Academic literature on the topic 'Exhibitions, London, 1874'
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Journal articles on the topic "Exhibitions, London, 1874"
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Morgan, Kenneth. "Selling Queensland: Richard Daintree as Agent-General for Emigration, 1872–76." Queensland Review 27, no. 2 (December 2020): 137–53. http://dx.doi.org/10.1017/qre.2020.12.
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AbstractThis article analyses the work of Richard Daintree as Agent-General for Emigration from the United Kingdom to Queensland when he held that role between 1872 and 1876. Daintree designed exhibitions in London to attract emigrants, placed advertisements in newspapers, wrote a guide to Queensland’s resources, liaised with shipping companies for passenger berths, lectured in the provinces to potential emigrants, and cooperated with emigration sub-agents provided by Queensland’s government for Scotland and Ireland. Daintree contended with two main problems during his period as Agent-General. One involved a serious case of fraud discovered in his London office, but he was not responsible for its occurrence. The other was that a change of Queensland premier from Arthur Hunter Palmer, with whom he had worked cordially, to Arthur Macalister, with whom he had fraught relations, adversely affected his work. Overall, however, the article shows that Daintree was successful in increasing net migration to Queensland during his incumbency as Agent-General.
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Jones, Roger. "Exhibition: Impressionists in London: French artists in exile 1870–1904." British Journal of General Practice 68, no. 666 (December 28, 2017): 34. http://dx.doi.org/10.3399/bjgp17x694277.
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Eatock, Colin. "The Crystal Palace Concerts: Canon Formation and the English Musical Renaissance." 19th-Century Music 34, no. 1 (2010): 87–105. http://dx.doi.org/10.1525/ncm.2010.34.1.087.
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Abstract This article examines the role of London's Crystal Palace in the popularization of ““classical music”” in Victorian Britain, and in the creation of the orchestral canon in the nineteenth century. The Crystal Palace was originally built in Hyde Park for the Great Exhibition of 1851 and was reconstructed in the London suburb of Sydenham in 1854. This popular attraction assumed a musical prominence in British culture when the ambitious conductor Augustus Manns established an orchestra there in 1855, and presented a series of Saturday Concerts until 1900. Central to this discussion of the significance of the Crystal Palace concerts are two audience plebiscites that Manns conducted, in 1880 and 1887, which shed much light on Victorian popular taste and musical values. As well, particular attention is given to his involvement in the ““English Musical Renaissance”” in both of its aspects: as a campaign to raise British composers to canonic stature (to construct a ““British Beethoven””); and as an effort to securely embed classical music within British culture.
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Shteir, Ann B. "“FAC-SIMILES OF NATURE”: VICTORIAN WAX FLOWER MODELLING." Victorian Literature and Culture 35, no. 2 (June 29, 2007): 649–61. http://dx.doi.org/10.1017/s1060150307051698.
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THE GIGANTIC WATER LILY WHOSE seeds were brought to England from the Amazon in 1847 had been sighted a decade earlier in British Guiana by Sir Robert Schomburgk and described in 1837. Named Victoria regia and now known as Victoria amazonica, the spectacular specimen had huge leaves five feet in diameter and seventeen feet in circumference, and flowers more than twelve inches in diameter. Germination of the seeds took some time, but in 1849 three plants developed, and the race was on to propagate the first flower. The triumphal first bud in England opened in early November 1849, its flower measuring three feet in circumference, at the Chatsworth estate of the Duke of Devonshire where the gardener and landscape architect, Joseph Paxton, had designed a greenhouse and water tanks for this purpose; Margaret Darby has detailed the precise attention that Paxton gave to the levels of light, moisture, and heat so as to approximate the plant's native habitat. The Victoria regia produced 126 large, beautiful, and fragrant white and pink tinted flowers. It was a popular wonder and received clamorous public attention for its size, beauty, and surprising strength. Paxton presented a leaf and flower to the Queen and Prince Albert at Windsor, and a well-known engraving in the Illustrated London News, November 17, 1849, showed Paxton's eight-year old daughter Annie standing on one of the leaves. Publication in 1851 of Victoria Regia; or Illustrations of the Royal Water-Lily with life-sized drawings and lithographs by Walter Hood Fitch and descriptions by the botanist Sir William Jackson Hooker brought further celebrity to the plant. Soon after, John and Horatio Mintorn, wax flower artists in London, were commissioned to make a model of the flower of this huge plant in different stages of development – “from the large and bristly bud to the white opening petals, and the full-blown flower, in its beautiful variegation of form and tint” (the Daily News July 17, 1850). Exhibition of the wax model generated wide press coverage about the “fac-simile…of one of the most curious botanical phenomenon of the present age” (Mintorn 1844, ii-iii).
