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This article combines Mead's notion of sociality with his implicit theory of morality. Specifically, it uses Mead's emphasis on temporality to analyze decisions made by key characters in the cinematic adaptation (Amazon TV) of Philip Dick's novel, The Man in the High Castle. Using a selective and subversive method to read into this adaptation, I regard Mead's view of morality as complex and as distinguishing between a morality in the specious present and a morality grounded in sociality. The paper links Mead and Mead's pragmatic emphasis to varieties of characters representing immoral foils (e.g., Nazis) and everyday lives to show how morality can emerge from a variety of standpoints, locating Mead's position as distinct from moral absolutism and moral relativity.

Purpose – I extend the discourse regarding The Days of Wine and Roses (TDoWaR) as an Alcoholics Anonymous (A.A.) film in particular and analyses of A.A. films in general and provide a symbolic interactionist reading of TDoWaR as involving compliance dramas.

Design/methodology/approach – Borrowing from Norman Denzin's notion of a subversive reading of films, in which the author attends to the literal content of a text from a predefined perspective, I deal with the characters as if they create and maintain aligned and congruent actions that authors can analyze as conversational and interactional content. My main interest, drawing upon symbolic interactionist conceptualization and previous reviews of TDoWaR, involves the decisions made by characters to imbibe against their better judgment.

Findings – I detected four dramas (foreshadowed, evocative, profane, and complementary) that differed in interactional intensity and consequences. Each involves mutual decision making associated with self-definition and definition of the relationships. I also locate the dramas in the context of moral themes of an A. A. Film, specifically an epiphany, a categorical commitment to sobriety, an ongoing life cycle of recovery, and synchronicity.

Originality/value – Compliance dramas involve decisions to engage in ordinary activity (in this case, drinking) that becomes nonordinary, owing to semiotic, situational, historical, and interactional dynamics. The chapter can encourage thinking about alcoholism and alcoholic films as involving a moral career of a recovering alcoholic that sometimes must involve sacrifice of other prestigious moral careers (e.g., of a romantic relationship) in order to maintain the authenticity of the identity.

This chapter examines four episodes of The Simpsons, paying particular interest to one, The Days of Wine and D’oh’ses to connect the notion of pastiche with a symbolic interactionist view of media representation. We use The Simpsons and episodes pertinent to alcoholism and alcoholic imbibing to show that pastiche, which does not deny the resolute qualities of a serious social issue, nevertheless provides ironic and fantastic imagery to merge the serious and even tragic with the comedic. We use the four episodes to depict alcoholism as a disease but also as focal point for humor, making the contrast between The Days of Wine and D’oh’ses and its classic alcoholism-film counterpart, The Days of Wine and Roses, central to the tragic-comedic connection. We further draw upon Denzin’s notions of the comedic drunk and the alcoholism alibi to discuss how pastiche both inspires attention to alcoholism as a serious medical disease and disease of the self and to alcoholism as pivotal to comedic character development and the emergence of pragmatic and creative selves.

While distinguishing himself as a vanguard of postmodern symbolic interaction, Norm Denzin remained loyal to his roots as an empiricist and theorist of the self. He displayed such loyalty to the examination of social relationships, involving the complex process of self-lodging, and significantly, the examination and analysis of alcoholics. This focus on lodging and the alcoholic introduced a paradoxical agency in which one's choices to act create obdurate constraints that limit choices. His particular focus on the recovering alcoholic not only involved comprehensive observations of recovery in situ (e.g., in Alcoholics Anonymous Meetings) but also in cinematic representations. Denzin also merged his ethnographic observations and cinematic readings while merging the perspectives associated with pragmatism, interactionism, and dramaturgy. In effect, by engaging in the worlds of alcoholics, alcoholics in recovery, and their images and portrayals in films, Denzin emphasized the importance of talking about the self (via internal conversations and relationships with external others). In doing so, he provided a theory of the self while straddling the symbolic line between a postmodernist imagination and a modernist commitment to realism.

In contrast to the largely functionalist and apolitical literature which dominates organisational scholarship on exploitation and exploration after March, this paper seeks to complement this view of exploitation and exploration with a Marxist reading which is unwittingly implied by these terms. More specifically, we combine neo-Marxist and paleo-Marxist arguments to more fully understand the conflictual relations that underpin exploitation and exploration in the management of firms. This enables us to address both the objective and subjective dimensions of exploitation and exploration which firms and workers are involved in through the contemporary capitalist labour process. We illustrate this by drawing on a case study of a large Swedish manufacturing firm which sought to improve lean production by systematically helping employees to explore their own lifestyles and possibilities for a healthier and happier life.

From a perspective of ‘critical performativity’, John Lewis is of special interest since it is celebrated as a successful organization and heralded as an alternative to more typical forms of capitalist enterprise.

Our analysis uses secondary empirical material (e.g. JLP documents in the public domain, histories of John Lewis and recent empirical research). Our assumption is that engagement and interrogation of existing empirical work can be at least as illuminating and challenging as undertaking new studies. In addition to generating fresh insights, stimulating reflection and fostering debate, our analysis is intended to contribute to an appreciation of how structures of ownership and governance are significant in enabling and constraining practices of organizing and managing.

