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All scholarly writing must straddle the universal and the particular. The universal is commonly addressed in terms of theoretical frameworks and analytical models, supported by the objectivity norm that has guided scientific inquiry since its inception. The particularities, on the other hand, the details and the nuts and bolts of everyday life and organizational reality, are oftentimes associated with subjectivity and therefore raise concern regarding the scholar’s preferences and convictions. In order to better balance objectivity and subjectivity in the organization studies literature, it is important to pay attention to how the choice of literary style may apprehend and convey organizational realities. The paper aims to discuss these issues.

Discussing the role of literature, and the work of the American short-story writer and poet Raymond Carver, more specifically, as a domain wherein language resonates with the pace and breathing of everyday life, it is suggested that an increased level of “lyrical sensibility” in scholarly vocabularies is conducive to more nuanced accounts of organizational practices. To substantiate Carver’s argument, ethnographies of occupational work is referenced and compared to Carver’s work.

Carver’s emphasis on writing stories and dialogs that do not hide behind jargon, nor impose unnecessary literary experiments or heavy-handed literary vocabularies on texts, is exemplary to organization researchers. In particular, Carver emphasizes the role of materiality and objects in his stories, the understated tension and concealed conflicts in social situations and relations, and points at how individuals interpret situations wherein they are located; in many cases, leading to apathy and indolence as the protagonists cannot consider meaningful ways to handle perceived issues or to move along. Carver’s emphasis on mundane experience is therefore conducive to a wider recognition of subjectivity in organization studies.

The paper broadens the discussion about organization studies writing by introducing the work of Raymond Carver, a seminal author only sparsely featured in organization and management studies.

While authenticity, gender, and genre have all been studied in relation to music, the links between the three are underdeveloped theoretically. Specifically, the ongoing gendered process of constructing authenticity and the role of gendered authenticity in the creation and articulation of new musical genres remain fairly unexplored. In particular, more work is necessary to explain the role of gender in the emergence of new subgenres, in the ongoing maintenance of genre boundaries, and in fans' identity work as they construct “authentic” participation in “underground” scenes. In this paper, we examine genre as a gendered process in the Extreme Metal (EM) music scene, a popular subgenre of heavy metal. We explore several gendered dimensions of the EM genre, including the music (instrumentation, vocal style, lyrics, record covers, merchandise), live performance (gender distribution and arrangement, moshing/dancing, audience/crowd interaction), and embodied genre performance (fashion, hair style, makeup). We conclude by suggesting that the construction of new subgenres is, in part, a process of reestablishing and valorizing masculine traits, denigrating feminine traits, and connecting such traits to authenticity, thereby perpetuating gender inequality and hegemonic masculinities.

This paper aims to provide a selection of poetry titles from the Poets House Showcase of 2005.

This article gives a review of the 2005 Poetry Publication Showcase.

This review represents a wide‐ranging selection of contemporary poetry collections and anthologies.

This list documents the tremendous range of poetry publishing from commercial, independent and university presses as well as letterpress chapbooks, art books and CDs in 2004 and early 2005.

Folk metal is an immensely varied genre but an interest in the past in general, and the remote barbarian past, in particular, is a universal and defining characteristic. Performers evoke history in a number of ways, including musical sound, visual imagery, and lyrical subject matter, but the most emphatic tactic adopted (albeit by a minority of bands) is by the use of lyrics in dead languages (defined as those with no speakers for whom they are a mother tongue). Europe has many of these, of which much the most prestigious is Latin; folk metal bands, however, tend to use one or other of the vernacular languages, invariably that spoken during the earliest and formative period of their own national group. This practice of singing in dead languages originated in 1994 with the Norwegian band Enslaved, in a period in which extreme metal bands were self-consciously rejecting English – pop music's dominant tongue – in an attempt to distance themselves from what they saw as inauthentic neo-liberal Anglo-American cultural hegemony. From its beginnings, it had strongly patriotic and nationalistic overtones but it is argued that the ancient texts from which lyrics are taken also acquire a quasi-religious character for listeners, not least because of the occulted and numinous air imparted by the opaqueness of the language. The acts that have most often composed lyrics in dead languages have been Scandinavian – singing in Old Norse – but the most popular act that currently engages in it is Eluveitie, from Switzerland, who, whilst mostly performing in modern English, include at least one song on every album in reconstructed ‘Gaulish’. This linguistic strategy is at once a means of locating Eluveitie within the ‘code’ of folk metal, a method of acquiring the sub-cultural capital associated with ‘authenticity’, and an opportunity to align themselves with internationally-familiar and popular ‘Celtic’ identity and sensibilities.

