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Although vastly influential in German-speaking Europe, conceptual history (Begriffsgeschichte) has until now received little attention in English. This genre of intellectual history differs from both the French history of mentalités and the Anglophone history of discourses by positing the concept - the key occupier of significant syntactical space - as the object of historical investigation. Contributions by distinguished practitioners and critics of conceptual history from Europe and America illustrate both the distinctiveness and diversity of the genre. The first part of the book is devoted to the origins and identity of the field, as well as methodological issues. Part two presents exemplary studies focusing either on a particular concept (such as Maurizio Viroli's 'Reason of the State') or a particular approach to conceptual history (e.g. Bernard Scholz for literary criticism and Terence Ball for political science). The final, most innovative section of the book looks at concepts and art - high, bourgeois and demotic. Here Bram Kempers discusses the conceptual history of Raphael's frescos in the Stanza della Segnatura of the Vatican; Eddy de Jongh examines the linguistic character of much Dutch genre painting; and Rolf Reichardt considers the conceptual structure implicit in card games of the French Revolution, used to induct those on the margins of literacy into the new revolutionary world-view. - Hoewel enorm invloedrijk in Duitstalig Europa, heeft de conceptuele geschiedschrijving (Begriffsgeschichte) tot nu toe weinig aandacht in het Engels gekregen. Dit genre van intellectuele geschiedschrijving verschilt van zowel de Franse geschiedschrijving van mentalités als de Engelstalige geschiedschrijving van verhandelingen door het concept. Aan de hand van practische voorbeelden in de geschiedschrijving wordt deze vorm toegelicht door Bram Kempers, Eddy de Jongh en Rolf Reichardt
In: http://hdl.handle.net/2027/uc1.aa0006193908
Shipping list no.: 99-0157-P. ; Cover title. ; Includes bibliographical references (p. 2). ; Mode of access: Internet.
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In: Film Culture in Transition
Since 1957 the Film Museum in Amsterdam has been in possession of the Desmet Collection which contains the estate of the Dutch cinema owner and film distributor Jean Desmet (1875-1956). The collection comprises almost nine hundred European and American films in all genres, a collection of publicity material and a dauntingly large business archive. These three sources form the basis of this first comprehensive reconstruction of Desmet's career: from his nomadic beginnings as a traveling showman, working the seasonal fairgrounds of the Netherlands and Belgium, to his successful switch to permanent cinema operation and film distribution. The history of Desmet's career offers not simply an abstract of an individual character and his personal ambitions and motivations, but also epitomizes transformations in the world of cinema as an industry. Between 1907 and 1916 the world of cinema experienced radical structural change which Desmet not only witnessed but also helped to bring about. Given the insufficiencies of Dutch film production, Desmet became a link between film production abroad and film exhibition in the Netherlands. Desmet is not merely representative of the rise of the permanent movie house and the coming of the film distributor. This book shows how his fortunes also encapsulate a series of structural changes within the new culture of permanent cinema and film distribution. In film distribution these changes embraced the introduction of film rental, the advent of the long feature film, the introduction of the monopoly distribution system and the periodic transformation of the products on offer. In the business of cinema operation change involved specialization, the creation of fixed theater venues, the development of a theater hierarchy, expansions of scale, the introduction of trade journals and the gradual legitimization of cinema as a popular cultural institution. These transformations were not confined to the Netherlands but were also taking place in the rest of Europe. Indeed, they were first set in motion by other European countries, and in order fully to understand Desmet it is necessary to situate him in his larger European context. In this original and wide-ranging study Ivo Blom uses the career of Jean Desmet as a means of exploring the history of cinema from the ground-level position of film distribution and exhibition. His copiously illustrated and scrupulously documented exposition swells into an epic narrative that offers a richer, more rounded -indeed 'truer' - account of early urban cinema culture than is possible from the confined perspective of production-based film histories. - De levensloop van de Nederlandse bioscoopeigenaar en filmdistributeur Jean Desmet (1875-1956) biedt niet alleen inzicht in een excentrieke persoonlijkheid, maar staat ook model voor de veranderingen in de filmwereld als geheel. Door buitenlandse filmproducties voor vertoning naar Nederland te brengen leverde Desmet een substantiële bijdrage aan de radicale veranderingen die tussen 1907 en 1916 plaatsvonden in de filmindustrie. Het Filmmuseum in Amsterdam is sinds 1957 in het bezit van de Desmet-verzameling waarin de nalatenschap van deze excentrieke filmliefhebber bewaard is gebleven. Dit materiaal vormde het uitgangspunt van deze originele studie waarin Ivo Blom aan de hand van Desmet's levensverhaal de geschiedenis van de filmdistributie en -vertoning vertelt. Zijn rijk geïllustreerde en grondig gedocumenteerde uiteenzetting is uitgegroeid tot een episch verhaal dat - meer dan een productie-georienteerde geschiedenis - een rijk en afgerond beeld schetst van de vroege stadse filmcultuur.
