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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.

In this paper, I use 33 interviews with songwriters to explore the relationship between songwriting and emotion, particularly as it relates to the lived and embodied aspects of emotional experience. I contend that songwriting can be understood as a form of sensual reflection and inquiry, one that synthesizes the emotional and evocative properties of both music and language. For songwriters, the creative process of songwriting serves as an embodied vehicle through which to assign meaning to lived emotional experience and the self. Resultant performances represent an expressive forum in which to communicate the outcomes of this process. For sociologists of emotion, examining the neglected process of songwriting represents an opportunity to extend the study of emotion beyond discursive and dramaturgical approaches, lending fresh insight into the lived, embodied character of emotion.

The purpose of this paper is to develop and apply Goffman's dramaturgical perspective to the study of organizations in the context of their internet presence(s), or as Goffman might have called it, internet play-acting. The paper responds to recent criticism of dramaturgy, and advocates its continuing relevance for organizational studies on the contemporary stage – the internet.

The paper studies the proposed merger of three accounting bodies in Canada using data obtained from publically available sources and employing dramaturgical techniques. Data includes documents (such as position papers, PowerPoint slides and practitioner journal articles). Particular attention was paid to sources of data from the internet such as YouTube videos, web sites, on-line media stories and chat from discussion boards.

The paper concludes that the criticisms of dramaturgy are overstated, and that dramaturgy enables robust recovery of complex organizational stories providing insights into how and why individual behaviour unfolds in organizations.

The paper is directed to qualitative researchers working in the interpretive tradition. It engages with the recent discussion in the literature which considers the significance of dramaturgy as a useful methodology to understand the emergence of behaviour and action, and how internet activities unfold in such a powerful and ubiquitous communication medium.

The purpose of this paper is to examine Czech traditions of outdoor games and sports, turistika activities and education in nature programmes, which have continued to develop during periods of oppression and provided opportunities to preserve the Czech culture.

A review of the historical, cultural and political context of education in nature traditions in Czech was proposed.

Late 19th century organisations such as the Turistický klub and Sokol were instrumental in developing a range of indigenous turistika activities involving active movement. The early 20th century influences were the Czech scouting movement, summer camps and Woodcraft. Charles University provided the first tertiary outdoor educational programmes in Prague in the 1950s. Their foundation course “Turistika and Outdoor Sports” is still compulsory for all students studying physical education and sport. Turistika activities and outdoor sports and games continued to be developed throughout the liberalization of the socialist regime in the 1960s.

Following the Prague Spring in 1968, and under the guise of the Socialist Youth Union organization, new experimental forms of outdoor education emerged.

Since the Velvet Revolution in 1989 organisations have reconnected with Czech outdoor traditions that flourished before 1948 and other organisations have developed education in nature programs. The commercial sphere, which did not exist before 1989, has now been established in the outdoor area. However, traditional participation in turistika activities has been impacted by other external motivations as a broader range of opportunities have become available and accepted, and tourism outside of Czech and Europe has become increasingly popular and accessible.

The originality of this paper is to provide an overview of Czech political and cultural history and how it has shaped people's relationship, particularly children and youth, with the outdoors.

To illuminate the experience of working with students using the innovative pedagogical approach of dramaturgy, this pedagogy can more effectively address systemic bias within academia.

This paper is rooted in dramaturgical theory which suggests that how a person's identity or background is being constantly reshaped by their interactions with one another and the world around them. Within a classroom setting, it applies to contexts where group activities have a required performative aspect.

The authors found that taking a dramaturgical approach can be a very effective active learning technique within a one-shot information literacy instruction context.

Creative approaches to information literacy instruction often remain untried, and the combination of this work and the consideration of dramaturgical theory within the framework of inclusive pedagogy is a distinct contribution to the field.

Librarians have traditionally followed a model of service based on a professional ethic. Attempts to introduce a retail model of service have generally met with staff resistance. The study aims to ask librarians about their attitudes to the retail and professional models of service and what they did not like about the retail model.

Data were drawn from focus groups consisting of experienced reference librarians.

Results suggest that librarians behave differently while front‐stage and backstage. They resist the retail model because it is perceived to replace service based upon knowledge with fake behaviour.

Managers can draw on the results when considering how best to improve the service provided by library staff who prefer the professional model of service over the retail model.

The use of Goffman's theory of dramaturgy has highlighted previously unknown attitudes to service held by reference librarians that will slow or stop the introduction of the retail model of service.

