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"Land of our forefathers" : Jan Paerl : a Khoikhoi prophet in Cape colonial society, 1761-1851 /Viljoen, Russell Stafford, January 1900 (has links)
Thesis--Leiden--Universiteit Leiden, 2003. / Contient un résumé en afrikaans. Bibliogr. p. [145]-156.
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Broeders in de geest de doopsgezinde bijdragen van Dierick en Jan Philipsz. Schabaelje tot de Nederlandse stichtelijke literatuur in de zeventiende eeuw /Visser, Pieter. January 1900 (has links)
Academisch proefschrift -- Universiteit van Amsterdam, 1988. / Includes bibliographical references and index.
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Die uitbeelding van hegemonie, identiteit en herinneringe deur die konseptuele kunstenaars Berni Searle en Jan van der Merwe / Vianca Franciska du ToitDu Toit, Vianca Franciska January 2012 (has links)
This study focuses on the way in which the conceptual artists Berni Searle and Jan van der Merwe portray their respective memories of the influence of hegemony on their identity formation. Two conceptual installations of each artist, namely Looking back (1999) and Not quite white (2000) of Searle and Wag (2000) and Ontwortel (2009) of Van der Merwe, are interpreted comparatively according to the portrayal of hegemony, identity (including the artists‟ different sexual and race identities) and their memories of the historic and cultural effects of domination. The reading and interpretation of the installations are guided by the key concepts hegemony, identity and memory and are grounded theoretically from a critical post colonial perspective. Searle and Van der Merwe‟s memories of the influence of power relations and ideology on their conception of art and identity formation are addressed by contextualizing the artists within the South African context. Van der Merwe, as a white Afrikaans speaking man, initially formed collectively part of the Western patriarchate identity norm because of his historic background. His identity is in contrast with Searle‟s brown and female identity which is traditionally viewed and portrayed as different and inferior. Van der Merwe‟s memorial art is therefore mainly that of the unjustified benefiting of the white and male agents of power in contrast with Searle‟s memorial art of colonial and patriarchate domination. / Thesis (MA (History of Art))--North-West University, Potchefstroom Campus, 2013
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Die uitbeelding van hegemonie, identiteit en herinneringe deur die konseptuele kunstenaars Berni Searle en Jan van der Merwe / Vianca Franciska du ToitDu Toit, Vianca Franciska January 2012 (has links)
This study focuses on the way in which the conceptual artists Berni Searle and Jan van der Merwe portray their respective memories of the influence of hegemony on their identity formation. Two conceptual installations of each artist, namely Looking back (1999) and Not quite white (2000) of Searle and Wag (2000) and Ontwortel (2009) of Van der Merwe, are interpreted comparatively according to the portrayal of hegemony, identity (including the artists‟ different sexual and race identities) and their memories of the historic and cultural effects of domination. The reading and interpretation of the installations are guided by the key concepts hegemony, identity and memory and are grounded theoretically from a critical post colonial perspective. Searle and Van der Merwe‟s memories of the influence of power relations and ideology on their conception of art and identity formation are addressed by contextualizing the artists within the South African context. Van der Merwe, as a white Afrikaans speaking man, initially formed collectively part of the Western patriarchate identity norm because of his historic background. His identity is in contrast with Searle‟s brown and female identity which is traditionally viewed and portrayed as different and inferior. Van der Merwe‟s memorial art is therefore mainly that of the unjustified benefiting of the white and male agents of power in contrast with Searle‟s memorial art of colonial and patriarchate domination. / Thesis (MA (History of Art))--North-West University, Potchefstroom Campus, 2013
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Rundbrief / Lehrstuhl für Religionsphilosophie und Vergleichende Religionswissenschaft19 October 2011 (has links) (PDF)
No description available.
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Re-examining Van Eyck: a new analysis of the Ince Hall Virgin and ChildHudson, Hugh Unknown Date (has links) (PDF)
The Ince Hall Virgin and child is a painting of the Virgin and Child in an interior that was attributed to Jan van Eyck by the leading historians of early Netherlandish art from 1854 to 1956. Between 1956 and 1959 the work was subject to a technical and art historical analysis in Europe, in the re-classification of the work as a copy by a follower of Van Eyck, and possibly a forgery. Subsequently, a number of art historians have suggested that not even the composition of the work is Eyckian, and that the work is a pastiche based on Van Eyck’s paintings. Nevertheless, some authors have doubted the arguments for these reattributions. Some authors maintain the attributions to Van Eyck, and others suggest that the work may be a copy. This thesis is the first comprehensive critical reappraisal of the scientific and art historical analysis to be conducted. In the first chapter it examines the provenance and bibliography of the work. / In the second chapter it examines published and unpublished documents relating to the technical analysis found in Melbourne, Brussels, London and Amsterdam, which have been brought together for the first time. It also contains an interpretation of the work’s infrared reflectography that was produced, for the first time, for this thesis. It is argued that, contrary to the 1950's analysis, there is no technical impediment to an attribution of the work to Van Eyck. Furthermore, technical analysis reveals numerous correspondences to Van Eyck’s works, in the pigments, paint layer structures, underdrawing style and pentimenti. In the third chapter the relationship of the execution, composition and iconography to Van Eyck’s paintings is discussed. It is argued that the execution, composition and iconography are closely related to Van Eyck’s works. In the fourth chapter the attribution of the work as an original painting of Van Eyck, a copy, a pastiche or a forgery is discussed. It is concluded that the balance of the available evidence suggests the attribution of the work to Van Eyck, or his studio, is justifiable. The possibility that the work is a free copy is not excluded, but is undermined by the numerous correspondences to Van Eyck’s materials and technique and its relationship to the versions of the composition by other artists.
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Broeders in de geest de doopsgezinde bijdragen van Dierick en Jan Philipsz. Schabaelje tot de Nederlandse stichtelijke literatuur in de zeventiende eeuw /Visser, Pieter. January 1900 (has links)
Academisch proefschrift -- Universiteit van Amsterdam, 1988. / Includes bibliographical references and index.
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From page to page to stage translation and dramaturgy issues of Once upon a rainy night /Xu, Junying. January 2008 (has links)
Thesis (M.A.)--Miami University, Dept. of Theatre, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 70).
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Gerrit Jan Vos, Az : het recht van de Kerk : das Recht der Kirche /Zwanenburg, Leendert Gerrit. January 1900 (has links)
Proefschrift--Godgeleedheid--Utrecht, 1978. / Mention parallèle de titre ou de responsabilité : Gerrit Jan Vos, Az. Résumé en allemand. Bibliogr. des œuvres de G.J. Vos Az. p. 220-223. Bibliogr. p.215-220. Index.
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Two contemporary interpretations of John Henry Newman's An essay on the development of Christian doctrineHuang, Daniel Patrick L. January 2005 (has links)
Thesis (S.T.L.)--Catholic University of America, 1992. / This is an electronic reproduction of TREN, #029-0266. Includes bibliographical references (leaves 164-170).
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