An innovative contemporary history that blends insights from a variety of disciplines to highlight how a storied African cancer institute has shaped lives and identities in postcolonial Uganda. Over the past decade, an increasingly visible crisis of cancer in Uganda has made local and international headlines. Based on transcontinental research and public engagement with the Uganda Cancer Institute that began in 2010, Africanizing Oncology frames the cancer hospital as a microcosm of the Ugandan state, as a space where one can trace the lived experiences of Ugandans in the twentieth century. Ongoing ethnographic fieldwork, patient records, oral histories, private papers from US oncologists, American National Cancer Institute records, British colonial office reports, and even the architecture of the institute itself show how Ugandans understood and continue to shape ideas about national identity, political violence, epidemics, and economic life. Africanizing Oncology describes the political, social, technological, and biomedical dimensions of how Ugandans created, sustained, and transformed this institute over the past half century. With insights from science and technology studies and contemporary African history, Marissa Mika’s work joins a new wave of contemporary histories of the political, technological, moral, and intellectual aspirations and actions of Africans after independence. It contributes to a growing body of work on chronic disease and situates the contemporary urgency of the mounting cancer crisis on the continent in a longer history of global cancer research and care. With its creative integration of African studies, science and technology studies, and medical anthropology, Africanizing Oncology speaks to multiple scholarly communities.

In The Art of Moral Protest, James Jasper integrates diverse examples of protest—from nineteenth-century boycotts to recent movements—into a distinctive new understanding of how social movements work. Jasper highlights their creativity, not only in forging new morals but in adopting courses of action and inventing organizational forms.

"A provocative perspective on the cultural implications of political and social protest."—Library Journal

Beginning in the late 1950s, an influential cadre of young, white, mostly middle-class British men were consuming and appropriating African-American blues music, using blues tropes in their own music and creating a network of admirers and emulators that spanned the Atlantic. This cross-fertilization helped create a commercially successful rock idiom that gave rise to some of the most famous British groups of the era, including The Rolling Stones, The Yardbirds, Eric Clapton, and Led Zeppelin. What empowered these white, middle-class British men to identify with and claim aspects of the musical idiom of African-American blues musicians? The British Blues Network examines the role of British narratives of masculinity and power in the postwar era of decolonization and national decline that contributed to the creation of this network, and how its members used the tropes, vocabulary, and mythology of African-American blues traditions to forge their own musical identities.

 

This work explores in detail how innovative academic activism can transform our everyday workplaces in contexts of considerable adversity. Personal essays by prominent scholars provide critical reflections on their institution-building triumphs and setbacks across a range of cultural institutions. Often adopting narrative approaches, the contributors examine how effective programs and activities are built in varying local and national contexts within a common global regime of university management policy. Here they share experiences based on developing new undergraduate degrees, setting up research centers and postgraduate schools, editing field-shaping book series and journals, establishing international artist-in-residence programs, and founding social activist networks.

This book also investigates the impact of managerialism, marketization, and globalization on university cultures, asking what critical cultural scholarship can do in such increasingly adversarial conditions. Experiments in Asian universities are emphasized as exemplary of what can or could be achieved in other contexts of globalized university policy.

Contributors. Tony Bennett, Stephen Ching-Kiu Chan, Kuan-Hsing Chen, Douglas Crimp, Dai Jinhua, John Nguyet Erni, Mette Hjort, Josephine Ho, Koichi Iwabuchi, Meaghan Morris, Tejaswini Niranjana, Wang Xiaoming, Audrey Yue

This work explores in detail how innovative academic activism can transform our everyday workplaces in contexts of considerable adversity. Personal essays by prominent scholars provide critical reflections on their institution-building triumphs and setbacks across a range of cultural institutions. Often adopting narrative approaches, the contributors examine how effective programs and activities are built in varying local and national contexts within a common global regime of university management policy. Here they share experiences based on developing new undergraduate degrees, setting up research centers and postgraduate schools, editing field-shaping book series and journals, establishing international artist-in-residence programs, and founding social activist networks.

This book also investigates the impact of managerialism, marketization, and globalization on university cultures, asking what critical cultural scholarship can do in such increasingly adversarial conditions. Experiments in Asian universities are emphasized as exemplary of what can or could be achieved in other contexts of globalized university policy.

