This discussion piece sets the tone for this new journal in its narrative presentation form. It will run over two issues and is open to include feedback from readers. In debating the case for TAMARA to represent either a) a postmodern science approach to organisational analysis or b) a postmodern aesthetic appreciation, the two participants reflect on the relevance of critical theory to their life and work. Hence rather than the intellectual exchange taking place in a disembodied form, they situate their intellectual history via issues of social location and lived experience. They reflect on the integral connection between theory and practice with the objective of furthering their commitment to effecting social change. The first short article takes the form of initially introducing the authors and then moves to a discussion of the role of critical pedagogy. The detailed references to teaching content are broached in order to demonstrate the efficacy of critical analysis for pedagogical purposes; not to focus on the relative achievement of the individual lecturers involved. The second longer article entails a debate of central relevance to the Journal, addressing: what type of orientation a critical postmodern analysis of organisational politics might take? The discussion begins with a dialogue between the two protagonists on the pros and cons of adopting a scientific approach. The focus then switches to situating the plurality of postmodernism; analysing the `affirmative' versus `sceptical' opposition. The contribution of the `White French Pomo Boys' is interrogated in relation to the late modernist thesis. Finally, Boje proposes an eclectic integration between modernist and postmodernist influences in the name of `narrative ethics'. Bissett responds, outlining the dilemmas of employing unreconstructed narratives. She deconstructs the notion of the aesthetic as a modernist cultural category, in order to propose a postmodern `political poetic' alternative..
In writing my response, I have chosen a somewhat different tack from the norm. I want to write what the articles moved me to write - not a scholarly criticism, but what the articles caused me to feel, to think, to believe, to express. Essentially, I want to genuinely respond. My response takes the form of what I believe "we" should do in response to David Boje's Tamara Manifesto and to the other articles as they stand as examples of what critical postmodern organization science can do.This I Believe.
Tamara: Journal of Critical Postmodern Organization Science is an interdisciplinary dialog whose time has come. In their Communist Manifesto, written in late 1847, Marx and Engels wrote, "A spectre is haunting Europe - the spectre of communism. All the powers of old Europe have entered into a holy alliance to exorcise this spectre: Pope and Tsar, Metternich and Guizot, French Radicals and German police-spies" (published 1848). The purpose of this essay is to combine Critical and Postmodern perspectives in the study of Organization Science.
TAMARA: Journal of Critical Postmodern Organization Science is about free speech and the relationship between science, organization, critical theory, global power, and postmodern culture.
I am by nature a postmodern storyteller. So I will begin Tamara with a story about conversations.
The TAMARA MANIFESTO defines how various knowledge areas intermingle in the dialogs of Tamara; in my editorial I explain how Tamara is the Mansion of Science with many rooms. Here I provide one founding story.
I will contrast one poet who adores Nike with a guitar poet who sees tragedy there.
Acquenetta Taylor is a Nike fan and Randy Granger is the critic.
An editorial notes people are witness to the metamorphosis of late capitalism, the interpenetration of post-industrialism with postmodern culture. The athletic apparel industry is a Tamara of stories.
This is a reply to an essay that John Krizanc sent to me. Krizanc (1989) is also the author of the Tamara play. I have applied Tamara to organizing (Boje, 1995). Here I want to look at some of the consequences of interactive organizing that is theorized as a postmodern narrative.
Producers and consumers meet in the narrative space we call 'organizing.' As Roland Barthes (1970) put it, “the goal of a literary work is to make the reader no longer a consumer but a producer of the text” (S/Z). In questioning the position of the narrative in relation to the producer and consumer of organizing, this essay challenges the role of consumer sovereignty that makes consumers the sole authors of organizing.
John Krizanc is the author of the Tamara Play, after which the journal is named. The interview explore the relationship between aesthetic and ethics, how the artist makes comprimises to get a project like Tamara to appeal to an audience more interested in entertainment spectacle than socioeconomic or political commentary.
Stories as sensemaking opportunities both support and are supported by interpersonal relationships. Deconstructing the traditional views of stories as necessarily constrained to a linear form with transparent and fixed beginning, middle, and end, we extend the metaphor of free stories to include the emergent and improvisational freedom to both express ourselves and to respect one another.
The Enron collapse highlights the need to study how corporations implement strategy. How was Enron so successful in this age of free information? Our thesis is that Enron dramaturgically implemented strategy through associative delusion. Enron used theatre in three ways we term "Metatheatrical": (1) as a technology to persuade, or associate, (2) a fagade to deceive, or delude, and (3) a metaphor in the important sense of Shakespeare's Life is Theatre. Their use of theatrical tools has implications for agency and transaction cost theories in how organizations can reduce transaction and production costs. Our synthesis contributes to the understanding of organizational boundaries through the development of winning scripts.
Once upon a time I made a promise to my dad (Daniel Q. Boje), to study the relationship between the presidency and the oil industry. This was before the Afghanistan and Iraq wars, and before Enron became scandalous. It turns out that Enron was a major contributor to the Bush campaign (for governor, then President), than Enron executives wrote much of the U.S. energy policy, and that Bush's wildcat oil ventures induded Enron as a financial partner. All this is now well known.
