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Bibliografias temáticas / Billingsgate

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Literatura científica selecionada sobre o tema "Billingsgate"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Billingsgate"

1

Webb, John. "The Billingsgate Trumpet". Galpin Society Journal 41 (outubro de 1988): 59. http://dx.doi.org/10.2307/842708.

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2

Spain-Savage, Christi. "The Gendered Place Narratives of Billingsgate Fishwives". SEL Studies in English Literature 1500-1900 56, n.º 2 (2016): 417–34. http://dx.doi.org/10.1353/sel.2016.0018.

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3

Schofield, John, Jacqueline Pearce, Ian Betts, Tony Dyson e Geoff Egan. "Thomas Soane's buildings near Billingsgate, London, 1640–66". Post-Medieval Archaeology 43, n.º 2 (dezembro de 2009): 282–341. http://dx.doi.org/10.1179/174581309x12560423035038.

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4

Lambert, David. "The ‘Glasgow King of Billingsgate’: James MacQueen and an Atlantic Proslavery Network1". Slavery & Abolition 29, n.º 3 (setembro de 2008): 389–413. http://dx.doi.org/10.1080/01440390802267816.

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5

Lyon, Dawn. "Doing Audio-Visual Montage to Explore Time and Space: The Everyday Rhythms of Billingsgate Fish Market". Sociological Research Online 21, n.º 3 (agosto de 2016): 57–68. http://dx.doi.org/10.5153/sro.3994.

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This article documents, shows and analyses the everyday rhythms of Billingsgate, London's wholesale fish market. It takes the form of a short film based an audio-visual montage of time-lapse photography and sound recordings, and a textual account of the dimensions of market life revealed by this montage. Inspired by Henri Lefebvre's Rhythmanalysis, and the embodied experience of moving through and sensing the market, the film renders the elusive quality of the market and the work that takes place within it to make it happen. The composite of audio-visual recordings immerses viewers in the space and atmosphere of the market and allows us to perceive and analyse rhythms, patterns, flows, interactions, temporalities and interconnections of market work, themes that this article discusses. The film is thereby both a means of showing market life and an analytic tool for making sense of it. This article critically considers the documentation, evocation and analysis of time and space in this way.

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6

Hall, D. W., G. T. Cook e W. D. Hamilton. "New Dating Evidence for North Sea Trade Between England, Scotland, and Norway in the 11th Century AD". Radiocarbon 52, n.º 2 (2010): 331–36. http://dx.doi.org/10.1017/s0033822200045379.

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This study follows on from previous research at Perth, Scotland, in which we dated carbonized food residues removed from the external surface of rim sherds of cooking pots of London Sandy Shellyware pottery (Museum of London Pottery Fabric Code SSW). The 15 residues that were dated produced 14C ages between 910 ± 35 and 1085 ± 40 BP. We have now carried out radiocarbon measurements on similar residues from the same fabric obtained from the Billingsgate excavations in London and the Bryggen excavations in Bergen, Norway. The London and Bergen measurements gave age ranges of 905 ± 35 to 1115 ± 35 BP and 920 ± 35 to 1055 ± 35 BP, respectively, both very similar to the Perth age range. The measurements at each site are in agreement with our Bayesian model assumption that they belong to a single phase of activity. The model estimates the introduction of London Sandy Shellyware in London to cal AD 820–1020, in Perth to cal AD 930–1020, and in Bergen to cal AD 980–1030 (95% probability). Further modeling predicts that it fell out of use in the reverse order.

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7

Wong, Pat WingShan. "Barter Archive: Reimagining archival alternatives through participatory illustration – A case study of Billingsgate Fish Market (2019–22)". Journal of Illustration 10, n.º 1 (1 de abril de 2023): 57–65. http://dx.doi.org/10.1386/jill_00061_1.

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There is an increasingly significant trove of observational sketches being used by illustrators as a visual research method to document and depict community and city interactions. Illustration, for me, serves as a potent, participatory tool of visual research that catalyses such transformative conversations and bolsters relationships within the community fabric. The act of drawing goes beyond rendering an image; it fosters a way to capture, record and create multifaceted interactions between people and their environments. The focus of this article is my community research project, Barter Archive (2019–22), an initiative that employs illustration as a transitional medium, moving from mere record-keeping to constructing a visual repository of collective memory. By inviting community members to participate in the process, ‘Barter Archive’ aims to advance understanding of the intrinsic potential that illustration holds. The project underscores its function as a metaphorical method, one that can substantively shape the collective memory. Moreover, the central argument presented here is that traditional models of archiving our collective memory require innovation, demanding greater inclusivity and accessibility. To this end, the illustration-based ‘Barter Archive’ presents an alternative approach to conventional archival methods. It engages the collective community in a participatory process that ultimately enhances memory-making and preservation practices, making them more accessible across the social spectrum. In conclusion, the importance of evolving and enhancing traditional archiving methods cannot be overstressed, as they play a crucial role in the preservation and inclusivity of collective memory. The ‘Barter Archive’ project, through its unique use of illustration, reinvents the conventional processes attached to archival practices. It provides a platform where community members can actively participate and contribute to collective memory-making, subsequently fostering a better understanding of the power and potential of illustration. Implementing this innovative and transformative approach could revolutionize the archiving landscape, making it more participatory, representative and inclusive, ultimately enriching the collective memory tapestry of communities and cityscapes.

