Search results

This chapter takes the form of an open feminist letter, a complaint and a manifesto presented to the Critical Management Studies (CMS) Academy. It is posted with urgency at a time when Patriarchy is resurging across the globe. My complaint is against the misogyny and the moral injury done to all of us and to our participants through our detached, disembodied, non-relation, pseudo-objective, masculine ways of becoming and being CMS scholars. Drawing on the thinking of Hélène Cixous, I offer five gifts as strategies to break with the masculine reckoning and open up our scholarship to féminine multiplicity and generativity: loving not knowing, return to our material bodies, rightsizing theory, knowledge made flesh-to-flesh and women’s writing. I visit, and suggest our scholarship will benefit from visiting, Cixous’s School of the Dead and her School of Dreams. I advocate for social theatre/performative auto/ethnography as a way to effect change in organisations. Finally, I present a manifesto for women’s writing that can help take our scholarship ‘home’ and contribute to the creation of flourishing organisations. This letter is a Call to Arms.

Henryk Grossman was the first person to systematically explore Marx’s explanation of capitalist crises in terms of the tendency for the rate of profit to fall and to place it in the context of the distinction between use and exchange value. His “The Law of Accumulation and Breakdown of the Capitalist System” remains an important reference point in the Marxist literature on economic crises. That literature has been plagued by distortions of Grossman’s position which derive from early hostile reviews of his book. These accused Grossman of a mechanical approach to the end of capitalism and of neglecting factors which boost profit rates. Grossman, in fact, contributed a complementary economic element to the recovery of Marxism undertaken by Lenin (particularly in the area of Marxist politics) and Lukács (in philosophy). In both published and unpublished work, Grossman also dealt with and even anticipated criticisms of his methodology and treatment of countertendencies to the tendency for the rate of profit to fall. Far from being mechanical, his economic analysis can still assist the struggle for working class self-emancipation.

Elmar Mock's extraordinary story began in a small village in Switzerland. Born in 1954, he was the son of an Austrian immigrant and a Swiss mother. School was difficult, as he struggled with dyslexia. Nevertheless, he graduated from engineering school, obtained a job with a Swiss manufacturer, ETA. By the age of 26, he had co-invented the Swatch. Following the accidental death of his brother, Stéphane, in 1985, he decided to leave his job and launch his own creativity and innovation consulting company, Creaholic, in 1986.

In 2014, Elmar retired from Creaholic and created with his second wife Hélène Mock née Kett, a second company: ‘Mock-Kett’. He has created more than 80 families of patents in various industries and has been involved in more than 600 projects. He is also a member of the advisory boards of some of the spin-offs incubated by Creaholic. He remains active as a speaker and international consultant with ‘Mock-Kett’, which promotes the motivational side of invention. He has received numerous awards and his book ‘The Innovation Factory’ has been published in three languages.

The case depicts a one-of-a-kind creative mindset and offers in-depth reflections on the concepts of creativity, innovation and intrapreneurship and their applications in organizations. ¹

The 40-letter correspondence concerning the French translation of The General Theory, between John Maynard Keynes and his translator, Jean de Largentaye, is a testimony of their close collaboration, which also involved Piero Sraffa in 1938 and 1939. Largentaye’s lexicon appears at the end of the French edition, providing definitions in French of technical terms used by Keynes. After its publication by Payot in 1942, the French edition of The General Theory was well received in France and no doubt contributed to the economic and social successes of the country in the subsequent 25 years.

A central issue in contemporary dance ethnography is that of writing the somatic – the attempt to articulate kinesthetic, bodily sensations that emerge in a particular culture or context, within a research format (Ness, 2008; Sklar, 2000). Emerging methods including performance making and poetic, narrative, experimental, or performative writing create space for recognition of choreographic and sensory knowledges within ethnographic research.This chapter presents a case study that illustrates what I term “movement-initiated writing”: writing that emerges through dance making, wherein the dance ethnographer is a participant observer in studio practice. This emic approach attempts to translate the felt affects of a specific world of movement into performances sited in the terrains of pages. This mode of writing draws on Roland Barthes’ (1977) notion of the “grain of the voice,” Gilles Deleuze's concept of the “minor literature” (Deleuze & Guattari, 1987), Hélène Cixous’s examples of écriture feminine (Cixous, 1991), and the field of performance writing.