Contributors. Tony Bennett, Stephen Ching-Kiu Chan, Kuan-Hsing Chen, Douglas Crimp, Dai Jinhua, John Nguyet Erni, Mette Hjort, Josephine Ho, Koichi Iwabuchi, Meaghan Morris, Tejaswini Niranjana, Wang Xiaoming, Audrey Yue

Creativity and Its Discontents is a sharp critique of the intellectual property rights (IPR)–based creative economy, particularly as it is embraced or ignored in China. Laikwan Pang argues that the creative economy—in which creativity is an individual asset to be commodified and protected as property—is an intensification of Western modernity and capitalism at odds with key aspects of Chinese culture. Nevertheless, globalization has compelled China to undertake endeavors involving intellectual property rights. Pang examines China’s IPR-compliant industries, as well as its numerous copyright violations. She describes how China promotes intellectual property rights in projects such as the development of cultural tourism in the World Heritage city of Lijiang, the transformation of Hong Kong cinema, and the cultural branding of Beijing. Meanwhile, copyright infringement proliferates, angering international trade organizations. Pang argues that piracy and counterfeiting embody the intimate connection between creativity and copying. She points to the lack of copyright protections for Japanese anime as the motor of China's dynamic anime culture. Theorizing the relationship between knockoffs and appropriation art, Pang offers an incisive interpretation of China’s flourishing art scene. Creativity and Its Discontents is a refreshing rejoinder to uncritical celebrations of the creative economy.

Since the late 1970s, Australia has nurtured a creative and resilient children’s television production sector with a global reputation for excellence. Providing a systematic analysis of the creative, economic, regulatory, and technological factors that shape the production of contemporary Australian children’s television for digital regimes, Creativity, Culture and Commerce charts the complex new settlements in children’s television that developed from 2001 to 2014 and describes the challenges inherent in producing culturally specific screen content for global markets. It also calls for new public debate around the provision of high-quality screen content for children, arguing that the creation of public value must sit at the center of these discussions.

This volume contests the current higher educational paradigm of using objectives and outcomes as ways to measure learning. Instead, the contributors propose approaches to learning that draw upon the creative arts and humanities, including cinema, literature, dance, drama, and visual art. Such approaches, they argue, can foster deeper learning, even in subjects not normally associated with these forms of creativity. Drawing on their own practical experience in developing new educational methods, the contributors embody a refreshing alternative perspective on teaching, learning, and assessment.

Hans Joas is one of the foremost social theorists in Germany today. Based on Joas’s celebrated study of George Herbert Mead, this work reevaluates the contribution of American pragmatism and European philosophical anthropology to theories of action in the social sciences. Joas also establishes direct ties between Mead’s work and approaches drawn from German traditions of philosophical anthropology.

Joas argues for adding a third model of action to the two predominant models of rational and normative action—one that emphasizes the creative character of human action. This model encompasses the other two, allowing for a more comprehensive theory of action. Joas elaborates some implications of his model for theories of social movements and social change and for the status of action theory in sociology in the face of competition from theories advanced by Luhmann and Habermas.

The problem of action is of crucial importance in both sociology and philosophy, and this book—already widely debated in Germany—will add fresh impetus to the lively discussions current in the English-speaking world.

Business consultants everywhere preach the benefits of innovation—and promise to help businesses reap them. A trendy industry, this type of consulting generates courses, workshops, books, and conferences that all claim to hold the secrets of success. But what promises does the notion of innovation entail? What is it about the ideology and practice of business innovation that has made these firms so successful at selling their services to everyone from small start-ups to Fortune 500 companies? And most important, what does business innovation actually mean for work and our economy today?
 
In Creativity on Demand, cultural anthropologist Eitan Wilf seeks to answer these questions by returning to the fundamental and pervasive expectation of continual innovation. Wilf focuses a keen eye on how our obsession with ceaseless innovation stems from the long-standing value of acceleration in capitalist society. Based on ethnographic work with innovation consultants in the United States, he reveals, among other surprises, how routine the culture of innovation actually is. Procedures and strategies are repeated in a formulaic way, and imagination is harnessed as a new professional ethos, not always to generate genuinely new thinking, but to produce predictable signs of continual change. A masterful look at the contradictions of our capitalist age, Creativity on Demand is a model for the anthropological study of our cultures of work.
 

This invigorating work traces the cultural history of convivial drinking before the concept of addiction overshadowed intoxication's reputation as a creative, philosophical, and spiritual force. Marty Roth's Drunk the Night Before illustrates altered consciousness from myth to contemporary life, laying bare the behaviors and beliefs, sacred and secular, invested in intoxication. From the days of antiquity to the twentieth century, Roth follows the often veiled language of intoxication through religion and aesthetics, poetry and art, popular festivals and film. In this sweeping work, he examines the cultural roots of love potions and the fountain of youth, drunkenness in Hollywood cinema, the religious concept of a spiritual high versus the condemnation of intoxication. Roth reinvigorates the currently rebuffed connection between intoxication and artistic creativity, taking up by turn the poet Anacreon and the canon of drink poetry - from classical Greek to the European lyric, Euripides' Bacchae and the figure of Socrates in Plato's Symposium, the heavy investment of Western philosophy in intoxication, and the concepts of the carnivalesque in Friedrich Nietzsche and Mikhail Bakhtin. At once deeply erudite and irresistibly congenial, this encyclopedic work makes critical sense of the long history of alcohol as potion and poison, as pharmakon and catalyst, revealing altered states as the hidden thread in the story of sensation and Western cultural consciousness.

