While Dutch actor Johannes Jelgerhuis (1770–1836) is best known for his acting treatise Theoretische Lessen (1827), his lesser-known private writings reveal the passionate actor behind the theory.... Show moreWhile Dutch actor Johannes Jelgerhuis (1770–1836) is best known for his acting treatise Theoretische Lessen (1827), his lesser-known private writings reveal the passionate actor behind the theory. Particularly detailed, his manuscript Toneel Studien of 1811, casts light on Jelgerhuis’s thoughts and preparations behind the creation and performance of six roles. Show less
Ceramic Technology and “Cultural Borders”. The Example of Ceramic Decoration Techniques of two Postclassic Sites from the Malpaís of Zacapu (Mexico): Palacio and Malpaís Prieto Technical behaviors... Show moreCeramic Technology and “Cultural Borders”. The Example of Ceramic Decoration Techniques of two Postclassic Sites from the Malpaís of Zacapu (Mexico): Palacio and Malpaís Prieto Technical behaviors within the ceramic operating sequences may reflect sociocultural identities. Investigation of techniques, gestures, and know-how helps us to estimate whether the changes observed from one period to the other are endogenous (cultural evolution of the local traditions) or related to population changes. At the Malpaís of Zacapu, we use Postclassic ceramics to assess the possible arrival of a group of migrants in the thirteenth century. We aim to understand whether there is technological continuity between the Palacio (AD 900‑1200) and the Milpillas (AD 1200‑1450) phases. This study focuses on one aspect of the operating sequence: the decoration. The technological analysis discussed here highlights differences in the ceramic production between these two phases. These data support information from ethnohistoric sources that a new group of people arrived in the region during the thirteenth century. Show less
The subject of the research is __difference and repetition,__ an area which bears a direct relationship to Wjm Kok__s practice, in which the production of work always emerges and passes through... Show moreThe subject of the research is __difference and repetition,__ an area which bears a direct relationship to Wjm Kok__s practice, in which the production of work always emerges and passes through series. It is also the title of a book by Gilles Deleuze that has been used as source and reference to explicate the research. Taking this book Difference and Repetition as a departure point, an ongoing series of writings was produced that sought to expose the different angles of the subject. The majority of these texts were published in diverse platforms, constituting an exchange with related subjects and his practice as a foundation for exploring other territories. A selected collection of these texts constitutes the dissertation. The presentation of this research will take place during the defense in the Grand Auditorium of Leiden University. Show less
This thesis studies Venetian painting in its golden age, the sixteenth century, from an unconventional, anthropological point of view. Paintings of masters like Titian are demonstrated to have... Show moreThis thesis studies Venetian painting in its golden age, the sixteenth century, from an unconventional, anthropological point of view. Paintings of masters like Titian are demonstrated to have had social lives. Together with human beings they were embedded in social networks in which humans and paintings interacted; this happened to such an extent that paintings indeed became person-like. These interactions could take many forms; examples that are analysed include the miraculous image that is believed to supernaturally heal the faithful; images that suffer from violence (iconoclasm); and the veneration of female portraits that became substitutes for their absent sitters. Making use of a wide variety of sources, such as chronicles, letters, poetry, treatises, and legal documents, this study argues that the remarkable agency of these paintings was the result of a highly complex interplay of forces; religious, political, social, cultural and artistic factors all carried weight. One of its major conclusions is that the role of the artist, the one who physically produced the work, was relatively unimportant for the way these paintings functioned. Using a framework that is both anthropologically and historically informed, this thesis offers a new model for the study of pre-modern European art that is less biased by conceptions of art in the modern West. Show less
