This dissertation examines the life and works of Jan van de Velde II, with a focus on the large body of original landscapes that he both designed and etched himself. Van de Velde was one of the most prolific printmakers of the seventeenth century, whose emphasis on creating and promoting his own designs not only exceeded the usual professional ambitions of most contemporary printmakers but also proved pivotal in the development of a distinctively Dutch landscape tradition. The fact that innovation in the landscape genre was propelled through the print medium inverted the usual relationship between painters and printmakers, in which painters were usually held as the primary artistic innovators. This study provides the first focused treatment of Van de Velde’s original landscape etchings, as well as the first critical study of the artist’s prints generally. The first two chapters offer a detailed biography of Van de Velde, and incorporate a comprehensive gathering of archival documents related to his life, network, and career as a printmaker. Chapter 1 examines his early life and training, along with the remarkable letters from his father, who actually encouraged him at the outset of his career to invent his own designs. Chapter 2 details his professional life in Haarlem and Enkhuizen, and challenges the previously held notion that he more or less abandoned the pursuit of original printmaking after his marriage, as well as the notion that he developed financial problems later in life. At stake in this reassessment is the proper grounding of his enterprise of artistic self-definition, one that has repercussions for the status of printmaking generally in this era. The remaining chapters address different aspects of Van de Velde’s original landscape etchings, particularly those produced at the beginning of his career, c. 1614-1618. Chapter 3 examines the balance of types of imagery in his landscape series, between the seemingly real and the imaginary, and between the local and the foreign. Chapter 4 is a study of the high prevalence of ruins in Van de Velde’s etchings, both as subjects in their own right, and as ones that dramatized their landscape settings and reflected a new form of visual antiquarianism at a time of peak interest in local history and antiquity. Chapter 5 looks at the significant subset of Van de Velde’s landscapes couched in the visual time-cycle tradition of Seasons and Months, and how the Neo-Latin captions found in these series offer a range of innovative commentary. It specifically examines in detail a series of Months that demonstrate how Van de Velde’s relationship with the previously unidentified humanist author Reinier Telle clearly led to a significant transformation of that tradition to reflect both local and Protestant values.

Jan Jiří Hering, painter at the beginning of the Counter-Reformation This diploma thesis deals with Prague based painter Jan Jiří Hering, whose art refers to the first half of the 17th century. The artist's early style is closely associated with the art inspired by the drawings of the Rudolfine Mannerist Era, while the later forms of his paintings show a rather rigid style. It may be presumed that several years spent in Rome during the pontificate of Sixt V. alongside with artistically inspiring atmosphere of Post-Rudolfinian's Prague and consecutive fine art assignments in service of the Catholic Church mainly focused on interior designs, played an important role in developing Hering's artistic expression. As the first Prague painter to begin the Counter-Reformation, Hering dealt with a new kind of fine art assignments in various ways. On the one hand, he used classical patterns to inspire Baroque appearance, dynamism and expression, and on the other hand, he composed pictures of saints according to medieval schemes by combining several scenes into one image space. Given the directly opposed expression of drawing production of the Rudolphine type and the paintings from the period following the Battle of the White Mountain, Hering acts as an artist of two faces. The thesis will attempt to clarify Hering's art and its ties to the first stage of the Counter-Reformation. The research will also focus on the artist's bipolarity in artistic expression with the research for possible parallels and inclusion in the context of Prague's painting scene.

<p>Det rådande sambandet mellan redovisning och beskattning utgör ett ständigt aktuellt juridiskt spörsmål. Vad beträffar immateriella tillgångar kan komplexiteten anses förstärkas ytterligare av det faktum att lagstiftaren i vissa avseenden valt att skatterättsligt jämställa immateriella tillgångar med inventarier. Syftet med denna uppsats är att utreda redovisningens betydelse för den skatterättsliga värderingen och periodiseringen av immateriella tillgångar. Denna målsättning har gjort det nödvändigt att dels utreda huruvida redovisningen överhuvudtaget skall komplettera de skatterättsliga reglerna, dels analysera vilka skatterättsliga konsekvenser som kan komma att följa av ett eventuellt samband. Vad som i synnerhet skall utredas är huruvida ett inkonsekvent synsätt på det kopplade området kan komma att resultera i en tidigarelagd skatterättslig kostnadsföring av immateriella tillgångar, vilka dessutom kan värderas i syfte att optimera värdeminskningsavdragen.</p> / <p>The prevailing relation between accounting and taxation makes up an everlasting legal dilemma. When it comes to intangible assets the complex of problems can be considered even more extent due to the circumstance that the legislator in some cases have chosen to treat intangible and regular assets as equals. The purpuse of this thesis is to investigate standardized accounting principles and their effect on the taxable assessment and periodization of intangible assets. In order to fullfil the purpose of the thesis it has been necessary to first analyse whether or not the rules of accounting should even be allowed to complement the tax legislation, and thereafter examine the consequences of this connection. What needs to be analysed in particular is the possibility that an inconsistent treatement of the connection between accounting and taxation on one hand can result in an early periodization of intangible assets, and on the other convey an assessment by which the deductable costs can be optimized.</p>