Electronic Literature as a Model of Creativity and Innovation in Practice maps electronic literature in Europe and is an essential read for scholars and students in the field. ELMCIP is a three-year (2013) collaborative research project funded by Humanities in the European Research Area (HERA) JRP for Creativity and Innovation.

ELMCIP involved seven European partners investigating how creative communities of practitioners form within a transnational and transcultural context in a globalized and distributed communication environment. Focusing on the electronic literature community in Europe as a model of networked creativity and innovation in practice, ELMCIP studies the formation and interactions of that community and furthers electronic literature research and practice in Europe.

This book includes reflective reports by all of the principal investigators of the project. It details the development of a major digital humanities research database and the publication of the first trans-European anthology of electronic literature, and includes a report on electronic literature publishing venues across Europe and consideration of different forms of creative communities develop around genres of digital practice.

A major historical phenomenon of our century, exile has been a focal point for reflections about individual and cultural identity and problems of nationalism, racism, and war. Whether emigrés, exiles, expatriates, refugees, or nomads, these people all experience a distance from their homes and often their native languages. Exile and Creativity brings together the widely varied perspectives of nineteen distinguished European and American scholars and cultural critics to ask: Is exile a falling away from a source of creativity associated with the wholeness of home and one’s own language, or is it a spur to creativity?
In essays that range chronologically from the Renaissance to the 1990s, geographically from the Danube to the Andes, and historically from the Inquisition to the Holocaust, the complexities and tensions of exile and the diversity of its experiences are examined. Recognizing exile as an interior experience as much as a physical displacement, this collection discusses such varied topics as intellectual exile and seventeenth-century French literature; different versions of home and of the novel in the writings of Bakhtin and Lukács; the displacement of James Joyce and Clarice Lispector; a young journalist’s meeting with James Baldwin in the south of France; Jean Renoir’s Hollywood years; and reflections by the descendents of European emigrés. Strikingly, many of the essays are themselves the work of exiles, bearing out once more the power of the personal voice in scholarship.
With the exception of the contribution by Henry Louis Gates Jr., these essays were originally published in a special double issue of Poetics Today in 1996. Exile and Creativity will engage a range of readers from those whose specific interests include the problems of displacement and diaspora and the European Holocaust to those whose broad interests include art, literary and cultural studies, history, film, and the nature of human creativity.

Contributors. Zygmunt Bauman, Janet Bergstrom, Christine Brooke-Rose, Hélène Cixous, Tibor Dessewffy, Marianne Hirsch, Denis Hollier, Henry Louis Gates Jr., Linda Nochlin, Leo Spitzer, Susan Rubin Suleiman, Thomas Pavel, Doris Sommer, Nancy Huston, John Neubauer, Ernst van Alphen, Alicia Borinsky, Svetlana Boym, Jacqueline Chénieux-Gendron

Aging and creativity can seem a particularly fraught relationship for artists, who often face age-related difficulties as their audience’s expectations are at a peak. In Four Last Songs, Linda and Michael Hutcheon explore this issue via the late works of some of the world’s greatest composers.

Giuseppe Verdi (1813–1901), Richard Strauss (1864–1949), Olivier Messiaen (1908–92), and Benjamin Britten (1913–76) all wrote operas late in life, pieces that reveal unique responses to the challenges of growing older. Verdi’s Falstaff, his only comedic success, combated Richard Wagner’s influence by introducing young Italian composers to a new model of national music. Strauss, on the other hand, struggling with personal and political problems in Nazi Germany, composed the self-reflexive Capriccio, a “life review” of opera and his own legacy. Though it exhausted him physically and emotionally, Messiaen at the age of seventy-five finished his only opera, Saint François d’Assise, which marked the pinnacle of his career. Britten, meanwhile, suffering from heart problems, refused surgery until he had completed his masterpiece, Death in Venice. For all four composers, age, far from sapping their creative power, provided impetus for some of their best accomplishments.

With its deft treatment of these composers’ final years and works, Four Last Songs provides a valuable look at the challenges—and opportunities—that present themselves as artists grow older.

