The purpose of this thesis is to describe the phenomenon of Tijl Uilenspiegel character in the context of the Flemish literature after 1867. The thesis focuses on the comparison of two pieces of work of the Flemish literature - the novel De legende van Tijl Uilenspiegel by Charles De Coster of 1867 and its adaptation into a play by Hugo Claus with the emphasis on analysis of the influence of the Flemish Movement on the message of the work. The first chapter describes the medieval stuff around the character Tijl Uilenspiegel and brings an overview of important adaptation of this theme between 1967 and 1965. A two lever analysis of the novel is followed by chapters which are focused on the description of the social and political factors of the Flemish Movement in the 19th century and in the first half of the twentieth century. These are a literary text analysis and an analysis of the occurrence of the references to the Flemish nationalism. These two levels of the novel are later compared with the play of Hugo Claus. The literary analysis includes the analysis of the plot, narrative mode, time, place and motives of the novel. The reference occurrence analysis is divided into two groups - direct references (occurrence of the word Flanders and all the variations of this word) and indirect references...

The Hours of Edith G. Rosenwald (c.1340–80) is a small book of hours in the Rosenwald Collection at the Library of Congress. Despite unique iconography and luxurious illuminations, this manuscript has so far received little scholarly attention. This thesis analyzes the size and iconography of the Rosenwald Hours to suggest that it was designed for a specific owner and function. No surviving documentation gives evidence of ownership, yet the standard program of miniatures was changed to suit a specific audience. The manuscript’s iconographic program and stylistic treatment are here considered in the context of contemporary books made for women, particularly women of the royal court in Paris, to suggest a likely audience. One of only a few extant miniature books of hours, the Rosenwald Hours is a valuable tool for looking at the place of small manuscripts in medieval society. This thesis examines the physical size, the iconography, and the inclusion of saint portraits as indicators of a function beyond the standard devotional use. A case is made for the manuscript’s connection to pilgrimage and to protective amulets. Combined with the assessment of its iconography, this study suggests an owner and intended use for miniature books of hours that provides a new way to look at these manuscripts, from obscure Flemish examples to the famous Hours of Jeanne d’Evreux. / text

Thesis--Munich. / Vita. Includes bibliographical references.

Thesis (Ph.D.)--Boston University / The life and writings of the Blessed John of Ruysbroeck lie at the heart of the Golden Age of Mysticism. The purpose of this study has been to present his life and an interpretation of his writings in the form of a narrative poem, thouroughly documented according to accepted dissertation practice, and to show that his life and writings exerted influence upon Gerhardt Groote and John Tauler. The result of the study indicates that Ruysbroeck had a clear conception and structure for his mystical thought presenting a doctrine of God: Father, Son, and Holy Spirit, a doctrine of man, and a conception of the Church, which, while illuminated in many instances with mystic insight, are still conformale to the spirit and intellect of the fourteenth century. [TRUNCATED]

abstract: Bruegel is a four movement composition inspired by the paintings and engravings of Flemish artist Pieter Bruegel the Elder (1525-1569). It is scored for Bass Clarinet in Bb, Electric Guitar, One Percussionist (Glockenspiel, Woodblock, Snare, Kick Drum, and Brake Drums), Piano and String Quartet. Each movement explores a painting or engraving from Bruegel’s catalog of works and attempts to embody each piece of art through the use of certain compositional techniques. The Cripples (Movement I) explores layered rhythms and disjunct melodic fragments which play on the idea of Bruegel’s painting of crippled men trampling over each other and stumbling. Small moments of balance are found throughout only to be lost. Patience (Movement II) is based on an early engraving of Bruegel, which depicts a lone woman who represents a virtue, in this case patience, surrounded by sin and vices. Juxtaposed textures are presented with patience eventually finding itself victorious to temptation. Children’s Games (Movement III) explores a painting which depicts a large number of children playing a plethora of different games. The movement uses graphic notation and plays with the idea of games to create a compositional “game” for the ensemble. Big Fish Eat Little Fish (Movement IV) depicts a large fish eating several smaller fish. A process is introduced which plays on the idea of increasing density and lasts for the bulk of the movement. / Dissertation/Thesis / Masters Thesis Music 2016

