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Contains fulltext : 294746.pdf (Publisher’s version ) (Open Access), A five-year-old girl presented with headache attacks, clumsiness, and a history of transient gait disturbances. She and her father, mother, twin sister, and brother underwent neurological evaluation, neuroimaging, and exome sequencing covering 357 genes associated with movement disorders. Sequencing revealed the new variant KCND3 c.838G>A, p.E280K in the father and sisters, but not in the mother and brother. KCND3 encodes voltage-gated potassium channel D3 (Kv4.3) and mutations have been associated with spinocerebellar ataxia type 19/22 (SCA19/22) and cardiac arrhythmias. SCA19/22 is characterized by ataxia, Parkinsonism, peripheral neuropathy, and sometimes, intellectual disability. Neuroimaging, EEG, and ECG were unremarkable. Mild developmental delay with impaired fluid reasoning was observed in both sisters, but not in the brother. None of the family members demonstrated ataxia or parkinsonism. In Xenopus oocyte electrophysiology experiments, E280K was associated with a rightward shift in the Kv4.3 voltage-activation relationship of 11 mV for WT/E280K and +17 mV for E280K/E280K relative to WT/WT. Steady-state inactivation was similarly right-shifted. Maximal peak current amplitudes were similar for WT/WT, WT/E280K, and E280K/E280K. Our data indicate that Kv4.3 E280K affects channel activation and inactivation and is associated with developmental delay. However, E280K appears to be relatively benign considering it does not result in overt ataxia.

04 februari 2021, Contains fulltext : 230294.pdf (Publisher’s version ) (Open Access), Previous studies of radical thinkers have brought us few examples of female radicals from the Low Countries, even if the seventeenth-century Dutch Republic was a hub for radical thought which offered a relatively female-friendly climate. In this article, we explore how new perspectives and modes of analysis, better adjusted to the restrictions and opportunities women experienced, make women’s radical thought visible. By doing so, we aim to present a more balanced perspective on what might count as female radical thought in the early modern Low Countries (1500–1800). Starting from the notion of “agency,” we analyze the life, work and relations of three Dutch authors, as well as representations of female radicalism in two literary works, in order to rebalance the notion of radicalism in a woman’s world. Anna Bijns, Meynarda Verboom and Margaretha van Dijk were not radically disruptive in the sense of operating completely outside of male-dominated domains. Instead, they gained agency by negotiating their position in patriarchal knowledge systems and by bending conventions within male-dominated networks so that their voices could be heard. To understand these voices, it is necessary to disconnect “being radical” from “the amount of disruption caused” by female agency.

Sociale netwerken en kennisuitwisseling liggen ten grondslag aan het analytische model van het creatieve veld van een stad van Allen Scott (2010). Het model legt de verschillende ‘cirkels’ waaruit een creatieve industrie bestaat bloot: de eerste cirkel is de kernsector, de tweede betreft aan de kernsector complementaire beroepen, de derde cirkel is de bredere arbeidsmarkt daaromheen, de vierde cirkel bestaat uit contextuele componenten en de vijfde cirkel betreft politieke figuren. Het analysemodel gaat uit van het idee dat de kernsector die de binnenste cirkel claimt, het voor die creatieve industrie onmisbare beroep betreft waarmee alle andere cirkels verbonden zijn. Ik heb dit model toegepast op de toneeldrukindustrie van zeventiende-eeuws Amsterdam. Daarbij ben ik vertrokken vanuit de hypothese dat ofwel de drukker-uitgever ofwel de acteur-dichter de binnenste cirkel mag claimen. Maar wie? Maakt de acteur-dichter Van Germez óf de uitgever-dichter Lescaille meer aanspraak op de binnenste cirkel van het model van het creatieve veld van de stad van Allen Scott, wanneer deze wordt toegepast op de toneeldrukindustrie van zeventiende-eeuws Amsterdam? Vertrok mijn onderzoek vanuit de veronderstelling dat er een duidelijk verschil tussen de sociale netwerken van de uitgever-dichter en acteur-dichter aan te wijzen zou zijn, het eindigde juist verzoenend. De twee mannen hebben mogelijk gedeeld in een vriendschap die hun carrières vooruit hielp en daarnaast vertoonden hun sociale netwerken een opvallend aantal overeenkomsten. Ten eerste onderhielden beide sterke relaties met actoren uit twee van de vier sociale cirkels van Scotts model: Lescaille met zijn tweede en vijfde cirkel, Van Germez met zijn eerste, oftewel eigen cirkel, en derde cirkel. Daarnaast maakten zij gebruik van een soortgelijke tactiek om vriendschappen te bekrachtigen: ze zetten hun schrijfproducten ervoor in. Tot slot gingen zij beide een strategisch huwelijk aan ter bevordering van hun carrière én was

