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"Geschiedenis is alomtegenwoordig in het 19e-eeuwse Europa. Oude en nieuwe naties gaan op zoek naar hun historische wortels. Die leiden opvallend vaak naar de hertogen van Bourgondië. Al kan de visie rond die vorsten sterk verschillen van land tot land. De beeldende kunsten speelden een grote rol in de historische beeldvorming. Uitbundig Verleden. De Bourgondiërs door Romantische ogen ontrafelt wat schilderijen, prenten, tekeningen en beelden ons vertellen over de fascinatie (of afkeer) van 19e-eeuwse Europese vorsten, historici, auteurs en kunstenaars voor de Bourgondiërs. De motieven daarvoor blijken vaak opmerkelijk dicht te liggen bij onze hedendaagse interesse voor nationale canons... Via dit boek (her)ontdekt u het wonderlijke genre van de historieschilderkunst, en wat roemruchte figuren als Filips de Goede, Maria van Bourgondië, Maximiliaan van Oostenrijk, Keizer Karel en Jeanne d'Arc linkt aan Walter Scott, Henri Leys, Eugène Delacroix of zelfs Napoleon Bonaparte." --

Monastère royal de Brou. --- Mechelen (Belgium). --- Painting --- istoria --- Habsburg [Dynasty] --- House of Burgundy --- anno 1800-1899 --- Europe --- Bourguignon --- États bourguignons --- Peintre romantique --- Peinture --- Exposition --- catalogue d’exposition --- Malines --- Bourg-en-Bresse --- romantiek --- geschiedenis --- 15de eeuw --- 16de eeuw --- 19de eeuw --- istoria [critical concept] --- romantiek. --- geschiedenis. --- 15de eeuw. --- 16de eeuw. --- 19de eeuw.

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This thesis is the result of an internship at project De FactorY. De FactorY is a social artistic studio in Leuven for people who have difficulty accessing the regular art circuit. The project does not have the right resources to offer enough exhibition options to its participants. That is why this research poses the following question: How can De FactorY support its participants in the process towards exhibiting outside De FactorY as an organization? The goal of this research is to get to know the needs of the participants of De FactorY in terms of exhibiting their own work. When these needs are documented, the study goes on to investigate how De FactorY can play a role in realizing those needs. Finally, the study offers recommendations to De FactorY on how to cater to the participants needs. These recommendations can serve as a source of inspiration for similar organizations. To answer the research question, the study starts with an extensive literature study to initiate and support the practical research. The second part of this thesis gathers the necessary information about De FactorY as a project and what they already have to offer. Through interviews with the participants, it becomes clear what experiences are available in De FactorY and what is still lacking. The information provided by the participants is a formal source of the research. Lastly Greet Verbruggen of Expo Leuven gives insights to substantiate the recommendations for De FactorY. There are several reasons why participants of De FactorY may want to exhibit their own art. One of the motives could be the sale of their works, but that is often only a minor issue. The majority of participants attaches more value to the intrinsic consequences of exhibiting. This includes the positive influence on the maker's self-image and self-development, being able to express their own emotions and thoughts, conveying a message, and learn about the structure of exhibitions and making contacts. These potential positive consequences show that exhibiting their own art could bring sufficient satisfaction to the participants. The interviews with the participants demonstrate that they need support in showing their works outside of De FactorY itself. De FactorY can support its participants by organizing workshops that educate them about exhibiting, assisting them in creating and developing a portfolio, offering a map of exhibition spaces, establishing contacts with exhibition spaces, introducing them to offer their artworks online and finally help participants to familiarize themselves with the sale of their art.

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A statue in the city park, a water fountain on the market square or a mural on a train station. All of these are examples of art in public space, a space considered much more accessible for viewing art than a museum. Unfortunately, museums do not seem to be equally accessible to everyone. This is shown by statistics and several barriers that hinder the museum visit. Art in public space are permanent or temporary works of art or practices located in a freely accessible space, making it possible to reach a broad public. This leads to the research question of how the public relates to art in public space. In particular, the public's experience of art in public space, the perceived accessibility and the deemed suitability of the public space to place art in are studied. Data is collected through interviews with people considered to be the public of art in the public space, meaning everyone who ever uses the public space. The respondents all have different ages, professions and levels of interest in art. In exploring the public's relationship to art in public space, various themes related to this subject are discussed. The respondents appreciate art in the public space because of its ability to bring everyone into contact with art. In contrast to art in museums, works of art are not shielded in the public space. One can get very close and even touch the artwork. Art in public space is experienced as accessible, because one can be confronted with art in a spontaneous and approachable way. However, it turns out that even in the public space the knowledge that the public possesses is important for the art experience. Respondents who regularly visit museums and have a high interest in art prefer museums to view art, because of the numerous distractions, people and noise present in the public space. Moreover, the respondents have different expectations of the relation between artwork and environment. Varying between completely fitting in and standing out of the artwork in its surroundings. It is remarkable that regular museum visitors want to see features surrounding a work of art in public space similar to those in a museum, such as space and silence. Yet, these characteristics would threaten the accessibility of the public space. Lastly, a strong substantive link between the artwork and its surroundings makes the work of art, according to the respondents, only suitable for that location.

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The thesis focuses on how relationships between men are re-imagined in slash fictions of Romance of the Three Kingdoms. Romance of the Three Kingdom is a historical novel believed to be composed in the 14th century. It has always been very popular and it is a very important cultural text in Chinese-speaking communities and Confucianism-influenced cultures. Using slash fiction, contemporary Chinese female fans of the Three Kingdoms culture redefine the male-male relationships in the canon. Slash fiction is a type of fan fiction that portrays a romantic and erotic relationship between two male characters from a popular cultural text. It first appeared in the fan works of Star Trek in the early 70s where they used Kirk/Spock to suggest the pairing. The slash fandom in China, as its global community, is a mostly female and queer community. This paper aims to show how slash fictions of Romance of Three Kingdoms rewrite and reevaluate relationships between men, and how the contemporary Chinese female fan community, by writing over the bodies of men, negotiate with the traditional bonds and values prescribed by Confucianism. In the first chapter, I explored the hierarchical nature of the lord-minister relationship and how it is mediated and transfigured in slash fiction. We find in Chinese slash the relationship between a couple is hierarchical, not equal. One distinct feature in character pairing is the characterisation device to differentiate the two male lovers: One is the gong (top) and other shou (bottom). As a result, Chinese slash is sometimes criticised for its heteronormative frame of thinking although it contains homosexual sex. I then look at the non-normative aspects of this fandom, represented by stories of father-son incest in Chapter 2. Analogous to the lord-and-minster, the father-son relationship in Chinese culture is highly hierarchical and is determined by the idea of obedience and filial piety. By slashing father and son, the incestuous stories reflect the anxiety over the traditional parent-child relationship and transgress the traditional ethos. It is a bold gesture writing back against the patriarchal norms. Finally, I looked at how the male-male bonds have been rewritten with a new vocabulary of love. Although the original novel presents a manly world in which Sedgwick's idea of "homosociality" permeates the text, it is in slash works that the emphasis has been moved from the public world to the private sphere. The historical characters are read through their emotions and desires instead of their worldly achievements or heroic deeds. This new discourse (in Foucault's sense) adopted by the female fan community, I argue, is important. It has fundamentally challenged the vocabulary rooted in Confucian values used to describe male-bonds (such as loyalty and righteousness) to focus on more