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Cet article se propose de tracer l’image de la ville de Bruges, telle qu’elle se présente dans les deux romans de l’écrivain belge Georges Rodenbach Bruges-la-Morte (1892) et Le Carillonneur (1897). En revêtant l’aspect d’un personnage principal à part entière, la ville de Bruges participe aux parcours mnémoniques des deux protagonistes, le veuf Hugues Viane et le jeune architecte Joris Borluut, qui devient le carillonneur de la ville. Il s’agit d’une image complexe à l’intérieur de laquelle la cité flamande se manifeste d’abord comme un espace symbolique que les protagonistes explorent, s’approprient, intériorisent et qui ne cesse de tenir en éveil leur mémoire individuelle. Bruges sera ensuite évoquée comme une scène de conflit entre l’ancien et le nouveau, autrement dit entre, d’une part, l’ordre préétabli et immuable qui gère la vie des deux hommes, et, d’autre part, tous les éléments perturbateurs qui cherchent à s’y infiltrer pour déstabiliser leur équilibre affectif. Enfin, analysée à travers le prisme de la mémoire, la cité flamande sera définie comme un espace fortement féminisé dont les caractéristiques principales nous tenterons de mettre en évidence dans la dernière partie de cet article.

This special issue of the Home Dialysis Bulletin (cross-referenced as Bulletin de la Dialyse à Domicile (BDD)) contains abstracts of guest lectures submitted by the authors. The abstracts are available in English and French. The abstracts of the free communications are available at this link. Many of these abstracts reflect work of particular interest to clinicians and nurses and should be developed into a full article. We, therefore, encourage authors to write a full article and submit it to the BDD at https://www.bdd.rdplf.org if it has not been published or submitted elsewhere. They will be double-blind peer-reviewed and, if accepted, will be published promptly in both languages to ensure the widest possible dissemination. The BDD supports the Diamond Open Access Action Plan and follows its model (Diamond OA scholarly Communication Ecosystem); it is therefore free of charge for authors and readers and accessible to all health professionals and patients. Ethical considerations: before submitting their abstracts, all authors were informed that their articles would be published in the BDD and translated into French. Authors retain the copyright of their articles. Declaration of interests: Publication of these abstracts is provided free of charge by the French Registry of Peritoneal Dialysis and Home Hemodialysis. No payment or grant has been received from EuroPD or any third party for this work. Copyright: authors retain copyright.

Copyright of Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura 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.)

Our current climate condition means that we need to start developing better tactics, protocols and new building typologies that mitigate water shortages or are resilient to flood situations. Dan Nyandega is a lecturer in Landscape Architecture and Urbanism at Queensland University of Technology (QUT) in Brisbane, Australia. He has a PhD in architecture (water‐sensitive design) from Monash University, Melbourne, and his design‐led research explores the intersection of coastal cities' infrastructures, landscapes, architecture and rising water levels. He takes as small case studies Makoko on the Lagos Lagoon and Kenzō Tange's Tokyo Bay Project of 1960, but also warns of the potential loss of authenticity and genius loci with such interventions. [ABSTRACT FROM AUTHOR]

Copyright of e-Scripta Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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 Revue du Nord is the property of Revue du Nord 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 analyses the multilateral dynamics of the cultural transfer phenomenon that leads from Bruges-la-morte novel by Georges Rodenbach to Mariusz Treliński's staging of the opera Die Tote Stadt, by examining the mediators of the transfer, the exporting and receiving contexts, the appropriations and the rejections, to use the methodology of cultural transfers (Joyeux-Prunel 2003). The comparative analysis of the translations of the libretto and the Warsaw and Brussels stagings of the opera, as well as its Polish and Belgian reception, will shed light on the mechanisms of appropriation and re-semantisation of the work. [ABSTRACT FROM AUTHOR]

Copyright of Médiévales is the property of Presses Universitaires de Vincennes 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 paper examines the background landscape depictions of two late fifteenth-century altarpieces and discusses what these commissions reveal about the contrasting societal and cultural influences affecting the respective patrons. It suggests that their aspirations and self-perceptions are evidenced within differing approaches to landscape depiction at this time. The paintings demonstrate contrasting concerns and cultural identities north and south of the Alps and may relate to divergent symbolic associations utilised within their particular elitist environments. [ABSTRACT FROM AUTHOR]

The article presents the discussion on Belgian artist Nick Ervinck taking inspiration from nature such as trees, rocky outcrops, and flowers. Topics include capturing historical formal associations of past civilisations such as the Incas or the Aztecs juxtaposed with the exquisite craftsmanship of Tutankhamun's death; and Ervinck expanding colour palette and making the sculptures more inviting often utilising warmer colours.

