Thesis (doctoral)--Rijksuniversiteit Utrecht, 1990. / Summary in English. Includes bibliographical references (p. 387-404).

Texte remanié de: Proefschrift--Katholieke universiteit Nijmegen, 2001. / Résumé en anglais. Liste des ouvrages publ. par Henri Du Sauzet p.401-427. Bibliogr. p. 445-460. Index.

Proefschrift--Radboud universiteit Nijmegen, 2006. / Résumés en néerlandais et en anglais. Bibliogr. p. 405-424.

Texte remanié de: Proefschrift--Universiteit van Amsterdam, 2000. / Bibliogr. p. 278-293. Résumé en anglais.

Texte remanié de: Thesis Ph. D.--Leiden--University of Leiden, 2004. / Bibliogr. p. 221-232.

The growing population and increasing urbanisation has caused a development pressure to a city. Compact city is a model to prevent hasty development into suburban areas and to achieve diversity and vitality within a city boundary. However, the potential deterioration of urban environment also comes along with this mode of development. Increasing attention has been given to the urban green spaces (UGSs) for its benefits on creating a more liveable environment. Nevertheless, since UGS is a public good of which their positive externalities are hardly fully captured, the provision of UGS in land-scarce urban environment usually receives low priority compared to other land uses. Different stakeholders receive various benefits from UGSs or suffer from a reduction of land value due to this substantial downzoning, and therefore potential conflicts existed among them. Through the lens of political economy, this study attempted to look into the causal relations between key factors of multi-stakeholder involvement and the performance of UGSs, based on a recently developed theoretical model. The model was using a statistical approach and suggested there were four key factors most significantly affected the performance of UGSs, namely government, society, regulation and implementation. With the aid of case study approach, the model was tested, contextualised and modified and the causal relations among the variables were drawn. The cases chosen were Amsterdam and Hong Kong as they possessed the characteristics that could help identify the causal relations in the model. Making comparisons on two cities with different socio-economic and political systems could also widen the spectrum of the model. Results showed that Amsterdam had a good performance of UGSs while the performance of UGSS in Hong Kong was unsatisfactory. The study was confirmative to the importance of government in the provision of UGSs. However, strong government intervention alone could not guarantee a good performance of UGSs. Besides the four key factors the model suggested, “vision” was identified as another important factor and had to be announced in the early stage in the process of provision of UGSs. / published_or_final_version / Urban Planning and Design / Master / Master of Science in Urban Planning

Rembrandt’s two dozen copies of Mughal paintings that he created between the years 1654 and 1660, remains an obscure collection of drawings within the artist’s extensive body of work. In the scholarship, these drawings are usually framed as his interest in costumes and gestures. This interpretation, however, does not fully take into account Rembrandt’s sensitivity towards cultural and religious tolerance, as exhibited in all aspects of his artistic practice. Prior to his Mughal drawings, Rembrandt already exhibited a curiosity for foreign peoples and places. As a resident of Amsterdam, the global epicenter of Europe, he took advantage of his cosmopolitan atmosphere by actively collecting objects from Asia and the New World brought in by the Dutch East India Company. His art, moreover, did not remain impervious to this dynamic and diverse environment, as evinced by the numerous drawings Rembrandt made to document the different sights and peoples that he encountered in the city. His Mughal copies, moreover, do not resemble the sketches that scholars consider as exhibiting the artist’s curiosity for Oriental attire and distinct body language; instead, they closely parallel the kinds of drawings he made after works of art he found visually appealing. Rembrandt experimented with different kinds of lines and contours to imitate and adapt the Mughal style to diversify his artistic repertoire. His thoughtful engagement reveals that Rembrandt viewed Mughal art style as legitimate forms he could utilize to develop new compositions, or even to challenge and correct existing pictorial traditions. Rembrandt’s Mughal drawings, rather than being an obscure collection, demonstrate instead his unique ability to craft works of art to be reflective of his rich, diverse environment. This strong artistic desire for pictorial experimentation, in addition to his sensitivity for acute narrative interpretation, coalesces to form a more unified portrait of Rembrandt as an empathetic, albeit ambitious, artist. / text

(kein abstract vorhanden) / Series: EI Working Papers / Europainstitut

Proefschrift Universiteit van Amsterdam. / Met een samenvatting in het Nederlands. - Met lit.opg.

Proefschrift Universiteit van Amsterdam. / Met lit. opg., reg. - Met samenvatting in het Engels.