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This study takes the position that the concept of fraud is socially constructed. Moreover, it asks why and how different understandings of fraud have emerged. Insights from the work of Lakoff and Johnson (1999, 2003; Lakoff, 2002, 2004, 2009) are used to analyze language revealing dominant worldviews and metaphors regarding fraud. The research method is a case study (Yin, 2014), and the analytical approach used parallels the one described in O’Dwyer (2004). The research setting is a report issued by the Financial Crisis Inquiry Commission, which provides a context to study different understandings of fraud due to the report’s divided nature. The analysis reveals three alternative worldviews, representing different assumptions about reality, that are at the root of the different understandings of fraud. These worldviews also lead to the usage of different conceptual metaphors which allow the commissioners to interpret facts in a manner that supports each worldview’s assumptions. The paper also concludes by providing a nuanced and critical examination of the results of the commission concerning its understanding of fraud.

The Legends in Marketing series presents compilations of the seminal works of marketing scholars who have made significant contributions to the discipline of marketing. This review discusses the structure and contents of the volumes that comprise Legends in Marketing: Shelby D. Hunt (Sage, forthcoming).

This paper proposes that narrative inquiry adopt the concept of the “involute” – a passage stored in memory from reading that is later enlisted as a problem-solving device – to further the goal of understanding the identity work performed through reading and writing. Three related examples are given – one from Thomas De Quincey, the nineteenth-century essayist who coined the term and used an involute in fashioning himself as a scholar; one from Jane Addams, who used an involute from De Quincey to separate the role of the social worker from that of the literary critic; and one from the contemporary New Historicist Stephen Greenblatt, who used an involute to create a socially engaged identity for literary researchers. Considering these examples, I argue that involutes offer insights into the connections between selves and others, words and acts, past and present that should advance interdisciplinary study and advocacy of morally responsible discourse.

This chapter offers a critique of the affirmative forms of thought that attempt to ground the ontology of social being through subjective-idealist terms. Some recent examples came in the form of notion of truth grounded in subjects' experience and in rationality of language and discourse. The first part of the chapter demonstrates the perilous implications of such an approach for social theory tasked with ontology and for the conception of truth necessary for its task. The second part scrutinizes the paradigm of society that stems from this subjective-idealist notion of truth and social ontology that adopts discourse, language, and literary metaphors to comprehend social being. As an alternative, the final part of the chapter offers a preliminary sketch of the relation of ontology, normativity, and mediation, as well as the notion of critique necessary for social theory tasked with ontology.

There is a rich literary tradition of depicting human-dwelling places (usually houses) as living bodies, stretching from the Middle Ages to contemporary fiction. On several occasions, the interaction between the characters in these works and the house-body entity described has taken the form of a digestive journey. Rooms come to symbolise mouths, kitchens and even bowels, and sometimes the human body and mind are gradually incorporated into the external architectural space. This chapter examines two literary works in which this occurs – the ‘House of Temperance’ in Spencer's The Faerie Queene (1590) and Shirley Jackson's novel The Haunting of Hill House (1959). These two examples, from two very different literary traditions (Renaissance allegorical and modern Gothic horror respectively) show the fine line between revelation and horror, how spatial materiality and meaning are flexible and how a building may transform the character within it both psychologically and physically.