Copyright of Santander. Estudios de Patrimonio is the property of Santander Estudios de Patrimonio 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.)

Summary: Between 1163 and 1240 urban privileges in the county of Flanders often lack the formal characteristics typical of medieval charters. They consist solely of a list of legal articles preceded by a general heading. In Flanders, such formless law texts are traditionally known as 'keuren'. The most famous of these documents is the so-called 'Grote Keure' by which Count Philip of Alsace imposed a uniform criminal law on the major towns in his realm between 1165 and 1175. In this paper, I argue that these formless law texts are dynamic legal documents that could be updated whenever this was necessary: obsolete clauses were omitted, other passages were modified and new articles were added as time went by. At first, these changes were made to the Latin texts of the 'keuren'. In a second stage they were translated into the vernacular and these French or Dutch versions then became the basis for further changes. [ABSTRACT FROM AUTHOR]

The article focuses on the Lazaro Galdiano Museum has preserved a fragment of a Flemish panel including Virgin kissed by the Child from the early 16th century that, despite its intrinsic quality, has so far barely aroused the interest of art historians. It mentions that copies of the Virgin kissed by the Child date from the second half of the 16th century or the first quarter of the 17th century and present a seated half-length Mary, with the Child Jesus on the left. It also mentions the work of painter Marcellus Coffermans including the Virgin kissed by the Child.

In the middle of the sixteenth century, in Mechelen, Jacob van Deventer began an enterprise of epic proportions: to draw maps of all the towns and cities in the Low Countries and bring them together in an atlas. Made at the request of Philip II of Spain, these maps are generally considered to have been intended as military documents. A close analysis of the strategies of representation developed by van Deventer for his maps suggests that his mapping should be read as a vision of the Low Countries that was influenced more by political than by military interests. [ABSTRACT FROM AUTHOR]

Copyright of Lublin Studies in Modern Languages & Literature / Lubelskie Materialy Neofilologiczne is the property of Maria Curie-Sklodowska University, Department of German & Applied Linguistics 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 addresses the shift in the eighteenth-century region of Bruges from nativism to including immigrants in welfare. Settlement law designated the place in which an individual could apply for poor relief. Focusing on the negotiations between authorities for changes in settlement legislation, this article provides new insights on rural-urban relations in migration governance. In addition to the economic and cost-benefit considerations driving settlement policies that are often put forward in the literature, authorities in the wider Bruges region were driven by motives of fostering reciprocity in interdependent relations within migration systems and reforming social policy for monitoring and controlling possible relief dependants. The changes regarding the inclusion of immigrants occurred because of an increased awareness of migration patterns and because the authorities deemed it more efficient to have a set, resident collection of parishioners who could be monitored and centrally administered. [ABSTRACT FROM AUTHOR]

The aim of this article is twofold. First, it offers an analysis of heredity and exclusivity in Bruges' late medieval goldsmith guild on the basis of prosopographical research. It examines family ties and the entrance of newcomers to this guild, thereby also exposing the flexibility of guild regulations. In second place, it focuses on the relationship between the perceived exclusivity of goldsmith guilds and the functioning of this guild in practice. In doing so, this article becomes a case study demonstrating the place of goldsmith guilds in debates concerning the nature of guilds.

This article aims at the biographical study of a Portuguese physician of the fifteenth century, still insufficiently known by the Portuguese historiography. Based on known and unpublished facts, it proposes a perspective into his public life, shared between the University, the service of the Great and the ecclesiastical environment, thus constituting a case of institutional and geographical mobility of a physician at the end of the Middle Ages.

