Proefschrift--Utrecht--Universiteit, 1999. / Mention parallèle de titre ou de responsabilité : A @matter of lightning : genetic-interpretative commentary on Gerrit Achterbergs "Spel van de wilde jacht" (Game of the wild hunt). Bibliogr. p. 377-382. Index. Résumé en anglais.

Proefschrift--Nijmegen--Katholieke Universiteit, 1990. / Résumé en anglais.

Thesis--University of Michigan. / Bibliography: p. 259-269.

Thesis--University of Michigan. / Bibliography: p. 259-269.

Chan Kwan Hon Donald. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2005-2006, design report."

Proefschrift--Letteren--Universiteit Leiden, 2004. / Le document annexe "Dwalen door het paradijs" a été publ. indépendamment en 2002. Contient un résumé en anglais. Bibliogr. p. 89-90.

Texte remanié de: Proefschrift. / Résumé en anglais. Bibliogr. p. 670-719.

The congressional speeches of Gerrit J. Diekema are the basis of this study and have been transcribed directly from the Congressional Record. Only those speeches and comments which were deemed illuminating as to the political and personal philosophy of Diekema are included. The speeches are of historical value for two reasons. First, they provide insight into the attitude of a Conservative Republican during the Progressive period. Secondly, the speeches indicate that a Congressman could be swayed in his support of party causes by the needs of his home district. Thus, the picture emerges of the typical congressman paying less attention to the great debate among Congressional leaders and showing more concern over parochial issues than is generally indicated in the histories of the period.

No description available.

In this thesis I examine the artistic contributions of Gerrit van Honthorst (1592-1656) to the sudden increase in the pictorial representation of musical subjects in Utrecht during the 1620s. Like his contemporaries, Honthorst was profoundly influenced by the complex and dramatic style of Michelangelo Merisi da Caravaggio (1571-1610) during his studies in Italy, and he adopted the new Italianate interpretation of realism and chiaroscuro in his painting technique by the time he returned to Utrecht in 1620. However, Honthorst employed a strategy of representation that combined painterly techniques from the milieu of Italian art with subjects and themes from Netherlandish tradition, resulting in an innovative category of genre painting that was both familiar and new to the contemporary viewer. Through an analysis of a representative sample of Honthorst’s paintings of musicians and their relation to contemporary Dutch trends and interests, I consider how his works resonated with the aesthetic tastes of Northern patrons. I argue for the presence in Honthorst’s paintings of musicians of elements from contemporary Dutch culture, such as literary conventions, artistic tradition, and customs of musical performance, and I examine the ways in which these commonalities in ideology appealed to Northern audiences. / text