Erving Goffman has been variously interpreted as a symbolic interactionist, a structural functionalist, or an a-structural power-game theorist. However, when considering Goffman’s affiliation with the human ecology (HEC) of Robert Park and Everett Hughes, one is able to shed new light on Goffman’s relationship to the aforementioned sociological paradigms. This chapter will demonstrate that his Darwinist underpinnings and overall implicit evolutionary perspective allowed him to develop a dramaturgical theory that explicates how actors are able to understand, predict, anticipate, accommodate to, and influence others while pursuing one’s own or own group’s interests, through one or more of role “taking,” “playing,” and “making.” Furthermore, Goffman elaborates upon Park’s use of dramaturgy, following him in making more room for competition and inequalities in status and power, and offering new dimensions and categories for specifying when and why different adaptive strategies will be used, within different types and degrees of accommodation. Ecological dramaturgy is the term we give to these interdependent lines of social action within stratification contexts. Such structural concerns ultimately separate Goffman from the more subjective and less deductive elements of traditional symbolic interactionist thought. We argue that Goffman’s much neglected ecological and evolutionary-minded approach to role-taking and its inspired analysis of competitive interactive processes provide a missing link in better understanding his complicated intellectual heritage.

The purpose of this paper is to examine a case of sham compliance performance reporting through the lens of Goffman’s dramaturgy to reveal its dramaturgical structure. It makes a methodological contribution to comprehending “lived experience” accounts of project work, and adds knowledge concerning the behind-the-scenes motivators to sham behaviour in project work.

Using an ethnographic lived experience account, an aspect of project work is reconceptualised as a collection of dramaturgical scenes. These scenes disclose issues beyond the bounds of the traditional project management discourse, and increase knowledge and appreciation of sham and performative behaviour in project work.

Sham progress reporting can emerge in an environment where senior management’s ignorance of project work creates unworkable binds for project staff. Moreover, the sham behaviour succeeds at its objective because senior management are vulnerable to false impressions. This situation raises ethical issues for those involved, and creates an overhead in dealing with the reality of project work.

Limitations to this study are due to the inherent nature of the ethnographic method, where it is difficult to recruit willing participants, particularly in terms of sham behaviour cases. This study has implications for research on sham and performativity behaviour in project work, as studies can benefit from the dramaturgical analysis and Goffmanesque scene illustration techniques that help give focus to particular aspects of social performance, and remove complexity from the narrative.

The research provides practitioners with a way of discussing superfluous compliance process using additional lived experience vocabulary. This could reduce the undue pressure to behave unethically, and reduce the burden to create the extra impression management work.

This study brings a voice to sham behaviour in project work. Continued ignorance of sham behaviour results in unnecessary work and unprofitable projects. Individuals could pay a price in terms of stress and well-being, not discussed.

The knowledge management (KM) models in the African organisations are influenced by the interplay between human agents from diverse societies whose experiences, values, contextual information and insights that are perceived controversial in Africa. The purpose of this paper is to elucidate the indigenous assumptions related to knowledge and its management in Africa and the perceived contradictions in the existing models by adopting the Ubuntu philosophy.

The authors used a perspective lens to examine the existing management practices and propose an integrated framework that is appropriate for the utilisation of the Ubuntu epistemic knowledge management practices and at the same time provide highlights on the perceived paradoxes and how they can be managed to improve knowledge management and people management in African societies.

The inductive posteriori knowledge approach is perceived to be dynamic, applicable and more desirable in the African societies as it allows organisational managers and their work teams to embrace knowledge construction, dependent on experiences in form of stories and metaphors that demonstrate successful work samples. The Ubuntu dramaturgical knowledge management approach adds value to the posteriori knowledge by refining the rhetoric stories and metaphors into empirical performance scripts that are tailored to the audiences’ expectations.

The paper adapted a perspective view to explain knowledge management; therefore, it was not possible to provide empirical data on the metaphysical and dramaturgical elements that are assumed to influence knowledge management in Africa. However, based on theoretical analysis, the authors have proposed a coherent knowledge management framework based on the interaction between posteriori KM assumptions and Ubuntu dramaturgy.

Ubuntu ideology has been appreciated since it treasures interdependency and interconnectedness among people. Therefore, collaborating partners working in Africa would be expected to act as interdependent agents, whereby this interdependency is perceived as an integral part of the knowledge management process. The proposed Ubuntu knowledge management model is grounded on the posteriori knowledge approach which assumes that experience is the source of knowledge. Through social interactions and experiences sharing, organisational members can create new processes, innovative technologies and dynamic context based performance scripts that can drive productivity.

The authors concluded that a coherent framework that is tailored to social interactions and contextual needs of the people and their communities can promote productive knowledge and knowledge management systems in the African contexts. Moreover knowledge management requires one to acknowledge the complexity of Ubuntu ideology in a sense that it recognises the past experiences and contributions of the diverse individuals in the same community/organisation.

This paper focused on examining how the Ubuntu philosophy can promote knowledge development and management strategies that are tailored to social and contextual needs of the organisations in Africa to curtail the perceived paradoxes in the existing knowledge management models.