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How are institutional logics transgressed in the organizational fields of open source software and of commercial proprietary software, respectively, by developing a new practice of commercial open source software? I argue that by combining a Critique of Ideology Critique and a Critique of New Institutional Organizational Theory, we become better equipped for understanding institutional change in organizations applying concepts such as institutional entrepreneurs, discursive devices, and meaning arenas. The analysis show that many institutional entrepreneurs apply discursive devices to convince actors in the two organizational fields of the legitimacy of the new practice. This happens in many different meaning arenas such as in the market, in the public discourse, and in concrete open source projects. I advance the assumption that a relation established between institutional entrepreneurs of different legitimacy in the two original fields renders possible their institutional work.

This chapter explores the role of postmodern intertextuality in Neil Jordan’s 2012 vampire film Byzantium. This intertextuality serves to place the film in dialogue with earlier vampire fiction, in particular the 1970s cycle of British and European erotic vampire films such as Daughters of Darkness and The Vampire Lovers from Hammer Films. Byzantium recalls these earlier texts structurally and thematically, both through direct reference and more oblique allusions.

While Fredric Jameson characterizes postmodern intertextuality as mere nostalgia and the imitation of ‘dead styles’, feminist postmodern theorists such as Linda Hutcheon contend argue for the political potential of postmodernism. This chapter proposes that the postmodern intertextuality of Byzantium is a critical intertextuality, and that the foregrounding of storytelling, writing, and rewriting in the film draws attention to the ways in which the intertextuality of Byzantium is not merely a return to past forms but also a reworking of them.

Taking up the work of Linda Hutcheon and Catherine Constable, this chapter demonstrates the ways in which Byzantium critically reworks aspects of earlier vampire fiction in order to critique and expand the representation of the female vampire and through this explore issues relating to female subjectivity and community.

Globalization, advanced by technologies of production and information, created seamless world markets with profound impacts on the world economy. Vast amounts of wealth have been created, but that wealth has been unequally distributed. Such inequality has meant that large numbers of young people have not been able to find the kinds of jobs and careers that provide the “goods” life extolled in a consumer society. Nor do the dominant values of rationality, neo-liberalism or secularism hold much appeal. These conditions have encouraged the emergence of a number of subcultures of transgression, identity-granting communities of meaning which provide members with a sense of community with recognition and empowerment. As many such subcultures repudiate dominant norms, we note how they resemble the medieval carnival, which Bakhtin showed was a time and place of inversion, transgression, and celebration of the grotesque. It allowed the common people encapsulate realms of agency to articulate disdain and resistance. Yet this served to reproduce the dominant system.

In much the same way, insofar as globalization is intimately tied to cities, we have seen the growing importance of cities as nodal points for global commerce as well as sites for entertainment and tourism. These factors, together with the longstanding anonymity and toleration of the city, have become focal points for the emergence of a number of oppositional subcultures. They include those who embrace extreme body modification, numerous forms of body adornment through piercings (rings, posts, studs), tattoos, and surgical modifications such as implanted horns, furrows, or split tongues. Following Simmel, adornment can be seen as a means of inclusion within a group and differentiation from others. The practitioners of extreme body modification label themselves “urban primitives,” who see themselves rejecting global modernity, the occupation-based status hierarchies of the dominant occupational system and its shallow, materialistic culture. They see themselves as a moment of the “transvaluation of values” in which Dionysian passion triumphs over Apollonian control and restraint. This is especially evident in various genital decorations in which what heretofore has been private and exposure was a matter of shame. There has been a “cultural transformation of the pubic sphere.” While such groups find community, identity and recognition, they must also be understood as a key ingredient of the city in a global age in which diversity, cosmopolitanism, and the offbeat constitute essential moments of urban ambience.

This chapter outlines the book’s rationale and approach in addition to its general argument. It introduces the reader to what the author has described as a ‘paradox’ of parkour, whereby parkour and freerunning is hyper-conformist to the values of consumer capitalism whilst its free practice is excluded and marginalised from urban space. Before offering methodological commentary on the book’s ethnographic approach and outlining the structure of the book, it looks how this paradox is a product of late-capitalism’s own making – making reference to processes of deindustrialisation, neoliberalism and the rise of consumer capitalism.

