Gerrit Haas re-theorises the peculiar textual conduct of ficto/critical writing, which inextricably intersects fictional with critical discourses as well as aesthetics with poetics and ethics. The slash here signals the conjunction between a self-reflexive ficto-critical insight and a wider discursive ficto-critical motivation. In its refined form, this twofold trope shifts perspective from the prevalent generic between onto the meta-generic level of our textual practices. Ultimately, the ficto/critical is thus qualified as an unheard-of interventionist aesthetic of deconstruction directed at the ramifications of our textual cultures.

Emerging research interrogates the role of management history in the neglect of women and their accomplishments – Williams builds expertly on this research, bridging feminist theory and critical historiography. Historical Female Management Theorists is essential reading for both feminist scholars and management historians.

This book dives into the mise-en-scène of contemporary China to explore the “becoming cinema” of Chinese cities, societies, and subjectivities. Set in the wake of China’s radical and rapid period of urbanization and infrastructural transformation, and situating itself in the processual city of Ningbo, the book combines empirical, ficto-critical, and philosophical methods to generate a dynamic account of everyday life as new forms of consumer culture bed in. Harnessing a Realist approach that allows for different scales of analysis, the book zooms in on five architectural assemblages including: surreal real estate showrooms; a fragmented history museum; China’s “first and best” Sino-foreign university; a new “Old town”; and weird gamified “any-now(here)-spaces.” Together these modern arrangements and machines for living cast light upon the broader picture sweeping up greater China.

Scholars of ecocriticism have long tried to articulate emotional relationships to environments. Only recently, however, have they begun to draw on the complex interdisciplinary body of research known as affect theory. Affective Ecocriticism takes as its premise that ecocritical scholarship has much to gain from the rich work on affect and emotion happening within social and cultural theory, geography, psychology, philosophy, queer theory, feminist theory, narratology, and neuroscience, among others. This vibrant and important volume imagines a more affective--and consequently more effective--ecocriticism, as well as a more environmentally attuned affect studies. These interdisciplinary essays model a range of approaches to emotion and affect in considering a variety of primary texts, including short story collections, films, poetry, curricular programs, and contentious geopolitical locales such as Canada's Tar Sands. Several chapters deal skeptically with familiar environmentalist affects like love, hope, resilience, and optimism; others consider what are often understood as negative emotions, such as anxiety, disappointment, and homesickness--all with an eye toward reinvigorating or reconsidering their utility for the environmental humanities and environmentalism. Affective Ecocriticism offers an accessible approach to this theoretical intersection that will speak to readers across multiple disciplinary and geographic locations.

This book addresses one of the most exciting and innovative developments within higher education: the rise in prominence of the creative arts and the accelerating recognition that creative practice is a form of research. The book considers how creative practice can lead to research insights through what is often known as practice-led research. But unlike other books on practice-led research, it balances this with discussion of how research can impact positively on creative practice through research-led practice. The editors posit an iterative and web-like relationship between practice and research. Essays within the book cover a wide range of disciplines including creative writing, dance, music, theatre, film and new media, and the contributors are from the UK, US, Canada and Australia. The subject is approached from numerous angles: the authors discuss methodologies of practice-led research and research-led practice, their own creative work as a form of research, research training for creative practitioners, and the politics and histories of practice-led research and research-led practice within the university. The book will be invaluable for creative practitioners, researchers, students in the creative arts and university leaders. Key Features*The first book to document, conceptualise and analyse practice-led research in the creative arts and to balance it with research-led practice*Written by highly qualified academics and practitioners across the creative arts and sciences *Brings together empirical, cultural and creative approaches*Presents illuminating case histories of creative work and practice-led research

Examining historical, clinical and artistic material, in both written and visual form, this book traces the figure of the contemporary hysteric as she rebels against the impossible demands made upon her. Exploring five traits that commonly characterise the hysteric as an archetype – a specific body, mimetic abilities, a shroud of mystery, a propensity to disappear and a particular relationship to voice – the authors shed light on what it means to be hysterical, as a form of rebellion and resistance. This is important reading for scholars of sociology, gender studies, cultural studies and visual studies with interests in psychoanalysis, art and the characterisation of mental illness.

Home and Away explores how performative writing serve as a process that critically interrogates space/place in relation to personal, social, cultural, and political understanding. By combining aesthetic expression and inquiry with critical reflection, the contributors in this volume use a variety of narrative strategies—autoethnography, mystoriography, creative cartography, the lyric essay, fictocriticism, collage, the screenplay, and poetics—to position place as the starting point for the aesthetic impulse. The anthology showcases the power and potential of performative writing to illustrate the ways we interact with and in place; provides examples of the ways one can express lived experience; and demonstrates the ways discourses overlap while extending our understanding of identity and place, whether one is home or away. Although the chapters are fixed by their literary form in this volume, many of chapters are best realized in a performance or shared publicly via an oral tradition. This collection will be of great interest to students and scholars in performance, communication studies, and literature.