The utilitarian theory contemplates rewarding the risks of inventors by providing them with a defined period of exclusivity to recoup their investment. For inventions requiring further investment, patents enable the creation of financial relationships between inventors and investors by providing patent exclusivity during the commercialization process. Innovation, contrasted from invention and conceptualized as commercialization, however, does not necessarily form the best means for delivering to the public inventions intended to improve health. Although patent policy conflates the economic growth and health improvement objectives of innovation, these goals do not always align. While the exercise of BRCA patents instantiates exclusive practicing of patents that failed to adequately deliver health technology, the patent system does not need significant change. Rather, to maintain the expectations of patent holders while balancing the needs of the public, current practices should continue with the encouragement of the creation of voluntary patent pools.

Many high school and college composition students have misused formulaic organizational structures, most conspicuously the five-paragraph theme, as invention tools. This misappropriation comes from teacher and student tendencies to oversimplify both the processes of writing instruction and its practice into countable and inflexible forms. In order to help students move towards improved invention models that respond to the overall rhetorical situation, this dissertation offers two new models of invention, the x, y thesis and the argument guide models. Beginning at the invention stage and extending recursively to all stages of the writing process, these two heuristics help guide students towards informed and analytical choices that respectively build relationships between parts and encourage asymmetrical, content-driven extensions of ideas. These models, individually and collectively, assist students in their efforts to restore a balance between content and form because the models set the students’ invented content at the core of a nonlinear rhetorical action – the composition of an essay that involves all phases of process writing.

Paul Auster¡¦s The Invention of Solitude is not merely an autobiography, but an attempt to render such a genre to challenge writing itself by trying to write what is of no possibility to be written. In addition, Auster further adds elements of photography in The Invention of Solitude, which on the one hand enhance the genre itself (as an autobiography with photos attached as solid evidences to the written words), and on the other hand, by doing so, the author as a matter of fact deconstructs everything he has been trying to construct. By adding photographs and descriptions of the photographs very consciously, he actually, beyond the ostensible purpose of trying to lend credibility to the autobiographical work, tries to challenge the solidity of such work. Lots of researches have been done on Paul Auster, for whom has already recognized world-widely as an important contemporary American writer, most of them focus on his renowned New York Trilogy (1987),The Music of Chance (1990), or The Brooklyn Follys (2005), while little researches have been done to The Invention of Solitude¡V¡Voften referred to as a memoir of Auster. The book is structured with ¡§Portrait of an Invisible Man¡¨ and ¡§The Book of Memory;¡¨ the former is written right after the sudden death of the author¡¦s father Samuel Auster and the latter is Auster¡¦s own account on matters that later have become his re-occurrent themes throughout his works. I study the utilization of involving photographs in fictional autobiography by looking at the two photographs Paul Auster has reproduced in The Invention of Solitude. Namely, how photography and fiction put together to ¡§renew¡¨ each other (Louvel 31). In chapter one I discuss autobiography and photography, the intertextuality between photographs and texts, and the selection of the two photographs in The Invention of Solitude (including different arrangements of the two photographs in various editions). In chapter two, I mainly focus on Walter Benjamin and Roland Barthes¡¦ reading on photographs; I aim to conclude that each of them talks about one particular essence of photography respectively only with different terms¡V¡Vas aura and punctum¡V¡Vthe endeavor is to illustrate and attest to a certain and unique quality of human that can never be portrayed any how and by any means. Auster¡¦s usage of putting together the words and the photos is also a means to pursuit the same untraceable human quality; he testifies the unseen by presenting something to be seen. The Invention of Solitude requires reader to treat it with the way of reading photographs and pictures; a pictorial reading of words is of necessity in tackling the work, just as in Liliane Louvel¡¦s words, to treat ¡§the image as a means to study fiction through the lens of what I call the ¡¥pictorial third¡¦¡¨ (31). In chapter three, I delve into the anxiety and hunger for portrayal, linking which to the act of writing that functions as a healing process for the writer. I then concentrate on the text, demonstrating how this text itself can possibly be decoded with ways analyzing a picture. In its form and way of writing, the composition of The Invention of Solitude is just like the early procedure of long exposure in taking photographs, the distance and aura have both remained through the writing and the given photographs. In addition, the text is far more than simply combination of words, each word has been rendered as if an element of photography; that is, words can be read with multiple layers of meanings that are all linked with photographs. And I would explore this point through the reading of ¡§room¡¨ in the book. Besides, I¡¦ve involved Susan Sontag, Henri Van Lier, John Berger, Edward W. Said and Thierry de Duve in the three chapters, serving to converse with my argument. Chapter four includes the film Smoke as the subject, the film not only contains photographs as a heavy ingredient and one of the major themes; what¡¦s more, the sequence of weighting smoke also best serves as the footnote, penetrating Benjamin, Barthes and Auster.

