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At the turn of the twentieth century, various Socialist parties vied for a place in the American political system, making alliances where possible and convenient with elements of organized labor. Robert Franklin Hoxie, an economist at the University of Chicago whose principle contributions lay in his writings on the labor movement, wrote a series of essays in which he scrutinized the activities of the Socialist Party of America as it appeared to be at the time poised to become a viable force in American politics. This essay examines Hoxie’s writings on the conventions of the Socialist Party within the context of the political dynamic of the period and reveals his interpretations of events based on contemporary accounts and first-hand observations.

George Spencer Brown is best known for his book Laws of Form, which elaborates a primary algebra of distinctions and forms capable of dealing with self-referential equations reflective of paradoxes in logic. The book has received little attention in mathematics, but it has greatly influenced cybernetics, communications, and ecological theories. But Spencer Brown also published poetry and stories, often under different names, and he practiced as a psychotherapist. Our chapter elaborates the utility of Laws of Form relating to organizational paradox before considering Spencer Brown’s other works in relation to his mathematics. Invoking philosophy, psychoanalysis and art, we suggest that these indicate a further distinction that sets all forms against the “nothing”: a wholeness or unity from out of which all distinctions, all words, meaning and life – but also all silence, nonsense and death – emerge in paradoxical opposition. Reading Spencer Brown not through the prism of mathematics, but as an evocative invitation to engage with the fissures that animate art and human life, highlights the paradoxical interplay of organization and violence; and how tragedy, suffering, sympathy and love should be more prominent in organizational research.

This introductory chapter opens up with the notion of ‘technologies of trauma’ and the appropriation of trauma as a cultural form in modernity aided by technologies of vision and sound. Trauma in modernity has been intimately welded with witnessing and testimony, illuminating an inter-relationship with technologies which simulates our senses and affect, with its capacities to re-present past events through present consciousness, and its ability to produce a moral economy in their own right. Humanity's reliance on technologies to narrate and circulate trauma as a cultural form of exchange and transaction articulates a moment of transcendence in which media as cultural artefacts reconfigure trauma as a cultural form. The notion of second-hand witnessing and the simulation of trauma as a shared and popular genre unleashes trauma as a resonant genre bound with technologies which renew human bonds. Equally it can be reduced to fiction or give way to compassion fatigue. In historically tracing the movement of technologies of trauma as a cultural form over time from televisual witnessing to its aesthetic or perverse renditions in the digital age, the chapter discerns trauma's machinic bind and its enactment as a cultural artefact couched within the sensorium of affect and ethics. The development of mass technological forms over time, from print to the digital age, also concerns the rise of trauma as a cultural form in terms of witnessing, testimony, memorializing, mourning and commemoration. Within these configurations the traumatized human figure is submerged through time as one equally enacted and abstracted through the formats of technology and consumption.

When the 13 colonies in North America, the slave colony of Saint-Domingue, and the colonial territories of the Portuguese and Spanish Americas all rose against their imperial rulers, a new postcolonial order seemingly emerged in the Western Hemisphere. The reality of this situation forced political theorists and practitioners of the early 19th century to rethink the way in which they envisioned the nature and dynamics of international order. But a careful analysis of this shift reveals that it was not the radical break with prior notions of sovereignty and territoriality, often described in the literature. This was not the emergence of a new postimperial system of independent, nationally anchored states. Rather, it reflected a creative rethinking of existing notions of divided sovereignty and composite polities, rife with political experiments – from the formation of a new multi-centered empire in North America to the quasi-states and federations of Latin America. This moment of political experimentation and postcolonial order-making presented a distinctly new world repertoire of empire and state-building, parts of which were at least as violent and authoritarian as those of the old world empires it had replaced. The most radical ideas of freedom and liberty, championed by the black republic of Haiti, remained marginalized and sidelined by more conservative powers on both sides of the Atlantic.

The purpose of this study is to investigate narcissism in relation to consumer identity projects. Narcissism is rarely the focus of consumer culture studies, though it resonates with theories of individualistic, consumption-driven identities, and is argued to be a pervasive social trend within a hegemonic consumer culture that places the individual center stage. We explore these themes in the context of emerging adult identity projects given arguments about increasing narcissism in younger generations.

Identifying eight participants using the Narcissistic Personality Inventory – four with high and four with low scores – we conduct in-depth interviews to explore their identity projects, narcissistic traits, and brand relationships.

Through idiographic analysis, we find that those with lower narcissistic tendencies seem to have a communal orientation to both people and brands, whilst those with greater narcissistic tendencies tend to be individualistic and agentic. We relate the narcissistic consumer to Fromm’s “marketing character,” proposing four themes that emerge from the analysis: liquidity; an other-directed sense of self; conformity; and the commodification of self.

This paper discusses the societal implications of individualistic consumer identity projects, highlighting narcissism, a concept relatively neglected within consumer culture theory. Narcissism carries with it a host of societal implications, not least of which is a focus on the self and a lack of concern with the wellbeing of others.

Art hotels are increasingly providing an opportunity for creative artists to exhibit their artworks and collections within their premises. This research investigates how some hotels are transforming themselves into important cultural tourism centers. Specifically, its objectives are: (i) to better understand the extent to which travelers are aware about the existence of art hotels and to evaluate their level of interest in art-oriented initiatives; (ii) to determine which attributes and features of art hotels are appreciated by travelers; and (iii) to identify the type of travelers who are willing to stay in art hotels. The findings from a descriptive survey suggest that the incorporation of art into the hospitality industry can attract a diverse customer base and could result in a sustainable competitive advantage for hotels. This study identifies four types of travelers including: Art-Infused Travelers, Art-Seeking Travelers, Art-Indifferent Travelers, and Art-Blind Travelers. These prospective tourists were categorized according to their level of awareness and interest in art hotels and art-related experiences. In conclusion, this contribution implies that artification processes within the hospitality industry can add value to the cultural tourism market. Hence, it also advances future research avenues to academia.

Discuss in detail the uses which might legitimately be made of the following passage by the writer of a profound study of economic life and thought in France at the end of the reign of Louis XIV. In answering the question make full use of your knowledge of (a) historical criticism; (b) French economic and general history.