Inventing Herself is an account of women, from the 18th century to the present, who lived life on a grand scale. Uncovering the lives of feminist intellectuals, Elaine Showalter shows how the intellectual standard for modern feminists has been compromised by the spectre of celebrity.

Sure to take its place alongside the literary landmarks of modern feminism, Elaine Showalter's brilliant, provocative work chronicles the roles of feminist intellectuals from the eighteenth century to the present. With sources as diverse as A Vindication of the Rights of Woman and Scream 2, Inventing Herself is an expansive and timely exploration of women who possess a boundless determination to alter the world by boldly experiencing love, achievement, and fame on a grand scale. These women tried to work, travel, think, love, and even die in ways that were ahead of their time. In doing so, they forged an epic history that each generation of adventurous women has rediscovered. Focusing on paradigmatic figures ranging from Mary Wollstonecraft and Margaret Fuller to Germaine Greer and Susan Sontag, preeminent scholar Elaine Showalter uncovers common themes and patterns of these women's lives across the centuries and discovers the feminist intellectual tradition they embodied. The author brilliantly illuminates the contributions of Eleanor Marx, Zora Neale Hurston, Simone de Beauvoir, Margaret Mead, and many more. Showalter, a highly regarded critic known for her provocative and strongly held opinions, has here established a compelling new Who's Who of women's thought. Certain to spark controversy, the omission of such feminist perennials as Susan B. Anthony, Eleanor Roosevelt, and Virginia Woolf will surprise and shock the conventional wisdom. This is not a history of perfect women, but rather of real women, whose mistakes and even tragedies are instructive and inspiring for women today who are still trying to invent themselves.

Neuroscience has found that neuroplasticity of brain cells allows brains to invent themselves. Remodeling of brains can be facilitated by schools and universities. What may be done to accelerate that positive inventing so as to prepare for rapidly accelerating change? As an IBM advertisement reads: “It is time to ask smarter questions.” This book helps the reader do that. What is worse than being blind to something? “Being blind to your blindness” says Eric Haseltine who has worked for both Disney and the National Security Agency. Being blind to what our brains can do is slowly changing. Brain researchers recently found that we can now be our own subjects of brain experimentation. Research shows how one can change one’s brain by changing one’s mind. In her 2010 high school valedictorian speech Erica Goldson courageously said: “The majority of students are put through the same brainwashing techniques in order to create a complacent labor force working in the interests of large corporations and secretive government, and worst of all, they are completely unaware of it.” This book shows professors, teachers, parents, and interested citizens how students can become aware and reach higher levels of consciousness.

In a searing historical novel, Tonya Bolden illuminates post-Reconstruction America in an intimate portrait of a determined young woman who dares to seize the opportunity of a lifetime. As a young black woman in 1880s Savannah, Essie's dreams are very much at odds with her reality. Ashamed of her beginnings, but unwilling to accept the path currently available to her, Essie is trapped between the life she has and the life she wants. Until she meets a lady named Dorcas Vashon, the richest and most cultured black woman she's ever encountered. When Dorcas makes Essie an offer she can't refuse, she becomes Victoria. Transformed by a fine wardrobe, a classic education, and the rules of etiquette, Victoria is soon welcomed in the upper echelons of black society in Washington, D. C. But when the life she desires is finally within her grasp, Victoria must decide how much of herself she is truly willing to surrender.

En beskrivelse af flere århundreders fremtrædende kvinder i USA, England og Frankrig, som kæmpede for deres selvstændighed og rettigheder, men også med en omtale af de mindre kendte, som ikke følte sig tiltrukket af deres tids kvindebevægelser, men alligevel i deres daglige liv var med til at præge udviklingen

Since his drowning in 1917, Tom Thomson has been recreated by poets, playwrights, novelists, filmmakers, biographers, and other artists as a legendary figure synonymous with Canada and its northern identity. Touted as a great artist cut off in his prime, his mysterious death in Canoe Lake, Algonquin Park, and the controversy about his final resting-place fired the popular imagination and raised him to the status of a national hero. In "Inventing Tom Thomson" Sherrill Grace examines many of the ways in which the figure of Thomson has been imagined by Canadians. Even people who do not know his paintings well will recognize "The Jack Pine" and know his legend through the marketing of Thomson memorabilia on the Web, in museums, and in stores. Grace suggests that the figure we have come to recognize as Tom Thomson is inextricably associated with many of the qualities that we believe characterize Canadian culture - love of the wilderness, northern purity, solitary independence, and a masculine ability to canoe, camp, fish, and rough it in the bush. "Inventing Tom Thomson" is about those artists who have felt compelled to imagine their own Tom Thomsons and about what the man has come to represent to the culture at large - it is about us and how the stories about this exceptional painter have shaped our sense of who we are as a nation.