This dissertation accesses memory and archival studies for inclusion in the discipline of rhetoric and composition in order to study "collective invention" (Bisecker, 125) practices as they occur in memory places, such as that of the archive. I theorize a pedagogy and memory practice for writing studies classrooms and communities by providing an autoethnographic case study across three levels of composition and rhetoric classes and community archives including the Writing After Katrina Archive Project and the Arizona Memory Project, where I explore the links between memory, place, and the process of rhetorical invention. In doing so, I hope to examine the agentive potential for students, emerging scholars, and community partners to reflect on various acts of composing, such as composing ideas, composing writing, and composing knowledge through the study of memory places and the creation of archives. Using the space of the archive as a pedagogical tool, my project seeks to redefine the space and place of the "archive" from that of a dusty space reserved for scholars, to that of a potentially generative location where critical dialogue is organically produced around the acts of what I term, rhetorical (re)invention. Rhetorical (re)invention, like the production of memory, is a social process of meaning of making that can be extrapolated from local resources. In doing so, this project continues the important work of scholars in both memory studies and rhetoric and composition studies in redefining the archive, reframing invention, and positing a pedagogical framework for teaching college writing and rhetorical studies.

Les Lumières ont inventé le roman de formation. Beckett, Hesse, Kafka, Musil, Proust et Virginia Woolf modulent diverses variations de ce qu'il faudrait nommer le roman de dé-formation. Dans ce genre de récit, le moi se gagne en se perdant, en constituant lui-même et en circonscrivant autour de lui un non-lieu séparé de la réalité banale, de ses conventions morales et sociales. Dans un écart maximal par rapport à tout l'être, y compris le sien propre, le moi se bâtit par la déconstruction patiente des déterminations extérieures, il se dégage de sa gangue pour indiquer sans jamais l'exhiber un Soi qui ne saurait être formé puisque par nature il récuse toute forme. En s'appuyant sur les analyses de Georges Gusdorf concernant le moi romantique, de Jean-Luc Marion (L'Idole et la distance), de Paul Ricœur (Soi-même comme un autre : " l'appréhension apophatique du soi "), l'essai intitulé Fictions de l'ipséité tente de montrer que le Soi manifesté, inventé, réinventé, sculpté par une soustraction inlassable qui révèle le plein par le vide -- et le vide en se délivrant de l'excès de plein --, dans quelques fictions de l'ipséité supposées représentatives est en quelque sorte " le Dieu d'une théologie négative ", pour reprendre la formule de Jacques Derrida sur le moi pur de Valéry. Les antécédents de cette représentation sont recherchés notamment dans l'œuvre de Mallarmé et, plus indirectement, dans celle de Villiers de l'Isle-Adam, où le Soi se profile comme la Figure par excellence. Personne ne l'incarne jamais totalement, pas même tel héros dans l'espace de la fiction, et pourtant chacun, invisiblement, le porte, et l'une des tâches que s'assigne la fiction, qu'elle soit poétique ou narrative, est bien dès lors d'en esquisser les traits essentiels dans son espace plus ou moins déréalisé. Ainsi est constamment interrogée la figure de l'auteur dans la fiction : quoique invisible, elle est toujours présente à l'arrière-plan et la fiction est souvent ce mentir-vrai où un auteur hypocrite ne cesse de parler de lui en faisant semblant de parler d'un ou de plusieurs autres, reflétant, réfractant, refigurant diversement son être propre pour construire un mythe de Soi. En ce sens la fiction, comme le mythe, invente du faux pour figurer le vrai en un détour inévitable, lorsqu'il s'agit, sans l'enfermer, de capturer fugitivement dans un retrait ce qui demeure inassignable. Les œuvres littéraires étudiées dans l'ensemble des travaux présentés sont de la sorte tenues pour autant de variantes, parmi d'autres existantes ou possibles, d'un mythe central, celui du Soi. C'est ce qui justifie la double lecture, herméneutique et mythocritique, à laquelle elles sont soumises : une telle lecture vise à mettre en rapport avec la surdétermination du Soi, du Moi superlatif, les différents éléments de la fiction et la façon dont ils reçoivent sens et cohérence à partir de cette figure fondatrice. Le Soi est un centre rayonnant et il informe tout l'espace fictif qu'il anime de sa présence, de sorte que la refiguration de soi dans la fiction est aussi une refiguration du monde, désormais rêvé comme une émanation de Soi, dans une harmonie avec les exigences imprescriptibles du Soi. On a voulu montrer dans quelle mesure et à quel point le travail poétique et théorique de Mallarmé, notamment sa théorie du mythe et la théorie de l'abstraction, dématérialisante et schématisante, qui la fonde fournissait quelques instruments appropriés pour deviner -- pour instituer en objet de " divination " -- cette Figure mythique, dans les limites du moins imparties à un discours, fût-il littéraire, métaphorique et indirect, essentiellement débordé par l'intuition fondamentale qu'il tente de ressaisir. Qu'elle investisse un mythe reconnaissable, qu'elle l'incorpore sous des formes plus ou moins détournées, qu'elle emprunte aux mythes des figures et des motifs précis ou qu'elle retrouve les formes et les structures les plus générales de l'imaginaire mythique, la littérature prend ses distances à l'égard du mythe dans le geste même de se le réapproprier. La remarque constitue un acquis de la mythocritique. Elle vaut peut-être particulièrement quand des œuvres se cristallisent autour du Soi, ce motif omniprésent et insaisissable qui donne lieu à l'invention d'un nouveau mythe et à la reprise de mythes anciens plus ou moins transposés. Ainsi a-t-on cru pouvoir en appeler à la notion d'invention de soi pour rapprocher sans artifice excessif deux moments éloignés de la littérature européenne pris pour termes extrêmes : l'historiographie romaine de l'Empire et certaines œuvres narratives de la première moitié du XXe siècle. Quels que soient les ressorts en jeu dans ce processus d'invention : remémoration -- la reconstruction du passé de Rome ou celle du personnage de Napoléon par Nietzsche pour lui faire incarner les plus hautes valeurs --, abstraction, néantisation -- chez Gautier et Valéry --, on repère la permanence d'une visée mythifiante qui fait éclater l'individualisme moderne dans ce " bougé ", cette hésitation, ce suspens où le haïssable petit moi voudrait se produire comme un grand Soi -- et, ce faisant, s'y dissoudre.