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8

Schofield, John. "LONDON’S WATERFRONT 1100–1666: SUMMARY OF THE FINDINGS FROM FOUR EXCAVATIONS THAT TOOK PLACE FROM 1974 TO 1984". Antiquaries Journal 99 (setembro de 2019): 63–94. http://dx.doi.org/10.1017/s0003581519000131.

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The area around the north end of the medieval London Bridge in the City of London has attracted much archaeological attention. This article summarises the main findings for the period 1100–1666 from four excavations, recently published. In doing so, it explores a number of key issues: the main characteristics of this waterfront area in the medieval and Tudor periods; the sources of the pottery and artefacts incorporated into reclamation units, and any significance in their locations behind waterfront revetments or on the foreshore; what the medieval and post-medieval artefacts say about culture, fashion and religious beliefs; the functions of the buildings and open areas, and to what extent these can be linked to owners or occupiers specified in the documentary record; and how the port of London fits within its European trading network. The article also examines if and to what extent the area south of Thames Street was an industrial suburb of the medieval City. Here also lay the parish church of St Botolph Billingsgate, destroyed in the Great Fire of 1666 and not rebuilt, many details of which can be reconstructed from archaeology and rich documentary evidence. Sixty-nine human burials in the church include one of a man in his sixties who may be John Reynewell, mayor of London in 1426–7. The several thousand artefacts and several hundred kilos of English and foreign pottery (the latter now analysed into over 100 separate wares) from the four sites in the study deserve further research by scholars, who can use this article as a stepping stone into the archive held at the Museum of London.

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9

Hall, R. A. "Aspects of Saxo-Norman London: I. Building and Street Development. By V. Horsman, C. Milne and G. Milne. 250mm. Pp. 123, iii ills. London: London and Middlesex Archaeological Society, Special Paper 11, 1988. ISBN 0-903290-36-7. £12.95 - Aspects of Saxo-Norman London: II. Finds and Environmental Evidence. Edited by A. Vince. 250mm. Pp. 451, 470 ills., 2 microfiches. London: London and Middlesex Archaeological Society, Special Paper 12, 1991. ISBN 0-903290-37-5. £39.95. - Aspects of Saxo-Norman London: III. The Bridgehead and Billingsgate to 1200. By K. Steadman, T. Dyson and J. Schofield. 250mm. Pp. 216, 74 ills., 1 microfiche. London: London and Middlesex Archaeological Society, Special Paper 14, 1992. ISBN 0-903290-40-5. £27.00. - Timber Building Techniques in London c. 900-1400. By G. Milne. 250mm. Pp. 152, 120 ills. London: London and Middlesex Archaeological Society, Special Paper 15, 1992. ISBN 0-903290-41-3. No price stated, pb. - Post Medieval Pottery in London, 1500–1700, I. Border Wares. By J. Pearce. 250mm. Pp. xii + 137, 66 figs. 11 col. pls. London: HMSO, 1992. ISBN 0-11-290494-7. £30.00." Antiquaries Journal 73 (setembro de 1993): 211–14. http://dx.doi.org/10.1017/s0003581500072000.

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10

Sargeant, Jack David. "Fishing, Freedom, and the Market in Early Modern London". History Workshop Journal, 9 de abril de 2024. http://dx.doi.org/10.1093/hwj/dbae004.

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Abstract In 1699, London’s Billingsgate fish market was confirmed as a ‘free market’ by parliament. This statute marked the culmination of a commercial conflict between London’s Fishmongers’ Company and their arriviste rivals, the Company of Free Fishermen. This article uses the conflict to examine shifting ideas and practices governing the food markets of early modern London. Tensions between the popular values of the moral economy and the novel commercial and military priorities of central government placed strain on traditional understandings of economic ‘freedom’, as authorities increasingly came to accept the role of market competition in the allocation of basic foodstuffs.

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Livros sobre o assunto "Billingsgate"

1

Corporation, City of London. Billingsgate market. (London: The Corporation, 1989.

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2

Steels, British Steel General, ed. Billingsgate redevelopment. Redcar: British Steel, General Steels, 1986.

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3

Boyer, Rick. Billingsgate Shoal. New York, N.Y: Warner Books, 1985.

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4

Echeverria, Durand. A history of Billingsgate. Wellfleet, Mass. (Box 85, Wellfleet 02667): Wellfleet Historical Society, 1991.

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5

Corporation, City of London. London markets: Billingsgate market. (London): The Corporation, 1988.

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6

Bédoyère, Guy De la. The Roman site at Billingsgate Lorry Park, London: A catalogue of the Samian and other finds. Oxford: B.A.R., 1986.