The purpose of this thesis is to examine the production of flemish weaving done by the handicraft association Malmöhus läns hemslöjdsförening between the years 1960 - 1975. The thesis examines a group of flemish weaves to answer questions about how they were made, which material were used and how they were designed during the period. This study is supplemented ny a study of annual reports, which describes the associations work during the period. This is to put the flemish weaves into a wide context where the purpose and function of the flemish weave are analysed. The study also aims to discuss the development and ideas in the association, and how thoes thoughts changes shaped the use of the flemish weaves in the association.  The result of this thesis shows how the production of flemish weaves during the period was influenced by variation and renewal. This is shown in the technical variation and a modernisation with abstract designs. The study has also shown the purpose of the weaves as products for mediation. In relation with the study of annual reports, the reports put the flemish weaves in a wider context as a popular technic for weaving courses in the association. In conclusion the results show a development, where new conditions and competition made the association strive for new products where "hemslöjd" was made into an important trademark.

La thèse a pour objet de replacer le territoire anglais dans le champ des études sur le rayonnement européen de la peinture des Pays-Bas méridionaux au XVe et au début du XVIe siècle. En effet, si de nombreuses recherches ont été menées à ce sujet, notamment sur le bassin Méditerranéen, la France et les terres du Saint-Empire, aucune n’a été consacrée à l’Angleterre, région pourtant géographiquement la plus proche des anciens Pays-Bas méridionaux et avec laquelle les relations économiques et politiques étaient particulièrement soutenues.Ce travail propose, d’une part, la présentation d’un corpus de peintures produites pour des commanditaires anglais augmenté de nombreuses mentions d’archives qui permettent de rendre une image relativement fidèle de la diversité des œuvres peintes importées en Angleterre. D’autre part, il replace ces importations dans leur contexte historique en analysant notamment les acteurs de celles-ci, les réseaux diplomatiques et commerciaux qui ont permis l’arrivée de ces peintures sur l’île, ainsi que les peintres flamands qui y étaient actifs. Ces derniers ont assuré une diffusion directe des innovations techniques et stylistiques auprès des peintres locaux.Le cadre chronologique adopté s’étend depuis les années 1430 et le développement de l’ars nova par les frères Van Eyck jusqu’aux années 1530 et la Réforme religieuse d’Henry VIII qui correspond à un changement de paradigme dans l’importation des peintures, ainsi qu’à une influence progressive de l’art de la Renaissance italienne sur les œuvres importées.La thèse se compose de 4 parties. La première établit le contexte historique et commercial de ces échanges. Elle met notamment en évidence l’ouverture de la cour d’Angleterre aux nouvelles tendances artistiques continentales dès les années 1350, ainsi que l’importance qu’eut la Guerre de Cent Ans dans la diffusion de ces innovations. Elle livre de nombreux arguments sur le contexte économique et commercial, en particulier sur les réseaux géographiques de Londres et de Bruges, pour mieux comprendre les développements des importations de peintures en Angleterre. La deuxième partie présente chronologiquement le corpus des peintures conservées dont la provenance anglaise est attestée. Celles-ci sont replacées dans le contexte culturel, politique et économique ayant contribué à leur commercialisation et à leur acquisition sur le marché libre ou par la commande. Souvent peu connues ou inédites, ces œuvres font l’objet d’une étude approfondie au point de vue de leur attribution, de leur provenance ancienne et de leur typologie. L’établissement de ce corpus permet, dans la troisième partie, de proposer une étude de synthèse sur la typologie et l’iconographie des peintures importées en Angleterre, ainsi que sur leur processus d’acquisition. Enfin, la quatrième partie est consacrée à la production des peintres originaires des Pays-Bas actifs en Angleterre. Elle se concentre particulièrement sur le dernier quart du XVe siècle et sur les trois premières décennies du XVIe siècles. L’attention est portée sur trois peintres :Maynard Wewyck, le Maître des Portraits Brandon et Jan Rave. Chacun d’eux fait l’objet d’une révision des documents d’archives et d’une étude des œuvres ayant servi de base à l’élaboration de leur corpus. Cette thèse s’achève par un chapitre sur la réception de l’art pictural des Pays-Bas par les artistes anglais, tant dans le domaine de la peinture religieuse que dans celui des portraits. Ainsi, ce travail permet de mieux cerner les importations de peintures des Pays-Bas méridionaux dans l’Angleterre de la fin du Moyen Âge et du début de la Renaissance, l’activité des peintres flamands sur l’île et leur impact sur la production anglaise, afin de rétablir la place de l’île dans le champ des études sur le rayonnement européen de l’art des Primitifs flamands et de leurs suiveurs. / Doctorat en Histoire, histoire de l'art et archéologie / info:eu-repo/semantics/nonPublished

