Relevant bibliographies by topics / Metropolitan Board of Works (London, England) History / Journal articles
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Journal articles on the topic 'Metropolitan Board of Works (London, England) History'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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1

Hotz, Mary Elizabeth. "DOWN AMONG THE DEAD: EDWIN CHADWICK’S BURIAL REFORM DISCOURSE IN MID-NINETEENTH-CENTURY ENGLAND." Victorian Literature and Culture 29, no. 1 (March 2001): 21–38. http://dx.doi.org/10.1017/s1060150301291025.

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IN 1839, G. A. WALKER, a London surgeon, published Gatherings from Graveyards, Particularly Those in London. Three years later Parliament appointed a House of Commons select committee to investigate “the evils arising from the interment of bodies” in large towns and to consider legislation to resolve the problem.1 Walker’s study opens with a comprehensive history of the modes of interment among all nations, showing the wisdom of ancient practices that removed the dead from the confines of the living. The second portion of the book describes the pathological state of forty-three metropolitan gr
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2

Hardy, Anne. "Gloria Clifton, Professionalism, Patronage and Public Service in Victorian London: The Staff of the Metropolitan Board of Works 1856–1889. London: Athlone Press, 1992. x + 239 pp. Bibliography. £35.00. - Susan Pennybacker, A Vision for London 1889–1914; Labour, Everyday Life and the LCC Experiment. London: Routledge, 1995. xiv + 315 pp. £50.00." Urban History 23, no. 3 (December 1996): 398–400. http://dx.doi.org/10.1017/s0963926800017041.

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3

Saunders, John. "Editorial." International Sports Studies 41, no. 2 (February 12, 2019): 1–4. http://dx.doi.org/10.30819/iss.41-2.01.

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Perfect vision for the path ahead? As I write this editorial it seems that once again, we stand on the threshold of yet another significant date. The fortieth anniversary of ISCPES and also that of this journal, that has been the voice of the society’s contribution over that period, has been and gone. This time it is 2020 that looms on the near horizon. It is a date that has long been synonymous with perfect vision. Many may perhaps see this as somewhat ironic, given the themes surrounding change and the directions it has taken, that have been addressed previously in these pages. Perfect visio
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Webb, Damien, and Rachel Franks. "Metropolitan Collections: Reaching Out to Regional Australia." M/C Journal 22, no. 3 (June 19, 2019). http://dx.doi.org/10.5204/mcj.1529.

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Special Care NoticeThis article discusses trauma and violence inflicted upon the Indigenous peoples of Tasmania through the processes of colonisation. Content within this article may be distressing to some readers. IntroductionThis article looks briefly at the collection, consultation, and digital sharing of stories essential to the histories of the First Nations peoples of Australia. Focusing on materials held in Sydney, New South Wales two case studies—the object known as the Proclamation Board and the George Augustus Robinson Papers—explore how materials can be shared with Aboriginal people
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Williams, Graeme Henry. "Australian Artists Abroad." M/C Journal 19, no. 5 (October 13, 2016). http://dx.doi.org/10.5204/mcj.1154.

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At the start of the twentieth century, many young Australian artists travelled abroad to expand their art education and to gain exposure to the modern art movements of Europe. Most of these artists were active members of artist associations such as the Victorian Artists Society or the New South Wales Society of Artists. Male artists from Victoria were generally also members of the Melbourne Savage Club, a club with a strong association with the arts.This paper investigates the dual function of the club, as a space where the artists felt “at home” in the familiar environment that the club offer
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Franks, Rachel. "Building a Professional Profile: Charles Dickens and the Rise of the “Detective Force”." M/C Journal 20, no. 2 (April 26, 2017). http://dx.doi.org/10.5204/mcj.1214.

