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Nina Lamal

), pp. 48-51; K. Holter, ‘Aus der Geschichte des Wiener Zeitungswesens im 17. Jahrhundert’, in: Zeitungswissenschaft 15 (1940), pp. 238-44. 75 For the wider context M. Goloubeva, The Glorification of Emperor Leopold I in Image, Spectacle and Text (Darmstadt 2000). 76 Num 26. Il Corriere ordinario

Series:

Simon C. Thomson

these variations: presumably, the scribe was at liberty to do as he chose and perhaps (like Nowell Scribe A when working on Alexander ) felt more inclined to spectacle as he saw the end of his work drawing near. The final and most decorative phase commences with a highly decorated form on fol. 153v

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Joop W. Koopmans

publisher had exhibited four translucent illuminated “decorations” painted by Frisian artist Taco Jelgersma at the entrance of his building, showing, among other things, symbols of liberty, peace and truth. 36 He had organized this spectacle immediately after his fellow citizens had heard the peace news in

Fernand Baudin

, un petit groupe de promeneurs, graphistes, ecrivains, hommes dc spectacle, dont deux seulement sont identifiables avec certitude, Maximilien Vox et Jean Garcia, 'd6couvrlrent' Lurs, un village desert, en ruines, qui ne comptait plus que quatre 'feux', mais qui dominc dcux pano- ramas inoubliables : d

C. WYBE DE KRUYTER

May dc 1'annee courrante, a presenté un agreablc spectacle aux curicux et a tous ceux qui entendent 1'astronomic, a scavoir une Eclipse du soleil, qui a comrnencee a cinq heures et demic apres midi, a duree deux heures enticres, et a finie a sept heures et deniic du soir.' According to Schroeter3

AD Leerintveld

fairground spectacle: but the printer, believing that many an idle fellow will gawk at title decorations and part the more easily with his money, is pestering me for some display conceits for the book's forehead.6 It appears that Vosbergen advised in the negative. The proposed images of the Trojan War did

Who Will Not Shudder to Hear?

Nineteenth-Century Street Singers and Their Sources

Arie van den Berg

to the abolition of torture and public executions has been widely examined and argued. Pieter Spierenburg did so for the Netherlands in The Spectacle of Suffering (1984) and Richard J. Evans did the same for the German-speaking areas in Rituals of Retribution (1996). Such a study is lacking for

Herman De La Fontaine Verwey

in the Amsterdam theatre, in order to give the audience something more of a spectacle. Jan Vos, stage director at the Amsterdam theatre since 1647, while Jan Six was a regent, often staged this kind of representation. Dr. Leendertz supposes that Vos inserted a 'vertoning', showing the marriage in the