Le Musée Lázaro Galdiano de Madrid possède une Vierge à l’Enfant dans un paysage attribuée à un disciple du maître brugeois Adrien Isenbrant (ca 1490-1551) (MLG 3016). Comme l’indique l’absence de bords non peints, le tableau a été découpé sur les quatre côtés. Il s’agit d’un fragment du panneau central d’un retable domestique, qu’il est possible de reconstituer sur la base du triptyque de la Vierge à l’Enfant avec les saintes Catherine et Barbe conservé à Oviedo, une oeuvre du peintre archaïsant anversois Marcellus Coffermans (ca 1525-1581). Deux autres fragments peuvent être identifiés : une Sainte Barbe de la collection Schorr à Londres provient de l’ancien volet droit, une Sainte Catherine, connue uniquement par une photographie des Archives Friedländer à La Haye, est tout ce qui subsiste de l’ancien volet gauche.

Critics have focused on Vernon Lee's concept of aesthetic empathy; however, little attention has been directed toward the ways she deploys aesthetic empathy in her other writing. Lee demonstrates how empathy creates successful connections in art as well as in personal relationships, history, and travel. To show the connections across Lee's multi-genre work, this article examines how Lee's understanding of aesthetic empathy evolves, how her travel essays clarify her theory on empathy and put it into practice for her readers, and how Louis Norbert embodies her theory by creating emotional connections between authors, readers, and characters separated by time and space but united through imagination. The application of Lee's aesthetic empathy to fiction results in a narrative structure that utilizes conventions of the Victorian novel while presaging the developments of literary modernism. Aesthetic empathy transforms these genres, allowing Lee to communicate her ideas with a less technical readership. [148 words] [ABSTRACT FROM AUTHOR]

Copyright of Histoire & Mesure is the property of Editions EHESS 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 paper attempts to rethink the tourist flow from the perspective of urban planning solutions, which have potentials of slowing down tourists and dispersing them more evenly in urban areas. It starts with an overview on current urban tourism trends and challenges and with a cross-disciplinary approach the wider contemporary literature is introduced including citta slow and slow design. The focal point of the analytical part of the paper is the historic city of Bruges and the analysis of its green spaces, land and water related structures that influence tourist mobility. The paper argues that heritage towns like Bruges are not without tools to cope with the tourist 'overflow' and more awareness of tourists' space usage coupled with sound planning might even boost their efficiency to do so. The study also aims to enrich the intellectual debate on slow perspectives and practices in order to help urban destinations manage successfully spatial-temporal crowd movement.

Walls are the artificial and artistic structures of urban civilization. They are symbols of protection and belonging as well as segregation and exclusion. In this study, those two faces of walls are investigated for the last divided capital of the world; Lefkoşa. Firstly, the meanings and the concepts of wall are discussed with respect to two main aspects that a wall can be a unifier and divider element of urban space. Whether the walls in cities may provide a sense of unity, they may lead to decline and obsolescence problems in social and physical urban space. In order to illustrate the validity of this perspective, the well-known cities having walls are evaluated including urban design approaches towards their decline problems. In this respect, two cities having unifier walls are firstly investigated as Bruges of Belgium and Valetta of Malta. Then two other cities known as divided cities by having divider walls as; Belfast and Berlin are discussed. Afterwards, the walled city of Lefkoşa, having both divider and unifier walls, is examined in historical manner. The interventions and proposals for the walled city of Lefkoşa are evaluated and criticized. At the end of the study, further suggestions are discussed by considering the unified values of the city. [ABSTRACT FROM AUTHOR]

Copyright of Mélanges francophones is the property of Galati University Press 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.)

The discovery of a remarkable group of vividly coloured rounded cobbles in the fields and monuments of the later medieval outports of Bruges has initiated a multi-disciplinary investigation into their function, provenance, and wider economic meaning. Geological analyses demonstrate that the stones are ballast of exotic lithological nature. A substantial number consist of glacial erratics collected from cobble beaches in the Baltoscandian area. Another group can be traced to north-eastern British coasts. The clustering of stones at Hoeke has drawn particular attention to the Hanseatic connection with Bruges and to the small harbour town of Hoeke, which hosted the staple of stockfish and various other Hanseatic activities. This article contributes to the discussion of ballast stones as a meaningful archaeological object category, especially when studied in a broader methodological context including archaeological, geological, and historical research. [ABSTRACT FROM PUBLISHER]