Made available in DSpace on 2016-12-08T16:24:09Z (GMT). No. of bitstreams: 1 PGCA11MA079.pdf: 1198872 bytes, checksum: 45c625202a482ee64b00347aef9f38a0 (MD5) Previous issue date: 2011-06-30 / The Flemish cattle breed, originarily from the Northeast region of France, was imported to Brazil from Argentina in 1945, being allocated to an experimental Station in Lages, State of Santa Catarina (SC). The Flemish is a double purpose breed very well adapted to the altiplane. Such features contributed to a quick dissemination of this breed in the Southern region of Brazil. However, the introduction of more specialized breeds in the past decades caused a loss of interest in the Flemish breed, resulting in a drastic reduction in the herd size, with only about fifty animals still remaining, all located at the EPAGRI Experimental Station in Lages, SC. The high risk of extinction imposed to this small herd, along with its importance to biodiversity, justifies the need for its preservation. For that, the Ovum Pick Up (OPU)/in vitro embryo production (IVP) and the multiple ovulation and embryo transfer (MOET) procedures are among the available reproductive biotechnologies that could be readily applied for the maintenance and expansion of the breed. However, data regarding the oocyte retrieval efficiency by OPU and embryo yield either by IVP or MOET for Flemish cattle are still lacking. The aim of this study was to compare the efficiency of the in vivo and in vitro embryo production systems for the Flemish breed, using Holstein females as control counterparts. Eight multiparous Flemish females and eight Holstein females were allocated to two subgroups of four animals per breed. Each subgroup was subjected to 10 OPU sessions, at weekly intervals, or two MOET protocols, for two periods of 63 days. After the conclusion of one 63-days long period of OPU and MOET sessions, both procedures were repeated in a second period of 63 days, inverting the subgroups of animals for each procedure. The OPU was performed by ultrasonography for the transvaginal aspiration of &#8805;3 mm follicles. Recovered oocytes were morphologically graded and subjected to IVP procedures, including the in vitro maturation, fertilization and culture steps, up to Day 7 of development. For the MOET subgroups, a standard decreasing FSH dose treatment was used followed by AI, with embryo recovery performed by nonsurgical procedures on Day 7 after AI. Frozen semen from the same Flemish bull was used for the entire experiment. Quantitative data were analyzed using the PROC MIXED or by the Friedman test (SAS), whereas qualitative data were analyzed by the &#967;2 test, and data on the embryonic morphology and kinetics of development by the Kruskal-Wallis test (Minitab), for P<0.05. After 20 OPU sessions per breed, a total of 635 viable oocytes were obtained from Flemish females, with 8.0 ± 0.7 oocytes/animal/section, which was significantly higher than from Holstein cows (543 viable oocytes, 7.3 ± 0.7 oocytes/animal/section). The mean number of blastocysts per IVP procedure (3.9 ± 1.5 vs. 2.1 ± 1.2) and blastocyst rates (11.8% vs. 7.2%) were higher in Flemish than in Holstein females, respectively. After four MOET sessions (total of 32 flushings), Flemish females yielded more viable embryos than Holstein animals (111 vs. 48 viable embryos, with 7.5 ± 1.8 vs. 3.7 ± 1.4 embryos/female, respectively). In conclusion, Flemish females yielded more viable oocytes by OPU and more viable embryos by IVP or MOET than Holstein females. Also, MOET procedures were more efficient than OPU/IVP for the production of embryos, irrespective of the breed. Nevertheless, both reproductive biotechnologies, OPU/IVP and MOET procedures, were efficient as useful tools