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Afstemming handhaving onder de Omgevingswet, een praktische benadering voor de rechtspraktijk: In dit artikel wordt ingegaan op de samenloop van strafrechtelijke en bestuursrechtelijke handhaving onder de Omgevingswet, in het bijzonder de afstemming tussen het bevoegd gezag en het Openbaar Ministerie als bedoeld in artikel 18.16 Ow. Daarbij staat de vraag centraal hoe de rechtspraktijk de keuze van het afdoeningsspoor kan beïnvloeden. Om deze vraag te beantwoorden wordt onder meer uiteengezet in hoeverre strafrechtelijke handhaving bestuursrechtelijke handhaving uitsluit en andersom, welke verschillen er bestaan en of afstemming in rechte valt af te dwingen. De schrijvers zien mogelijkheden voor beïnvloeding van de afstemming en zetten uiteen welke voordelen dit biedt voor alle betrokkenen. [ABSTRACT FROM AUTHOR]

Could the organically designed 'cauliflower' neighbourhoods of the 1970s hold the secret to solving both the current housing problem and the need for greater social cohesion at the local level? The pressing shortage of housing and the associated emphasis on quantity threatens to diminish the quality of the dwellings and living environment with something like the monotonous, repetitive block housing that characterized the late 1960s. In reaction to those spartan and largescale districts, young architects were determined to prioritize the human scale. In 1966, with population numbers still soaring, a government spatial planning policy document introduced the idea of designated 'growth centres': villages and small towns close to the big cities that would absorb the growing population. An obvious way of retaining the character of these small centres lay in small-scale, low-rise developments. And that was exactly what young families were looking for. The 'cauliflower' street plan, consisting of a succession of 'home zones', was devised especially for these growth centres. Pedestrians had priority in the narrow, winding streets where there was also scope for children to play and neighbours to meet. Staggered frontages and a variety of roof shapes made for a lively and diverse streetscape. Disdained by professionals, these neighbourhoods are often still popular with the residents. Time perhaps to re-evaluate this housing concept? [ABSTRACT FROM AUTHOR]

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Many urban sites and rural settlements suffered severely from dilapidation in the Netherlands after the Second World War. Urban renewal focused on large-scale demolition and modern urban development with highways, office buildings and commercial districts in the 1960s and 1970s. Following widespread protest by society, the revitalization of historical areas finally became a primary objective of urban renewal. To what extent and how this was achieved in relation to the 472 protected town- and villagescapes has not yet been studied. The Cultural Heritage Agency of the Netherlands is currently researching the post-1965 era and this has yielded new insights in that respect. Area-based and long-term planning, reviving inner-cities, community participation and the human dimension were key principles in achieving results. The European Architectural Heritage Year 1975 and the Declaration of Amsterdam introducing the concept of ‘integrated conservation’ was considerably influential in this matter. And this approach can still be topical looking at the major urban issues of today. The urban renewal period holds up a mirror to us: how to achieve sustainable urban development that serves an integrated perspective encompassing public, social, economic and cultural goals? [ABSTRACT FROM AUTHOR]

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Copyright of Huisarts En Wetenschap is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Huisarts En Wetenschap is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Huisarts En Wetenschap is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

BACKGROUND Dutch community pharmacies can subscribe to a program where a patient as mystery guest visits their pharmacy to investigate their pharmaceutical care. OBJECTIVE To evaluate whether the pharmaceutical care provided to patients who receive repeated deliveries of cardiovascular medication is in line with the professional guidelines.METHODS Observations of repeated drug deliveries of cardiovascular medication to patients, who visit their pharmacy accompa ­ nied by a mystery guest (observer). In addition, interviews with patients about their pharmacy experiences. RESULTS In 950 pharmacies a patient receiving one or more repeated drug deliveries of cardiovascular medication was observed. Pharmacy employees communicated with patients correct ­ ly and in almost all cases verified patient identity (93.7%) by asking at least two questions (mostly patient name and date of birth). Medication was delivered almost always with a patient package insert (93%), which includes complete drug information. As such, pharmacies complied with the professional guidelines. In addition 5275 patients belonging to 900 pharmacies were interviewed. Most of the patients would appreciate to be asked at the pharmacy about their medication problems (77.7%), although 62% never had received this question. Similarly, the observations demonstrated that a minority of all patients were asked about their medication problems or questions (19.7%). In this respect, pharmacies do not com ­ ply with the professional guidelines. CONCLUSION In repeated drug delivery contacts pharmacists follow the guidelines about the verification of patient identity and the provision of drug information, but do not comply with the recommendation to ask patients about their medication problems or whether they have questions. [ABSTRACT FROM AUTHOR]