In early 2017 I was watching YouTube, and being bounced around by its algorithmic recommendations. One suggestion appearing down the side bar column of jpegs was MARROW, from Anohni’s 2016 album Hopelessness. It figures a black background and foregrounds an ageing, smiling, bejewelled woman lip-syncing to the song. She is the American artist Lorraine O’Grady. Watching it felt odd, as if something was `out of place’.

Anohni speaks through her, using ventriloquist tactics to displace her own body and O’Grady’s voice. This interested me. It was the first time I had been presented with the body of an ageing woman without knowing what she looked like in youth (unlike Madonna or Aretha Franklin for example). And it was the first time I had seen lip syncing done in such an eerie fashion. The tactic is used on other music videos for tracks taken from the album where ageing women and women of colour are centre stage.

Using the idea of a place that it is ‘out of time’, in that the music videos are set in a blank space and the lip- syncing upsets the idea of a single sutured speaking author, the chapter explores the idea of `queer temporality’ by using Judith Halberstam’s 2005 work. It suggests that the music videos are potentially transgressive in their presentation of a non-normative and fractured bodies. It uses work from ageing studies (Baars, 2012) and trans-ageing (Moglen, 2008) to suggest the transgressive potential of Anonhi’s music videos in how they position transgendered voices and ageing bodies.

Cultural criminologists have long been interested in the politics of crime and deviance, whether that be in relation to youth subculture resistance or the social reaction to transgression evident in the media construction of folk devils and moral panics. While contemporary ‘new’ cultural criminology continues to be focused on the situated experience of deviant ‘edgeworkers’, this chapter argues cultural criminology’s concern with the crime-media nexus provides particularly fertile ground for exploring insights provided by activists, academics, professional journalists and citizen journalists around informal interventions on formal criminal justice processes using social media and digital technologies. Drawing on examples from a burgeoning body of crime-media research, the chapter makes a case for ‘cultural criminology activism’, which, like activist criminology, is consciously disengaged from mainstream criminology’s alignment with the neoliberal-carceral state and its reformist agenda.

Morrison's Beloved presents a complex anatomy of guilt. This is the perception that underwrites Slavoj Zizek's recruitment of the 1987 novel in his recent discussion of ethics and politics. In Zizek's Fragile Absolute (2000), he claims that Sethe's murder of her child as a privileged instance of what he terms “the ethical act.” Drawing on Lacanian psychoanalytic ethics to articulate a relation between the psychic and the political, Zizek argues that the only truly ethical act is one that breaks with the cycle of law and transgression, evading the superego through a suicidal “shooting oneself in the foot.” This paper argues that while Zizek's reading of Beloved is in some ways illuminating, Morrison's novel itself offers a profound analysis of Zizek's conception of the “ethical act,” exposing the limited nature of this act as part of a larger political strategy. I propose a reading of Morrison's novel that focuses on its exploration of violence and guilt, reading it both alongside and against dominant psychoanalytic conceptions derived from Freud, Lacan, and Zizek's deployment of both.

Purpose – Appreciating the continuing relevance and contribution of Theodor W. Adorno's work requires acknowledgement of the difficulty to grasp his philosophy in a way that is consistent with that which is to be understood, as the necessary first step to achieving concordant understanding.

Design/methodology/approach – To assay an understanding of Adorno's quest for the object beyond the concept, it is best to undertake a journey through the complexity of his thinking, beginning with the book he wrote with Max Horkheimer, Dialectic of Enlightenment.

Findings – The difficulty to capture the substance of philosophy in a manner that allows for representation arises from the inherently processual character of philosophy, which is always both unfinished and without secure summation of report at any step along the way. Indeed, the difficulty is all the greater with respect to Adorno, in light of his postulate that philosophy “must strive, by means of the concept, to transcend the concept.”

Research limitations/implications – Adorno's obsession to overcome the compulsion of identity made him perceptive and blind at the same time. To liberate his insights from their reconciliatory-philosophical shroud, one would have to expose the concept of rationality to the same obsessive gaze under which false generalities dissolve in Adorno's philosophy.

Originality/value – The inherently processual character of Adorno's philosophy makes his writings especially germane to present conditions of modern society, as they highlight the importance of efforts to develop theories that are sufficiently sensitive to the dynamic character of modern society, including its inconsistencies and its contradictions.