A presente tese pretende investigar, no âmbito do pensamento de Henri Bergson, a questão do impulso criador a partir de sua realização como arte, mas não apenas ali, isto é, na medida em que esse impulso se caracteriza como esforço de invenção, sua investigação dirá respeito também aos possíveis desdobramentos concernentes à vida intelectual, moral e social. Serão examinados elementos que permitam discutir o tema da invenção noção que em Bergson se apresenta de maneira indissociada da discussão acerca da intuição a partir da relação entre percepção, esforço intelectual e criação. Mais precisamente, importa aprofundar o conhecimento a respeito do modo e das condições de possibilidade de inserção dessa experiência criadora no mundo, isto é, numa história, como fazer. A potência criadora, suas ações e suas obras deverão, assim, ser examinadas à luz de uma leitura bergsoniana que compreende a realidade da vida a partir de seus dois sentidos, a saber: o aberto e o fechado, ou, o que é o mesmo, o estático e o movente, o necessário e o contingente, o biológico e o metafísico, o da servidão e, enfim, o da liberdade. O propósito deverá ser, por fim, o de tirar as conseqüências filosóficas dessas diferenças que se apresentam como a própria realidade da vida / The present thesis intends to investigate, in the scope of Henri Bergsons thought, the issue of the creator impulse from its realization as art, but not only there, that is, while this impulse is characterized as invention effort, its inquiry will also deal with the possible unfolding pertaining to the intellectual, moral and social life. Elements that allow discussion of the theme invention will be examined - notion that in Bergson is presented as an attached manner to the debate on intuition - from the relationship between perception, intellectual effort and creation. In particular, it is important to deepen into the knowledge regarding the mode and the conditions of insertion possibility of this creator experience in the world, that is, in a history, how to make it. The creator power, its action and its masterpiece will be examined upon the light of a bergsonians reading that comprises the reality of life from its two directions: open and the closed one, or with the same meaning, the static and the moving one, the necessary and the contingent, the biological and the metaphysical, that of the servitude and, at last, that of the freedom. The purpose will be, finally, to draw the philosophical consequences of these differences that are shown as the reality of life itself

O aumento de casos de professores vitimados por violência, velada e desvelada, e, também, aqueles que, por motivos diversos, são afastados e adaptados funcionalmente por sofrimento psíquico, despertou minha atenção e meu interesse. O problema desta pesquisa foi se constituindo à medida que, ao conhecer a história desses professores, percebeu-se que a maioria parecia inibir-se e sucumbir com alguma doença e poucos pareciam se recuperar, ou até dinamizar e otimizar seu trabalho. A condição de desordem psíquica, impotência, fragilidade e inibição permite supor a produção do trauma. Por conseguinte, formulou-se a questão nuclear de pesquisa: na produção do trauma, alguns docentes sucumbem e outros se dinamizam. Quais são os aspectos determinantes de tais posicionamentos? Isso posto propõese a seguinte hipótese: o trauma pode ter efeito positivo. Postulou-se como objetivo estabelecer a relação entre o evento traumático, a produção do trauma e suas vicissitudes, e ainda, especificamente, compreender os efeitos psíquicos do trauma e os mecanismos que determinam o adoecimento e a prática criativa e inovadora. Os fundamentos teóricos se amparam na Psicanálise freudolacaniana e em seus principais interlocutores. O corpus para análise foi constituído a partir de oito entrevistas com professores em condição de sofrimento psíquico. A análise dos dados e a fundamentação teórica permitiram considerar que o estado de desamparo torna o sujeito suscetível ao trauma e indicam que a orientação por um desejo decidido (LACAN, 1974/1993), diante do encontro com o real, pode movê-lo à invenção (LACAN, 1975-1976/2007). / The increase in the number of cases of teachers who have been victims of violence, covert or overt, and also of those who, for many reasons, are removed and functionally adapted due to psychological distress, has aroused my attention and interest. The focus of this research was built by getting to know these teachers histories and noticing that most of them seemed to inhibit themselves and succumb to some disease and few seemed to recover, or even to dynamize and optimize their work. The condition of psychiatric disorder, impotence, fragility and inhibition allows us to assume the production of trauma. Therefore, the nuclear question of research was formulated: in the production of trauma, some teachers succumb and others become dynamic. What are the determining factors of such outcomes? This poses the following hypothesis: trauma can have a positive effect. The aim of this study was to establish the relationship between the traumatic event, the production of trauma and its vicissitudes and, specifically, to understand the psychological effects of trauma and the mechanisms that determine illness, and creative and innovative practice. The theoretical foundations are the Freudolacanian Psychoanalysis and its main interlocutors. The corpus for analysis was constituted of eight interviews with teachers in conditions of psychological distress. The analysis of the data and the theoretical basis allowed to consider that the state of helplessness makes the subject susceptible to the trauma and indicate that the orientation by a determined desire (LACAN, 1974/1993), when facing reality, can move him/her to invention (LACAN, 1975-1976 / 2007).