The structures of ownership and governance at John Lewis, a major UK employee-owned retailer, have been commended by those who wish to recuperate capitalism and by those who seek to transform it.

JLP can be read as a ‘subversive intervention’ insofar as it denies absentee investors access to, and control of, its assets. Currently, however, even the critical performative potential of the Partnership model is impeded by its paternalist structures. Exclusion of Partners’ participation in the market for corporate control is reflected in, and compounded by, a weak form of ‘democratic’ governance, where managers are accountable to Partners but not controlled by them.

Our contention is that JLP’s ownership and governance structures offer a practical demonstration, albeit flawed, of how an alternative form of organization is sufficiently ‘efficient’ and durable to be able to ‘compete’ against joint-stock companies.

By examining the cooperative elements of the John Lewis structures of ownership and governance, we illuminate a number of issues faced in realizing the principles ascribed to employee-owned cooperatives – notably, with regard to ‘democratic member control’, ‘member economic participation’ and ‘autonomy and independence’.

In this paper, we explore how corporations use visual artifacts to translate and recontextualize a globally theorized managerial concept (CSR) into a local setting (Austria). In our analysis of the field-level visual discourse, we analyze over 1,600 images in stand-alone CSR reports of publicly traded corporations. We borrow from framing analysis and structural linguistics to show how the meaning structure underlying a multifaceted construct like CSR is constituted by no more than a relatively small number of fundamental dimensions and rhetorical standpoints (topoi). We introduce the concept of imageries-of-practice to embrace the critical role that shared visual language plays in the construction of meaning and the emergence of field-level logics. In particular, we argue that imageries-of-practice, compared to verbal vocabularies, are just as well equipped to link locally resonating symbolic representations and globally diffusing practices, thus expressing both the material and ideational dimension of institutional logics in processes of translation. We find that visual rhetoric used in the Austrian discourse emphasizes the qualities of CSR as a bridging concept, and facilitates the mediation of inconsistencies in several ways: By translating abstract global ideas into concrete local knowledge, imageries-of-practice aid in mediating spatial oppositions; by linking the past, present, and future, they bridge time; by mediating between different institutional spheres and their divergent logics, they appease ideational oppositions and reduce institutional complexity; and, finally, by connecting questionable claims with representations of authenticity, they aid in overcoming credibility gaps.

In this paper, we explore how corporations use visual artifacts to translate and recontextualize a globally theorized managerial concept (CSR) into a local setting (Austria). In our analysis of the field-level visual discourse, we analyze over 1,600 images in stand-alone CSR reports of publicly traded corporations. We borrow from framing analysis and structural linguistics to show how the meaning structure underlying a multifaceted construct like CSR is constituted by no more than a relatively small number of fundamental dimensions and rhetorical standpoints (topoi). We introduce the concept of imageries-of-practice to embrace the critical role that shared visual language plays in the construction of meaning and the emergence of field-level logics. In particular, we argue that imageries-of-practice, compared to verbal vocabularies, are just as well equipped to link locally resonating symbolic representations and globally diffusing practices, thus expressing both the material and ideational dimension of institutional logics in processes of translation. We find that visual rhetoric used in the Austrian discourse emphasizes the qualities of CSR as a bridging concept, and facilitates the mediation of inconsistencies in several ways: By translating abstract global ideas into concrete local knowledge, imageries-of-practice aid in mediating spatial oppositions; by linking the past, present, and future, they bridge time; by mediating between different institutional spheres and their divergent logics, they appease ideational oppositions and reduce institutional complexity; and, finally, by connecting questionable claims with representations of authenticity, they aid in overcoming credibility gaps.

From the pioneering work of Howard Becker (1982) on jazz scenes as art worlds, to the influence of Erving Goffman (1967) on Ingrid Monson’s (1996) foundational framework for jazz ethnography, symbolic interactionist premises have already had a powerful impact on the study of jazz and popular music. Nonetheless, they still have much to contribute toward a richer and more nuanced understanding of how jazz musicians jointly improvise meaningful musical discourses. Building upon these earlier precedents, I propose that further critical elaboration of symbolic interactionist notions – including social worlds, generalized others, and facework – could hold the key to a hermeneutics of musical meaning premised upon improvisational interplay. Specifically, I propose that the internal structure of local jazz worlds or scenes, arising from distinctive modes of meaning production, gives rise to particular types of generalized other, which in turn structures the development of artists’ professional selves or personae through the dialogic internalization of durable aesthetic predispositions. From this perspective, the common stylistic commitments that make group improvisation possible and productive may begin with widely acclaimed paradigmatic performances, whose import is then encapsulated in the shared technical conceptions of artist peer circles, broadened through articulation with the consensus aesthetic principles of culture industries, and deepened by investment with the normative beliefs associated with audience identification and consumption. Ultimately, through improvisational interaction predicated on such shared paradigms, conceptions, principles, and beliefs, jazz musicians construct and project mutually compatible creative selves, whose onstage encounters with one another suggest dramaturgical processes of meaning production, which endow the interplay of their spontaneous aesthetic gestures with narrative significance.