this study analyzes the relationship between national celebrations and thespatial practices of Ankara Hippodrome in the Early Republican Turkey.National festivals areregarded as social-performative commemorations and political practices in origin. the period between 1923 and 1938 is considered as the construction period of the Republican Regime that gave a form for the recolleciton of Turkish society. the scope of our thesis is limited with the construciton of social memory, which is integrated with the nation-construciton processes. the conceptual frame and the case study of our research are structured by the archiva official documents of this period to explore how the naiton-building processes are realized through the interaction between memory and space.

台灣創新發明實力漸漸在國際間嶄露頭角，隨著知識經濟時代的來臨，世界各國也積極鼓勵人民從事創新發明活動，以提升國家發展層次。台灣政府除了鼓勵獨立發明人前往參與國際性創新發明活動，近年來也編列預算補助技專院校學生參加國際性技能競賽及發明展。台灣發明在各國際發明競賽中屢屢得獎，報導中更常見台灣得獎牌數每創新高。 在台灣發明備受肯定之餘，一個好的發明最終也還是需要經過商業化的過程，並接受市場的考驗，而各大國際發明展中所舉辦的「發明競賽」就是將作品推向市場端的守門機制之一。因此，本研究將以守門機制理論觀點，探討各國際發明競賽其本質以及在執行過程中的差異。 本研究之核心問題為國際發明競賽其歷史與競賽宗旨為何？不同發明競賽間其守門機制有何差異？各有何優缺？經過文獻探討及個案田野訪談後，所得到之研究結論如下： 1. 國際發明競賽之宗旨訂定，主要與競賽歷史背景發展有關。而不同競賽宗旨會與不同類型的展覽活動相結合。 2. 國際發明競賽之競賽邊界設定會影響參賽者及參賽作品的輪廓。良好的競賽規則設定會加以區分合適的邊界條件。 3. 國際發明競賽中的評選機制，由不同的甄選系統所組成。國際性的發明競賽以「專家選擇」作為主要甄選系統，並輔以「市場選擇」系統形成評選機制。 4. 良好的發明競賽設計為求評審流程的客觀與公正，在進入實地審查階段時，同類別的評審委員不會一同進行評分，避免相互討論影響評選結果。 5. 國際發明競賽之參賽作品呈現方式可分為片段書面審查與作品完整實地審查兩種。 6. 發明競賽流程中的加值效果，參賽者重視的標的不同，有的以「得獎」為考量、有的為尋求「海外代理商」、有的則重視是否能夠「獲取訂單」，但藉由和專業評審、廠商「互動」所獲得的「加值」，對各個參賽者而言是共同的想望、且更具附加價值。 7. 在國際發明競賽的獎勵設計上，為鼓勵創新與發明風氣，針對得獎者以頒發金銀銅獎牌的「非金錢獎勵」為主。而不同的國際發明競賽其主辦單位設計有不同屬性的「特別獎」。 8. 各國際發明競賽在競賽成果保護上，於競賽的前、中、後不同階段有不同的競賽成果保護機制。 9. 國際發明競賽中參賽者與守門人的權力距離及互動具有加值效果，守門人的工作除了把關，還具備有以下幾項特質：「實地審查前的周全準備」、「耐心」、「肯放下身段」、「能用參賽者聽得懂的語言」。 10. 國際發明競賽主辦單位的共同永續經營作為歸納有「手冊製作推廣」、「媒體宣傳」以及「海外國際發明展推廣」；而針對參賽/得獎作品後續追蹤則較少著墨。