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7

Bédoyère, Guy De la. The Roman site at Billingsgate Lorry Park, London: A catalogue of the Samiam and other finds. Oxford, England: B.A.R, 1986.

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8

Mann-Edwards, Beverly-Jo. Billingsgate language (for those who are somewhat apt to leave decency and good manners a little on the left hand). Sudbury, Ont: Laurentian University, Department of Psychology, 1999.

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9

Billingsgate shoal. London: Gollancz, 1985.

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10

Boyer, Rick. Billingsgate Shoal. Warner Books, 1985.

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Mais fontes

Capítulos de livros sobre o assunto "Billingsgate"

1

"Billingsgate, n." In Oxford English Dictionary. 3^a ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/9160216518.

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2

Day, John, Richard Hathway e British Drama 1533–1642: A Catalogue. "1396: The Boss of Billingsgate". In British Drama 1533–1642: A Catalogue, Vol. 5: 1603–1608, editado por Martin Wiggins e Catherine Richardson. Oxford University Press, 2015. http://dx.doi.org/10.1093/oseo/instance.wiggins1396.

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3

Solera, Sergio, e Barry Lehane. "Grout curtain at the old Billingsgate Market". In Grouting in the ground, 15–23. Thomas Telford Publishing, 1994. http://dx.doi.org/10.1680/gitg.19287.0002.

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4

McDowell, Paula. "6. “Fair Rhet’ric” and the Fishwives of Billingsgate". In The Invention of the Oral, 192–228. University of Chicago Press, 2017. http://dx.doi.org/10.7208/chicago/9780226457017.003.0007.

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5

Bruyn, Frans De. "Burke ‘s Dunciad: The Letters on a Regicide Peace and Scriblerian Satire". In The Literary Genres of Edmund Burke, 209–82. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198121824.003.0006.

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Abstract This morning [was] publish ‘d Burke ‘s primitive Thoughts On a Regicide Peace, and its palpable faults; These Thoughts to be sure are grown musty and stale, And may justly be clas ‘d with a Gulliver ‘s tale; With a Tale of a Tub, with a Fable of Greece, But yet I will give you, the Regicide Peace. The rage of Juvenil, and the playful levity of Horace, are not sufficient; and Billingsgate and the shambles are forced into alliance with the muses, the classics, and the sciences, to supply him with terms and metaphors sufficiently forcible to express the mighty hatred with which he labours.

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6

Cornell, Stephen. "Lieutenant Anthony’s Legacy". In The Return of the Native, 187–201. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195065756.003.0011.

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Abstract When the committee from Plymouth had purchased the territory of Eastham of the Indians, “it was demanded, who laid claim to Billingsgate?” which was understood to be all that part of the Cape north of what they had purchased. “The answer was, there was not any who owned it. ‘Then,’ said the committee, ‘that land is ours.’ The Indians answered, that it was.” This was a remarkable assertion and admission. The Pilgrims appear to have regarded themselves as Not Any’s representatives. Perhaps this was the first instance of that quiet way of “speaking for” a place not yet occupied, or at least not improved as much as it may be, which their descendants have practised, and are still practising so extensively.

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7

Butterworth, Philip, e Eric Willamson. "12. The Mechanycalle1 ‘Ymage off Seynt Iorge’ at St Botolph’s, Billingsgate, 1474". In Medieval Theatre Performance, 215–38. Boydell and Brewer, 2017. http://dx.doi.org/10.1515/9781787440784-017.

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8

Ash, Susan. "The ‘Queen’s Shades’ and a ‘Gothicized’ London". In Funding Philanthropy, 148–74. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781381397.003.0004.

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This chapter explores how Barnardo uses the Gothic narrative mode as a central mechanism to raise affect and thus engage potential supporters. The discussion draws on Jamieson Ridenhour’s work on the Gothicised cityscape to explore how Barnardo’s London reflects societal anxieties related to the past and the potential degeneration of British citizenry. It focuses on Barnardo’s treatment of one site in London, ‘The Queen’s Shades’ a site formed by mounds of detritus at the old Billingsgate Fish Market, first in a novel Barnardo wrote and serialized in his juvenile periodicals, and secondly in a supposedly non-fictional account for adults which narrativized the beginnings of his work in the 1860s. Both raise crucial questions about thresholds and liminality, about borders between inside/outside, animate and inanimate, indeed, between human and not-human. The chapter argues that Barnardo uses the Gothic in the child’s narrative to excite and engage interest while eliciting fear and shame in the adult version. Ultimately, ‘The Queen’s Shades’ operates as a powerful Gothic trope in which human sensations, corporal bodies and architectural detritus merge to reflect societal fears regarding the stability of the wider English social body.

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9

Craske, Matthew. "From Burlington Gate to Billingsgate: James Ralph’s attempt to impose Burlingtonian classicism as a canon of public taste". In Articulating British Classicism, 97–118. Routledge, 2017. http://dx.doi.org/10.4324/9781315096841-4.

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