This collection of poetry explores the intersection of elegy and ekphrasis. The poems contemplate and take inspiration from a range of painters and artists, often as a way of thinking about themes of invention, technology, and both father/son and teacher/student relationships.

This dissertation argues that the symbolic force of deindustrial Rust Belt decline is expressed through patterns of rhetorical invention, what I call ruination rhetorics. Ruination, I argue, works to construct divergent orientations toward space and time in representations of the Rust Belt. I trace these orientations as a way of charting the contours of how we understand domestic urban decay in our contemporary political and economic climate. This project argues that ruination's inventive force hints at a number of thematics including: ruination as urban waste; ruination as a claim to forms of nostalgia and authenticity; ruination as a linkage between temporal configurations of the past and the present; and ruination as a narrative form enabling what I call a "melancholic" rhetorical style. In all of these instances, ruination supports differentiated orientations toward time and space, creating temporal and geographical connections and boundaries through rhetorical manipulations. In this way, the times and spaces of and for industrial ruination shift, and in so doing, their discursive manifestations elucidate the diversity and instability of spatio-temporal structures. Conceptually, I argue that ruination shapes an understanding of space and time as fluid concepts, rather than stagnant or pre-determined categories. And by unpacking the ways that ruination traffics in representations of Rust Belt geographies and citizens, we discover an increasingly complex discursive field out of which meaningful relationships to decay and renewal might be forged. In this way, ruination does not weave a cohesive narrative of what the Rust Belt is, where the Rust Belt is, or who does or does not lay claim to its political realities and challenges. Rather, its divergent and contradictory modes of rhetorical invention suggest ruination expresses the incoherencies and compatibilities constitutive of an everyday life lived in the ebbs and flows of a material space that is always-already a site of ongoing decay and renewal.

<p>In a global economy greater attention must be given to an amount of innovative companies in the manufacturing of products and in providing services. Innovative organizations must be able to learn especially in marketing and strategy efficiently and effectively in order to survive in today’s increasingly fierce competitive environment. Innovations thrive from a skilled and well-educated workforce, research and development resulting in Intellectual Property Rights, organizational infrastructure and business strategy if handled correctly.</p><p>Innovations play an important role and need a proper environment that provides knowledge, supportive interaction and incentive structures to become successful. Creating world-beating product concepts is of value only if you can bring them to market successfully. To focus a product innovation process around business objectives and plans allows company to create and evaluate a strategic positioning. Critical to success is the selection of appropriate targets for innovation, which requires identifying requirements throughout the existing value chain of products and services and the new value chain of the knowledge channel. But as it is likely that many of these requirements will be unclear and some will be conflicting, the way to resolve these conflicts is through mutually dependent learning involving participants from all relevant groups, including R&D, suppliers, and customers, plus distribution partners and other internal functional departments such as marketing, manufacturing, and finance.</p><p>A broader focus on innovation can generate increasing returns. Capturing and keeping a comparative advantage will require an appropriate pattern and shaking up the market with a major new product. Product innovation is a powerful lens through which to examine strategy because the success of your products in the market is the ultimate test of a strategy. Through the distribution we approach to highlight the thesis in threefold:</p><p>• Figure out different innovations;</p><p>• Draw on an in-depth understanding of bring the revolutionary new products to market;</p><p>• Generalize a host of product concepts spanning innovations in strategic positioning.</p><p>Aiming to fulfill the purpose of our paper, we conducted qualitative research method based on telephone interviews with two Swedish and two Chinese companies who have innovated products or services. The theoretical framework portrayed the innovator’s dilemma, push and pull marketing methods and prospector and defender strategic positioning models.</p><p>In conclusion, we generalized what kind of innovation (disruptive technology or sustainable technology) the four case companies have, which marketing method (pull or push) they adopt and how the strategic positioning is respectively. At the final section, we suggest a model for companies with innovations and how they differ on disruptive or sustainable technology and target customers.</p>

