Building on the work of rhetoricians, philosophers, linguists, and theorists in other disciplines, Karen Burke LeFevre challenges a widely-held view of rhetorical invention as the act of an atomistic individual. She proposes that invention be viewed as a social act, in which individuals interact dialectically with society and culture in distinctive ways.
Contemporary society has seen an unprecedented rise in both the demand and the desire to be creative, to bring something new into the world. Once the reserve of artistic subcultures, creativity has now become a universal model for culture and an imperative in many parts of society. In this new book, cultural sociologist Andreas Reckwitz investigates how the ideal of creativity has grown into a major social force, from the art of the avant-garde and postmodernism to the ‘creative industries’ and the innovation economy, the psychology of creativity and self-growth, the media representation of creative stars, and the urban design of ‘creative cities’. Where creativity is often assumed to be a force for good, Reckwitz looks critically at how this imperative has developed from the 1970s to the present day. Though we may well perceive creativity as the realization of some natural and innate potential within us, it has rather to be understood within the structures of a very specific culture of the new in late modern society. The Invention of Creativity is a bold and refreshing counter to conventional wisdom that shows how our age is defined by radical and restrictive processes of social aestheticization. It will be of great interest to those working in a variety of disciplines, from cultural and social theory to art history and aesthetics.
'One day there is life . . . and then, suddenly, it happens there is death.' So begins Paul Auster's moving and personal meditation on fatherhood. The first section, 'Portrait of an Invisible Man', reveals Auster's memories and feelings after the death of his father. In 'The Book of Memory' the perspective shifts to Auster's role as a father. The narrator, 'A', contemplates his separation from his son, his dying grandfather and the solitary nature of writing and story-telling.
Based on the paradigms of economics and management, inspired by the history of technology and the sociology of technological change, the concepts of shared inventions and competitive innovations make it possible to analyze the industrialization of the world in a fresh and efficient way. As a new approach, shared inventions are classified in this book as a set of existing knowledge thats often associated with the rediscovery of old techniques. Determining capitalized and collective intelligence, this knowledge and reinvention allows us to create inventions which will be shared, first in their construction, then in their use. Another new approach is that these competitive innovations are defined in World Industrialization by associations of experiences of competitively-motivated actors – actors seeking to complement existing techniques by increasing their competitive power. These shared inventions and competitive innovations will also be defined by trajectories identifying their modes of creation, enabling us to overcome the peculiarities of these actions and competitions. This book also highlights four key areas in global industrialization: the emergence of machinism with the defense of Arts and Crafts from 1698–1760; the changes the Industrial Revolution wrought in developed nations from 1760–1850; the link between technology and social relations within modern companies from 1850–1914; and, from 1914 onwards, the birth of extended machinism, its world wars and its global crises.
This insightful Handbook scrutinizes alternative concepts and approaches to the dominant economic or industrial theories of innovation. Providing an assessment of these alternatives, it questions the absence of these neglected types of innovation and suggests diverse theories.
This is the first scholarly examination of the use of dialogic theory and pedagogy by scholars and teachers of writing. Dialogic methods have become extremely important to many different approaches to pedagogy. However, no one has yet noted that such pedagogies are being espoused by scholars and teachers who have vastly differing theoretical and ideological orientations from one another. Given the fact that the same kind of pedagogy is being proposed by people from such widely differing perspectives, it is time for a substantial reassessment of the use of dialogic pedagogies in literacy education. Ward's critique of the "democratic" dialogue that expressivists, social constructionists, radical pedagogists, and poststructuralists profess should be read by all compositionists employing collaborative learning in their classrooms. Ward's pedagogy acknowledges and makes room for the differences among students that feminist and social constructionist pedagogies often ignore; it takes into account that social relationships outside the composition classroom can affect the relationships of students within it.
We live in a world increasingly governed by technology—but to what end? Technology rules us as much as laws do. It shapes the legal, social, and ethical environments in which we act. Every time we cross a street, drive a car, or go to the doctor, we submit to the silent power of technology. Yet, much of the time, the influence of technology on our lives goes unchallenged by citizens and our elected representatives. In The Ethics of Invention, renowned scholar Sheila Jasanoff dissects the ways in which we delegate power to technological systems and asks how we might regain control. Our embrace of novel technological pathways, Jasanoff shows, leads to a complex interplay among technology, ethics, and human rights. Inventions like pesticides or GMOs can reduce hunger but can also cause unexpected harm to people and the environment. Often, as in the case of CFCs creating a hole in the ozone layer, it takes decades before we even realize that any damage has been done. Advances in biotechnology, from GMOs to gene editing, have given us tools to tinker with life itself, leading some to worry that human dignity and even human nature are under threat. But despite many reasons for caution, we continue to march heedlessly into ethically troubled waters. As Jasanoff ranges across these and other themes, she challenges the common assumption that technology is an apolitical and amoral force. Technology, she masterfully demonstrates, can warp the meaning of democracy and citizenship unless we carefully consider how to direct its power rather than let ourselves be shaped by it. The Ethics of Invention makes a bold argument for a future in which societies work together—in open, democratic dialogue—to debate not only the perils but even more the promises of technology.
