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In a world where commerce and culture are still somewhat estranged, the purpose of this paper is to show that high culture’s supreme exponents were commercially minded masters of marketing.

Historically situated, the paper adopts a biographical approach to the making of modernism’s literary masterworks. It focuses on Ezra Pound, T.S. Eliot and James Joyce, who were responsible for the modernist classics, Ulysses and The Waste Land.

The analysis identifies five fundamental marketing principles that appear paradoxical from a traditional, customer-centric standpoint, yet are in accord with latter-day, post-Kotlerite conceptualisations. The marketing of modernism did not rely on “modern” marketing.

If, at the height of the anti-bourgeois modernist movement, the “great divide” between elite and popular culture was bridged by marketing, there is no reason why contemporary culture and commerce cannot collaborate, co-operate, co-exist, coalesce.

The paper complements prior studies of “painterpreneurs”, by drawing attention to the marketing of literary masterworks.

Twenty years ago, Hindy Schachter (1989) posed a question about the foundation we use to structure the Public Administration theory narrative. Would an approach based on an art model, rather than the more common science model, produce a narrative with less distortion? This essay employs a definition of modernism developed by Thomas Vargish and Delo Mook outside the purview of public administration and a famous M. C. Escher lithograph as a basis for proposing an alternate way to construct the narrative. It then applies the alternative approach to Frederick Taylor and Elton Mayo.

The terms cyprus, conflict, crisis and war have been almost inextricably intertwined throughout the history of this Mediterranean island. The education system played an important role socially and school buildings played an important role visually first in the dissemination of nationalism when the ethno-nationalist movements within the turkish and greek-cypriot communities increased dramatically under British colonial rule (1878-1960), and later in the dissemination of internationalism in the mid-twentieth century. Despite the increased conflict and nationalism, which was reflected by neo-greek architectural elements, the striking impact of the international style turned school buildings into representations of the communities' attitudes towards modernism. By the mid-1940s these attitudes towards modernism also served as a latent way for communities' identity struggles and for the sovereignty of each community to exist. After world war ii the style embodied by many school buildings conveyed science-based modern thought; modernization attempts for political, economic and social reforms; and the strong commitment of the first modernist cypriot architects to the spirit of the time and the philosophy of the modern. Under this scope, postwar school buildings in cyprus are identified as unique artifacts transformed from an ‘ethnicity-based' image into an ‘environment-based' form that is more associated with the modernization, decolonization and nation-building processes from which local nuances of mainstream modernism emerged. At this point the modernization process of the state, identity struggles of the communities and architects' modernist attempts could be interpreted as providing a fertile ground for new social and architectural experiments, and could answer questions about how postwar school architecture managed to avoid reference to historical, ethnic and religious identities when there was an intentional exacerbation of hostility between the two ethnic communities and about school buildings predominantly followed principles of the international style even though both the greek and turkish-cypriot education systems were instrumental in strengthening local nationalisms and even ethnic tensions.

Explores the relationship between new trends in management thought (e.g. corporate culture, the Excellence literature) and postmodernist ideas. Argues that a central theme of postmodernism is the de‐differentiation of the spheres of economy and culture. Suggests that this theme is present in new management philosophies that celebrate the virtues of play, flexibility and indeterminacy. But that this celebration is partial and instrumental as, paradoxically, it is intended to extend the life of modernist institutions.

There is growing interest by marketers in historical accounts that paint early female artists as entrepreneurial marketers. The purpose of this paper is to challenge the traditional view of entrepreneurship to incorporate a feminist theory of cultural entrepreneurship by considering the role of two female artists.

Using calls for historical research and new methods of enquiry in marketing, this paper traces early female artists and applies modern entrepreneurial theory to their marketing methods to identify their innovation, adaptability to change and planned marketing approach.

The paper suggests that entrepreneurial marketing is fused with the artists’ persona resulting in their celebrated status being widely recognised. It contributes an important fresh body of knowledge to the wider entrepreneurship debate by offering a new model of cultural entrepreneurial marketing. The three concepts of innovation, adaptability and marketing approach have not previously been applied to link women artists as entrepreneurs, however, this article argues that there is plenty of evidence to do so.

While these artists are Australian (which could be seen to be a limitation), the art market is indeed international. In this respect, these artists join a longer international history as producers and consumers involved in entrepreneurial organisations from early days.

The artists’ significance falls within the context of emerging modernism, feminism and cultural identity during the 1920s and 1930s in Sydney, Australia. It is combined with and explains the actions and the success of two female artists’ unusual marketing approach. It is of value to readers interested in historical context regarding equality in the visual arts.

The “risk society” presents a considerable challenge to current understanding of the question of risk and the task of organisational leadership. Beck has proposed that we, in late modernity, are moving from an industrial society to a risk society, which requires a corresponding shift from modernism to reflexive modernism. A brief discussion of the risk compensation ideas of Adams will be used to bridge to some observation about how humans approach and understand risk in our society. Four stances towards risk are used as a basis for considering the modes of leadership associated with each of them. It is argued that this provides a starting point from which leadership theory may be extended from its mainly intra organisation perspective to include critical reflexiveness in an inter‐ and extra‐organisational framing. This goes beyond social responsibility to include a critical attention to how a risk society requires leadership to be construed in institutional terms.

Draws a distinction, via the edited text of an interview, between a sociology of postmodernity and postmodernism: the latter has an emphasis on theory and its intertextuality while the former would focus more evidently on discontinuities in the empirical world which serve to mark a difference from the ways in which that world has been appropriated and appreciated through a more modernist perspective. For organization theory the difference is articulated in particular by the awareness that there are now counter‐factuals available to challenge some predominant assumptions about the way in which organization occurs. The assumptions have a predominantly “Western” basis; some elements of the challenge come from an increasing knowledge of the specificities of Asian practice. A crucial axis for comparison between relevant tendencies towards “modernism” and “postmodernism” is that of “differentiation”. Proposes that modernist tendencies are towards the increase of differentiation, postmodern towards the increase of de‐differentiation – the throwing into reverse of the tendency towards differentiation. Considers contrasting models of what a postmodern, de‐differentiated future might look like in terms of their democratic potential.

This special issue explores how marketing thought and practice have contributed to systemic racism but could alleviate racially insensitive and biased practices. An introductory historical overview briefly discusses coloniality, capitalism, eugenics, modernism, transhumanism, neo-liberalism, and liquid racism. Then, the special issue articles on colonial-based commodity racism, racial beauty imagery, implicit racial bias, linguistic racism and racial imagery in ads are introduced.

The historical introduction is grounded in a review of relevant literature.

Anti-racism efforts must tackle the intersection between neo-liberalism and racial injustice, the “raceless state” myth should be re-addressed, and cultural pedagogy’s role in normalizing racism should be investigated.

To stop perpetuating raced markets, educators should mainstream anti-racism and marketing. Commodity racism provides a historical and contemporary window into university-taught marketing skills.

Anti-racism efforts must recognize neo-liberalism’s pervasive role in normalizing raced markets and reject conventional wisdom about a raceless cultural pedagogy, especially with the emergence of platform economies.

Little previous research has tackled the history of commodity racism, white privilege, white ideology, and instituting teaching practices sensitive to minority group experiences.