the subject. The tension between consolidated masculine subjectivity and decentered masculine subjectivity is also present in the autobiography of Joseph Marble (1999). In Marble’s life history the discontinuity between the youthful “I” as protagonist and the adult “I” as narrator contributes to the multiplicity that ultimately characterises Marble as a masculine subject in the text. Finally, this dissertation presents a view of masculine subjectivity in Afrikaans narrative that emphasises diversity. Yet, it is noticeable that nearly all the texts under discussion maintain a certain relationship with hegemonic masculinity. Furthermore, it is only in the work of a small number of writers such as Breytenbach, Prinsloo and De Lange that the interrogation of masculine subjectivity leads to an exploration of modes of being that may transcend the historically persistent discourse of masculine domination.<br>AFRIKAANSE OPSOMMING: Sedert die jare tagtig van die twintigste eeu word die prosa van manlike skrywers in Afrikaans gekenmerk deur ’n intensiewe bevraagtekening van gekonsolideerde manlike subjektiwiteit soos veral beliggaam deur die (politieke) vader. Hierdie proses van ontvoogding in die Afrikaanse prosa is gefasiliteer deur die groeiende invloed van die postmodernisme en die groter vryheid wat vroueskrywers en gay skrywers geniet het om oor geslagtelike kwessies te skryf. Hierdie proefskrif is ’n studie van die representasie van manlike subjektiwiteit in die prosa van 1980 tot 2000 en bestudeer die uiteenlopende verskyningsvorms van manlike subjektiwiteit in literêre prosatekste met verwysing na onder andere die werk van Luce Irigaray (1980 en 1985) oor subjektiwiteit en die teorie van R.W. Connell (1995) oor manlikheid as ’n meervoudige verskynsel. Die posisie van die vader in die oordrag van politieke waardes na die seun word in enkele tekste ondersoek binne die Oidipale familiedrama met aandag vir die kontrasterende prosesse wat ’n rol speel by die hegemoniese manlikheid van die blanke vader (Alexander Strachan 1984 en Mark Behr 1993) en die gemarginaliseerde manlikheid van die gekleurde vader tydens apartheid (S.P. Benjamin 1997). Strachan (1994) se prosa word verder saam met die werk van Piet van Rooyen (1997) en Johann Botha (1997) bestudeer as voorbeelde van tekste wat toegespits is op viriele manlikheid. By Van Rooyen en Botha kan die manlike subjek nie meer soos in die koloniale prosa die vermoeiende politiek en geskiedenis van die beskawing agterlaat deur hom tot die “ongeskonde” en ongepolitiseerde jagveld te wend nie. Die verlies van politieke mag, wat vir lank die manlike subjektiwiteit van die Afrikanerman bepaal het, is na 1994 ook ’n werklikheid op jagvelde van die postkoloniale Suider-Afrika. ’n Produktiewe spanning in beskouings van manlike subjektiwiteit bestaan sedert die postmodernisme tussen die outonome, gekonsolideerde subjek en die gedesentreerde subjek. Breyten Breytenbach (1998) se representasie van die gefragmenteerde manlike subjek bied op die oog af die potensiaal om manlike subjektiwiteit los te maak van die geweld en dominasie wat die patriargale orde kenmerk. By Breytenbach blyk dit egter dat die gefragmenteerde manlike subjek in sommige gevalle gekaap kan word deur die histories standhoudende diskoers van die outonome (en gewelddadige) manlike subjek. Die gay skrywers Koos Prinsloo (1992) en Johann de Lange (1996 en 2000), en in ’n mindere mate Hennie Aucamp (1981), is in hulle werk betrokke by ’n skeptiese vraagstelling oor identiteit en subjektiwiteit as kategorieë wat gegrond is op heteroseksistiese waardes. Prinsloo en De Lange gryp gay seksualiteit aan as ’n medium om uiting te gee aan hulle antihumanistiese kritiek teen die subjek. Die spanning tussen gekonsolideerde manlike subjektiwiteit en gedesentreerde manlike subjektiwiteit is ook aanwesig in Joseph Marble (1999) se outobiografie. In Marble se lewensverhaal dra die diskontinuïteit tussen die jeugdige “ek” as protagonis en die volwasse “ek” as verteller by tot die uiteindelike meervoudige beeld wat van Marble as manlike subjek na vore tree. Hierdie proefskrif bied uiteindelik ’n beeld van manlike subjektiwiteit in die Afrikaanse prosa wat diversiteit vooropstel, maar dit is nietemin opvallend dat feitlik elke besproke teks ’n sekere verhouding handhaaf met hegemoniese manlikheid. Dit is verder net by enkele skrywers soos Breytenbach, Prinsloo en De Lange dat die bevraagtekening van manlike subjektiwiteit lei tot ’n verkenning van synsvorme wat moontlik die histories deurlopende diskoers van manlike dominasie sou kon oorskry.

