Bodies of Work examines the transnational development of large-scale national systems, international organizations, technologies, and cultural material aimed at rehabilitating Allied ex-servicemen, disabled in the First World War. When nations mobilised in August 1914, it was thought that casualties would be minimal and the war would be quickly over. Little consideration was given to what ought to be done for those men whose bodies would forever bear the marks of war's destruction. Julie M. Powell charts how rehabilitation emerged as the best means to deal with millions of disabled ex-servicemen. She considers the ways in which rehabilitation was shaped by both durable and discrete influences, including social reformism, paternalist philanthropy, the movement for workers' rights, patriotism, class tensions, cultural ideas about manliness and disability, nationalism, and internationalism. Powell sheds light on the ways in which rehabilitation systems became sites for the contestation and maintenance of boundaries of belonging.

Kathy Acker is widely considered one of the most important writers of the late 20th century. While her novels have become cult classics, establishing her influence on postmodernists, feminists, performers, punks and students of literature, her essays are available only in this comprehensive collection. Bodies of Work maps a wide-ranging cultural territory. From art and cinema, through politics, bodybuilding, science fiction and the city, they reflect and challenge the times in which we live. Matching guts with theory, anger with compassion, Acker offers original views on such subjects as diverse as the films of Peter Greenaway, the paintings of Goya, the writings of Marquis de Sade and copyright in the age of the internet. Collectively, these essays offer the reader a journey into provocation and delight.

By the end of the nineteenth century, Pittsburgh emerged as a major manufacturing center in the United States. Its rise as a leading producer of steel, glass, and coal was fueled by machine technology and mass immigration, developments that fundamentally changed the industrial workplace. Because Pittsburgh’s major industries were almost exclusively male and renowned for their physical demands, the male working body came to symbolize multiple often contradictory narratives about strength and vulnerability, mastery and exploitation. In Bodies of Work, Edward Slavishak explores how Pittsburgh and the working body were symbolically linked in civic celebrations, the research of social scientists, the criticisms of labor reformers, advertisements, and workers’ self-representations. Combining labor and cultural history with visual culture studies, he chronicles a heated contest to define Pittsburgh’s essential character at the turn of the twentieth century, and he describes how that contest was conducted largely through the production of competing images. Slavishak focuses on the workers whose bodies came to epitomize Pittsburgh, the men engaged in the arduous physical labor demanded by the city’s metals, glass, and coal industries. At the same time, he emphasizes how conceptions of Pittsburgh as quintessentially male limited representations of women in the industrial workplace. The threat of injury or violence loomed large for industrial workers at the turn of the twentieth century, and it recurs throughout Bodies of Work: in the marketing of artificial limbs, statistical assessments of the physical toll of industrial capitalism, clashes between labor and management, the introduction of workplace safety procedures, and the development of a statewide workmen’s compensation system.

What role do material objects play in the in-situ, embodied and spatial circumstances of interaction? How do people organize their embodied conduct with regard to such objects, and how is this consequential in and for their work practices? In this volume, contributors focus on these questions in terms of connections between ongoing courses of interaction within work practices, object materiality and mobility in space, bodily movement and manipulation of objects, and language. The chapters in this book address a broad range of settings and actions (including dressmaking, foreign language teaching, international business meetings and forklift driving) where a variety of objects become relevant.

Work That Body: Male Bodies in Digital Culture explores the recent rise in different types of men using digital media to sexualise their bodies. It argues that the male body has become a key site in contemporary culture where neoliberalism’s hegemony has been both secured and contested since 2008. It does this by looking at four different case studies: the celebrity male nude leak; the rise of young men sharing images of their muscular bodies on social media; RuPaul's Drag Race body transformational tutorial, and the rise of chemsex. It finds that on the one hand digital media has enabled men to transform their bodies into tools of value-creation in economic contexts where the historical means they have relied on to create value have diminished. On the other it has also allowed them to use their bodies to form intimate collective bonds during a moment when competitive individualism continued to be the privileged mode of being in the world. It therefore offers a unique contribution not only to the field of digital cultural studies but also to the growing cultural studies literature attempting to map the historical contradictions of the austerity moment.