The Social-Democratic Party (SDP) of David Wijnkoop was, like the Bolsheviks, one of the first parties to break away from the social-democratic parties of the Second International. Like an intermediary Wijnkoop used the authority of Moscow to support his position as a leader of the Dutch left socialist movement and was able to develop and push his own independent line within the Comintern. He was convinced that the mainly Amsterdam-based party was more or less at the same level as the Russian party. His first appearance in Moscow at the second congress of the Comintern made quite an impression. Lenin and also some other leaders of the communist movement were irritated by the so-called verbal radicalist interventions of Wijnkoop. His aggressive appearance was very much criticized, not only by Lenin, Zinoviev, and Bukharin, but also by the German, Paul Levi. The latter was trying to create a mass communist party, but these efforts encountered strong opposition from Wijnkoop, who blamed the Germans for not being sufficiently left wing. Although the Dutch communist leader was outvoted again and again at the congress, he was still elected among the leadership of the Comintern. During those first years the Communist International presented many contending views. After attending the 1920 congress, Wijnkoop was no longer a troublesome intermediary, but instead accommodated himself to the Stalinization of the Moscow-based Comintern. [ABSTRACT FROM AUTHOR]

A preface for the September 2017 issue of the journal "Tijdschrift voor Geschiedenis" is presented.

Spanish theatre made up a significant part of the Amsterdam Schouwburg’s repertoire during the Dutch Golden Age. The present paper examines the cultural industry around the Schouwburg that generated the introduction and production of these plays. In order to do so, the products themselves and the process of production are examined, but also the agents at work in the chain of translation, their roles and relation with one another. [ABSTRACT FROM AUTHOR]

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This contribution aims at analysing the mechanisms responsible for the negative images of Turks and Ottomans in the Dutch Republic of the seventeenth century. Crucial for those mechanisms are the roles of Amsterdam and the Republic in general as an early modern market place for the exchange of information and culture. The systematic transfer of enemy images from conflict zones like the Mediterranean was a major influence on the public images as provided by the theatre or news media. [ABSTRACT FROM AUTHOR]

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An obituary is presented for the Dutch historian Ivo Schöffer.

Copyright of Tijdschrift voor Criminologie is the property of Boom uitgevers Den Haag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article analyzes Joost van den Vondel's career strategies and shows that the ambition for obtaining patronage as a poet played a crucial role in the dedications of his consecutive Virgil translations. In the period 1646-1660 Vondel published three Dutch translations of Virgil, one in prose, one 'preview' of the poetry translation, and a final translation of the complete works rendered in verse. For each of the individual dedicatees, the Prince of Orange, the son of the Amsterdam burgomaster Cornelis de Graeff, and the mighty burgomaster himself, the publications' paratexts work to achieve a single goal by means of this work of art: obtaining structural patronage for composing an epic. [ABSTRACT FROM AUTHOR]

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Copyright of Supervisie En Coaching is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

According to the Representation Hypothesis, learners of Dutch use dummy -- semantically empty -- auxiliaries as a strategy to avoid verb movement. In this contribution, we will argue that speech production data of early and late second language learners of Dutch confirm this hypothesis in two ways. First, children who acquire Dutch as a second language use dummies in main clauses and produce dummies significantly less frequently in subordinate clauses, like monolingual Dutch-speaking children. Because these bilingual children have good knowledge of the Dutch verb placement rules, we conclude that their internal grammar requests for verb movement in main clauses and not in subordinate clauses. The avoidance strategy is therefore relevant in main clauses but not in subordinate clauses. Secondly, unlike the child participants, adult second language learners of Dutch hardly ever make a target-like word order distinction between main and embedded clauses. Their grammar does therefore not contain the verb movement requirement for main clauses. As expected, we found hardly any dummies in the main clauses of adult learners of Dutch. These findings do not only support the Representation Hypothesis for Dummies, but the observed differences between child and adult learners are also compatible with the Critical Period Hypothesis for the acquisition of grammar. A final conclusion is that the decline of dummies in child Dutch is influenced by accumulating input frequencies, and not by the growth of working memory. [ABSTRACT FROM AUTHOR]