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IntroductionAccounts of criminals, their victims, and their pursuers have become entrenched within the sphere of popular culture; most obviously in the genres of true crime and crime fiction. The centrality of the pursuer in the form of the detective, within these stories, dates back to the nineteenth century. This, often highly-stylised and regularly humanised protagonist, is now a firm feature of both factual and fictional accounts of crime narratives that, today, regularly focus on the energies of the detective in solving a variety of cases. So familiar is the figure of the detective, it se
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Danaher, Pauline. "From Escoffier to Adria: Tracking Culinary Textbooks at the Dublin Institute of Technology 1941–2013." M/C Journal 16, no. 3 (June 23, 2013). http://dx.doi.org/10.5204/mcj.642.

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IntroductionCulinary education in Ireland has long been influenced by culinary education being delivered in catering colleges in the United Kingdom (UK). Institutionalised culinary education started in Britain through the sponsorship of guild conglomerates (Lawson and Silver). The City & Guilds of London Institute for the Advancement of Technical Education opened its central institution in 1884. Culinary education in Ireland began in Kevin Street Technical School in the late 1880s. This consisted of evening courses in plain cookery. Dublin’s leading chefs and waiters of the time participat
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Hill, Wes. "Revealing Revelation: Hans Haacke’s “All Connected”." M/C Journal 23, no. 4 (August 12, 2020). http://dx.doi.org/10.5204/mcj.1669.

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In the 1960s, especially in the West, art that was revelatory and art that was revealing operated at opposite ends of the aesthetic spectrum. On the side of the revelatory we can think of encounters synonymous with modernism, in which an expressionist painting was revelatory of the Freudian unconscious, or a Barnett Newman the revelatory intensity of the sublime. By contrast, the impulse to reveal in 1960s art was rooted in post-Duchampian practice, implicating artists as different as Lynda Benglis and Richard Hamilton, who mined the potential of an art that was without essence. If revelatory
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Lavers, Katie. "Cirque du Soleil and Its Roots in Illegitimate Circus." M/C Journal 17, no. 5 (October 25, 2014). http://dx.doi.org/10.5204/mcj.882.

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IntroductionCirque du Soleil, the largest live entertainment company in the world, has eight standing shows in Las Vegas alone, KÀ, Love, Mystère, Zumanity, Believe, Michael Jackson ONE, Zarkana and O. Close to 150 million spectators have seen Cirque du Soleil shows since the company’s beginnings in 1984 and it is estimated that over 15 million spectators will see a Cirque du Soleil show in 2014 (Cirque du Soleil). The Cirque du Soleil concept of circus as a form of theatre, with simple, often archetypal, narrative arcs conveyed without words, virtuoso physicality with the circus artists prese
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Collins, Steve. "Recovering Fair Use." M/C Journal 11, no. 6 (November 28, 2008). http://dx.doi.org/10.5204/mcj.105.

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IntroductionThe Internet (especially in the so-called Web 2.0 phase), digital media and file-sharing networks have thrust copyright law under public scrutiny, provoking discourses questioning what is fair in the digital age. Accessible hardware and software has led to prosumerism – creativity blending media consumption with media production to create new works that are freely disseminated online via popular video-sharing Web sites such as YouTube or genre specific music sites like GYBO (“Get Your Bootleg On”) amongst many others. The term “prosumer” is older than the Web, and the conceptual co
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Bond, Sue. "The Secret Adoptee's Cookbook." M/C Journal 16, no. 3 (June 22, 2013). http://dx.doi.org/10.5204/mcj.665.

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There have been a number of Australian memoirs written by adoptees over the last twenty years—Robert Dessaix’s A Mother’s Disgrace, Suzanne Chick’s Searching for Charmian, Tom Frame’s Binding Ties:An Experience of Adoption and Reunion in Australia, for example—as well as international adoptee narratives by Betty Jean Lifton, Florence Fisher, and A. M. Homes amongst others. These works form a component of the small but growing field of adoption life writing that includes works by “all members of the adoption triad” (Hipchen and Deans 163): adoptive parents, birthparents, and adoptees. As the br
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Toutant, Ligia. "Can Stage Directors Make Opera and Popular Culture ‘Equal’?" M/C Journal 11, no. 2 (June 1, 2008). http://dx.doi.org/10.5204/mcj.34.

