Suchergebnisse

Minotaurus! 't Is 'n veelslachtig wezen met 'n muil als een statenbybel, en 'n reusachtige breikous tot achterlyf dat uitloopt in 'n borduurnaald.' Tegen dit monster, symbool voor de christelijke zeden en gewoonten van zijn tijd, nam Multatuli het hartstochtelijk op. Ten behoeve van vrouwen, want aan De minotaurus onzer zeden werden alleen vrouwen geofferd. En tot aansporing van vrouwen, want vrouwen moesten het monster vooral ook zelf te lijf gaan. Tijdens Multatuli's leven, maar ook nog lang nadien, zijn er vrouwen én mannen geweest die zijn ideeën daadwerkelijk als aansporing hebben gelezen

Modalities of censorship, disciplining practices and film. A comparative analysis of the historical reception of Sergei Eistenstein's battleship potemkin (1925) in Belgium and the Netherlands This article deals with the historical reception and censorship of one of the most controversial movies in film history, Sergei M. Eisenstein's Soviet-Russian propaganda film battleship potemkin (1925). After a short overview of its turbulent censorship in major Western European countries, the manuscript compares the Belgian and the Dutch cases. This comparative approach is useful in order to understand the differential effectiveness of the various forces trying to discipline the movie – from local municipalities to political parties, pressure groups and the industry itself. Besides the observation that the Dutch and Belgian cases strongly differ, also from those in countries with an obligatory national censorship system, the article demonstrates how the potemkin event became a site of struggle, the target of intense ideological pressures, debate and different types – modalities – of 'censorship'.

This article is focused on Professor Buikema's intellectual oeuvre and the relation between art and politics as it materialised in MOED (Museum of Equality and Difference). Astrid Kerchman and Rosa Wevers, MOED's former project coordinators, reflect on their collaboration with Buikema through an interview with artist Iris Kensmil on the important role of art in complex social issues relating to emancipation, representation, and resistance. Drawing on the interview with Kensmil and Buikema's Revolts in Cultural Critique (2020), Alessandra Benedicty-Kokken reflects on the meaning of feminist leadership within an institutional context.

"This film illustrates the changes the Lepcha of the Dzongu reserve, North Sikkim, have been through in the last 60 years. From the 1940's, the Lepcha of Tingvong village gradually abandoned hunting, gathering and the slash and burn cultivation of dry rice, and became settled agriculturalists. Entire mountains sides were converted to cardamom and terraced for the cultivation of irrigated paddy. The irrigated rice and the cardamom cash crop not only brought the Lepcha within Sikkim's market economy but helped create a surplus which could among other things be invested in religion. In the 1940's, the Lepcha of Tingvong embraced Buddhism and all its complex rituals without however abandoning their strong shamanic traditions. Today, both forms of rituals amiably co-exist in the village. This film is part of a long-term visual anthropology training project for the tribal communities of Sikkim."--Original container

""Vrouw en recht"" wordt uitgegeven vijf jaar nadat het Clara Wichmann Instituut, het expertisecentrum voor vrouw en recht, zijn deuren heeft gesloten. Het boek geeft door middel van (korte) artikelen, interviews en columnachtige essays een kijkje in de wereld van vrouw en recht. Daarbij wordt ingegaan op de geschiedenis, maar ook actuele thema's komen aan de orde, evenals de bevlogenheid van mensen die zich sterk maakten en maken voor vrouwenrechten

