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This chapter uses reflexive praxis to advance a framework for developing creative virtuosities for entrepreneurs based on four interrelated aspects: finding their own voice and passion at work; unleashing creativity and imagination at work; working collaboratively toward innovation; and handling complexity and integrative thinking. These four creative virtuosities emerged from observations and exploratory interviews with training program participants on five different occasions in Turkey, the UK, and Canada. They are illustrated through four arts-based metaphors: poetry; theater; orchestra; and jazz. The core premise of this chapter is that these four virtuosities can provide entrepreneurs with a sound basis and a wealth of knowledge on developing creative solutions to new socioeconomic challenges of prospective radical technological and economic changes.

This chapter introduces the content of the book, presenting the key insights from the contributed chapters.

This paper seeks to present a general case for the use of a broadly social constructionist metatheoretical perspective for qualitative research in marketing. The discussion makes reference to a current empirical study into advertising creativity in order to try to draw out particular methodological and metatheoretical issues. The main primary data gathering method used in the study is the unstructured depth interview and this is supplemented by field notes, informal and secondary sources. Social constructionism broadly defined rests upon several key philosophical assumptions concerning the constitution of social life through language and discourse. Significant themes include the semiotic and illocutionary character of human discourse, the drive for ethnomethodological integrity in social research and the focus on the mutual construction of meaning as the main unit of analysis.

The purpose of this paper is to present a selective survey of Professor Monieson's work, using the philosophy and sociology of science as a prism.

The approach taken is a historical review.

Monieson was an important figure in the development of marketing thought, whose research should be read by marketing scholars and students alike.

The paper introduces Monieson's advanced epistemological and axiological reflections to an audience who might be unaware of his contributions. In addition, it connects Monieson's writings with issues and debates central to the history of marketing thought, namely the first paradigm debate stimulated by the German Historicist School.

This paper examines and interprets Monieson's somewhat difficult work for a new audience; and connects the work of a managerially minded scholar with emerging debates in critical marketing studies.

This paper aims to draw on historical conceptions of true and false prudence within the broader context of virtue ethics ideas, to create a prudence framework for developing risk-and-ethics cultures in organisations.

The authors use a theoretical analytical approach as a means of examining plausible representations of risk as ethical practice.

While the ethical ideal of true prudence is explained primarily with reference to psychological theories of generativity, false prudence is explained as undesirable, primarily with reference to psychological problems of narcissism and the broader dark triad. True and false prudence are represented as centring upon very different motivations for foresight, each of which might set the cultural tone for organisational risk management.

This paper’s main contribution is therefore to call attention to the benefits for organisations of reflecting upon differences between true and false prudence when planning the risk management they want.

The purpose of this paper is to discuss whether artists create research outcomes in a revolving (or spiraling) process? This can be a catch-22 where their work is responding to and forecasting change, while the artist’s voice is often seen as too qualitative to provide research impact for university societies or to be compared with the quantitative data that scientists use.

Where will research methods, qualitative and quantitative overlap? The author knows that both methods are important for ongoing observations about creative arts practice. The qualitative is part of Holmes’ (2011/2012) query about how “knowledge involved in artistic thinking should […] include the issue of how mental images are given creative form, but this is a process that remains obscure in current art research” (p. 2).

For Holmes, “the knowledge product of art research cannot be considered separate from the researcher’s psychic processes; and the currently obscure relationship between artistic production and subjectivity might lead to one of the unique contributions to be made by art research” (Holmes, 2011/2012, p. 2). Holmes’ suggestion provides a strategic link to the way arts and sciences might overlap. “How do artists and scientists find a way to match issues, ideas and theories?” This may be especially so in relation to the integral use of image to empower a message.

This paper offers an original look at how artists empower with image.