That art has some sort of relation to reality is an assumption underlying most of the past and the present discourse on and about art. The questions of what sort of relation, whether it is at all... Show moreThat art has some sort of relation to reality is an assumption underlying most of the past and the present discourse on and about art. The questions of what sort of relation, whether it is at all valid and specific (as opposed to science’s or philosophy’s relation to reality), however, are hardly ever addressed. In studying a relation between terms, one needs to be clear about the terms themselves: ‘Art’ is understood here in the sense of the notion that crystallized no earlier than the 18th century in Europe. That notion is, in its essential features, still valid today. ‘Reality’ tends to be understood as that what exists independently of us ‘out there’, but it can also be the inner world of feelings, perceptions and memories, which entirely depends on the individual. The former is best described by science whereas the latter is inaccessible for it. Then there is the reality of inter personal relations, like society, culture and language. The thesis examines art in relation to each of them, on the level of individual experience, on the level of social life, in historical perspective. Informed by all these different viewpoints it eventually addresses the question whether the making or the experiencing of art can lead to any knowledge.Concerning the illustrations 5, 9, 10, 11, 18, 19, 20, 21, 26, 27, 28, 34, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, and 49 of Chapter I, the illustrations 15, 17, 18, 19, 24, 25, 26, 27, 28, and 31 of Chapter II, the illistrations 20, 21, 22, 23, 27, 28, 32, 33, 42, 45, 44, 45, 46 , 47, 48, 49, and 50 of Chapter III. the illustrations 4, 5, 8, 9, and11 of chapter IV, and the reproduction of a painting by Mondriaan on the cover the author does not own the copyright, Concerning this material the author has striven to ensure that in using the illustrations all legal rights have been taken into proper account. However, parties who believe they can claim legal rights are invited to apply to Leiden University, c/- Universiteitsbibiotheek, Afd. Acquisitie, Postbus 9501, 2300 RA Leiden, or to proefschrift@library.leidenuniv.nlMet betrekking tot de afbeeldingen 5, 9, 10, 11, 18, 19, 20, 21, 26, 27, 28, 34, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48 en 49 van het hoofdstuk (I.), de afbeeldingen 15, 17, 18, 19, 24, 25, 26, 27, 28 en 31 van het hoofdstuk (II.), de afbeeldingen 20, 21, 22, 23, 27, 28, 32, 33, 42, 43, 44, 45, 46, 47, 48, 49 en 50 van het hoofdstuk (III.), de afbeeldingen 4, 5, 8, 9, 11 van het hoofdstuk (IV.), en de afbeelding van het Mondriaan schilderij op de cover bezit hij geen copyright. Met betrekking tot dit beeldmateriaal heeft de promovendus ernaar gestreefd de rechten van de illistraties volgens wettelijke bepalingen te regelen. Degenen die desondanks menen zekere rechten te kunnen doen gelden, kunnen zich wenden tot de Universiteit Leiden, p.a. Universiteitsbibliotheek, Afd. Acquisitie, Postbus 9501, 2300 RA Leiden, of bij proefschrift@library.leidenuniv.nl Show less
In de periode 1945-1995 kwamen immigranten uit de (ex-)koloniën, buitenlandse werknemers en vluchtelingen/asielzoekers Nederland binnen. Ze hadden onderdak nodig. Hoe werden ze ontvangen en gingen... Show moreIn de periode 1945-1995 kwamen immigranten uit de (ex-)koloniën, buitenlandse werknemers en vluchtelingen/asielzoekers Nederland binnen. Ze hadden onderdak nodig. Hoe werden ze ontvangen en gingen ze er in de huisvesting bijhoren? In dit proefschrift is nagegaan of immigranten werden ingesloten in het bestel huisvesting en in de praktijk. Een belangrijke rol in in- of uitsluiting speelde definiëring: hoe werden nieuwkomers gezien? Het Ministerie van VROM en de woningcorporaties waren belangrijke organisaties waarmee immigranten te maken kregen. Hun vrijheid van handelen konden ze gebruiken om nieuwkomers in- of uit te sluiten. Het minderhedenbeleid (begin jaren tachtig) stelde alle ingezetenen gelijk. Dat betekende gelijke rechten én gelijke kansen voor iedereen. Beëindigden VROM en de woningcorporaties de achterstandspositie van immigranten en creëerden zij gelijke kansen? Vooral de positie van Surinamers/Antillianen en Turken/Marokkanen is nader onderzocht. In 1995 bleek de woonpositie van Surinamers/Antillianen nagenoeg gelijk aan die van autochtonen, de positie van Turken en Marokkanen bleef achter. De corporaties waren lang doorgegaan met het achterstellen van nieuwkomers, door hen te weigeren, te plaatsen waar zij hen hebben wilden, of slechtere huizen te verhuren. De gevolgen werkten lang door. VROM is deze handelwijze onvoldoende tegengegaan: het minderhedenbeleid werd door VROM ondergeschikt gemaakt aan het algemene volkshuisvestingsbeleid. De migratiegeschiedenis laat zien dat het overgrote deel van nieuwkomers er enkele generaties over doet om in de nieuwe samenleving opgenomen te worden, dit proefschrift laat zien dat de ontvangende samenleving er net zo lang over doet om te integreren Show less
Globalisation is affecting daily life almost everywhere, so it seemed logical when the 2005 UN Report on the World Social Situation, The Inequality Predicament, reported that economic inequality is... Show moreGlobalisation is affecting daily life almost everywhere, so it seemed logical when the 2005 UN Report on the World Social Situation, The Inequality Predicament, reported that economic inequality is dramatically increasing in Asia, as it has been in the rest of the world. This trend is embedded in spatial and social patterns reproduced over the last two centuries - patterns that comprise a deeper, more pervasive 'inequality predicament' than the UN dares to recognise. Show less
Early Japanese photography - like so many other elements of Japanese modernity - has often been considered a mere by-product of interaction between western technical know-how and traditional... Show moreEarly Japanese photography - like so many other elements of Japanese modernity - has often been considered a mere by-product of interaction between western technical know-how and traditional Japanese aesthetics. Academic approaches to understanding the photography of Meiji Japan (1868-1912) have likewise been hampered by what could be called an isolated aesthetics, where images are divorced from their social context even as they are mined for 'evidence' in what they purportedly tell us about Japanese history or customs. Show less
