Emphasizes that change, rather than stability, is the norm in organizations. Impact of change on norms; Points raised regarding anchors; Explanation of the matrix of the control process of change; Two fundamental prescriptive aspects to acid management on Mars.

This paper considers the methodological implications arising from competing narratives of an organizational change process in a large acute city teaching hospital. This qualitative case study was informed by a processual-contextual perspective, and relied on an interpretive, constructivist epistemology. Two forms of contradiction are revealed. First, differing accounts were offered of substantive dimensions of the change programme. Second, the impact of change on organizational effectiveness was indeterminate. This study suggests that the unitary, authentic narrative is illusory. Political motivations underpinning account-giving, and phenomenological variations in the lived experience of change, make competing narratives a naturally occurring phenomenon, not a methodological aberration. These findings have two main implications. First, case narrative validation through triangulation should be abandoned in favour of the pursuit of polyphony and ambiguity. Second, the researcher faces the choice of being either an arbiter of accuracy, or of holding the less comfortable, more challenging, but creatively constructive role of exposing organizational tensions, disputes and contradictions.

Traditional structural-functional approaches to organizational change, as well as critics of those approaches, often offer overly structured and rationalised views of how change occurs. This paper attempts to build upon processual studies of change and critiques of overly hegemonic views of managerial control by seeking to capture the complex, emotive and fluid character of organisational 'changing'. In pursuit of this aim, the paper documents these characteristics of change through a personalised ethnography of a micro-incident -- a critical change meeting -- in an Australian steel making plant undergoing cultural change. In conclusion, it is argued that even the more sophisticated studies of the emergent process-like character of organisational change fail to fully capture the ambiguous, ironic, emotional, and uncertain character of events in the 'blender' of change.

The central aim of this study is to provide a critical analysis of oppositional practices in the workplace by exploring the role of worker subjectivity in shaping and articulating contemporary strategies of resistance. First, a theoretical analysis will be presented which seeks to challenge many of the dualistic assumptions that have underpinned traditional studies of resistance. It is argued that the re-entry of subjectivity into the analysis of resistance provides a means for escaping these dualisms and retrieving the analytical and empirical significance of oppositional practices. The argument suggests that although subjectivities are indeed effects of power, and that individuals are positioned in relation to dominant discourses - and therefore constituted as having certain interests - power is not fixed and thus cannot completely or permanently determine identity. This instability of power makes apparent certain fragilities within these dominant discourses and makes them liable to threats and seductions from subject positions within different or competing discourses, it is suggested that these fractures and competing subject positions afford small but important spaces for resistance. The second half of this essay presents a detailed case study of the Acme School. Semi-structured interviews were conducted and analysed to explore the subjective experiences of resistant members of Acme toward recent government reform initiatives. Two dominant strategies were identified: 'resistance through distance' and 'resistance through persistence' and it was demonstrated that an understanding of different subjectivities is vital to appreciating how these distinct strategies emerged.

In the midst of the postmodern art tumult of the 1980's there emerged a group of artists whose artwork was outwardly focused and culturally critical in a broad Debordian sense. Focusing on the subjects of postmodern culture, critical postmodern artists depicted the "dark" side of the postmodern world from their multiple perspectives. They did this with well-crafted works that may communicate on a broader less "elitist" level. These artists are not neutral toward their subjects.