In a global economy greater attention must be given to an amount of innovative companies in the manufacturing of products and in providing services. Innovative organizations must be able to learn especially in marketing and strategy efficiently and effectively in order to survive in today’s increasingly fierce competitive environment. Innovations thrive from a skilled and well-educated workforce, research and development resulting in Intellectual Property Rights, organizational infrastructure and business strategy if handled correctly. Innovations play an important role and need a proper environment that provides knowledge, supportive interaction and incentive structures to become successful. Creating world-beating product concepts is of value only if you can bring them to market successfully. To focus a product innovation process around business objectives and plans allows company to create and evaluate a strategic positioning. Critical to success is the selection of appropriate targets for innovation, which requires identifying requirements throughout the existing value chain of products and services and the new value chain of the knowledge channel. But as it is likely that many of these requirements will be unclear and some will be conflicting, the way to resolve these conflicts is through mutually dependent learning involving participants from all relevant groups, including R&amp;D, suppliers, and customers, plus distribution partners and other internal functional departments such as marketing, manufacturing, and finance. A broader focus on innovation can generate increasing returns. Capturing and keeping a comparative advantage will require an appropriate pattern and shaking up the market with a major new product. Product innovation is a powerful lens through which to examine strategy because the success of your products in the market is the ultimate test of a strategy. Through the distribution we approach to highlight the thesis in threefold: • Figure out different innovations; • Draw on an in-depth understanding of bring the revolutionary new products to market; • Generalize a host of product concepts spanning innovations in strategic positioning. Aiming to fulfill the purpose of our paper, we conducted qualitative research method based on telephone interviews with two Swedish and two Chinese companies who have innovated products or services. The theoretical framework portrayed the innovator’s dilemma, push and pull marketing methods and prospector and defender strategic positioning models. In conclusion, we generalized what kind of innovation (disruptive technology or sustainable technology) the four case companies have, which marketing method (pull or push) they adopt and how the strategic positioning is respectively. At the final section, we suggest a model for companies with innovations and how they differ on disruptive or sustainable technology and target customers.

This project considers the objective and material manifestations of invention, as well as the subjective processes (creative and mechanical) that invention signifies, in order to examine the historical, aesthetic, and ideological roles that invention plays within American literature. I argue that invention calls attention to a paradox within American culture that literary texts are especially adept at revealing: the newness that invention fetishizes often contains a violent underside, which American literary authors both depict and complicate. In chapter 1 I establish the project's foundation--how invention became such a culturally prominent mode of action, and how inventions came to symbolize the march of American "progress." I treat the rhetoric of invention as a text which can be close-read for what it reveals about the role of American artifice in the nation's self-conception.In chapter two I argue that Herman Melville's Typee delivers a series of inventive counter-narratives that disarm the stereotypes that support colonization, and that deflate the sense of superiority that propelled Western colonialism. Using the rhetoric of invention against itself, including its portrayal of patents and intellectual property as necessary regulative mechanisms in the advancement of technology and industry, Typee undermines this logic by tapping into the subversive potential of invention as a creative force.Chapter two examines the various historical, aesthetic and disciplinary roles played by a specific American invention: the world's first automatic weapon. Arguing that its power to subdue crowds was due more to its cultural status than its actual use, I examine the paradox presented by a weapon like the Gatling gun and its depiction in Mark Twain's A Connecticut Yankee: that its elegant appearance and functionality, as well as the latency of the threat it posed, was a power that operated by taking advantage of aesthetic perception. The project's final chapter investigates the poetry and prose of Ezra Pound and Mina Loy for the enthusiasm it registers for, as Pound phrased it, "Machine Art." I argue that the formal invention that drove modernism cannot be divorced from the prominence of mechanical invention that American industry made prominent through the turn of the century.