Traditionally, the Netherlands has enjoyed being a test market for many ideas in the media. But over the last decade, progress has been severely hampered by lengthy discussions on the future structure of just one sector of media, namely public broadcasting via radio and television. The narrow approach results in a lot of paper, speeches and theories, but little in the way of definitive policy making. In a report to the government, published in February 2005, the Scientific Council for Government Policy (WRR) argued for very different approaches to policy making. The recommendations are not only much broader than "broadcasting"; they tackle the challenges of making robust policy from new angles. Instead of trying to repair the old compass, the approach has been to find new instruments to help policymakers navigate the stormy and often confusing waters ahead. Perhaps the problem in the Netherlands is not accepting the new media, but rather accepting that the role "old" media has undergone a paradigm shift. Since the bulk of the WRR findings were published in the Dutch language, this summary is intended to provide readers outside the Netherlands with an insight into the issues at stake - and the solutions suggested by the WRR. Also available in English: "http://www.aup.nl/do.php?a=show_visitor_book&isbn=9789053568262&l=2">Media Policy for the Digital Age - Voor een gezonde democratie is een gevarieerd en toegankelijk media-aanbod van groot belang. Radio, televisie, kranten en tijdschriften spelen immers een belangrijke rol in de maatschappelijke informatievoorziening, het publieke debat, de cultuur, de vrijetijdsbesteding en de ontspanning. Het mediabeleid van de regering is er daarom op gericht een veelzijdig, kwalitatief hoogwaardig en onafhankelijk media-aanbod te garanderen, dat toegankelijk is voor alle bevolkingsgroepen waar ook in het land. De laatste jaren is het medialandschap echter sterk aan het veranderen: het internet rukt op, het onderscheid tussen verschillende media vervaagt en de consument bepaalt zijn keuze op een levendige market van vele verschillende aanbieders. in Focus op functies brengt de WRR advies uit aan de regering om daarmee de doelstellingen van het mediabeleid op een toekomstbestendige wijze op een lijn te brengen met de (verwachte) veranderingen in het medialandschap. In het slothoofdstuk wordt dieper ingegaan op de rol van de publieke omroep daarin. Dit rapport verschijnt ook in het Engels: "http://www.aup.nl/do.php?a=show_visitor_book&isbn=9789053568262&l=2">Media Policy for the Digital Age. Tegelijkertijd met het rapport is "./do.php?a=show_visitor_book&isbn=9789053567340">Trends in het medialandschap. Vier verkenningen verschenen waarin de belangrijkste ontwikkelingen voor de toekomst van het medialandschap in vier deelterreinen (economie, techniek, recht en sociaal-culturele ontwikkelingen) worden beschreven.

Abstract It is essential for democracy that political parties should act within their promulgated policy frameworks, which are formally represented in election programmes. If political parties deviate from this principle, the election would lose its meaning, jeopardising democracy. In this respect, planning in Groningen in the 1970s, which realised progressive plans like the traffic circulation plan, was democratic, although it was criticised for lacking public participation. However, planning in the 1980s casts serious doubt on its democratic nature. Various large-scale projects were promoted, and they caused harsh criticism even within the government party, Labour Party. This paper focuses on four projects, that is, the PTT (office development), Brink (residential towers), Casino and Museum, all of which were planned in or next to the inner city of Groningen in the 1980s. This paper will examine these projects in terms of the policy frameworks of the Labour Party, which were created in the 1970s. These projects brought about drastic change of historical landscape, and were clearly contrary to the party frameworks or those measures that were introduced to guarantee the frameworks, such as the local land use plan. As a result, they gave rise to not only strong opposition among citizens, but also criticism of party members who still cherished those party frameworks.

In this chapter Rosemarie Buikema elaborates on how decolonial feminist artists and scholars are engaged in knowledge production by means of deploying a poetics of recycling as a way to re-orientate themselves towards the relation between the subject and the object of knowledge, matter and form, signifier and signifed. Buikema analyses the work of El Anatsui and Nandipha Mntambo to illustrate the power of this poetics of recycling and gives the example of an exhibition in which the Museum of Equality and Difference (MOED) re-curated the cultural heritage of abolitionism, giving centre stage to the black, previously enslaved woman Sojourner Truth, rather than the white Dutchman Nicolaas Beets. She concludes that the collective fijield of decolonial feminism envelops engaged scholars and artists like a sensitive skin that continuously responds to the context in which it fnds itself.

Jos de Haan gaat in de negende Tiele-lezing in op de integratie van nieuwe media in het dagelijks leven van Nederlanders. Vrijwel iedere Nederlander heeft tegenwoordig een mobiele telefoon en surft op het web. We bellen, mailen en twitteren wat af, we zijn bezig met e-shoppen, online games, muziek en films. Meer en meer kan informatie via het web worden verspreid, geconsumeerd én geproduceerd. Het schrijven op papier en het lezen van gedrukte kranten en boeken loopt terug, maar zal het verdwijnen? De nieuwe media mogen snel zijn, brede acceptatie ervan lijkt met enige traagheid te komen. De ve