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Cultural sociologists (Bourdieu; DiMaggio, “Cultural Capital”, “Classification”; Gans; Lamont & Foumier; Halle; Erickson) wrote about high culture and popular culture in an attempt to explain the growing social and economic inequalities, to find consensus on culture hierarchies, and to analyze cultural complexities. Halle states that this categorisation of culture into “high culture” and “popular culture” underlined most of the debate on culture in the last fifty years. Gans contends that both high culture and popular culture are stereotypes, public forms of culture or taste cultures, each
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13

Harley, Ross. "Light-Air-Portals: Visual Notes on Differential Mobility." M/C Journal 12, no. 1 (February 27, 2009). http://dx.doi.org/10.5204/mcj.132.

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0. IntroductionIf we follow the line of much literature surrounding airports and urban mobility, the emphasis often falls on the fact that these spaces are designed to handle the mega-scale and super-human pace of mass transit. Airports have rightly been associated with velocity, as zones of rapid movement managed by enormous processing systems that guide bodies and things in transit (Pascoe; Pearman; Koolhaas; Gordon; Fuller & Harley). Yet this emphasis tends to ignore the spectrum of tempos and flows that are at play in airport terminals — from stillness to the much exalted hyper-rapidit
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14

Brabazon, Tara. "Black and Grey." M/C Journal 6, no. 2 (April 1, 2003). http://dx.doi.org/10.5204/mcj.2165.

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Troubled visions of white ash and concrete-grey powder water-logged my mind. Just as I had ‘understood’ and ‘contextualised’ the events of September 11, I witnessed Jules and Gedeon Naudet’s 9/11, the documentary of the events, as they followed the firefighters into Tower One. Their cameras witness death, dense panic and ashen fear. I did not need to see this – it was too intimate and shocking. But it was the drained, grey visage – where the New York streets and people appeared like injured ghosts walking through the falling ruins of a paper mill – that will always stay with me. Not surprising
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15

Lyons, Craig, Alexandra Crosby, and H. Morgan-Harris. "Going on a Field Trip: Critical Geographical Walking Tours and Tactical Media as Urban Praxis in Sydney, Australia." M/C Journal 21, no. 4 (October 15, 2018). http://dx.doi.org/10.5204/mcj.1446.

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IntroductionThe walking tour is an enduring feature of cities. Fuelled by a desire to learn more about the hidden and unknown spaces of the city, the walking tour has moved beyond its historical role as tourist attraction to play a key role in the transformation of urban space through gentrification. Conversely, the walking tour has a counter-history as part of a critical urban praxis. This article reflects on historical examples, as well as our own experience of conducting Field Trip, a critical geographical walking tour through an industrial precinct in Marrickville, a suburb of Sydney that
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16

Larsson, Chari. "Suspicious Images: Iconophobia and the Ethical Gaze." M/C Journal 15, no. 1 (November 4, 2011). http://dx.doi.org/10.5204/mcj.393.

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If iconophobia is defined as the suspicion and anxiety towards the power exerted by images, its history is an ancient one in all of its Platonic, Christian, and Judaic forms. At its most radical, iconophobia results in an act of iconoclasm, or the total destruction of the image. At the other end of the spectrum, contemporary iconophobia may be more subtle. Images are simply withdrawn from circulation with the aim of eliminating their visibility. In his book Images in Spite of All, French art historian Georges Didi-Huberman questions the tradition of suspicion and denigration governing visual r
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17

Meleo-Erwin, Zoe C. "“Shape Carries Story”: Navigating the World as Fat." M/C Journal 18, no. 3 (June 10, 2015). http://dx.doi.org/10.5204/mcj.978.

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Story spreads out through time the behaviors or bodies – the shapes – a self has been or will be, each replacing the one before. Hence a story has before and after, gain and loss. It goes somewhere…Moreover, shape or body is crucial, not incidental, to story. It carries story; it makes story visible; in a sense it is story. Shape (or visible body) is in space what story is in time. (Bynum, quoted in Garland Thomson, 113-114) Drawing on Goffman’s classic work on stigma, research documenting the existence of discrimination and bias against individuals classified as obese goes back five decades.
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