for the genetic conservation of Flemish cattle / Bovinos da raça Flamenga, originários da França, chegaram ao Brasil em 1945 oriundos da Argentina, sendo alocados em Lages, no Estado de Santa Catarina. Esta raça é de dupla aptidão e que, devido à perfeita adaptação às condições edafoclimáticas regionais, acabou compondo inúmeros rebanhos na região Sul do Brasil. Porém, a introdução de raças especializadas no decorrer das últimas décadas ocasionou desinteresse pela raça Flamenga, resultando na redução drástica do rebanho, com cerca de cinqüenta animais ainda remanescentes e lotados na EPAGRI de Lages. O risco de extinção imposto a este rebanho e sua importância para a biodiversidade justificam a necessidade de sua preservação. Dentre as biotécnicas reprodutivas que podem ser utilizadas para a expansão desta raça destacam-se a Ovum Pick Up (OPU)/produção in vitro de embriões (PIV) e a produção in vivo de embriões pela múltipla ovulação, inseminação artificial (IA) e transferência de embriões (TE). Informações sobre a eficiência de recuperação de oócitos obtidos por OPU para a PIV ou mesmo de embriões produzidos por TE na raça Flamenga são praticamente inexistentes. O objetivo deste estudo foi comparar as eficiências de produção in vitro vs. in vivo de embriões da raça Flamenga, utilizando-se a raça Holandesa como controle. Oito fêmeas da raça Flamenga e oito da raça Holandesa foram subdivididas em dois subgrupos de quatro animais/raça. Cada subgrupo foi submetido a um bloco de 10 seções de OPU/PIV com intervalo semanal ou a duas seções de TE, em um intervalo de 63 dias. Passado este primeiro período de 63 dias, ambos os procedimentos (OPU/PIV e TE) foram repetidos em um segundo período de 63 dias, invertendo-se os subgrupos de animais para cada procedimento. A OPU foi realizada por ultrassonografia transvaginal para a aspiração de folículos com diâmetro acima de 3 mm. Todos os CCOs foram avaliados morfologicamente e submetidos à PIV, a qual incluiu as etapas de maturação, fecundação e cultivo in vitro até o Dia 7 de desenvolvimento. Para a TE, realizou-se protocolo padrão com doses decrescentes de FSH, seguida de IA, com recuperação de embriões realizados por procedimento não-cirúrgico no dia 7 após a inseminação. Sêmen congelado do mesmo touro da raça Flamenga foi utilizado em todo o experimento. Os dados quantitativos foram analisados pelo PROC MIXED ou pelo teste de Friedman (SAS). Os dados qualitativos foram analisados pelo teste do &#967;2, e analisou-se os dados de morfologia embrionária e cinética de desenvolvimento pelo teste de Kruskal-Wallis (Minitab), para P<0,05. Após 20 seções de OPU/raça, o número total de oócitos viáveis e a média de oócitos/animal/seção na raça Flamenga (n=635 e 8,0 ± 0,7) foram superiores à raça Holandesa (n=543 e 7,3 ± 0,7), respectivamente. O número médio de blastocistos obtidos por rotina de PIV (3,9 ± 1,5 vs. 2,1 ± 1,2) e a taxa de blastocistos pela PIV (11,8% vs. 7,2%) foram maiores para fêmeas da raça Flamenga se comparadas a fêmeas da raça Holandesa, respectivamente. Após quatro seções de TE (32 coletas/recoletas totais), produziram-se 111 embriões viáveis na raça Flamenga, com média de 7,5 ± 1,8 embriões/fêmea, sendo superior à raça Holandesa, a qual obteve um total de 48 estruturas viáveis, com média de 3,7 ± 1,4 embriões viáveis/fêmea. Desta maneira, conclui-se que as fêmeas Flamengas forneceram mais oócitos viáveis por OPU e mais embriões viáveis por PIV ou TE do que fêmeas Holandesas. Além disso, o procedimento de TE apresentou maior eficiência que a OPU/PIV para a produção de embriões, independente da raça. Contudo, ambas as biotécnicas se mostraram eficazes como ferramentas úteis para a conservação genética de animais da raça Flamenga