Thèse (D. en histoire)--Université du Québec à Montréal, 2005. / En tête du titre: Université du Québec à Montréal. Bibliogr.: f. [682]-743. Publié aussi en version électronique.

Innovation is generally regarded as an essential aspect of the economic growth for a country. Intellectual property rights such as patents are often held in the same regard of importance towards promoting the pursuit of innovation. This paper examines this assumption and explores whether patent applications positively or negatively influence GDP growth in a sample of 4 countries chosen for their similarity in stages of economic development. In my research, I also test for the influence of patent applications on commercialized innovation. I find that GDP growth and commercialized innovation are negatively affected by patent applications. This suggests that the commonly assumed link between patents and innovation may need to be reevaluated, and that using patents as an indicator of the economic growth of a country may also need to be reevaluated.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research utilizes the manipulation of digital images to link past, present and future, besides pointing out the existing hybridization in ancient architectural blends with your existing urban context . The invention of urban landscapes combines images of cultural heritage ( photographed or painted ) with elements of urban visuality , inferring whether their memories , and memories subjectifications ; instigating the everyday diversity and acceleration has th. The poetic creation produced from this context is a way of suggesting possibilities for different interpretations , reached in the deconstruction of the urban landscape . This study tra -ering plastic creations that were becoming such production began with di - gitais prints and projected images sequences in plants and concluded with the creation of videos that mix footage and scanned images , in building invented landscapes . Later, such landscapes are presented in installations where partially overlapping images with the intention of exploring " instant hybridizations ." This study has two main operational concepts : invention as production of images , and hybridization , as the songwriting process . The various theoretical and practical pursuits resulted in " Inventions of Urban Landscapes " , invented urban spaces that highlight certain ancient architectures and highlight the diversity , indeterminacy , uncertainty , instability and hybridisation of the urban landscape that contains these buildings as a way to update the past. With this visual poetics proposed another way of perceiving and wondering about the old buildings in the city . / A presente pesquisa se utiliza da manipulação de imagens digitais para associar passado, presente e futuro; além de salientar a hibridação existente nas misturas arquitetônicas antigas com seu contexto urbano atual. A invenção de paisagens urbanas combina imagens de patrimônios culturais (fotografadas ou pintadas) com elementos da visualidade urbana, inferindo-se as suas lembranças, memórias e subjetivações; instigando à diversidade cotidiana e à aceleração do tempo. A criação poética produzida a partir desse contexto é um modo de sugerir possibilidades de interpretações diversas, alcançadas na desconstrução da paisagem urbana. O presente estudo trata- se de criações plásticas que foram se transformando, tal produção iniciou-se com gravuras digitais e sequências de imagens projetadas em instalações e concluiu com a criação de vídeos que misturam filmagens e imagens digitalizadas, na construção de paisagens inventadas. Posteriormente, tais paisagens são apresentadas em instalações, onde se sobrepõem parcialmente imagens na intenção de explorar hibridações instantâneas . Esse estudo possui dois principais conceitos operacionais: invenção, como produção de imagens; e hibridação, como processo de composição. As diversas buscas teóricas e práticas resultaram em Invenções de Paisagens Urbanas , espaços urbanos inventados que destacam determinadas arquiteturas antigas e salientam a diversidade, a indeterminação, a incerteza, a instabilidade e a hibridação da paisagem urbana que contém essas edificações, como forma de atualização do passado. Com essa poética visual é proposto outro modo de perceber e questionar acerca das edificações antigas da cidade.