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COURTNEY, STEPHEN. "‘A very diadem of light’: exhibitions in Victorian London, the Parliamentary light and the shaping of the Trinity House lighthouses." British Journal for the History of Science 50, no. 2 (April 24, 2017): 249–65. http://dx.doi.org/10.1017/s0007087417000292.
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AbstractIn the midsummer of 1872 a lighthouse apparatus was installed in the Clock Tower of the House of Commons. The installation served the practical function of communicating at a distance when the House was sitting, but also provided a highly visible symbolic indication of the importance of lighthouse technology to national concerns. Further, the installation served as an experimental space in which rival technological designs, with corresponding visions for the lighthouse system, could compete in public. This article considers nineteenth-century lighthouse technology as a case study in the power and political significance of display. Manufacturers of lighthouse lenses, such as the firm of Chance Brothers, sought to manage interpretations of the lights through the framing of exhibitions and demonstrations; so too did scientific authorities, including Michael Faraday and John Tyndall, both of whom served in the role of scientific adviser to Trinity House, the body responsible for lighthouse management. Particularly notable in this process was the significance of urban, metropolitan display environments in shaping the development of the marine lighthouse system around the nation's periphery.
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Costeloe, Michael P. "William Bullock and the Mexican Connection." Mexican Studies/Estudios Mexicanos 22, no. 2 (January 1, 2006): 275–309. http://dx.doi.org/10.1525/msem.2006.22.2.275.
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William Bullock was one of the first British travelers to visit Mexico after independence in 1821. Accompanied by his son, he spent six months there in 1823, and, on his return to Britain, he published an account of his experiences. He also staged in 1824 the first exhibition in Britain of Mexican artifacts and natural fauna. A year later, he liquidated all his business interests and took his family back to Mexico, where he hoped to make a fortune in silver mining. This article examines Bullock's Mexican ventures in London and in Mexico. It also provides much new biographical data on Bullock himself and on his family connections with Mexico that continued throughout the nineteenth century. William Bullock fue uno de los primeros viajeros britáánicos en visitar Mééxico despuéés de la independencia en 1821. Acompaññado de su hijo, pasóó seis meses allíí en 1823, y al regresar a la Gran Bretañña, publicóó una cróónica de sus experiencias. Tambiéén presentóó en 1824 la primera exhibicióón en Inglaterra de artefactos y fauna natural de Mééxico. Un añño despuéés, liquidóó todos sus intereses comerciales y se llevóó a su familia a Mééxico donde éél esperaba hacer una fortuna en la mineríía de plata. Este artíículo examina las empresas de Bullock en Londres y en Mééxico. Tambiéén proporciona muchos nuevos datos biográáficos de Bullock mismo y de sus conexiones familiares con Mééxico que siguieron a lo largo del siglo diecinueve.
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Southward, A. J., and E. K. Roberts. "One hundred years of marine research at Plymouth." Journal of the Marine Biological Association of the United Kingdom 67, no. 3 (August 1987): 465–506. http://dx.doi.org/10.1017/s0025315400027259.
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The second half of the nineteenth century was a period of rapid change in the natural sciences in Britain, reflecting changes in social conditions and improvements in education. A growing number of naturalists were becoming socially conscious and aware of the need for a proper study of the sea and its products, following the success of the ‘Challenger’ Expedition of 1872–6. In 1866 the Royal Commission on the Sea Fisheries, which included among its officers Professor T. H. Huxley, one of the new breed of professional scientists, had reported that fears of over-exploitation of the sea-fisheries were unfounded, and had recommended doing away with existing laws regulating fishing grounds and closed seasons. Nevertheless, the rising trade in fresh fish carried to towns by rail or by fast boats (fleeting), and the consequent increase in size and number of registered fishing vessels, was causing widespread concern, and there were reports from all round the coasts about the scarcity of particular fish, especially soles. This concern was expressed at the International Fisheries Exhibition in London in 1883, a conference called to discuss the commercial and scientific aspects of the fishing industry, attended by many active and first-rank scientists. However, in his opening address Professor Huxley discounted reports of scarcity of fish, and repeated the views of the Royal Commission of 1866: that, with existing methods of fishing, it was inconceivable that the great sea fisheries, such as those for cod, herring and mackerel, could ever be exhausted.
