Suchergebnisse

During the Second World War, crime rates skyrocketed in the occupied Netherlands, particularly concerning theft and other offences against property. These crimes were committed by both those who had been convicted in the prewar period and previously 'well-behaved' citizens. Some of them felt forced to steal by the circumstances, others took advantage of the situation for their own benefit.
How did suspects justify their acts? Did they consider theft during the occupation to be a crime, or not? And how did Dutch judges pass judgement concerning property crimes? Did they have compassion for stealing compatriots, or did they consider theft in times of scarcity and increasing poverty to be a great danger, which should be severely punished? In this book, historian Jan Julia Zurné uses case files and verdicts by Dutch courts to provide insight into the lives, experiences and motivations of wartime thieves.

Na rechten in Amsterdam te hebben gestudeerd,werkte F.H.M. Grapperhaus (1927-2010) als belastingconsulent. Hij promoveerde in Tilburg op een onderzoek waarin hij de leer van het globale evenwicht uitwerkte. Als staatssecretaris van Financin in het kabinet-De Jong (1967-1971) loodste hij onder meer de nieuwe, op Europese leest geschoeide, omzetbelasting door het parlement. In deze hoedanigheid raakte hij naar eigen zeggen geobsedeerd door het streven naar vereenvoudiging van de belastingwetgeving. Na een intermezzo als bankier, was hij geruime tijd hoogleraar belastingrecht aan de Leidse universiteit. Zijn academische verplichtingen combineerde hij met werkzaamheden als onafhankelijk adviseur bij een groot kantoor. Als fiscale wetenschapper ging Grapperhaus vanaf enig moment steeds nadrukkelijker het verschijnsel belastingen in historisch perspectief benaderen, zonder zijn belangstelling voor beleidsmatige fiscale vraagstukken te verliezen. In deze studie wordt Grapperhaus met name als fiscalist belicht, mede aan de hand van de verschillende levensfasen die hij heeft doorgemaakt

Duurzaamheid is uitgegroeid tot een van de belangrijkste pijlers van het beleid van de Europese Unie (EU) op het gebied van economie en samenleving. Toch kan het streven naar duurzaamheid tot in de haarvaten van de Europese economie en samenleving soms leiden tot spanningen met het bestaande EU-recht. Duurzaamheid was vaak nog geen doelstelling toen bepaalde Uniewetgeving werd afgekondigd of toen het Hof van Justitie van de EU richtinggevende uitspraken deed. De auteurs in deze bundel bespreken zodoende deze spanningen binnen het staatssteun-, mededingings-, kartel-, aanbestedings-, biodiversiteit- en consumentenrecht, om zo de vinger te leggen op de 'zere' plekken waar duurzaamheid mogelijk schuurt met het geldende Unierecht. Met andere woorden, waar het huidige (EU) recht de verwezenlijking van een duurzaam Europa (eventueel) kan bemoeilijken

In 2022, Korpora, the Public Safety Heritage Centre opened – tasked with acquiring, managing and exhibiting physical and digital collections on public safety in the Netherlands. Today, Korpora includes the national collections of the Dutch police and the fire service, the Dutch Red Cross and the former Civil Defence service. Korpora's roots go back to the early 20th century, when firefighting and police enthusiasts began collecting heritage items from these organisations and putting them on display. Despite setbacks due to a lack of funding and a suitable home for the objects, as well as a lack of historical awareness within those organisations, a great deal of heritage items still managed to be preserved. Thanks to the dozen or so foundations – some already in existence, some set up later – the heritage has been preserved, expanded and ultimately culminated in Korpora's rich and astounding subcollections.

Since poison gas was used during World War I, long-range bombers had been introduced and tensions were rising in Europe, the Air Raid Precautions Act was passed in the Netherlands in 1936. The legislation emphasised individual responsibility for self-protection. This meant that citizens had to buy a gas mask themselves. The Gas Mask Decree (1937) required all gas mask models for Civil Defence units and civilians to be approved by the Dutch State Arsenal. Facepieces and filter canisters had to be marked with the State Acceptance Number and year(s) of approval and production. This paper identifies and describes the gas masks used by police, fire brigades, Civil Defence units and individual citizens, 1931-1940. Three models are heavy, regular Army box respirators, whose filter containers are worn in a haversack on the chest. All the other models are lighter civilian gas masks, with an easily replaceable screw-on filter canister attached to the facepiece. The gas masks were carried in a basic satchel or cylindrical metal case. Two Dutch-made gas masks have a peculiar design: the Veritex gas mask's facepiece has a swimcap type hood; the Hevea-Electro Model 128 gas mask's facepiece has no outlet valve. Air is inhaled and exhaled through the filter canister.

The fire brigade was the first to dispatch emergency teams to the disaster area and provide assistance day and night, thanks to its omnipresence and versatility. This meant that local, voluntary firefighters were probably among the first rescue workers to fall victim. This contribution thrusts the fire brigade as a rescue service during the flood into the spotlight. This shows both the initial and the subsequent assistance provided by local fire brigades and additional units from outside the disaster area. Research has shown that the role played by the Dutch fire service – not to mention the Italian fire brigade –was massive and hugely significant, especially considering they worked under very dire circumstances and with limited resources.

Marine painting, paintings of ships and the sea, is a four hundred year old traditional Dutch art discipline. In the nineteenth century the genre had a special artistic prestige and status. This study explores the background, training, studio practice, stylistic development and subject matters of the Dutch nineteenth-century marine painter. A Reference List of Marine Painters, which is a new overview of the true specialists in the genre in this period, is added. The key question is how marine painting was looked at by the marine painters themselves, their fellow painters at the artists associations, in art theory and in art criticism. It turns out that within Dutch art circles throughout the nineteenth century, marine painting was perceived as a bearer of national pride. By placing the genre in a broader cultural-historical context it reveals how marine painting, together with the glorification of maritime history, was embedded in nationalist ideology.

Dit boek vertelt het verhaal van de Europese slavernijgeschiedenis vanuit een Zuid-Hollands perspectief. Van de zestiende tot de negentiende eeuw speelde de koloniale wereld een steeds belangrijkere rol in de economie van Holland. De provincie werd een draaischijf voor Europese goederen, kapitaal, arbeid en kennis. Vooraanstaande Zuid-Hollandse regenten als Johan de Witt spanden zich in voor de slavenhandel. In de negentiende eeuw zorgde raciaal denken bij Zuid-Hollandse politici zoals Jan Willem Gefken of James Loudon voor het in stand houden van de koloniale hiërarchie en het uitbuiten van koloniale onderdanen.