This paper argues that conventional patriarchal representations of the organisation reduce the notion of "organisation" to abstract relationships, rational actions and purposive behaviour which always and relentlessly presents itself as a quest for the good. In this context, regulation and control is achieved primarily via definition and location. Administration then functions in a very specific sense to establish a notion of "good"order, to establish what is "ordinary"in administrative and managerial practice. In contrast, this paper seeks to explore ways in which it is possible to restore the (m)other to the text of organisation, to restore the body. Consequently, the paper considers the possibility of a discourse of maternity and moves from this position to examine conceptions of matrix reproduction and conditions of exile. The paper concludes with a challenge to conventional notions of "good" management and a consideration of the implications of this for the political in organisational life.

Discusses articles on management and conception of goodness. Relationship between management and goodness; Opposition to Aristotelian notions of the good; Discussion on the conventional patriarchal representations of the organization.

This paper is concerned with the theatre of organisational life. It gives particular attention to the work of the playwright Antonin Artaud and his relationship with the Roman Catholic Church. In every aspect of his life, Artaud was a man of extremes. His attempts to theatricalize his personal tortures and to find expression for them are excessively brutal and intensely physical. His relationship with the Catholic Church is likewise passionate and one of extremes. From daily communicant to heretic and blasphemer, back to communicant, then to repudiator, is a pattern of oscillation which runs throughout his life. His theatrical works reflect this tension. In later life, he comes to believe that he himself was crucified as a punishment for his disordered life. At times in his life he seems to crave the community of the Church and other times to despise the moral order the Church imposes on him. This paper attempts to look at Artaud's desire to examine experience in its raw state. The paper concludes by considering the way in which this oscillation is apparent in ambivalent attitudes to the organising power of the corporation and in the quasi Catholicism of organizational rituals and performances.

This paper is about estrangement, about exile: about waiting to be called into existence. Waiting. In transit. Homesick. Lost. The paper offers an attempt to examine the position of women as foreigners, as strangers in a male world. Despite the criticisms of Kristeva's work for its lack of attention to class, gender and race, her ideas have currency for the examination of these areas. Other criticisms have mentioned the extent to which she deals with her own subjectivity in her writing. However, this seems to be a very unreasonable criticism. It is precisely Kristeva's own experiences which makes her supremely capable of this particular analysis and, for me, it works to open up not only a gendered space but also a class wound.

This paper is about estrangement, about exile: about waiting to be called into existence. Waiting. In transit. Homesick. Lost. The paper offers an attempt to examine the position of women as foreigners, as strangers in a male world. Despite the criticisms of Kristeva's work for its lack of attention to class, gender and race, her ideas have currency for the examination of these areas. Other criticisms have mentioned the extent to which she deals with her own subjectivity in her writing. However, this seems to be a very unreasonable criticism. It is precisely Kristeva's own experiences which makes her supremely capable of this particular analysis and, for me, it works to open up not only a gendered space but also a class wound.

The author explores the valorization of reflection by arguing for a reassessment of the use of reflection. She also discusses the implications of the notion of the parergon for the nature of the frame, definition and liminality. The author draws on blindness and seeing, on blindness and reflection, and writes about the body, the flesh, the resistance that is in the touch, and in the recovery of the physical as counterpoints to the passivity of reflection.