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The purpose of this study is to examine the role of videoconferencing technologies for mediating and transforming emotional experiences in virtual context.

Drawing on empirical data of video conferencing experiences, this study identifies different constitutive relations with technology through which actors cope with actual or potential anxieties in virtual meetings. It draws on the phenomenological-existential tradition (Sartre and Merleau-Ponty) and on an interpretive phenomenological analysis (IPA) to conceptualize and illustrate the role of affective affordances in virtual settings.

The study identifies four different body–technology–other relations that provide different action possibilities, both disclosing and concealing, for navigating emotional experiences in virtual encounters of mutual gazing. These findings offer insights into the anatomy of virtual emotions and provide explanations on the nature of Zoom fatigue (interactive exhaustion) and heightened feelings of self-consciousness resulting from video conferencing interactions.

This paper builds on and extends current scholarship on technological affordances, as well as emotions, to suggest that technologies also afford different tactics for navigating emotional experiences. Thus, this paper proposes the notion of affective affordance that can expand current information system (IS) and organization studies (OS) scholarship in important ways. The focus is on videoconference technologies and meetings that have received little research attention and even less so from a perspective on emotions. Importantly, the paper offers nuanced insights that can advance current research discourse on the relationships between technology, human body and emotions.

According to thesaurus definitions, the absurd translates as “ridiculously unreasonable, unsound, or incongruous”; “extremely silly; not logical and sensible”. As further indicated in the Latin root absurdus, “out of tune, uncouth, inappropriate, ridiculous,” humor in absurd registers plays with that which is out of harmony with both reason and decency. In this article, the authors make an argument for the absurd as a feminist method for tackling heterosexism.

By focusing on the Twitter account “Men Write Women” (est. 2019), the rationale of which is to share literary excerpts from male authors describing women's experiences, thoughts and appearances, and which regularly broadens into social theater in the user reactions, the study explores the critical value of absurdity in feminist social media tactics.

The study proposes the absurd as a means of not merely turning things around, or inside out, but disrupting and eschewing the hegemonic logic on offer. While both absurd humor and feminist activism may begin from a site of reactivity and negative evaluation, it need not remain confined to it. Rather, by turning things preposterous, ludicrous and inappropriate, absurd laughter ends up somewhere different. The feminist value of absurd humor has to do with both its critical edge and with the affective lifts and spaces of ambiguity that it allows for.

Research on digital feminist activism has largely focused on the affective dynamics of anger. As there are multiple affective responses to sexism, our article foregrounds laughter and ambivalence as a means of claiming space differently in online cultures rife with hate, sexism and misogyny.

As hybrid organizations become increasingly common, the authors observe that some hybrid forms are becoming institutionalized and legitimated. The authors explore the implications of the institutionalization of hybridity, addressing both the internal tensions that plague many hybrids and the external tensions stemming from evaluator assessments and stakeholder uncertainty. The authors propose that institutionalization can dampen internal tensions associated with hybridity and also facilitate legitimation and acceptance by external audiences. The authors present identity as a useful theoretical lens through which to examine these questions, as identities are born from, but also have the potential to modify, existing institutional arrangements. The authors present directions for future research at the juncture of identity, hybridity, and institutionalization, suggesting potential avenues of inquiry in this productive stream of research.

This article explores memory work and storytelling as an organising tool through family histories, offering theoretical and methodological implications and extending existing conceptualisations of memory work as a feminist method. This approach is termed as impressionist memory work.

To illustrate impressionistic memory work in action, the article presents two family histories set during Second World War and invite the reader to engage in the “undoing” of these stories and dominant ways of knowing through storytelling. This method challenges the taken-for-granted roles, plots and detail of family histories to uncover the obscured or silenced stories within, together with feminine, affective and embodied subjectivities, marginalisation and social inequalities.

This study argues that impressionistic memory work as a feminist method can challenge the silencing and gendering of experiences in co-constructed and co-interpreted narratives (both formal and informal ones).

This study shows that engagement with impressionistic memory work can challenge taken-for-granted stories with prominent male actors and masculine narratives to reveal the female actors and feminine narratives within. This approach will offer a more inclusive perspective on family histories and deeper engagement with the marginalised or neglected actors and aspects of our histories.

Women who use drugs are one of the most maligned, misunderstood and maltreated groups in contemporary culture and society. Despite this, little public outcry nor empathy is given. As a woman who uses drugs, the author examines what lies behind this neglect. A post-structuralist approach is taken in order to examine the categories of meaning assigned to bodies under the twin ruling structures of prohibition and patriarchy. This is done with the intent to better understand and challenge the process of (masculinist) knowledge-making and practices surrounding women who use drugs that treats us as mere objects of knowledge. Furthermore, this chapter draws from feminist auto-ethnography, as the author uses own personal experiences as a woman who uses drugs, a feminist and a drug user advocate as a lens through which to give form to this analysis. Ultimately, the author argue that it is time to let go of outdated, unjust and prejudicial images by challenging established norms and practices, test and apply new theories and negotiate different identities outside of those currently available to women who use drugs. In undertaking this piece, the author hopes that the critical reflections contained within this chapter can ‘cause some trouble’, by being politically useful for the growing movement surrounding women who use drugs.

This article aims to explore the potential of feminist phenomenology as a conceptual framework for advancing women’s entrepreneurship research and the suitability of interpretative phenomenological analysis (IPA) to the proposed framework.

The article critically examines the current state of women’s entrepreneurship research regarding the institutional context and highlights the benefits of a shift towards feminist phenomenology.

The prevailing disembodied and gender-neutral portrayal of entrepreneurship has resulted in an equivocal understanding of women’s entrepreneurship and perpetuated a male-biased discourse within research and practice. By adopting a feminist phenomenological approach, this article argues for the importance of considering the ontological dimensions of lived experiences of situatedness, intersubjectivity, intentionality and temporality in analysing women entrepreneurs’ agency within gendered institutional contexts. It also demonstrates that feminist phenomenology could broaden the current scope of IPA regarding the embodied dimension of language.

The adoption of feminist phenomenology and IPA presents new avenues for research that go beyond the traditional cognitive approach in entrepreneurship, contributing to theory and practice. The proposed conceptual framework also has some limitations that provide opportunities for future research, such as a phenomenological intersectional approach and arts-based methods.

The article contributes to a new research agenda in women’s entrepreneurship research by offering a feminist phenomenological framework that focuses on the embodied dimension of entrepreneurship through the integration of IPA and conceptual metaphor theory (CMT).

This paper aims to analyze the discourse of Arab feminism social media pages as a form of real-time new media. This is to be conducted culturally to understand the Westernized character these pages tend to propagate and the politico-cultural significations of such a propagation.

Using visual and content analysis the paper analyzes both the written and visual contents of two popular Arab feminist Facebook pages, “Thory” and “Feminist doodles” to explore its culture relevance/Westernization via the categories of “re-employing the binary second wave feminism, the historical relevance and the Westernized tone of both pages.

The pages showed a tendency toward second wave, Westernized, anti-orient feminism. Such importation of feminism made the pages’ message not only a bit irrelevant but also conceptually violent to a large extent. Starting from alien contexts, the two pages dislocate the Arab women experiences of their situation for the sake of comprehending and adapting to heavily Westernized images.

The paper contributes to the ongoing debate over the gender issue in the Arab context after 2011, what it originally offers is discussing the cultural relevance of popular feminist Facebook pages claiming to represent the everyday struggles of the Arab women. In addition, it shows the impact of real-time media on identity formulation.