In: Film Culture in Transition
Rainer Werner Fassbinder is one of the most prominent and important authors of post-war European cinema. Thomas Elsaesser is the first to write a thoroughly analytical study of his work. He stresses the importance of a closer understanding of Fassbinder's career through a re-reading of his films as textual entities. Approaching the work from different thematic and analytical perspectives, Elsaesser offers both an overview and a number of detailed readings of crucial films, while also providing a European context for Fassbinder's own coming to terms with fascism.
In: Hypatia: a journal of feminist philosophy, Volume 19, Issue 1, p. 48-72
ISSN: 1527-2001
Much has been written on the post-war decolonisation in the Caribbean, but rarely from a truly comparative perspective, and seldom with serious attention to the former Dutch colonies of Surinam, the Netherlands Antilles and Aruba. This study bridges both gaps. In their analysis of Dutch decolonisation policies since the 1940s, the authors discuss not only political processes, but also development aid, the Dutch Caribbean exodus to the metropolis and cultural antagonisms. A balance is drawn both of the costs and benefits of independence in the Caribbean and of the outlines and results of the policies pursued in the non-sovereign Caribbean by France, the Netherlands, the United Kingdom and the United States. - Waarom verliep de dekolonisatie van 'West-Indië', anders dan die van Indonesië, vreedzaam en zelfs rustig? Waarom werd Suriname uiteindelijk wél onafhankelijk, terwijl de Nederlandse Antillen en het hiervan afgesplitste eiland Aruba beiden een plaats als autonoom land binnen het Koninkrijk der Nederlanden wisten te behouden? Hoe is te verklaren dat ruim een derde van de Surinamers en Antillianen in Nederland woont, ondanks relatief. zeer ruime Haagse ontwikkelingshulp? Hoe verhoudt het Nederlandse beleid ten aanzien van de laatst overgebleven Caraïbische delen van het Koninkrijk zich met dat van Frankrijk, Groot-Brittannië en de Verenigde Staten, landen die elk met een ander model van dekolonisatie in de Caraïben experimenteren? Welke lessen kunnen worden getrokken uit een systematische vergelijking van de vier modellen op dimensies als ontwikkelingshulp, zorg voor deugdelijkheid van bestuur, migratiebeleid en culturele identiteit? Deze vragen staan centraal in Decolonising the Caribbean. De analyse van het Nederlandse beleid is een samenvatting en een update van de veelgeprezen driedelige studie Knellende Koninkrijksbanden die in 2001 verscheen. De nieuwe vergelijkende delen bestrijken een derde deel van het boek en bieden een unieke verkennende exercitie, die ook elders niet eerder zo systematisch werd verricht.
In: Armed forces, Volume 7, Issue 7, p. 320-323
ISSN: 0142-4696
World Affairs Online
In: Statistical papers, Volume 33, Issue 1, p. 83-91
ISSN: 1613-9798
In: Waste management: international journal of integrated waste management, science and technology, Volume 10, Issue 2, p. II
ISSN: 1879-2456
In: Men-At-Arms Ser.
In: Statistical papers, Volume 36, Issue 1, p. 313-326
ISSN: 1613-9798
In: Futures, Volume 29, Issue 10, p. 985-1000