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Dobraszczyk, Paul. "Victorian Market Halls, Ornamental Iron and Civic Intent." Architectural History 55 (2012): 173–96. http://dx.doi.org/10.1017/s0066622x00000095.
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This article focuses on the relationship between ornamental iron and the civic in British market halls, a subject which has been overlooked in the existing literature on their architectural development. Like many other forms of nineteenth-century retail architecture — shops, bazaars, arcades and department stores — market halls embraced the new architectural possibilities suggested by iron: increased floor-spans were made possible by wrought-iron joists, which could span greater distances than timber ones; the strength of cast-iron columns allowed larger openings in the external walls; and the increased availability and lower cost of glass meant that these openings could be glazed, allowing greater visibility of commodities. Yet, unlike much Victorian retail architecture, which was usually privately financed, market halls were explicitly articulated as public spaces. As such, there were problems in assimilating iron-and-glass structures into established notions of public architecture. In 1878, The Building News, in a discussion of London’s market buildings, argued that they should be ‘different from huge railway sheds and Crystal Palaces’ because their status as public buildings required some form of ‘artistic’ treatment. For many architects of market halls — in common with other new building types in the Victorian period, such as pumping stations, railway stations, exhibition halls and warehouses — the solution lay in a dual architectural identity: an exterior structure built in conventional building materials such as stone and brick, harmonizing with existing urban architecture; and an interior space supported by an independent iron-and-glass structure.
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Zahorulko, А. O., and I. I. Korshykov. "ПЛАТАН КЛЕНОЛИСТИЙ (PLATANUS ACERIFOLIA WILLD.) В УМОВАХ МІСТ СТЕПОВОЇ ЗОНИ УКРАЇНИ." Scientific Issue Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: Biology 80, no. 3-4 (December 1, 2020): 13–19. http://dx.doi.org/10.25128/2078-2357.20.3-4.2.
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For steppe cities, it is important to replenish the range with durable decorative species that grow quickly and form a three-dimensional crown. Such plants due to the shading of large areas create more comfortable living conditions for people in steppe cities. These species include London planetree (Platanus acerifolia Willd.), which sporadically began to be planted in some cities in the postwar period. The viability of P. acerifolia in the steppe is different. Since the biological peculiarities of this introduced species have been studied in various socio-economic problems in cities, we conducted a comparative analysis of the vital state and biometric parameters of P. acerifolia in the plantations of two cities of the steppe zone of Ukraine. We found out that P. acerifolia is widely used in landscaping of Kherson, while in Kryvyi Rih it is rare. In Kherson, the species is distributed near administrative buildings, schools, hospitals; it grows in parks, squares and yards of high-rise buildings, and in Kryvyi Rih only in one subdistrict and in the arboretum of the Kryvyi Rih Botanical Garden. The trees in Kherson are aged 38–60. The vital state is estimated as high and close to high – 77.8–96.3%. Older trees are 18.4–21.5 m of height and a maximum trunk diameter is 80.1–99.4 cm. Plants of all plantations in Kherson have dry branches, with a rate of 6.3–28.7%. In Kryvyi Rih, 28–42-year-old trees grow. In different plantations of P. acerifolia, the number of dry branches varies in the range of 0.3–44.5%, and the vital state – from 55.5 to 100% depending on the place of growth. The height of P. acerifolia trees is 6.2–20.3 m, and the trunk diameter is 12.2–68.7 cm. The study has proved that the differences in vital state and morphometric parameters of trees in the plantations of these cities depend on the age of trees, their planting density, lighting and other growing conditions. Trees in Kryvyi Rih are more significantly damaged by cold winds than in Kherson.