04 februari 2021, Contains fulltext : 230294.pdf (Publisher’s version ) (Open Access), Previous studies of radical thinkers have brought us few examples of female radicals from the Low Countries, even if the seventeenth-century Dutch Republic was a hub for radical thought which offered a relatively female-friendly climate. In this article, we explore how new perspectives and modes of analysis, better adjusted to the restrictions and opportunities women experienced, make women’s radical thought visible. By doing so, we aim to present a more balanced perspective on what might count as female radical thought in the early modern Low Countries (1500–1800). Starting from the notion of “agency,” we analyze the life, work and relations of three Dutch authors, as well as representations of female radicalism in two literary works, in order to rebalance the notion of radicalism in a woman’s world. Anna Bijns, Meynarda Verboom and Margaretha van Dijk were not radically disruptive in the sense of operating completely outside of male-dominated domains. Instead, they gained agency by negotiating their position in patriarchal knowledge systems and by bending conventions within male-dominated networks so that their voices could be heard. To understand these voices, it is necessary to disconnect “being radical” from “the amount of disruption caused” by female agency.

04 februari 2021, Contains fulltext : 230294.pdf (Publisher’s version ) (Open Access), Previous studies of radical thinkers have brought us few examples of female radicals from the Low Countries, even if the seventeenth-century Dutch Republic was a hub for radical thought which offered a relatively female-friendly climate. In this article, we explore how new perspectives and modes of analysis, better adjusted to the restrictions and opportunities women experienced, make women’s radical thought visible. By doing so, we aim to present a more balanced perspective on what might count as female radical thought in the early modern Low Countries (1500–1800). Starting from the notion of “agency,” we analyze the life, work and relations of three Dutch authors, as well as representations of female radicalism in two literary works, in order to rebalance the notion of radicalism in a woman’s world. Anna Bijns, Meynarda Verboom and Margaretha van Dijk were not radically disruptive in the sense of operating completely outside of male-dominated domains. Instead, they gained agency by negotiating their position in patriarchal knowledge systems and by bending conventions within male-dominated networks so that their voices could be heard. To understand these voices, it is necessary to disconnect “being radical” from “the amount of disruption caused” by female agency.

Sociale netwerken en kennisuitwisseling liggen ten grondslag aan het analytische model van het creatieve veld van een stad van Allen Scott (2010). Het model legt de verschillende ‘cirkels’ waaruit een creatieve industrie bestaat bloot: de eerste cirkel is de kernsector, de tweede betreft aan de kernsector complementaire beroepen, de derde cirkel is de bredere arbeidsmarkt daaromheen, de vierde cirkel bestaat uit contextuele componenten en de vijfde cirkel betreft politieke figuren. Het analysemodel gaat uit van het idee dat de kernsector die de binnenste cirkel claimt, het voor die creatieve industrie onmisbare beroep betreft waarmee alle andere cirkels verbonden zijn. Ik heb dit model toegepast op de toneeldrukindustrie van zeventiende-eeuws Amsterdam. Daarbij ben ik vertrokken vanuit de hypothese dat ofwel de drukker-uitgever ofwel de acteur-dichter de binnenste cirkel mag claimen. Maar wie? Maakt de acteur-dichter Van Germez óf de uitgever-dichter Lescaille meer aanspraak op de binnenste cirkel van het model van het creatieve veld van de stad van Allen Scott, wanneer deze wordt toegepast op de toneeldrukindustrie van zeventiende-eeuws Amsterdam? Vertrok mijn onderzoek vanuit de veronderstelling dat er een duidelijk verschil tussen de sociale netwerken van de uitgever-dichter en acteur-dichter aan te wijzen zou zijn, het eindigde juist verzoenend. De twee mannen hebben mogelijk gedeeld in een vriendschap die hun carrières vooruit hielp en daarnaast vertoonden hun sociale netwerken een opvallend aantal overeenkomsten. Ten eerste onderhielden beide sterke relaties met actoren uit twee van de vier sociale cirkels van Scotts model: Lescaille met zijn tweede en vijfde cirkel, Van Germez met zijn eerste, oftewel eigen cirkel, en derde cirkel. Daarnaast maakten zij gebruik van een soortgelijke tactiek om vriendschappen te bekrachtigen: ze zetten hun schrijfproducten ervoor in. Tot slot gingen zij beide een strategisch huwelijk aan ter bevordering van hun carrière én was

Previous studies of radical thinkers have brought us few examples of female radicals from the Low Countries, even if the seventeenth- century Dutch Republic was a hub for radical thought which offered a relatively female-friendly climate. In this article, we explore how new perspectives and modes of analysis, better adjusted to the restrictions and opportunities women experienced, make women’s radical thought visible. By doing so, we aim to present a more balanced perspective on what might count as female radical thought in the early modern Low Countries (1500–1800). Starting from the notion of “agency,” we analyze the life, work and relations of three Dutch authors, as well as representations of female radicalism in two literary works, in order to rebalance the notion of radicalism in a woman’s world. Anna Bijns, Meynarda Verboom and Margaretha van Dijk were not radically disruptive in the sense of operating completely outside of male-dominated domains. Instead, they gained agency by negotiating their position in patriarchal knowledge systems and by bending conventions within male-dominated networks so that their voices could be heard. To understand these voices, it is necessary to disconnect “being radical” from “the amount of disruption caused” by female agency.