Through a series of case studies of low-status interactive and embodied servicing work, Working Bodies examines the theoretical and empirical nature of the shift to embodied work in service-dominated economies. Defines ‘body work’ to include the work by service sector employees on their own bodies and on the bodies of others Sets UK case studies in the context of global patterns of economic change Explores the consequences of growing polarization in the service sector Draws on geography, sociology, anthropology, labour market studies, and feminist scholarship

The Bodies That Remain is a collection of bodies and absences. Through biography, experimental essay and interview, fictional manifestation, and poetic extraction, The Bodies That Remain is a collection of texts and images on the bodies of artists and writers who battled with the frustration of their own physicality and whose work reckoned with these limitations and continued beyond them. The Bodies That Remain looks back at how the identity of these bodies was shaped by the spaces around them, through the retelling of memory, through stories told by others; of how their work, processed by their body, made it possible for others to experience sensations - mourning, desire, or a nostalgia that could not belong to another, to another's body and in capturing this ability, their work confirms the body's urgency. Amongst others, The Bodies That Remain tells the story of Emily Dickinson's decay, the missing grave of Valeska Gert, the voice and sound of the body of Judee Sill, and the derailed body and its work of Jane Bowles. It questions the absent body but broken organs of JT Leroy as they find themselves scattered across texts, and also interrogates the loss of distinction of illness for Jules de Goncourt as syphilis riddled his nervous system. It retrieves the illusory body of Kathy Acker through dream and through horror, sees the morphing body of Michael Jackson in becoming all of the bodies he was asked to be, and looks toward Sylvia Plath and the language of her own body. Contributions include texts and images by: Lynne Tillman (on Jane Bowles), David Rule (on Michael Jackson), Mairead Case (on Judee Sill), Claire Potter (on the Lads of Aran), Jeremy Millar (on Emily Dickinson), Chloé Griffin (on Valeska Gert), Phoebe Blatton (on Brigid Brophy), Susanna Davies-Crook (on Sarah Kane), Travis Jeppensen (on Gary Sullivan), Karen Di Franco (on Mary Butts), Tai Shani (on Mnemesoid), Philip Hoare (on Denton Welch), Heather Phillipson (on a dead dog), Uma Breakdown (on Guage Fanfic), Linda Stuppart (on Kathy Acker), Sharon Kivland (on Jacques Lacan), Harman Bains (on Wilhelm Reich), Pil & Galia Kollectiv (JT Leroy), Kevin Breathnach (on Jules de Goncourt), and Emily LaBarge (on Sylvia Plath).

This book is a sociological and rhetorical analysis of the best-selling guide to women's health, the collectively authored Our Bodies, Ourselves.

Award-winning ergonomist Karen Messing is talking with women--women who wire circuit boards, sew clothes, clean toilets, drive forklifts, care for children, serve food, run labs. What she finds is a workforce in harm's way, choked into silence, whose physical and mental health invariably comes in second place: underestimated, underrepresented, understudied, underpaid. Should workplaces treat all bodies the same? With confidence, empathy, and humour, Messing navigates the minefield that is naming sex and biology on the job, refusing to play into stereotypes or play down the lived experiences of women. Her findings leap beyond thermostat settings and adjustable chairs and into candid, deeply reported storytelling that follows in the muckraking tradition of social critic Barbara Ehrenreich. Messing's questions are vexing and her demands are bold: we need to dare to direct attention to women's bodies, champion solidarity, stamp out shame, and transform the workplace--a task that turns out to be as scientific as it is political.

This book is a timely and innovative exploration of the vital relationship between sex and capitalism in the digital age. It provides a lively, provocative analysis of how specifically digital forms of capitalist accumulation and labour shape and discipline the contemporary sexual body. Rebecca Saunders focuses on pornography in order to investigate the impact of digital forms of capitalism on contemporary sexuality and reveals the centrality of pornography to the digital attention economy, affective economics, the information economy, the creative industries and neoliberalism. Saunders uncovers a fundamental shift in the aesthetics and meaning of pornographic film, from a genre concerned with representing sexual pleasure to one that has become focused on representing sex as labour. Contemporary pornographic film is therefore read as a sign and symptom of how digital forms of capitalism regulate the twenty-first century sexual body through digital interfaces and technologies. Bodies of Work analyses major porn studios, dominant streaming platforms, significant directors and performers and queer and alternative pornographies, and presents new and significant concepts such as sexual datafication, the labour of visibility and interventionist pornography. Discussing pornographic film, sexuality, digital culture, labour and capitalism, this book will be of interest to students and scholars across gender studies, media and cultural studies, digital humanities and economics.