The life form of P. acerifolia in the plantations of Kherson and Kryvyi Rih is almost everywhere a single-stemmed tree. This species is beginning to naturalize in the conditions of Kherson. Several plants of self-seeding origin were found during the research studies. Restoration of plants with young sprouts produced by stumps after cutting the plant trunks in Kherson was also noticed. The leaf apparatus of plants during the growing season is practically not damaged by diseases and pests and no slimy stains are formed on the leaves.
We determined that P. acerifolia is a promising species for wider use in landscaping of the cities of the Black Sea coast and settlements of the Right-Bank Steppe, but in the latter case requires successful selection of exhibition sites for successful growth. These, first of all, should be cozy places protected from the effects of cold winds in winter and dry winds in spring and summer.
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Beek, Walter E. A., Ph Quarles Ufford, J. H. Beer, H. F. Tillema, Chris Beet, Richard Price, G. Bos, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 147, no. 2 (1991): 339–71. http://dx.doi.org/10.1163/22134379-90003195.
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- Walter E.A. van Beek, Ph. Quarles van Ufford, Religion and development; Towards an integrated approach, Amsterdam: Free University Press, 1988., M. Schoffeleers (eds.) - J.H. de Beer, H.F. Tillema, A journey among the people of Central Borneo in word and picture, edited and with an introduction by Victor T. King, Singapore: Oxford University Press, 1989. 268 pp. - Chris de Beet, Richard Price, Alabi’s world. Baltimore and London: The John Hopkins University Press, 1990. xx + 444 pp. - G. Bos, Neil L. Whitehead, Lords of the tiger spirit; A history of the Caribs in colonial Venezuela and Guyana 1498-1820, Koninklijk Instituut voor Taal-, Land- en Volkenkunde, Leiden. Caribbean series 10, Dordrecht/Providence: Foris publications, 1988, 250 pp., maps, ills., index, bibl. - James R. Brandon, Richard Schechner, By means of performance: Intercultural studies of theatre and ritual. Cambridge and New York: Cambridge University Press, 1990. 190 + xv pp + ills. Paperback, Willa Appel (eds.) - J.N. Breetvelt, Matti Kamppinen, Cognitive systems and cultural models of illness, Helsinki: Academia Scientiarum Fennica, FF Comunications No. 244, 1989. 152 pp. - Martin van Bruinessen, Mark R. Woodward, Islam in Java: Normative piety and mysticism in the Sultanate of Yogykarta. Tucson: The University of Arizona Press, 1989, 311 pp, index. - J.G. de Casparis, Pauline Lunsingh Scheurleer, Ancient Indonesian Bronzes; A catalogue of the exhibition in the Rijksmuseum Amsterdam with a general introduction. Leiden: Brill, 1988. IX + 179 pp., richly illustrated., Marijke J. Klokke (eds.) - Hugo Fernandes Mendes, Luc Alofs, Ken ta Arubiano? Sociale intergartie en natievorming op Aruba, Leiden: Caraïbische Afdeling, Koninklijk Instituut voor Taal-, Land- en Volkenkunde, 1990. ix + 232 pp., Leontine Merkies (eds.) - Rene van der Haar, I. Eibl-Eibesfeldt, Kommunikation bei den Eipo; Eine humanethologische bestandsaufnahme, Berlin: Dietrich Reimer Verlag, 1989., W. Schiefenhövel, V. Heeschen (eds.) - M. Heins, K. Epskamp, Populaire cultuur op de planken; Theater, communicatie en Derde Wereld. Den Haag: CSEO Paperback no. 6, 1989., R. van ‘t Rood (eds.) - Huub de Jonge, Thomas Höllman, Tabak in Südostasien; Ein ethnographisch-historischer Überblick, Berlin: Dietrich Reimer Verlag, 1988. Bibl., tab., ill., append., 233 pp., - Nico de Jonge, Jowa Imre Kis-Jovak, Banua Toraja; Changing patterns in architecture and symbolism among the Sa’dan Toraja, Sulawesi - Indonesia. Amsterdam: Royal Tropical Institute, 1988, 135 pp., Hetty Nooy-Palm, Reimar Schefold (eds.) - L. Laeyendecker, Jeffrey C. Alexander, Durkheimian sociology: Cultural analysis, Cambridge etc.: Cambridge University Press, 1988, 227 pp. - Thomas Lindblad, W.A.I.M. Segers, Changing economy in Indonesia. A selection of statistical source material from the early 19th century up to 1940. Vol 8. Manufacturing industry 1870-1942. Amsterdam, 1987. 224 pp. - C.L.J. van der Meer, Akira Suehiro, Capital accumulation in Thailand 1855-1985, The Centre for East Asian Cultural Studies, Tokyo, 1989. xviii + 427 pp., maps, figs, app. - Niels Mulder, Nancy Eberhardt, Gender, power, and the construction of the moral order: Studies from the Thai periphery, University of Wisconsin-Madison, Centre for Southeast Asian Studies, Monograph 4, 1988. viii + 100 pages, softcover. - Gert Oostindie, Jan Nederveen Pieterse, Wit over zwart; Beelden van Afrika en zwarten in de Westerse populaire cultuur. Amsterdam: Koninklijk Insituut voor de Tropen, 1990. 