During the second decade of the twenty-first century, the phenomenon of ‘kawaii metal’ has garnered significant attention in English-language mainstream press alongside more limited discussion in metal journalism. An ostensible fusion of metal and Japanese aidoru ‘idol’ music, kawaii metal artists frequently juxtapose the traditional aesthetics of kawaii ‘cuteness’ with those of metal, emphasising a combination of influences distinctly Eastern and Western. Prominent among kawaii metal artists, Babymetal have generated substantial press coverage in the Anglophone world. Despite emanating from the Japanese idol industry and singing almost exclusively in Japanese, touring the United States, and Europe (producing live CDs and DVDs recorded in the United States and United Kingdom) have made Babymetal one of the most visible Japanese bands in Anglo-America. This chapter explores Babymetal's fusion of idol and metal by analysing the lyrics for the band's first two albums, Babymetal (2014) and Metal Resistance (2016). Following an introduction to kawaii metal through the lens of Anglo-American press, the author elucidates Babymetal's origins as a sub-unit of the idol group Sakura Gakuin. With this background established, the author investigates the use of wordplay and themes relating to childishness and adolescence in the lyrics on Babymetal's debut album. Examining the lyrics of the band's second album illuminates a more thorough integration of idol and metal tropes, including more English-language lyrics, seemingly designed to align Babymetal with a more global metal audience, managing the interplay of Western and Eastern influences.

The purpose of this paper is to examine the usefulness to business education of aesthetics, literature and the ancient ideal of the rule of law in an increasingly complex global environment. Recent financial scandals have exposed a range of vulnerabilities in the management decision‐making process and, increasingly, big business is searching for ethical answers. It is suggested that there is a need to develop the necessary critical, analytical and empathic qualities of, in particular, the business student in order that future global corporate leaders might also be moral managers.

The abstract yet foundational concept of the rule of law is reworked in order to widen its application to business activities and ensure greater accountability. It is argued that the intellectual sensibilities need to be stimulated beyond the traditional business studies format, looking to various examples from the liberal arts. The paper proposes greater attention to, for example, the classics, as the lessons we can learn from fiction are highly pertinent to modern leadership and corporate conduct in general.

There is a relatively new literary genre of business books which is inspired by classic and popular works of literature, for example Power Plays: Shakespeare's Lessons in Leadership; however, such books are yet to appear regularly on business school recommended reading lists.

There are compelling reasons for a radical change in management style, one being that the single‐minded pursuit of profit has recently produced an unprecedented global economic crisis. The paper proposes that, by placing a greater emphasis on developing the intellectual and empathic sensibilities, future managers may be able to adopt a more conscionable approach to environmental and wider societal concerns.

Against the backdrop of an alarmingly amoral and inept set of global management practices, the paper urges a radical return to a classical or liberal arts education for the business student. A re‐imaging of the traditional rule of law also provides the basis for deciding the right course of action; tailored to meet the specific needs of the modern business community.

The presence of Latin in heavy metal music ranges from full texts, intros, song and album titles to band names, pseudonyms, and literary quotations. This chapter sheds light on heavy metal's fascination with the history and ‘arcane’ sound of Latin, and investigates its patterns of use in lyrics with the help of Natural Language Processing tools and digitally-available linguistic resources. First, the authors collected a corpus of lyrics containing differing amounts of Latin and enhanced it with descriptive metadata. Next, the authors calculated the richness of the vocabulary and the distribution of content words. The authors processed the corpus with a morphological analyser and performed both a manual and a computational search for intertextuality, including allusions, paraphrase and verbatim quotations of literary sources. The authors show that, despite it being a dead language, Latin is very frequently used in metal. Its historical status appears to fascinate bands and lends itself well to those religious, epic and mysterious themes so characteristic of the heavy metal world. The widespread use of Latin in metal lyrics, however, sees many bands simply reusing Latin texts – mostly from the Bible – or even misspelling literary quotations.

This annotated list represents a selection of outstanding poetry titles published in the USA in 2003 and the early part of 2004.

The authors selected the titles in this list from the 2,100 titles received for the 2004 Poetry Publications Showcase at Poets House in New York City, held in April 2004.

The authors selected titles for this list that would be both accessible and challenging to library users.

This list can be used as a guide to collection development for contemporary poetry.