Morag Shiach examines the ways in which labour was experienced and represented between 1890 and 1930. There is a strong critical tradition in literary and historical studies that sees the impact of modernity on human labour in terms of intensification and alienation. Shiach, however, explores a series of efforts to articulate the relations between labour and selfhood within modernism. She examines the philosophical languages available for thinking about labour in the period. She then gives an account of the significance of two technologies, the typewriter and the washing machine, central to a cultural and political understanding of labour. Through readings of writings by Sylvia Pankhurst and D. H. Lawrence, Shiach shows how labour underpins the political and textual innovations of the period. She concludes with an analysis of the 'general strike' both as myth and historical event. This study will be of interest to literary and cultural scholars alike.

The novel is modernism's most vital and experimental genre. In this 2007 Companion leading critics explore the very significant pleasures of reading modernist novels, but also demonstrate how and why reading modernist fiction can be difficult. No one technique or style defines a novel as modernist. Instead, these essays explain the formal innovations, stylistic preferences and thematic concerns which unite modernist fiction. They also show how modernist novels relate to other forms of art, and to the social and cultural context from which they emerged. Alongside chapters on prominent novelists such as James Joyce and Virginia Woolf, as well as lesser-known authors such as Dorothy Richardson and Djuna Barnes, themes such as genre and geography, time and consciousness are discussed in detail. With a chronology and guide to further reading, this is the most accessible and informative overview of the genre available.

This book develops important new insights into the conditions that enable effective collaborations between arts and humanities researchers and SMEs in the creative economy. Drawing on the work of Creativeworks London, an AHRC-funded Knowledge Exchange Hub for the Creative Economy, this is an in-depth study of how co-created and collaborative research projects work on the ground and will be of immense value to all these audiences. Chapters by researchers and practitioners examine a range of collaborative research projects supported by Creativeworks London's vouchers, which cover a large number of creative industry sectors and academic disciplines. The book identifies key learning from these projects that has wider relevance for academics, funders, policy makers, and SMEs in the creative economy. Morag Shiach is Professor of Cultural history at Queen Mary University of London, UK, where she is also Director of Creativeworks London and Vice-Principal for Humanities and Social Sciences. Her publications include Modernism, Labour and Selfhood in British Literature and Culture; Feminism and Cultural Studies; Helene Cixous: A Politics of Writing; and Discourse on Popular Culture. Dr. Virani obtained his PhD from King's College London, UK. He is a full time researcher for Creativeworks London research project at Queen Mary University of London, UK. His research interests include the role of knowledge in the cultural economy, artistic knowledge within locally bounded artistic communities, and new work spaces in the creative and cultural economy.

Morag Shiach examines the ways in which labour was experienced and represented between 1890 and 1930. There is a strong critical tradition in literary and historical studies that sees the impact of modernity on human labour in terms of intensification and alienation. Shiach, however, explores a series of efforts to articulate the relations between labour and selfhood within modernism. She examines the philosophical languages available for thinking about labour in the period. She then gives an account of the significance of two technologies, the typewriter and the washing machine, central to a cultural and political understanding of labour. Through readings of writings by Sylvia Pankhurst and D. H. Lawrence, Shiach shows how labour underpins the political and textual innovations of the period. She concludes with an analysis of the 'general strike' both as myth and historical event. This study will be of interest to literary and cultural scholars alike.

This book develops important new insights into the conditions that enable effective collaborations between arts and humanities researchers and SMEs in the creative economy. Drawing on the work of Creativeworks London, an AHRC-funded Knowledge Exchange Hub for the Creative Economy, this is an in-depth study of how co-created and collaborative research projects work on the ground and will be of immense value to all these audiences. Chapters by researchers and practitioners examine a range of collaborative research projects supported by Creativeworks London's vouchers, which cover a large number of creative industry sectors and academic disciplines. The book identifies key learning from these projects that has wider relevance for academics, funders, policy makers, and SMEs in the creative economy. Morag Shiach is Professor of Cultural history at Queen Mary University of London, UK, where she is also Director of Creativeworks London and Vice-Principal for Humanities and Social Sciences. Her publications include Modernism, Labour and Selfhood in British Literature and Culture; Feminism and Cultural Studies; Helene Cixous: A Politics of Writing; and Discourse on Popular Culture. Dr. Virani obtained his PhD from King's College London, UK. He is a full time researcher for Creativeworks London research project at Queen Mary University of London, UK. His research interests include the role of knowledge in the cultural economy, artistic knowledge within locally bounded artistic communities, and new work spaces in the creative and cultural economy.

The novel is modernism's most vital and experimental genre. In this 2007 Companion leading critics explore the very significant pleasures of reading modernist novels, but also demonstrate how and why reading modernist fiction can be difficult. No one technique or style defines a novel as modernist. Instead, these essays explain the formal innovations, stylistic preferences and thematic concerns which unite modernist fiction. They also show how modernist novels relate to other forms of art, and to the social and cultural context from which they emerged. Alongside chapters on prominent novelists such as James Joyce and Virginia Woolf, as well as lesser-known authors such as Dorothy Richardson and Djuna Barnes, themes such as genre and geography, time and consciousness are discussed in detail. With a chronology and guide to further reading, this is the most accessible and informative overview of the genre available.

This latest volume in the Oxford Readings in Feminism series consists of an exciting collection of articles addressing key questions for feminism and cultural studies. Encompassing both classic articles and challenging new work, Feminism and Cultural Studies is organised thematically and addresses commodification, women and labour, mass culture, fantasy and ideas of home. Edited by Morag Shiach, this important book should be required reading for both undergraduate students and graduate researchers in the humanities, particularly in the fields of cultural studies and women's studies.