259 pp., ills. - Gert Oostindie, Raymond Corbey, Wildheid en beschaving; De Europese verbeelding van Afrika. Baarn: Ambo, 1989. 182 pp., ills. - R. Ploeg, Inga Clendinnen, Ambivalent conquests; Maya and Spaniard in Yucatan, 1517-1570, Cambridge: Cambridge University Press, 1988. xi + 243 pp. - S.O. Robson, Luigi Santa Maria, Papers from the III European Colloquium on Malay and Indonesian Studies. Istituto Universitario Orientale, Dipartimento di Studi Asiatici (Series Minor XXX). Naples 1988. 276 pp., Faizah Soenoto Rivai, Antonio Sorrentino (eds.) - R.A. Römer, J.M.R. Schrils, Een democratie in gevaar; Een verslag van de situatie op Curaçao tot 1987. Van Gorcum, Assen: 1990. xii + 292 blz. - Patricia D. Rueb, Han ten Brummelhuis, Merchant, courtier and diplomat: A history of the contacts between the Netherlands and Thailand, Lochem, 1987, 116 pp., illustrated.
Dissertations / Theses on the topic "Exhibitions, London, 1874"
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Robles, Fanny. "Émergence littéraire et visuelle du muséum humain : les spectacles ethnologiques à Londres, 1853-1859." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20038.
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Les spectacles ethnologiques victoriens mettent en scène des milliers de colonisés dans des zoos, cabarets, appartements privés et institutions scientifiques. Cette thèse se penche sur deux spectacles sud-Africains en particulier : les « Zulu Kafirs » et les « Earthmen », montés à Londres dans les années 1850. Prenant pour point de départ « The Noble Savage » de Charles Dickens, écrit après qu’il a vu les « Zulus », ce travail porte sur le fantasme victorien d’un « muséum humain ». Après une étude des concepts de « race » et de « sauvagerie » aux XVIIIe et XIXe siècles, nous abordons l’évolution des pratiques muséologiques et la fascination de Dickens pour un muséum humain monstrueux. Nous passons ensuite aux spectacles ethnologiques victoriens et au « spécimen » Africain comme « métonyme ethnographique » et mythe, évoluant dans un « fantasme hétérotopique ». Ce fantasme est réalisé dans le Département d’Histoire Naturelle du Palais de Cristal de Sydenham, dans lequel des moulages des « spécimens » sont exposés dans des « théâtres écologiques ». La visite y permet l’exploration sociale et pose le problème d’un cannibalisme moral, quand le colonialisme et l’impérialisme victoriens se heurtent à leurs propres contradictions. Ces dernières sont développées dans Bleak House (1853), où Dickens attaque la « philanthropie télescopique », alors que la « préférence ethnologique » semble aller aux esclaves américains, dont les récits sont publiés et mis en scène. A Tale of Two Cities (1859) pourrait ainsi être lu comme la réalisation de la crainte dickensienne de voir les pauvres s’ensauvager, si les philanthropes persistent à les exclure de leur muséum humainNineteenth-Century ethnological shows involved the display of thousands of colonised people in a variety of urban settings, including zoos, cabarets, private apartments, and scientific institutions. This dissertation focuses on two South African shows in particular: the “Zulu Kafirs” and “Earthmen”, both staged in London in the 1850s. Taking its lead from Charles Dickens’s pamphlet “The Noble Savage”, written after he saw the “Zulus”, this thesis looks at the Victorian fantasy of a “human museum”. Following a historical study of the concepts of “race” and “savagery” in the 18th and 19th centuries, we retrace the evolution of museological practices and look at Dickens’s fascination with a (monstrous) human museum. We then move on to consider Victorian ethnological shows and the African “specimen” as “ethnographical metonym” and myth, displayed in a true “heterotopic fantasy”. This fantasy was realized in the Natural History Department of the Crystal Palace in Sydenham, where casts of the “specimens” on show were arranged in “ecological theatres”. There, the museum visit allowed for social exploration among the visitors, and raised the issue of (moral) cannibalism, at the point at which Victorian capitalism and imperialism met their own contradictions. These are further explored in Bleak House (1853), where Dickens attacks “telescopic philanthropy”, as the “ethnological preference” seemed to go to American slaves, whose narratives were published and staged. In this light, we might read A Tale of Two Cities (1859) as the realisation of the writer’s fear that the Poor might revert to a state of “primitive” savagery, if they remain overlooked in the philanthropists’ human museum
Books on the topic "Exhibitions, London, 1874"
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Fergusson, J. D. John Duncan Fergusson 1874-1961: France & London 2004. Glasgow: Ewan Mundy, 1990.