Thanks to Romeo, Juliet and the balcony, Verona is regarded as the ultimate city of romance, and Shakespeare's couple appears on souvenirs in every imaginable shape and size. Many of these representations can be traced to a somewhat theatrical work by the Milanese painter Francesco Hayez entitled || Bacio (The kiss, 1859), which has become a veritable icon of the unhappy couple. || Bacio has also featured in films, most recently in Star Wars 3: The Revenge of the Sith (2005). Luchino Visconti was the first to cite the painting: it appears in his 1954 film opera Senso, just as the star-crossed lovers Uvta Serpieri (Alida Valli) and Franz Mahler {Farley Granger) are about to exchange their first embrace. This filmic citation is the culmination of a lengthy transmigration on the part of the image. What shifts in the significance of that image have taken place since then? The iconicity of || Bacio cannot be clarified solely by its original significance or the intention behind the painting. Why did Visconti appropriate this particular work, despite the fact that at that time the artist was not held in particularly high regard by established Italian art critics? During the Austrian occupation of the Veneto - roughly the same period in which || Bacio was painted - the Venetian countess Livia Serpieri enters into an adulterous relationship with the Austrian officer Franz Mahler. She exchanges her former patriotism for an affair with one of the enemy, who quickly shows himself to be an opportunist as well. He later visits her in her villa, hoping she will give him the money he needs to desert from the army. After initially refusing, Livia again gives in to Franz and embraces him, adopting precisely the pose of || Bacio. The image is almost frozen, to make it more recognizable. And this proved to be precisely the composition Visconti needed for this key scene. His reasoning was that || Bacio was well-known in the aristocratic world in which Livia moved, so that she could easily have been acquainted with the painting. Moreover, Visconti was convinced that during that period, and in those circles, people barely distinguished between life and the theatre. In the Italy of the Risorgimento, romantic and nationalistic sentiments made life more heroic, spectacular and idealistic than it actually was. In Senso life imitated art. Does Visconti's borrowing of the pose in || Bacio represent a repositioning of the painting? To a degree, yes. On the one hand, Visconti is parodying the original noble significance of valour and sacrifice to which the painting owes its popularity. For him, it is about an opportunistic young officer who prefers to desert rather than fight, and an older woman who knowingly betrays her country and its freedom fighters by giving money to a lover who is one of the enemy. But there is also the expression of the lovers' passion which it shares with || Bacio, depicted against a neo-medieval operatic background. With his film Visconti made use of and even increased the popularity of an icon that is still familiar today. Stripped of the political significance it had in 1859, that icon reappears in the popular culture of souvenirs and consumer goods. [ABSTRACT FROM AUTHOR]

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The work of Jean-Léon Gèrôme (1824-1904) plays an important role in the Italian epic Quo Vadis? (1913) by Enrico Guazzoni. In addition to the pervasive influence of Gèrôme's work on the film's reconstruction of ancient Rome. Guazzoni literally quotes two of Gèrôme's paintings in the course of the action while, in the case of one of them, the film adds a static insert to help audiences identify tim quotation. I am referring to the paintings The Christian Martyrs' Last Prayer (1863-1883, ill 7) and Pollice verso (1874, ill. 2) The representation of antiquity in the film Quo Vadis? is clearly much more than an archaeological reconstruction. Indeed, it is equally indebted to the image of antiquity fostered by nineteenth-century art and disseminated in all sorts of secondary forms by the media of reproduction: engraving, photography, lantern slides, book illustration and early film. That image of ancient Rome and Pompeii, which became one of the great clichés of the cinema, is situated in part in the artistic imagination. The investigation of pictorial influences on Quo Vadis? addresses first the general question of how the academic representation of the ancient world was transmitted, and then examines the specific case of the relationship between Gèrôme's paintings and Quo Vadis?, both the novel and the film. Our inquiry into pictorial influences in a film like Quo Vadis? reveals not only the vigorous afterlife of certain nineteenth-century paintings -- their dissemination in, and reappropriation by popular cultural forms such as book illustration, theatre and film -- but also the importance of exploring the intermediate phases of the passage from painting to cinema. In order to make sensible inferences about pictorial quotations in film, we need to explore the gaps in the interlace between the history of painting and the history of cinema. If we ignore the shapes and phases of historical transition and transmission when comparing painting and cinema, we risk simply projecting our own limited contemporary perspective onto the past that is represented. In other words, we end up speaking about our influences rather than the influences at work in the film. By exploring the spaces between paintings and pictorial quotations, we can trace the ways in which images turn into icons and clichés, thereby acquiring a second life. We will also be able to improve our understanding of how intermediality functions in practice. This kind of approach reveals how certain images function as cultural icons of veracity, creating a canonical view of the past that corresponds to the expectations of the audiences of the new medium: expectations of authenticity, certainly, but also of legitimacy and cultural register. [ABSTRACT FROM AUTHOR]

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Copyright of Tijdschrift voor Gezondheidsrecht is the property of Boom uitgevers Den Haag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)