Charlie and Marv have to create an invention for school. But it's due tomorrow! Lola thinks she is an amazing inventor, and she keeps pestering Charlie and Marv with her ideas. But just as the boys are about to give up, Lola has a brilliant idea that saves the day!

This study of collective American memory exposes the historical phenomenon of self-directed American imperialism, still frequently ignored or denied in the United States. Over the course of the 250 years of its history, this has taken the form of African American slavery, thwarted black motherhood, same-race slavery (both white and African American) as well as the extermination of indigenous American peoples. On the literary level, the study helps to broaden, or even modify, the present perspective on the oeuvres of four major American writers, i. e., William Faulkner, Toni Morrison, Louise Erdrich, and Cormac McCarthy, by pointing to the intertwining of their themes, motifs, and techniques of writing to form an intricate pattern of the intertextualized collective memory of the American nation.

Frequently perceived as a characteristic of modern culture, the phenomenon of celebrity has much older roots. In this book Antoine Lilti shows that the mechanisms of celebrity were developed in Europe during the Enlightenment, well before films, yellow journalism, and television, and then flourished during the Romantic period on both sides of the Atlantic. Figures from across the arts like Voltaire, Garrick, and Liszt were all veritable celebrities in their time, arousing curiosity and passionate loyalty from their “fans.” The rise of the press, new advertising techniques, and the marketing of leisure brought a profound transformation in the visibility of celebrities: private lives were now very much on public show. Nor was politics spared this cultural upheaval: Marie-Antoinette, George Washington, and Napoleon all experienced a political world transformed by the new demands of celebrity. And when the people suddenly appeared on the revolutionary scene, it was no longer enough to be legitimate; it was crucial to be popular too. Lilti retraces the profound social upheaval precipitated by the rise of celebrity and explores the ambivalence felt toward this new phenomenon. Both sought after and denounced, celebrity evolved as the modern form of personal prestige, assuming the role that glory played in the aristocratic world in a new age of democracy and evolving forms of media. While uncovering the birth of celebrity in the eighteenth century, Lilti's perceptive history at the same time shines light on the continuing importance of this phenomenon in today’s world.

Inventing Film Studies offers original and provocative insights into the institutional and intellectual foundations of cinema studies. Many scholars have linked the origins of the discipline to late-1960s developments in the academy such as structuralist theory and student protest. Yet this collection reveals the broader material and institutional forces—both inside and outside of the university—that have long shaped the field. Beginning with the first investigations of cinema in the early twentieth century, this volume provides detailed examinations of the varied social, political, and intellectual milieus in which knowledge of cinema has been generated. The contributors explain how multiple instantiations of film study have had a tremendous influence on the methodologies, curricula, modes of publication, and professional organizations that now constitute the university-based discipline. Extending the historical insights into the present, contributors also consider the directions film study might take in changing technological and cultural environments. Inventing Film Studies shows how the study of cinema has developed in relation to a constellation of institutions, technologies, practices, individuals, films, books, government agencies, pedagogies, and theories. Contributors illuminate the connections between early cinema and the social sciences, between film programs and nation-building efforts, and between universities and U.S. avant-garde filmmakers. They analyze the evolution of film studies in relation to the Museum of Modern Art, the American Film Council movement of the 1940s and 1950s, the British Film Institute, influential journals, cinephilia, and technological innovations past and present. Taken together, the essays in this collection reveal the rich history and contemporary vitality of film studies. Contributors: Charles R. Acland, Mark Lynn Anderson, Mark Betz, Zoë Druick, Lee Grieveson, Stephen Groening, Haden Guest, Amelie Hastie, Lynne Joyrich, Laura Mulvey, Dana Polan, D. N. Rodowick, Philip Rosen, Alison Trope, Haidee Wasson, Patricia White, Sharon Willis, Peter Wollen, Michael Zryd