This article proposes a new reading of the relationship between place and symbolic capital, arguing that certain loci are able to consecrate literary works through inspiration rather than reception, publication and circulation. Taking the city of Bruges as an exemplar, it examines its representation by Baudelaire, Rodenbach and Rilke, arguing that Rilke's poetic transformation enables it to transcend its status as a 'dead city' and Decadent trope. By combining the expressive possibilities of Symbolism with elements of the realist chronotope, Bruges can also be read as a future city that performs itself. It thereby provides a different illustration of Pierre Bourdieu's argument that habitus can function as a form of symbolic capital. If, as Pascale Casanova argues, Brussels was the 'capital of Symbolism', in this reading Bruges constitutes an alternative Symbolist capital: another example of the capital and its double. [ABSTRACT FROM AUTHOR]

On the evening of 3 May 1501, the canons of the Church of St Donatian in Bruges summarily expelled the chaplain Jacob Hobrecht (Obrecht) from the choir of their church. That day the city held the annual procession of the Holy Blood. It inaugurated the May Fairs that brought merchants and goods from around Western Europe, as well as peasants from the surrounding Flemish countryside. In a new document that records the punishments for five singers, the canons do not specify Hobrecht's offences, but call him and a young virgifer chori 'insolent' and 'good for nothing'. This astounding action against the acclaimed and prolific composer, recognized just months before for his service to the church, is couched in rhetoric that quotes Ovid. Essentially, the document exposes a dichotomy in which the singers were to celebrate the feast day with music, but not celebrate the Kermis. Soon after, the composer left Bruges in disgrace. The divergent punishments meted out may be explained in terms of social psychology. By seeking to exclude two members of the 'community of the choir', the chapter sought to preserve its own normative behaviours at a time when the Church acted before the gaze of powerful outsiders. Hobrecht's high status meant he received the harshest punishment. The conflicting values of the singers, enacting the 'immodest' spirit of the May Fairs, versus the sober expectations of the chapter, reflected an imbalance of cultural power between the two groups. [ABSTRACT FROM AUTHOR]

Copyright of Acta Musei Brukenthal is the property of Brukenthal National Museum 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 undertakes an object-focused study of a single work of art of great material and visual complexity: the Wallace Collection pax. This object stimulates an important discussion on how the making, materials and form of a work of art are fundamental to unravelling the object’s function and meaning for a contemporary audience. In placing at the core of the object a rare example of a late medieval amber Vera icon, the Wallace Collection pax also opens up a wider discussion on the nature and popularity of amber as a material of artistic expression in the later Middle Ages. In basing this article on the physical and material history of the work of art, I hope to illustrate the importance of going back to first principles when undertaking object-based research, and I intend to highlight the complex interaction between material and form in late medieval art. [ABSTRACT FROM PUBLISHER]

During the late medieval period, Bruges acted as the prime hub of international trade in north-western Europe, with the town of Sluys as its outport. Trade along the Zwin, the waterway connecting the city to the sea, was subject to a series of tolls and a set of stringent and comprehensive staple restrictions, stipulating that all goods imported had to be sold on the Bruges market. The concentration of commercial activities which resulted from these rules allowed merchants with the necessary capital to trade more cheaply than elsewhere. For those with more modest means and ambitions, the trip along tollbooths to the heavily regulated and institutionalised staple market only jeopardised the profitability of their endeavours. Throughout the fifteenth century, local traders, international shipping crews, commercial staff and professional smugglers cut transaction costs by evading the restrictions of the staple and commercial taxation in Sluys. This article discusses the size of this informal market on the margins of Bruges' jurisdiction, analyses the backgrounds and motivations of its visitors and reconstructs the strategies they used to evade punishment. [ABSTRACT FROM PUBLISHER]

Copyright of Revue du Nord is the property of Revue du Nord 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 Revue du Nord is the property of Revue du Nord 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 paper attempts to rethink the tourist flow from the perspective of urban planning solutions, which have potentials of slowing down tourists and dispersing them more evenly in urban areas. It starts with an overview on current urban tourism trends and challenges and with a cross-disciplinary approach the wider contemporary literature is introduced including citta slow and slow design. The focal point of the analytical part of the paper is the historic city of Bruges and the analysis of its green spaces, land and water related structures that influence tourist mobility. The paper argues that heritage towns like Bruges are not without tools to cope with the tourist 'overflow' and more awareness of tourists' space usage coupled with sound planning might even boost their efficiency to do so. The study also aims to enrich the intellectual debate on slow perspectives and practices in order to help urban destinations manage successfully spatial-temporal crowd movement. [ABSTRACT FROM AUTHOR]