This paper presents an analysis of how the narratives of medical professionalism have changed historically based on doctor’s autobiographies. Three different phases of narrating professionalism have roughly been distinguished. The first is marked by the struggle to professionalise medicine itself. The second is the Phase of Normality where the legitimization of medical professionalism is self-evident in the face of societal crises such as epidemics. In the Phase of Crises the authoritative doctor is no longer the legitimate source of medical decision-making. In this situation, the will and wellbeing of the individual patient is found to be a key element in how doctors themselves legitimise their actions. Key-result is that we do not interpret the described change in narrating medical professionalism as de-professionalization, but in contrast that precisely the accentuation of the patient’s perspective is the modality to recover the crisis of medical professionalism and secure it in a new form.

In the form of hip hop lyrics, this research-creation tells the story a grant application writing process as a feature of neoliberal, academic capitalism. The lyrics draw attention to institutional and organizational features of the modern academic workplace, including the effects of performance evaluation structures and the financialization (Billig, 2013; Giroux, 2015) of academic work. It also highlights the intensification of work caused by bureaucratization – not only by the workplace, but by external granting agencies who exert varying degrees of control over academic labour.

The ‘Polyphonic Organisation’ is an emerging root-metaphor for the multiple voices that constitute an organisation. In this article, we explore the narrative concept of the ‘chronotope’ as a feature of the ‘polyphonic organisation’. The ‘chronotope’, in a general sense, refers to the matrix of time-space-value in organisations. We argue that the chronotope is important because it introduces boundaries between voices within organisations and helps to explain the difficulties in getting to dialogue with voices in different spaces in the ‘Polyphonic Organisation’. More particularly, there are multiple kinds of chronotopes which lead to different kinds of time-spaces matrices within the polyphonic organisation. Our aim is to examine chronotope crossings within polyphonic organisations as part of the work of being heard. This is a theoretical argument drawing significantly from Bakhtin’s work on chronotope. To examine the argument in practice we draw on original fieldwork within the comedy industry. Here we found three kinds of chronotopes: 1) The comedy-offense boundary; 2) The commissioning landscape 3) Platform spaces. We also found that moving within and between these involved a variety of adventures in experience (such as hope and disappointment), which also have their own specific chronotopes. Overall, we argue that the polyphonic organisation is significantly enhanced as an organisational concept through a turn to the role of chronotope. This is because chronotope helpfully describes the barriers and porous boundaries between voices.