In this book, Julius M. Moravcsik disputes that a natural language is not and should not be represented as a formal language. The book criticizes current philosophy of language as having an altered focus without adjusting the needed conceptual tools. It develops a new theory of lexical meaning, a new conception of cognition-humans not as information processing creatures but as primarily explanation and understanding seeking creatures-with information processing as a secondary, derivative activity. In conclusion, based on the theories of lexical meaning and cognition, this work sketches an argument showing that the human understanding of human understanding must always remain just partial.

This book criticizes current philosophy of language as having altered its focus without adjusting the needed conceptual tools. It develops a new theory of lexical meaning and a new conception of cognition—humans not as information-processing creatures but as primarily explanation and understanding-seeking creatures—with information processing as a secondary, derivative activity. Drawing on these theories of lexical meaning and cognition, Julius M. Moravcsik argues that the ability of humans to fully comprehend human understanding will always be partial. In this second edition, Moravcsik posits a new theory that emphasizes implicitness and context in communication. In this theory, language is presented as a dynamic system with built-in mechanisms for change and expansion, thus further supporting Moravcsik’s overarching thesis that human understanding will always be incomplete.

Passionate Discontent is an erudite study of the relationship between gender and genius in late nineteenth-century French Symbolism. Born in an era of crisis, the Symbolist art movement was characterized by withdrawal to a mystical, antibourgeois world of the mind and spirit. While Symbolists idealized the "poète maudit," a creative, mad genius exhibiting an emotional state of heightened awareness and "passionate discontent," female artists displaying similar symptoms were dismissed as hysterical.

Art historian Patricia Mathews traverses the artistic, social, and scientific discourses of fin-de-siècle France in order to illuminate the Symbolist construction of a feminized aesthetic that nonetheless excluded female artists from its realm. Along the way, Mathews proffers important new readings of the art of such Symbolists as Gauguin, van Gogh and Moreau, as well as that of their female contemporaries Camille Claudel and Suzanne Valadon. Passionate Discontent is an important contribution to art historical and women's studies.

Transfer, Memory, and Creativity was first published in 1972.Dr. Haslerud, a psychologist, presents a valuable new theory of the transfer of learning, a theory which provides new insights into a neglected aspect of the psychology of learning. The findings and conclusions of his work have important implications for the problems of education, especially in view of today’s urgent need to improve the results of schooling.Through his concept of after-learning (the learning which takes place after the period of formal learning has ended) as a perceptual process, the author has succeeded in identifying factors or conditions which have tended to limit transfer of learning to boundaries of the literal and to prevent a progression to creative achievement. Dr. Haslerud contends that previous theories of the transfer of learning have been either irrelevant or insusceptible to specific application. With the new theory and its deductions, he points out, all learning can become relevant.Using several new constructs in his theory, Dr. Haslerud spells out the assumptions and definitions of terms which are changed by the perceptual view, supporting them in part by experimental evidence and suggesting ways in which hypotheses which are still provisional may be tested.The book is important for concerned citizens and school and college administrators who are seeking better educational outcomes as well as for educational and other psychologists who research and teaching involves learning theory.

What do expert drummers do? Why do they do it? Is there anything creative about it? If so, how might that creativity inform their practice and that of others in related artistic spheres? Applying ideas from cultural psychology to findings from research into the creative behaviors of a specific subset of popular music instrumentalists, Bill Bruford demonstrates the ways in which expert drummers experience creativity in performance and offers fresh insights into in-the-moment interactional processes in music. An expert practitioner himself, Dr. Bruford draws on a cohort of internationally renowned, peak-career professionals and his own experience to guide the reader through the many dimensions of creativity in drummer performance.

In this bold, innovative work, Dorinne Kondo theorizes the racialized structures of inequality that pervade theater and the arts. Grounded in twenty years of fieldwork as dramaturg and playwright, Kondo mobilizes critical race studies, affect theory, psychoanalysis, and dramatic writing to trenchantly analyze theater's work of creativity as theory: acting, writing, dramaturgy. Race-making occurs backstage in the creative process and through economic forces, institutional hierarchies, hiring practices, ideologies of artistic transcendence, and aesthetic form. For audiences, the arts produce racial affect--structurally over-determined ways affect can enhance or diminish life. Upending genre through scholarly interpretation, vivid vignettes, and Kondo's original play, Worldmaking journeys from an initial romance with theater that is shattered by encounters with racism, toward what Kondo calls reparative creativity in the work of minoritarian artists Anna Deavere Smith, David Henry Hwang, and the author herself. Worldmaking performs the potential for the arts to remake worlds, from theater worlds to psychic worlds to worldmaking visions for social transformation.