Det rådande sambandet mellan redovisning och beskattning utgör ett ständigt aktuellt juridiskt spörsmål. Vad beträffar immateriella tillgångar kan komplexiteten anses förstärkas ytterligare av det faktum att lagstiftaren i vissa avseenden valt att skatterättsligt jämställa immateriella tillgångar med inventarier. Syftet med denna uppsats är att utreda redovisningens betydelse för den skatterättsliga värderingen och periodiseringen av immateriella tillgångar. Denna målsättning har gjort det nödvändigt att dels utreda huruvida redovisningen överhuvudtaget skall komplettera de skatterättsliga reglerna, dels analysera vilka skatterättsliga konsekvenser som kan komma att följa av ett eventuellt samband. Vad som i synnerhet skall utredas är huruvida ett inkonsekvent synsätt på det kopplade området kan komma att resultera i en tidigarelagd skatterättslig kostnadsföring av immateriella tillgångar, vilka dessutom kan värderas i syfte att optimera värdeminskningsavdragen. / The prevailing relation between accounting and taxation makes up an everlasting legal dilemma. When it comes to intangible assets the complex of problems can be considered even more extent due to the circumstance that the legislator in some cases have chosen to treat intangible and regular assets as equals. The purpuse of this thesis is to investigate standardized accounting principles and their effect on the taxable assessment and periodization of intangible assets. In order to fullfil the purpose of the thesis it has been necessary to first analyse whether or not the rules of accounting should even be allowed to complement the tax legislation, and thereafter examine the consequences of this connection. What needs to be analysed in particular is the possibility that an inconsistent treatement of the connection between accounting and taxation on one hand can result in an early periodization of intangible assets, and on the other convey an assessment by which the deductable costs can be optimized.

Parallèlement à sa démarche de plasticien, Jan Lauwers expérimente la scène théâtrale depuis vingt ans avec son groupe Needcompany. La chambre d'Isabella (2004), Le bazar du homard (2006) et La poursuite du vent (2006) placent sa pratique actuelle sous le signe de l'histoire en différents sens. Ces trois spectacles correspondent dans son parcours à la manifestation probante d'un retour au récit qui, corrélativement, voit sa définition et ses codes remis en jeu. Détour aussi bien que retour, le récit se trouvant tout à la fois détourné, retourné, contourné, ce mouvement est observé suivant trois aspects qui ouvrent sur autant de partages. Le premier chapitre convoque le récit dans son acception la plus large, où se rejoignent les deux sens du mot « histoire ». Lauwers procède par va-et-vient entre l'histoire comme story et l'histoire comme history pour raconter et réfléchir des événements passés ou en devenir. Apparaît alors un premier partage par lequel Lauwers sonde la mémoire et le deuil, l'identité et la violence faite à l'homme et au monde. Une fois mis à jour ce que racontent les spectacles, le deuxième chapitre aborde la prise en charge des histoires. Une diversité de moyens d'expression et une pluralité de formes artistiques sont sollicitées dans la représentation par le créateur. Corps, voix, danse, chant, lumière, musique, objets conduisent à une répartition de la fable entre plusieurs instances et modes narratifs. Sont ici considérés les modalités de ce partage des arts tout comme les effets qui s'ensuivent sur la perception et la réception du récit. Un autre partage se dessine dans le troisième chapitre à travers l'importance donnée à l'humour, à l'expression de vitalité des corps ainsi qu'à l'énergie circulant dans et par « le corps de performers », car injectés dans la représentation, ces éléments répondent à la face sombre des histoires. L'itinéraire proposé dans la pratique récente de Jan Lauwers s'achève ainsi sur l'impression qui prédomine au sortir des spectacles: une impression de légèreté offerte en partage. Investiguer les partitions auxquelles sont soumises les histoires suppose une réflexion elle aussi distribuée entre des domaines variés, naviguant de l'esthétique théâtrale à l'art contemporain, de la littérature à la philosophie. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Jan Lauwers, Needcompany, Récit, Mémoire, Histoire, Multidisciplinarité, Spectateur.

Proefschrift--Universiteit van Amsterdam, 2002. / Bibliogr. p. [338]-364. Index. Résumé en anglais.

Proefschrift--Utrecht--Universiteit, 2001. / Bibliogr. p. 341-364.

Texte remanié de: Proefschrift--Universiteit van Amsterdam, 1992. / Bibliogr. 533-554.

Thesis (M.A.)--University of Alabama at Birmingham, 2009. / Title from PDF title page (viewed Jan. 25, 2010). Includes bibliographical references (p. 74-76).

Proefschrift--Nijmegen. / At head of title: Joannes Stalpart van der Wiele. Texts of madrigals by Italian authors (with Dutch translations) and madrigals in Dutch by Stalpart: p. [69]-267. "Stellingen": [2] p. inserted. "Aanhangsel 1: Bio-en bibliografische gegevens betreffende de componisten van wie Stalpart voor zijn madrigalia muziek gebruikt heeft" : p. 268-278. Includes bibliographical references.