in English: Keywords: literary analysis, imagology, Czech migrant writers, Dutch literature, Jana Beranová, Jan Stavinoha The diploma thesis aims to explore the portrayal of Czech characters and the Czechoslovakia in Dutch-language works written by authors of Czech origin, namely in selected novels by Jana Beranová and Jan Stavinoha. The principal research questions are: 1. What motifs typical of migrant literature might be identified in the analysed novels? 2. How are the Czech characters portrayed? 3. How is the Czechoslovakia portrayed? Is the portrayal of the country of origin contrasted with that of the country of arrival, i.e. the Netherlands? The theoretical framework of the diploma thesis focuses on Dutch migrant literature and socio-political environment in Czechoslovakia from 1945 until present. The method used in the thesis is based on imagology and structural analysis. The practical part provides an analysis of the novels Nu delen we een geheim (1992) by Jana Beranová and In goede handen (1984) by Jan Stavinoha. As the analysis illustrates, the two novels include features of migrant literature as described in critical sources, such as the depiction of oppression in one's homeland, the life between two cultures and the difficulty of overcoming the language barrier. Other features of...

The multi-volume work Syntax of Dutch presents a synthesis of current thinking on Dutch syntax. The text of the seven already available volumes was written between 1995 and 2015 and issued in print between 2012 and 2016. The various volumes are primarily concerned with the description of the Dutch language and, only where this is relevant, with linguistic theory. They will be an indispensable resource for researchers and advanced students of languages and linguistics interested in the Dutch language. This volume is the final one of the series and addresses issues relating to coordination. It contains three chapters. Chapter 1 discusses the syntactic and semantic properties of coordinate structures and their constituting elements, that is, the coordinators and the coordinands they link. Chapter 2 discusses the types of ellipsis known as conjunction reduction and gapping found in coordinate structures. Chapter 3 discusses elements seemingly exhibiting coordination-like properties, such as dan ‘than’ in comparative constructions like Jan is groter dan zij ‘Jan is taller than she’.

This book is a special edition, compiled for to the MSc Course Research Methodologies as taught at the Faculty of Aerospace Engineering at Delft University of Technology. It is a compilation of useful chapters from several sources on how to structure, set up, carry out and write up your (thesis) research to aid you in writing your research plan. Next to that it acts as a companion during your thesis research. After introducing you to the philosophy of scientific research, subsequent chapters each contribute to the different phases of your research. The book uniquely allows for the often multi- or interdisciplinary research many of you carry out, based on the established Dutch university tradition of (semi-)independent student research, creating a thread through the process for you to follow. This edition is a collection of chapters from An Introduction to Interdisciplinary Research (2016), edited by Steph Menken and Machiel Keestra, and Academic Skills for Interdisciplinary Studies. Revised edition (2019), by Koen van der Gaast, Laura Koenders and Ger Post, published by Amsterdam University Press.

Why do early films present the Netherlands as a country full of canals and windmills, where people wear traditional costumes and wooden shoes, while industries and modern urban life are all but absent? Images of Dutchness investigates the roots of this visual repertoire from diverse sources, ranging from magazines to tourist brochures, from anthropological treatises to advertising trade cards, stereoscopic photographs, picture postcards, magic lantern slide sets and films of early cinema. This richly illustrated book provides an in-depth study of the fascinating corpus of popular visual media and their written comments that are studied for the first time. Through the combined analysis of words and images, the author identifies not only what has been considered Ÿtypically DutchŒ in the long nineteenth century, but also provides new insights into the logic and emergence of national clichés in the Western world.

