What makes a society innovative?   Tracing the story of five great civilizations, from ancient Egypt, Greece and Rome, to the Middle East, Europe, the United States and China, this book will tell you. History offers us a model and lessons for what can be done right, and it shows how once mighty and innovative societies can fall. The story here departs from pundits who believe that the Western or American-style political and legal system is uni­versally best for economic success. At various times China, the Middle East and elsewhere were the great engines of innovation; later leadership passed to Europe and the United States. As some places rose to the top of science and technology, others fell away. And some, like China, rose again.   The lessons of history are clear. Centers of innovation learn from and borrow ideas, prac­tices and technologies from elsewhere. They adapt ideas and practices to add new value. They activate strengths of their population through education, cultural openness, and access to financial resources. They build strong institutions that pursue new knowledge and reject orthodoxy. At a time when the world seems to be closing doors to the talented and pulling back from global engagement, when suspicion of the foreign is running high, we may be losing the essential traits that make for innovation, the most important of all assets for the future of the human race.

In this pioneering volume, experts in individual and collective trauma experience, post-traumatic stress and related syndromes, and emergency and crisis intervention share their knowledge and insights into working with ethnic and racial minority communities during disasters. In each chapter, emotional, psychological, and social needs as well as communal strengths and coping skills that arise in disasters are documented.

In this pioneering volume, experts in individual and collective trauma experience, post-traumatic stress and related syndromes, and emergency and crisis intervention share their knowledge and insights into working with ethnic and racial minority communities during disasters. In each chapter, emotional, psychological, and social needs as well as communal strengths and coping skills that arise in disasters are documented.

Ninety poems by Martial, the first-century a.d. epigrammatist, are presented, with commentary, in this edition. Selected on the basis of their thematic importance, these concise poems provide an unique opportunity to interpret a significantly neglected author. The book considers the sociocultural and historical matrix from which the epigrams sprang and the Roman love of personal invective which sustains and enlivens a major portion of Martial's work.

Marcus Valerius Martialis, or Martial (born between 38 and 41 CE, died between 102 and 104 CE) is celebrated for his droll, frequently salacious, portrayal of Roman high and low society during the first century rule of the emperors Domitian, Nerva and Trajan. Considered the 'inventor' of the modern epigram, Martial was a native of Hispania, who came to Rome in the hope of securing both patronage and advancement. From the bath-houses, taverns and gymnasia to the sculleries and slave-markets of the capital, Martial in his famous Epigrams sheds merciless light on the hypocrisies and sexual mores or rich and poor alike. Lindsay C and Patricia Watson provide an attractive overview - for students of classics and ancient history, as well as comparative literature - of the chief themes of his sardonic writings. They show that Martial is of continuing and special interest because of his rediscovery in the Renaissance, when writers viewed him as an incisive commentator on failings similar to those of their own day. The later reception of "Martial", by Juvenal and others, forms a major part of this informative survey.

Marcus Valerius Martialis, or Martial (born between 38 and 41 CE, died between 102 and 104 CE) is celebrated for his droll, frequently salacious, portrayal of Roman high and low society during the first century rule of the emperors Domitian, Nerva and Trajan. Considered the 'inventor' of the modern epigram, Martial was a native of Hispania, who came to Rome in the hope of securing both patronage and advancement. From the bath-houses, taverns and gymnasia to the sculleries and slave-markets of the capital, Martial in his famous Epigrams sheds merciless light on the hypocrisies and sexual mores or rich and poor alike. Lindsay C and Patricia Watson provide an attractive overview - for students of classics and ancient history, as well as comparative literature - of the chief themes of his sardonic writings. They show that Martial is of continuing and special interest because of his rediscovery in the Renaissance, when writers viewed him as an incisive commentator on failings similar to those of their own day. The later reception of "Martial", by Juvenal and others, forms a major part of this informative survey.

Juvenal's sixth Satire is a masterpiece of comic hyperbole, an outrageous rant against women and marriage which, in its breadth and density, represents the high point of the misogynistic literature of classical antiquity. The Introduction situates Juvenal within the wider tradition of Roman satire, interrogates afresh the poem's architecture and recurrent themes, shows how Juvenal systematically attributes to his monstrous women the inverse of the Roman wife's canonical virtues, traces the various literary currents which infuse the Satire, and lastly addresses the much-discussed issue of the poetic voice or persona from a sociohistorical as well as a theoretical perspective. Above all, the commentary strives to locate Juvenal in his historical, literary and cultural context, while simultaneously affording assistance with the nuts and bolts of the Latin, and always keeping in view two key questions: what was Juvenal's purpose in writing the Satire? How seriously was it meant to be taken?

Juvenal's sixth Satire is a masterpiece of comic hyperbole, an outrageous rant against women and marriage which, in its breadth and density, represents the high point of the misogynistic literature of classical antiquity. The Introduction situates Juvenal within the wider tradition of Roman satire, interrogates afresh the poem's architecture and recurrent themes, shows how Juvenal systematically attributes to his monstrous women the inverse of the Roman wife's canonical virtues, traces the various literary currents which infuse the Satire, and lastly addresses the much-discussed issue of the poetic voice or persona from a sociohistorical as well as a theoretical perspective. Above all, the commentary strives to locate Juvenal in his historical, literary and cultural context, while simultaneously affording assistance with the nuts and bolts of the Latin, and always keeping in view two key questions: what was Juvenal's purpose in writing the Satire? How seriously was it meant to be taken?