This study examines the framing of Syria fighters in Swedish newspapers during selected time periods of 2016 and 2017. Syria Fighters refer to individuals who travel to Syria to join the ongoing conflict, an occurrence commonly known as Foreign Fighters. Using framing analysis and framing theory the study finds that Syria fighters and their actions are framed mainly as problematic and as a negative social phenomenon. The study also makes a comparison to similar, previous research of Dutch and Flemish newspapers and finds clear similarities as well as differences.

La théâtralité de la mort chez les deux artistes flamands Michel de Ghelderode et Jan Fabre est basée sur un corpus de textes. Découpée en trois domaines constitutifs du théâtre - littérature, dramaturgie, esthétique - l'objectif de ma recherche est centré sur un dialogue entre un art dramatique et un art postdramatique, de façon à confronter ou confondre certains éléments des deux champs théâtraux à travers la théâtralité de la mort. Le domaine littéraire explore le discours des deux auteurs, depuis le titre de leurs oeuvres jusqu'à leurs genres, en passant par les micro et les macrostructures du texte, montrant que la littérature de la mort se reconnaît aussi bien à la forme qu'aux motifs de l'écriture. Les renversements carnavalesques propres aux pièces des écrivains en dépit de leurs différences fondamentales se retrouvent dans le domaine dramaturgique. Il se concentre sur des personnages, des espaces et des temps de la mort en faisant ressortir ce qui relève du jeu dramatique et du jeu performatif. La notion du double, dans le champ de l'esthétique, est étudiée à partir du corps et à partir du processus créatif des deux poètes; le miroir du tableau sur le théâtre est une constante de ce travail. Enfin, la notion duale est opposée à l'universel que représente la figure christique, porteuse du grotesque par la résurrection. Malgré les coupures entre les diverses formes d'expressions artistiques, pour Jan Fabre il a continuité entre un langage visuel et un langage textuel, telle une continuité entre vie et mort. / The theatricality of death at both Flemish artists Michel de Ghelderode and Jan Fabre is based on acorpus of texts. Divided into three constituent fields of theater - literature, dramaturgy, aesthetic -the objective of my research is focused on a dialogue between a dramatic and a post-dramatic art, inorder to confront or confuse some theatrical elements of both fields through theatricality death. Theliterary part explores the linguistics of the authors texts, from the title of their works to their genres,including the micro and macrostructures, showing that the literature of death is as well in the shapeas in the motives of the writing. The carnavalesc reversals particular to the writers' plays in spite oftheir fundamental differences is found in the dramaturgy field. It focuses on characters, spaces andtimes of death by highlighting what is dramatic play and performative play. The concept of doublein the aesthetics part, is observed through the body and the creative process of the poets; the mirorof the painting on theater is a constant in these works. Finally the double is opposed to the universalthat the christik figure represents, carrier the grotesc by the resurrection. If there are gaps betweenthe various forms of artistic expressions, for Jan Fabre there is continuance between a visuallanguage and a textual language, such continuity between life and death.