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The paper draws extensively from Aristotle’s Poetics, a classical work on the aesthetics of drama. Drawing from symbolic and thematic elements from folklore and mythology, this paper aims to illustrate how the Poetics can be referenced as an allegorical device in the design of culture-building strategies and interventions.

This exploratory paper examines Aristotle’s “Poetics” and the range of creative expression this literature provides as a conceptual design framework for the development of a culture map in creating a distinctive organisational mythology. The Poetics articulates an Aristotelian perspective on theatre which infuses itself as a new language in offering structural and archetypical plot devices in the development of an organisational narrative.

Findings from this explorative study can provide a creative roadmap to culture practitioners and leaders, to be used as a determining reference point in developing culture maps and change management interventions.

Poetics has its detractors, notably Bertolt Brecht and Augusto Boal. Boal examines how Poetics promotes a narrative that suppresses free thinking and encourages a cult of feudal personality, therefore encouraging industrial and cultural oppression, which he rebelled against through the development of his “Theatre of the Oppressed”. This new kind of theatre discarded the Aristotelian model of thinking. Ideas proposed in the Poetics may also lend verisimilitude to the propagation of obsessive consumerism through the definitive symbolism it offers in the development of institutionalised personality cults.

The Poetics as a creatively driven reflexive study provides a forward movement in the study of culture design templates. Its definitive allegorical devices and metaphors act as action principles through which an enterprise culture and its value system can be examined and developed.

This research interrogates how the construction of narratives and accounting forecasts contributes to managing the emotional state of actors involved in reporting meetings by promoting discourses of hope in their organization's future, mitigating their anxiety. This study shows how narratives are built from multiple antenarratives and accounting forecasts, which restore and strengthen organizational actors' commitment to their organizations. This study contributes to a better understanding of the role played by narratives and accounting documents in mitigating organizational members' anxiety.

Over eight months, an interventionist research design method gave one of the authors the opportunity to record discussions held during reporting meetings in a business incubator. These recordings captured the production of narratives and forecasts in these meetings.

This study shows how the production of multiple antenarratives and accounting forecasts helps organizational actors who attend reporting meetings mitigate the anxiety triggered by disappointing performance figures and restore collective discourses full of hope for the organization's future. This case highlights how personal antenarratives and successive versions of accounting forecasts contribute to restoring a collective commitment to a failing organization.

This study refines current understanding of the under-explored links between accounting forecasts, narratives and anxiety management. The study provides insight into how accounting practices contribute to the production of narratives that successfully restore organizational members' commitment to working for a failing organization. The study also exemplifies the original insights gained from interventionist research protocols.

This research is located at the intersection of communication, memetics, and the study of the imaginary. As a presupposition, we put forward the existence of a communicational imaginary, in which the contemporary person functions through their competencies in social networks, by meeting the demands of the public and the private, managing the obsessiveness of the sharing of intimacy and the exorbitant number of images. Considering memes as a significant aspect of this communicational imaginary, we seek to understand the dynamics and path of memes in the midst of this plethora of images. From the concept of iconophagy, we deal with the exacerbated multiplication of the images and the path of memes starting from a marginalized environment until it is integrated into social roles and a rational level of thought. Thus, it is the general objective of this research to understand the dynamics and the path of memes amidst the plethora of images in the context of communicational imagery and to investigate the multiplication of memes as representative of the myriad images in contemporary imagery.

This paper aims to examine how the fields of social enterprise, social entrepreneurship and social innovation have theorised and applied the concepts of narrative and storytelling.

A literature review and subsequent thematic analysis were used. A keyword search of three databases identified 93 relevant articles that were subsequently reviewed for this paper.

Four main roles for storytelling and narrative were found in the literature: to gain support for social innovation, to inspire social change, to build a social-entrepreneurial identity and to debate the meaning and direction of social innovation itself.

Following the literature review, capacities and applications of storytelling and narrative in other, related fields are discussed to highlight practical use cases of storytelling that might currently be underdeveloped in the social enterprise and innovation sectors.

The paper argues that the social innovation and enterprise literature predominantly views storytelling as a form of mass communication, while often overlooking its ability to foster communal debate and organise intrapersonal dialogue as possible aspects of strategic thinking and innovation management in social enterprise, social entrepreneurship and social innovation.

The purpose of this study is to identify LGBTQ+ perceptions of and experiences with hazards, vulnerabilities and disasters in the San Francisco Bay Area in the USA and to co-develop applied projects to “queer” disaster knowledge production and risk reduction activities in the region.

This is a community science project in which we collaborate with community members to enhance both community and scientific knowledge with the goal of utilizing it to produce a positive change to pressing social issues and their underlying causes. We do this through a series of four focus group workshops to identify community priorities, hazards, vulnerabilities and local action. We follow this with further ethnographic research and projects to apply findings from phase one.