Even during the artist's lifetime, contemporary art lovers considered Rembrandt van Rijn (1606-1669) to be an exceptional artist. In this revelatory sequel to the acclaimed Rembrandt: The Painter at Work, renowned Rembrandt authority Ernst van de Wetering investigates the painter's considerations that determined the striking changes in his development from an early age onwards. This gorgeously illustrated book explores how Rembrandt achieved mastery by systematic exploration of the 'foundations of the art of painting'. According to written sources from the seventeenth century, which were largely misinterpreted until now, these 'foundations' were considered essential at that time. From his first endeavours in painting, Rembrandt embarked on a journey past these foundations, thus becoming the 'pittore famoso', whom Count Cosimo the Medici visited at the end of his life. Rembrandt never stopped searching for solutions to the pictorial problems that confronted him; this led over time to radical changes that cannot simply be attributed to stylistic evolution or natural development. In a quest as rigorous and novel as the artist's, Van de Wetering reveals how Rembrandt became the revolutionary painter that would continue to fascinate the art world. This ground breaking exploration reconstructs Rembrandt's theories and methods, shedding new light both on the artist's exceptional accomplishments and on the theory and practice of painting in the Dutch Golden Age.

Even during the artist's lifetime, contemporary art lovers considered Rembrandt van Rijn (1606-1669) to be an exceptional artist. In this revelatory sequel to the acclaimed Rembrandt: The Painter at Work, renowned Rembrandt authority Ernst van de Wetering investigates the painter's considerations that determined the striking changes in his development from an early age onwards. This gorgeously illustrated book explores how Rembrandt achieved mastery by systematic exploration of the 'foundations of the art of painting'. According to written sources from the seventeenth century, which were largely misinterpreted until now, these 'foundations' were considered essential at that time. From his first endeavours in painting, Rembrandt embarked on a journey past these foundations, thus becoming the 'pittore famoso', whom Count Cosimo the Medici visited at the end of his life. Rembrandt never stopped searching for solutions to the pictorial problems that confronted him; this led over time to radical changes that cannot simply be attributed to stylistic evolution or natural development. In a quest as rigorous and novel as the artist's, Van de Wetering reveals how Rembrandt became the revolutionary painter that would continue to fascinate the art world. This ground breaking exploration reconstructs Rembrandt's theories and methods, shedding new light both on the artist's exceptional accomplishments and on the theory and practice of painting in the Dutch Golden Age. Everyone who is interested in the art of painting should read this phenomenal book, because it was written with incredible knowledge and experience on the subject. It shows in a clear and simple way how Rembrandt worked and the things he had to take into account. At the same time it offers a fantastic sample of Rembrandt's life's work, thanks to the well-chosen selection of illustrations. David Rijser, NRC Handelsblad

AbstractWe present a general monitoring methodology to summarize news about predefined entities and topics into tractable time-varying indices. The approach embeds text mining techniques to transform news data into numerical data, which entails the querying and selection of relevant news articles and the construction of frequency- and sentiment-based indicators. Word embeddings are used to achieve maximally informative news selection and scoring. We apply the methodology from the viewpoint of a sustainable asset manager wanting to actively follow news covering environmental, social, and governance (ESG) aspects. In an empirical analysis, using a Dutch-written news corpus, we create news-based ESG signals for a large list of companies and compare these to scores from an external data provider. We find preliminary evidence of abnormal news dynamics leading up to downward score adjustments and of efficient portfolio screening.

AbstractThis chapter investigates the historical permutations of those areas that come closest to qualifying as lesbian and gay neighborhoods in Antwerp, the largest city in Flanders (the northern, Dutch-speaking part of Belgium). Although Antwerp has come to be represented as the “gay capital” of Flanders, it never developed a full-fledged gay neighborhood in the Anglo-American tradition of the concept. The clustering of sexual minorities in the city has been limited largely to the economic, social, and cultural business of (nightlife) entertainment, with lesbian and gay meeting places historically concentrating in particular neighborhoods that, moreover, have shifted over time and dissipated again. The chapter’s fine-grained analysis intends to reveal geographic, social, and cultural specificities for which a more detailed understanding of both the Antwerp and the Belgian contexts is necessary. Its tripartite structure is shaped by the specific heuristic conditions set by it. Because the larger historical context for the investigated subject remains to be written, the chapter first undertakes a substantial and panoramic survey of the emergence of gay nightlife in Antwerp during the early half of the twentieth century. This provides the framework needed for a more detailed analysis in the second part, which zooms in on an area in the immediate vicinity of the Central Station and takes as its emblematic focus one sufficiently long-term and iconic gay bar, called Café Strange. Finally, the chapter zooms out again to sketch how even such a limited gay nightlife cluster in Antwerp has evaporated again in the course of the twenty-first century, leaving a landscape that is hard to map and largely virtual.