Using the play "Tamara" as a metaphor, Landrum shows how the sharing of stories helps construct an image of what is happening in the athletic apparel industry. The rhetoric of Nike and Reebok from their letters to shareholders is reviewed.

The deployment of the word "predator," when used in connection with corporations, is imbued with considerable ideological baggage. More specifically, it is driven by a metaphorical imperative that serves to legitimate and "normalize" corporate activity.

This paper looks at a theoretical framework recently developed by Paul Jackson (1997) that adopts the information systems metaphor as a means to understand the representational aspects of organisation. Jackson’s approach particularly highlights the role of information systems (IS) in the representation of space and time and the depolitizisation of organisational space and time. However, this paper suggests that the framework can be improved even further, especially through a fuller consideration of the works of Cooper (1992) on displacement, abbreviation and remote control, and Zuboff (1988) on the concept of ‘informate’. After the modified framework is presented, it is then illustrated by reference to an empirical piece of research undertaken within a major UK business (referred to as CallCentre). The research focuses on problems encountered within a call centre structure where information systems are being applied to automate many of the processes involved in servicing customers. One of the major issues emerging from the analysis is the value of creating representational space within which stakeholders can negotiate meanings. It is suggested that this activity will present a significant challenge to the dominant ideology of managerial control.

Swigert retells the story of "The Wizard of Oz" in such a way that the reader is both protagonist and audience, and by doing so examines the nature of ambiguity. Dorothy's trip to Oz might be an apt metaphor for political action in the light of the events of Sep 11.

In this essay, it is argued that postmodernism has acquired an organisational theory, and it is accepted that the tools of postmodernism can be translated into the workplace. It has been proposed that postmodern tools are merely a means of oppression, following a lineage as old as organisations themselves. It has been negative and doom-laden in tone, with management potentially wielding the power of the resource metaphor over the subjected employees.

This paper investigates the notion of corporate social responsibility. The focus is on analyzing, using different semantic tools, the perception that companies have of their social responsibility as well as the action plans that they initiate in this field. Based on four institutional communications produced by the companies, we establish various levels of reading thanks to narrative analysis and to metaphors, in particular of the fuzzy borders between the map and the territory or the undulation of the positioning of the writer. The reports on social responsibility were then identified like instruments of speech seeking to praise the actions of the companies, in the form of a type of communication which one could describe as propaganda. Beyond what is said, the article aims at identifying the sense given by the corporate world to social responsibility.

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.

This article considers the storytelling metaphor of the quest to examine the challenges social entrepreneurs face when working in nonprofit organizations dedicated to improving the human condition. Similar to the hero on a quest, a social entrepreneur can face a point of deep despair and lose confidence in the organization's mission. From this place of deep despair, the powerful images from American Blues Music as presented by bluesman Willie King, offer a vision for hope, faith and love. Accordingly, the stories found in blues music can inspire a social entrepreneur on the quest for a more just society.

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.

Recent theories of technology have argued that in order to take constructivism seriously we need to understand technologies as organizational texts, replacing the study of technological artefacts with an appreciation of the ways in which these ‘texts’ are read, or interpreted, in specific situations. Whilst such approaches offer an effective critique of determinism in explanations of technological change, they also raise some interesting questions around the nature of the human subject which have been given a less comprehensive treatment in the literature. This paper contributes to the development of a thoroughgoing antiessentialism in theories of technology and organization by considering Deleuze and Guattari’s radical constructionist critique of the subject. Placing the technocentric metaphor of ‘the machine’ at the heart of subjectivization, Deleuze and Guattari’s decentring of the human subject offers a fully symmetrical anti-essentialism, capable of accounting for the non-human forces at work in the constitution of human subjectivity.

What would have happened if the strategy concepts were not based on Clausewitz but on Sun Tzu for example? To answer this question, we recommend using metaphors with a certain number of precautions, which have to be respected. The key concepts of Ki, Kokyu and Ma-ai serve to better define the notions of energy, flow of energy and distance/time/space relationships. Each of these has its practical application in the management of an organization, enabling us to conclude by proposing a new vision of the company and its links with its environment.

This paper explores how assigning software developers the identity of “engineers” metes out specific assumptions about IT projects. To this end, the paper describes an alternative metaphor of programming as art, which is commonly used by the programmers interviewed. In addition, the discussion draws conclusions from the discrepancies between the two views as well as from the proposed metaphor, explaining organizational reluctance to aesthetical vocabulary. This paper discusses occupational identity—emphasizing the identity of programmers—using qualitative research methods. As such, it enriches the literature currently available on this profession.

This paper explores the aesthetics of ethics through an examination of Aotearoa/New Zealand’s Treaty of Waitangi. Through the metaphor of the carver, we demonstrate that instrumentality, ethics and aesthetics work together in a fluid state of play that provides the means to achieve the partnership relationships inherent in the Treaty. We claim that the theory of tensegrity allows for contestations surrounding meanings of the Treaty’s intent and opens a space for growth and development. This is illustrated by the March 2010 signing of a memorandum of understanding between Bay of Plenty iwi and Tasman Pulp and Paper which affords both parties with a means to work productively together for their mutual benefit. This contemporary illustration is compared with the construction and carvings of the Te Tiriti O Waitangi Whare Rūnanga which demonstrate in a tangible way how aesthetics and ethics work together to build community solidarity among people of diverse backgrounds.

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.

Poetry and its use in the workplace has seen a growing interest in recent years, being used as a way to help those who work in organisational settings to explore and tell their stories. These can speak directly to individuals through the works of others or can emerge from organisational contexts to enable them to make sense of their own particular situations. Poetry has been used to explore, for example, organisational management practices, leadership, performance management, and to aid creative development and problem solving. It has also provided a means for individuals to understand how they interact with their organisational settings, or in some cases as a way to undertake research. Those who write poetry engage in the world as a way to allow their voice and those of others to be heard, as they explore and come to terms with their situated reality. This paper will therefore discuss the use of poetry in the workplace, before presenting three poems that use memory and metaphor to engage with organisational realities. It will then offer reflections and implications for organisational studies, before concluding that poetry provides a way to explore the hidden worlds of organisations that are often ignored or remain silent in the milieu of the taken for granted organisational rhetoric, and conversations.