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Titlebook: A Corpus of Rembrandt Paintings V; The Small-Scale Hist Ernst Wetering Book 2011 The Editor(s) (if applicable) and The Author(s), under exc

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Rembrandt and pupil — Joseph’s dream in the stable at Bethlehemties of the human mind.Links theory with practice and providThis accessible textbook hinges on the central assumptions of Cognitive Linguistics and Cognitive Grammar, introducing students to the analytical tools they need to approach Stylistics, an essential area in language analysis. The author ver
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Rembrandt — Abraham serving the angelsof .Shuihu Zhuan .present the original narrative mode to the target readership in terms of four narrative elements—voice, commentary, point of view and motif—in different periods of history. It not only validates but also quantifies the differences in strategy-making patterns between translators, as
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Copy after Rembrandt’s (lost) Circumcision the previous century in the increased popularity of travel on the Continent and the fashion of scenic tourism. Travel was becoming open to more and more sectors of society. In his . (1866),. Anthony Trollope — himself a well-travelled writer — portrays typical globetrotters of his time, such as The
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International Political Economy SeriesThis chapter, unusual in some respects, is compiled with several interwoven objectives in view, which should perhaps be briefly summarized at the outset:
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Darshan Vigneswaran,Loren B. LandauOver the course of the Rembrandt Research Project, the project’s investigators were increasingly confronted with problems and questions related to the training of pupils in Rembrandt’s workshop, and with the workshop production that may have been associated with it.
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https://doi.org/10.1007/978-3-030-04037-6Gerson first raised questions over the authenticity of this painting in 1968,1 since when various opinions have been voiced in the Rembrandt literature as to whether, and if so, to what extent, Rembrandt was involved in the production of the New York ...
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Greening of Industry Networks StudiesAs announced in the entry on . (V 7), an attempt will be made in this entry to gain insight into a complex and as yet insufficiently understood aspect of Rembrandt’s studio practice by comparing and analysing these two paintings. See also Chapter V.
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