Thesis (D.A.)--Illinois State University, 1980. / Title from title page screen, viewed Mar. 3, 2005. Dissertation Committee: Glenn Grever (chair), Richard Dammers, John Heissler, Janice Neuleib, Dent Rhodes. Includes bibliographical references (leaves 131-138) and abstract. Also available in print.

Qu’est-ce que l’invention ? Ce travail repose la question dans l’horizon du développement de la technoscience contemporaine, lorsque la frontière entre les notions de production, de découverte et d’innovation se brouille. Il s’installe au carrefour des sciences cognitives (l’énaction), de la philosophie (le post-kantisme de Fichte) et de la technologie (thèse de la technique anthropologiquement constituante). C’est le paradigme de l’énaction qui fournit l’impulsion initiale : il permet d’une part de reposer le rapport entre un organisme et son environnement, d’autre part de repenser les oppositions conceptuelles reçues à partir de la « relation Étoile » qui montre qu’il n’y a pas d’extériorité entre les termes. L’énaction permet donc d’étayer la définition de l’invention comme rapport à ce qui n’est pas donné. Il faut alors dégager l’invention des « manèges » dans lesquels elle a souvent été pensée : découverte ou création, exhumation ou production, etc. La philosophie de Fichte confirme la nouveauté épistémologique d’une telle approche : la doctrine de la science est cette démarche qui fait émerger le Moi et le non-Moi dans l’énonciation de ce qui ne se trouve pas là comme préexistant sans pour autant le créer ex nihilo. Enfin, la dernière partie de ce travail propose une approche organologique de l’invention, comme rapport entre organes, organismes et organisations : il s’agit toujours d’épistémologie, dès lors que celle-ci est bien la pensée de la mise en situation du connaissant dans l’institution pragmatique de ce qu’il décrit, c’est-à-dire de ce qu’il fait-venir – ce que dit l’invention dans son étymologie. / What is invention? This work raises the question in the midth of the contemporaneous developments of technoscience, where the frontiers between production, discovery, and innovation are blurring. It is at the crossroads of cognitive science (namely enaction), philosophy (Fichte’s philosophy), and technology (thesis of technology as anthropologically constitutive). The paradigm of enaction triggers the first steps of demonstration; it allows on the one hand to reset the relationship between organism and environment ; on the other hand, to cast new thoughts on traditional conceptual oppositions, where the « Star relationship » shows that there are no exteriority between such terms. Therefore, enaction strengthens the definition of invention as relation to what is not given. Hence the task to free inventions from alternatives: discovery or creation, exhumation or production, etc. Fichte’s philosophy brings confirmation to the epistemological novelty of such an approach: the Theory of science is precisely this conceptual move to have Ego and non-Ego emerge jointly in the enunciation of what is not there, not preexisting, without being inexistent and created ex nihilo. The fourth and last part proposes an organological approach of invention, as being a relation between organs, organisms, and organisations: it is still a matter of epistemology, when it is thought as a reflection on the situatedness of the knower caught in the pragmatic institution of what she describes, that is to say what she makes to come – what is invention according to etymology.

Veio do nada em direção à palavra, perseguindo os efeitos imprevisíveis da invenção. Lufadas de linguagem para capturar circunstâncias ínfimas, aleatórias. Exploração das potências expressivas presenteadas pela sintaxe. Nuances, estados sensoriais, sensualismos, cores, formas, sensações, impressões. Trama, teia de aranha, palavras no ar. Pesquisa no limiar entre o nome e a cor, a realidade e a ficção. Uma alegria: afastar o fascismo da palavra, ter um leitor que a leia para além da intenção. / It came from the void towards the word, seeking the unexpected effects of invention. Blasts of language in order to capture imperceptible, random circumstances. Exploration of the expressive powers offered by syntax. Shadings, sensorial states, sensualisms, colors, forms, sensations, impressions. Threads, spider's webs, words in the air. A research in the limit between the name and the color, the reality and the fiction. A joy: to banish the fascism of language, to have a reader who could read it beyond the intention.