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Ginner, Charles Isaac. Charles Isaac Ginner, ARA (born Cannes 1878 died London 1952): October 7th-25th, 1985, Fine Art Society, London. London: The Society, 1985.
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Palace of the people: The Crystal Palace at Sydenham, 1854-1936. Madison, Wis: University of Wisconsin Press, 2004.
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Maurier, George Du. George Du Maurier 1834-1896: An exhibition of drawings & illustrations for Punch, London Society and Trilby. London: Langton Gallery, 1986.
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The Grosvenor Gallery exhibitions: Change and continuity in the Victorian art world. Cambridge: Cambridge University Press, 1995.
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Karol, Eitan. Charles Holden, architect 1875-1960: An exhibition at the Royal Institute of British Architects Heinz Gallery London, March 9th to April 23 1988. (London?: s.n.), 1988.
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missing], [name. Whistler, Sargent, and Steer: Impressionists in London from Tate collections. Nashville, TN: Frist Center for the Visual Arts, 2003.
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Stansky, Peter. Redesigning the world: William Morris, the 1880s, and the Arts and Crafts. Palo Alto, Calif: Society for the Promotion of Science and Scholarship, 1996.
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Stansky, Peter. Redesigning the world: William Morris, the 1880s, and the Arts and Crafts. Princeton, N.J: Princeton University Press, 1985.
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Stansky, Peter. Redesigning the world: William Morris, the 1880s, and the Arts and Crafts. Guildford: Princeton University Press, 1985.
Find full textBook chapters on the topic "Exhibitions, London, 1874"
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Hales, Shelley, and Nic Earle. "Dinosaurs Don’t Die: the Crystal Palace monsters in children’s literature, 1854–2001." In After 1851, edited by Kate Nichols and Sarah Victoria Turner. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719096495.003.0008.
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Dinosaurs Don’t Die, claimed the title of Ann Coates’ 1970 children’s book. Coates’ prose, and the charming illustrations by John Vernon Lord which accompanied it, wondered what would happen if the antediluvian monsters from the Crystal Palace came back to life. In fact, the prehistoric creatures had already refused to die: first resurrected by Benjamin Waterhouse Hawkins and Richard Owen in the early 1850s they had survived the 1936 fire to become Sydenham’s only remaining display. The monsters have lived on, both on a set of South East London islands, but also in many children’s books from the mid-nineteenth to the early twenty-first centuries. In this article I track how the Crystal Palace monsters fit into the evolution of more general representations of extinct creatures in children’s books and exhibitions over the nineteenth and twentieth centuries.
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Hurl-Eamon, Jennine, and Lynn MacKay. "Charles Holte Bracebridge, 'Assistance Given to the Wives, Widows, and Children, of the British Soldiers at Scutari, 1854–5–6', in Statements Exhibiting the Voluntary Contributions Received by Miss Nightingale for the Use of British War Hospitals in the East (London: Harrison & Sons, 1857), PP. 60–6." In Women, Families and the British Army 1700-1880, 275–79. Routledge, 2020. http://dx.doi.org/10.4324/9781003017974-119.
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