The authors have found that: LGBTQ+ people in the Bay Area have unique experiences with hazards, vulnerabilities and disasters; there are significant gaps in the representation of LGBTQ+ hazard exposure in local scientific models that we can address through alternative methodologies; and tabletop exercises, learning modules and podcasts help orient and train disaster response agencies and personnel on LGBTQ+ inclusive operations.

This initiative entails novel approaches to community science for disaster risk reduction and creative collaboration with community-based organizations to foster the development of LGBTQ+ inclusive disaster risk reduction and response.

This study aims to demonstrate what myths of and about science are reproduced in this popular cultural work (movie – “Oppenheimer”). This is done by examining the unconscious hegemonic positions supported by the reproduction of stereotypical and mythical images of science.

Content/Text Analysis: The conceptual analysis of a cultural text – a film (“Oppenheimer”) – through a theoretical apparatus (B. Latour’s theory).

The film demonstrates its reproduction of three distinct elements. Firstly, it exhibits classic scientistic clichés pertaining to technoscience. Secondly, it highlights the replication of the individualized monomyth about the (super) hero, leading to the exclusion of the intricate conditions of technoscience’s existence. Lastly, the film aligns with the Californian ideology, as proposed by Barbrook.

The value of the text is twofold: (1) To show that the classical approaches of Bruno Latour are still relevant. (2) To show what hidden premises and myths about technoscience are being propagated through a work of pop culture (the film “Oppenheimer”) and, in effect, to show what kind of influence of cultural hegemony is at work here.

The paper redefines workplace spirituality (WS/WPS) by transcending the existential vacuum (in psychiatric terms a sense of lack of meaning of human existence and thus of work), leading to the development of workplace creativity, productivity and satisfaction, targeting operational profitability and organizational optimization.

Spirituality is analyzed philosophically, following the Nietzschean definition in response to Schopenhauer’s primordial suffering. Philosophical syncretism yields a viable organizational culture change model of spiritualizing the workplace. For this purpose, specific techniques are proposed which are combined with those already applied to various large companies and organizations.

Spirituality in the workplace acts as a catalyst for developing beneficial qualities by increasing employee job satisfaction, organizational efficiency and business profitability, when equally responding to stakeholders’ needs.

The suggested change model holistically fosters organizational, operational, individual and collective effectiveness through work place spirituality redefined.

For the first time spirituality in the workplace is discussed under a brand new perspective, resulting in an interdisciplinary emerging model, contributing to the field by providing guidance to academics and practitioners to its auspicious implementation through organizational culture change.

This autoethnographic article presents the adaptation of collage—an arts-based method traditionally used in face-to-face settings—into an online research tool. It emphasizes the increased relevance of such a transition in the wake of the digital shift and the Covid-19 pandemic. The work aims to reveal how digital collages can facilitate in-depth participant responses in a time when conventional research settings are inaccessible.

The article incorporates autoethnographic vignettes, which are identified in italics, that offer insights into my personal reflections on the transition and adaptation to an online mode. Firstly, I review how collage can be a valuable tool to include in focus groups and for elicitation during semi-structured interviews. Secondly, I review the challenges I experienced when conducting focus groups online to create the collages. Thirdly, I explore, in more detail, three examples of collages that reflect the diverse ranges that were produced and the insightful discussions that emerged from the participants describing the visual elements of their collages. Finally, the reflective nature of my autoethnographic vignettes provides an insight into the world of the researcher during this turbulent time.

Findings show that collage, whether physical or digital, remains an effective tool for eliciting nuanced understandings from participants. The research contributes to the arts-based research narrative by showcasing how the digital adaptation of collage methods can yield profound insights into participants' perspectives, therefore enriching the data beyond what traditional interviews could unveil.

These observations can provide support for other researchers who are contemplating the adoption of online arts-based research methods. Understanding how traditionally face-to-face arts-based research methods can be adapted for the digitally evolving landscape is important for shaping the future of online research.

This paper proposes a way of reflexing on how we think within critical disaster studies. It focuses on the biases and unthought dimensions of two concepts – resilience and development – and reflects on the relationship between theory and practice in critical disaster studies.

Premised on the idea of epistemic reflexivity developed by Pierre Bourdieu, and drawing on previous research, this theoretical article analyses two conceptual biases and shortcomings of disaster studies: how resilience builds on certain agency; and how development assumes certain political imagination.

The article argues that critical disaster scholars must reflect on their own intellectual practice, including the origin of concepts and what they do. This is exemplified by a description of how the idea of resistance is intimately connected to that of resilience, and by showing that we must go beyond the capitalist realism that typically underlies development and risk creation. The theoretical advancement of our field can provide ways of thinking about the premises of many of our concepts.

The paper offers an invitation for disaster researchers to engage with critical thought and meta-theoretical reflexions. To think profoundly about our concepts is a necessary first step to developing critical scholarship. Epistemic reflexivity in critical disaster studies therefore provides an interesting avenue by which to liberate the field from overly technocratic approaches and develop its own criticality.