These articles are about the currencies of sensemaking. Currency has a double meaning. First it means value in interpersonal or interorganizational exchange. For example, stories are the primary sensemaking currency in exchanges. Secondly, currency means currents, as in flows that pull swimmers, boats and debris where the current takes it.
In San Antonio in March 2004 David Boje, President-Elect of the International Assembly of Business Disciplines (IABD), was asked to resign by the IABD President. David responded that he would not resign since he is quitting and moving the Organizational Theory (OT) Track to a new organization the Standing Conference for Management and Organization Inquiry (Sc’MOI).
Boje feminism is an alternative to Foucault feminism. One difference is Foucault feminism is discursability formation, whereas Boje feminism is storyability formation of the body, its discipline, and the power/knowledge relationship. A second difference is where as Foucault Feminism is about micropolitics of power/knowledge, Boje Feminism is far wider focus on macropolitics, even global sociopolitics of late modern capitalism. This parallel storytelling develops the differentiation between collective memory groups (gender, race, socioeconomic, class, etc) construct out of direct experience, and what Hirsch (1999) calls 'postmemory,' such as the trauma children of survivors of Holocaust live with. My feminism enters into investigation of trauma events women endure in sweatshops is possible for me, because of its resonance with my own trauma as a soldier in the Vietnam War. I explore here why this is so for me. This article is presented in left and right column, my column and her columns. After a bit of standard introduction. the columns are meant to intervibrate, to resonate, to interpenetrate, one another, as two voices, as many voices within me and her
I am researching the five versions of the Manet series on the Execution. Believe it or not, the paintings (and a lithograph I am still searching for) are the subject of heated debate in visualization, historical narrative, and painting research. My contribution is to argue that Manet's visual aesthetics is coming into vogue, and a two traditional aesthetics (empire and traditional monarchy) are declining, being revised, and the official aesthetic is resisting with acts of censorship because of Manet's critique of empire. There are competing aesthetics theorists, such as Bataille (1955), Larsen (1990), and Wilson-Bareau (1992) who argue different ways of viewing the aesthetics of Manet's 4th painted version of “The Execution of Maximilian” (see Version 4).
We propose in this article to take a story approach to organizational analysis. This implies that organizational life is perceived as polyphonic, equivocal, dialogical, unfinished and unresolved. We describe this approach as antenarrative inquiry in that it seeks to question established truths and moralities embedded in the narratives of the present. Antenarrative inquiry thus suspends beginnings, middles and ends in narratives and gives room for other voices. We propose Foucault’s power analysis, genealogy, as a method for antenarrative inquiry. We demonstrate the ideas of genealogy by relating it to Ricoeur’s work on narrative and time where experience is portrayed as a mimetic circle where endpoints lead back to pre-narration. We argue instead that organizational life is result of complex chains of interactions, negotiations and struggles. Genealogical scrutiny thus shakes up the mimetic circle and opens up for new interpretations of organizational life by revealing the power relations embedded in the conditions in which this life is storied and re-storied.
Freidrich Nietzsche has declared an ‘excess of history.’ History is not being crafted for the purpose of life. Nietzsche posits three kinds of history: antiquarian (excessive concern for the past as just trivia about heroes), monumental (emerging history of becoming that is being stifled), and need for critical history (a resistance to antiquarian that can degenerate into skepticism and cynicism). My purpose is to develop the three modes of past into a critique of retrospective narrative and point to its antithesis, living story of becoming. Organizations suffer from an excess of retrospective narrative history. The antidote is a methodology we at STORI are calling ‘story noticing.’
Traditionally, strategic messages were communicated through the power of text and financial measures. Over the years, with an increased use and evident impact of aesthetics, such as art, corporations began to incorporate imagery in strategic messages to strengthen their persuasive power. The addition of this creative use of art has also brought interest in strategy analysis to help uncover those hidden messages and identify marginal but living voices, in other words, antenarratives. In the role of a strategy spectator, understanding the signals for corporate strategic inflection prior to its occurrence is essential when calculating a company‘s future performance. These signals are never handed to you. They are hidden and cannot be identified by accepting the face-value of the dominant and apparent organizational voices, delivered through corporate documents. When a spectator is swooped into the organizational dominant storyline, he/she becomes part of the grand narrative and loses his/her critical perspective. Instead, strategic inflection signals should be identified through organizational antenarratives, uncovered in the deconstruction of an organization‘s strategy storytelling. Deconstruction of imagery, as a new complementary method to text and financial reporting embedded throughout corporate documents, helps strategy spectators understand a more abstract and less obvious side of strategy authors‘ strategic intentions. In the case of Motorola, this paper will demonstrate how imagery has been incorporated into organizational storytelling and how deconstruction could help strategy spectators make sense of and potentially anticipate strategic inflections.
Ivy DuRant passed away on December 18th 2011 at 10:15 PM. I am the mentor for her dissertation at Colorado Technical University. I wish to raise a question for ‘Consentology’ an original theory put forth by Krisha Johnson Coppedge, Ivy’s good friend, at the 2011international meetings of Research Methods Division of Academy of Management held in Lyon France. I want in this essay to give some sense of the Heart of Care we her colleagues have about getting Ivy’s writing into print, and interpreting it with genuine understanding of Ivy’s life-path, and her lifetime. This is therefore about ontology of life, her life, Being-here with us, for-a-while, and tarrying-a-while as Martin Heidegger (1962, 2009) puts it.