This article presents the first diachronic overview of the economic, social and symbolic profits of ‘city poets’ (‘stadsdichters’) in the Low Countries. From the early fifteenth century onwards, there have been many (more or less) official relationships between city councils and poets. The prominence and the form of these relationships, however, diverged greatly in different periods: whereas official appointments were the standard in the fifteenth, sixteenth and the twenty-first centuries, the period in between saw a much more diverse landscape of informal appointments and relationships. After presenting a historical overview of the role of city poets throughout the centuries, this article focuses on two well-documented periods in which formal agreements were made between town governments and poets: the late Middle Ages and the start of the 21st century. We analyze political and financial agreements explicitly in relationship to the complexities surrounding the production of city poetry. City poetry, paid by public money, is bound to be controversial: in general because its status is subject to changes and political discussions, but also because this form of commissioned poetry is sometimes seen as a form of propaganda. Official city poetry seems to flourish most in societies with a stable political-religious climate (as in the Southern Low Countries in the fifteenth and sixteenth century) and/or with a keen interest in city marketing (as in Flanders and the Netherlands in the twenty-first century).

In this article, we show the importance of both social and economic imperatives for authors and printers active in the genre of wedding poetry, and the interaction between these imperatives. The lack of systematic evidence and the fragmented nature of previous research has led to the dominance of tentative interpretations in studies of wedding poetry. Necessary, therefore, is a broader and more inclusive approach of the genre as a whole. We have thus combined a literature review with a quantitative analysis, exploring metadata of over 3,500 publications of wedding poetry (year of publication, names of brides, grooms, printers and authors) in the Dutch Republic between 1600-1760.

A grand narrative of Dutch literary authors’ opportunities to economically profit from their writing is yet to be written. The general assumption, however, is that these opportunities developed teleologically from a dominant system of patronage during medieval and early modern times, in which financial gains were marginal and in which author’s independence of their supporters was constrained, to a system in which the commercial book market was dominant and where authors could be more self-supporting and thus more independent of supporters. This article argues that there is no such teleology. On the contrary: on the basis of an exploration of both practice and discourse of literary authors’ profits from the Middle Ages to the present, we conclude that in every period, it was possible for authors to profit from their writing through either patronage, market or governmental support, and often through a combination of these sources. Moreover, in every period varying types of independence of literary authors was valued highly. Our analysis of the discourse on profits shows that the continuous tendency to disguise financial advancement could be related to the importance of authorial independence throughout the ages.

This article argues that it is both important and viable to develop a diachronic perspective on the profits of literary authors in the Low Countries. Up to now, conceptual and theoretical boundaries between different subdisciplines within Dutch literary studies have resulted in a compartmentalized, fragmentary narrative of the economic, social and symbolic profits of literary authors throughout the centuries. On the basis of a survey of the theoretical frameworks dominant in the subdisciplines of medieval, early modern and modern Dutch literature, we highlight the opportunities and difficulties for a diachronic perspective on financial advancement, focusing both on practice and discourse. In addition, we propose a schematic model that tries to overcome the difficulties and enables us to profit from the opportunities. This proposal allows for a sharper focus on both the practice of and discourse on literary authors’ economic gain from a diachronic perspective.

This essay examines how economic circumstances and imperatives influenced strategies of self‐representation employed by women writing in the Dutch Republic. At the core of the analysis is the poetry of Maria Margaretha van Akerlaecken (1605–after 1662) and Katharina Lescailje (1649–1711). Economic advancement for literary authors in the Dutch Republic was defined by the marginality of literary patronage in court culture and few possibilities to profit through the market. Van Akerlaecken, however, succeeded in finding patrons abroad, and Lescailje, who ran a publishing house, could print her own works and thus profited directly from their sales. The respective modes of self‐representation of these women in their published works moved in opposite directions because of these differing modes of earning, but each can be traced back to the same issue: they were women and writers striving for economic advancement and this combination turned out to be a problematic one, asking for strategic reputation management.

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Contains fulltext : 230252.pdf (Publisher’s version ) (Open Access)

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Patronage was a common practice for many early modern authors, but it was a public activity involving engagement with politics, politicians and the rich and famous, and we know of relatively few women writers who profited from the benefits of patronage. The system of patronage altered, however, during the seventeenth and eighteenth centuries and one particular case study brings to light some of the possibilities and difficulties of this system for women writers. Elisabeth Hoofman (1664–1736) was a Dutch poet whose authorship was representative of that of many writing women around 1700: born in a rich family, she wrote poetry in order to establish and consolidate contacts in a wealthy circle of friends and family, refusing to publish any of her poems. Her authorship status seems to have changed, though, after she and her husband lost their fortune and turned to rich patrons to secure their living. The circle of people addressed in her poetry broadened to powerful men from outside of her intimate network and she started to print-publish. In this chapter, Hoofman’s opportunities to contribute to the family income as a woman writer along with her ability and necessity to manage her reputation are analysed with and through her poetry.

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