Imagination is a word that is widely used by marketing practitioners but rarely examined by marketing academics. This neglect is largely due to the imagination's 'artistic' connotations, which run counter to the 'scientific' mindset that dominates marketing scholarship. Of late, however, an artistic 'turn' has taken place in marketing research, and this topical study argues that the mantle of imagination has now passed on from the artist to the marketer. It contends, moreover, that the tools and techniques of artistic appreciation can be successfully applied to all manner of marketplace phenomena. Key features include: * the treatment of artistic artefacts as a source of marketing understanding * a detailed discussion surrounding the argument that marketers should adopt more imaginative modes of academic expression * an analysis of the kind of art that marketing is, and the place of imagination in marketing's artistic palette. This book provokes a new way of thinking about marketing, and will prove invaluable to marketing academics, researchers and practitioners.

This book focuses on the interface between art and the marketplace, applying the tools and techniques of artistic appreciation to the marketing phenomenon. The contributors argue that, since standing out from the crowd is no less important than artistic ability, the mantle of imagination has been passed from the artist to the marketeer.

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Our collection of essays re-evaluates the much critically contested term of Modernism that, eventually, came to be used of the dominant, or paradigmatic, strain of literary discourse in early-twentieth-century culture. Modernism as a category is one which is constantly challenged, hybridised, and fractured by voices operating from inside and outside the boundaries it designates. These concerns are reflected by those figures addressed by our contributors' chapters, which include Rupert Brooke, G. K. Chesterton, E.M. Forster, Thomas Hardy, M. R. James, C.L.R James, Vernon Lee, D.H. Lawrence, Richard La Galliene, Pamela Colman Smith, Arthur Symons, and H.G. Wells. Alert to these disturbing voices or unsettling presences that vex accounts of an emergent Modernism in late nineteenth-century and early twentieth-century literary cultures predominately between 1890-1939, our volume questions traditional critical mappings, taxonomies, and periodisations of this vital literary cultural moment. Our volume is equally sensitive to how the avant garde felt for those living and writing within the period with a view to offering a renewed sense of the literary and cultural alternatives to Modernism.

Our collection of essays re-evaluates the much critically contested term of Modernism that, eventually, came to be used of the dominant, or paradigmatic, strain of literary discourse in early-twentieth-century culture. Modernism as a category is one which is constantly challenged, hybridised, and fractured by voices operating from inside and outside the boundaries it designates. These concerns are reflected by those figures addressed by our contributors' chapters, which include Rupert Brooke, G. K. Chesterton, E.M. Forster, Thomas Hardy, M. R. James, C.L.R James, Vernon Lee, D.H. Lawrence, Richard La Galliene, Pamela Colman Smith, Arthur Symons, and H.G. Wells. Alert to these disturbing voices or unsettling presences that vex accounts of an emergent Modernism in late nineteenth-century and early twentieth-century literary cultures predominately between 1890-1939, our volume questions traditional critical mappings, taxonomies, and periodisations of this vital literary cultural moment. Our volume is equally sensitive to how the avant garde felt for those living and writing within the period with a view to offering a renewed sense of the literary and cultural alternatives to Modernism.

This is the first book-length study of literary censorship in the late Victorian and Edwardian periods. While in recent years the aesthetics and politics of British Modernism have been re-evaluated and the concept and function of censorship redefined, Modernism's privileged status in the struggle against and ultimate defeat of censorship remains largely unquestioned. This book contests that the vital role played by Realist writers in the battle against censorship and the dominant sexual ideologies that bolstered it has been significantly underestimated. It contends that many Realist writers not only produced transgressive sexual representations within the confines of an existent culture of censorship, but also reflexively incorporated themes and issues of censorship into their fiction. Through its focus on censorship, the book explores a number of narratives to reveal their complex sexual politics and show how texts that ostensibly oppose traditional morality can also reinforce dominant sexual ideologies in new paradigms of scientific rationality. Moreover, reading these fictions through the lens of censorship offers fresh insights into the novels and short stories of the late Victorian and Edwardian periods.