A state-of-the-art overview and reappraisal of the literary and philosophical origins of theory and, in particular, of modern subjectivity.

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"This books shows how and why the ideas of creative individuals promote progress. The insights are based on original archival research regarding over one hundred thousand inventors, patented inventions, and innovation prizes in Europe and the United States during industrialization. This systematic empirical analysis across time and place and institutions provides an extensive microfoundation for understanding technological change and long-run macroeconomic growth. British and French policies favoured "administered innovation systems," in which elites, administrators or panels made key economic decisions about inducement prizes, rewards and the allocation of resources. European institutions generated returns that were misaligned with economic value and productivity, and perpetuated socioeconomic inequality. Europe fell behind when the negative consequences of such top-down administered systems accumulated and reduced comparative advantage. The modern knowledge economy emerged when, for the first time in world history, an intellectual property clause was included in a national Constitution, in the United States. This strong endorsement for open-access property rights and unfettered markets in ideas reflected a revolution in thinking about the sources of creativity and technical progress. U.S. global industrial ascendancy was a direct outcome of its decentralized market-oriented institutions, which fostered diversity in ideas and innovations, the diffusion of information and disruptive technologies, and sustained endogenous growth"--

Public diplomacy - the uncertain art of winning public support abroad for one's government and its foreign policies - constitutes a critical instrument of U.S. policy in the wake of the Bush administration's recent military interventions and its renunciation of widely accepted international accords. Wilson Dizard Jr. offers the first comprehensive account of public diplomacy's evolution within the U.S. foreign policy establishment, ranging from World War II to the present. Dizard focuses on the U.S. Information Agency and its precursor, the Office of War Information. Tracing the political ups and downs determining the agency's trajectory, he highlights its instrumental role in creating the policy and programs underpinning today's public diplomacy, as well as the people involved. The USIA was shut down in 1999, but it left an important legacy of what works and what doesn't in presenting U.S. policies and values to the rest of the world. Inventing Public Diplomacy is an unparalleled history of U.S. efforts at organized international propaganda.

Who invents masks, and why? Such questions have rarely been asked, due to stereotypes of anonymous African artists locked into the reproduction of "traditional" models of representation. Rather than accept this view of African art as timeless and unchanging, Z. S. Strother spent nearly three years in Zaire studying Pende sculpture. Her research reveals the rich history and lively contemporary practice of Central Pende masquerade. She describes the intensive collaboration among sculptors and dancers that is crucial to inventing masks. Sculptors revealed that a central theme in their work is the representation of perceived differences between men and women. Far from being unchanging, Pende masquerades promote unceasing innovation within genres and invention of new genres. Inventing Masks demonstrates, through first hand accounts and lavish illustrations, how Central Pende masquerading is a contemporary art form fully responsive to twentieth-century experience. "Its presentation, its exceptionally lively style, the perfection of its illustrations make this a stunning book, perfectly fitting for the study of a performing art and its content is indeed seminal. . . . A breakthrough."—Jan Vansina, African Studies Review

Looking to pioneer scientific and technological breakthroughs that create entirely new industries? This book serves as your guide. It goes beyond patents, diving deep into the intersection of foresight, engineering, and business. Explore how teams at renowned organizations such as ARPA-E, IKEA, and H2 Green Steel create radical innovation. Through critical analysis, industry case studies, and teaching examples, an international and interdisciplinary group of scholars, practitioners, and mavericks offer practical advice for bringing visionary development to life. Whether you're seeking to invent the seemingly impossible or solve problems for which no market exists yet, this book renews the research agenda for the deliberate study of invention. It will inspire and provoke you to expand your thinking and push boundaries.

A foundational text offering a unified design vocabulary and a common methodology for maximizing the expressive power of digital artifacts. Digital artifacts from iPads to databases pervade our lives, and the design decisions that shape them affect how we think, act, communicate, and understand the world. But the pace of change has been so rapid that technical innovation is outstripping design. Interactors are often mystified and frustrated by their enticing but confusing new devices; meanwhile, product design teams struggle to articulate shared and enduring design goals. With Inventing the Medium, Janet Murray provides a unified vocabulary and a common methodology for the design of digital objects and environments. It will be an essential guide for both students and practitioners in this evolving field. Murray explains that innovative interaction designers should think of all objects made with bits—whether games or Web pages, robots or the latest killer apps—as belonging to a single new medium: the digital medium. Designers can speed the process of useful and lasting innovation by focusing on the collective cultural task of inventing this new medium. Exploring strategies for maximizing the expressive power of digital artifacts, Murray identifies and examines four representational affordances of digital environments that provide the core palette for designers across applications: computational procedures, user participation, navigable space, and encyclopedic capacity. Each chapter includes a set of Design Explorations—creative exercises for students and thought experiments for practitioners—that allow readers to apply the ideas in the chapter to particular design problems. Inventing the Medium also provides more than 200 illustrations of specific design strategies drawn from multiple genres and platforms and a glossary of design concepts.

Co-Winner, James Russell Lowell Prize, Modern Language Association This major study offers a broad view of the writing and careers of eighteenth-century women poets, casting new light on the ways in which poetry was read and enjoyed, on changing poetic tastes in British culture, and on the development of many major poetic genres and traditions. Rather than presenting a chronological survey, Paula R. Backscheider explores the forms in which women wrote and the uses to which they put those forms. Considering more than forty women in relation to canonical male writers of the same era, she concludes that women wrote in all of the genres that men did but often adapted, revised, and even created new poetic kinds from traditional forms. Backscheider demonstrates that knowledge of these women's poetry is necessary for an accurate and nuanced literary history. Within chapters on important canonical and popular verse forms, she gives particular attention to such topics as women's use of religious poetry to express candid ideas about patriarchy and rape; the continuing evolution and important role of the supposedly antiquarian genre of the friendship poetry; same-sex desire in elegy by women as well as by men; and the status of Charlotte Smith as a key figure of the long eighteenth century, not only as a Romantic-era poet.

In a focused and compelling discussion, Anis Bawarshi looks to genre theory for what it can contribute to a refined understanding of invention. In describing what he calls "the genre function," he explores what is at stake for the study and teaching of writing to imagine invention as a way that writers locate themselves, via genres, within various positions and activities. He argues, in fact, that invention is a process in which writers are acted upon by genres as much as they act themselves. Such an approach naturally requires the composition scholar to re-place invention from the writer to the sites of action, the genres, in which the writer participates. This move calls for a thoroughly rhetorical view of invention, roughly in the tradition of Richard Young, Janice Lauer, and those who have followed them. Instead of mastering notions of "good" writing, Bawarshi feels that students gain more from learning how to adapt socially and rhetorically as they move from one "genred" site of action to the next.