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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.

This paper aims to reflect on how Lacanian psychoanalysis might inform management studies, and discuss limitations and consequences of adopting this particular framework for doing research in organizations.

The authors integrate existing literature on the topic, and try to articulate what Lacanian psychoanalysis contributes to the study of organizations and management; what its conceptual premises are; and which methodological consequences these premises have. Special attention is paid to the epistemological position of Lacanian psychoanalysis, and to potential pitfalls in using Lacanian theory.

The authors highlight the danger of Lacanian theory functioning as a dogmatic interpretative frame, and suggest countering this tendency by accentuating both the spirit of investigation fostered by Lacan and the ethical stakes of psychoanalytic intervention. The authors equally contend that Lacanian psychoanalysis problematizes the underpinnings of scientific discourse in general, with the epistemological foundations of the social sciences being called into question. Finally, they note that the scientific character of Lacanian psychoanalysis is itself open to contestation if approached from a positivistic point of view. Addressing these objections, the authors argue for the possibility of a promising epistemological convergence between psychoanalysis and management studies.

Overall, the authors' point is that Lacanian theory is unique in its systematic study of the dimension of the excluded and that it is in the study of this dimension that the benefit for organization and management research is to be found.

The authors introduce a recurrent section for the Journal of Organizational Ethnography which scrutinizes the various manifestations and roles of failure in ethnographic research.

The authors peruse a wide body of literature which tackles the role of failure in ethnographic research and draw on the experiences to argue for a more sustained and in-depth conversation on the topic.

“Failure” regularly occurs in ethnographic research, yet remains under-examined. Increased discussion on the topic will enrich debates on methodology and fieldwork in particular.

While various scholars have commented on the role of “failure” in ethnographic research, an in-depth and sustained examination of the topic is lacking.

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.

This chapter offers insight on how existing paradigms within Black Studies, specifically the ideas of racial capitalism and the Black Radical Tradition, can advance sociological scholarship toward greater understanding of the macro-level factors that shape Black mobilizations. In this chapter, I assess mainstream sociological research on the Civil Rights Movement and theoretical paradigms that emerged from its study, using racial capitalism as a lens to explain dynamics such as the political process of movement emergence, state-sponsored repression, and demobilization. The chapter then focuses on the reparatory justice movement as an example of how racial capitalism perpetuates wide disparities between Black and white people historically and contemporarily, and how reparations activists actively deploy the idea of racial capitalism to address inequities and transform society.

The purpose of this paper is to explore the role of the participant in narrative research. Rather than a passive and static element, the participant often adds a vibrant, evolving and independent dimension to the process.

The focus of this type of methodology is creative and unpredictable. Featured in the paper is the use of ethnographic fiction to examine and represent themes emerging from the data.

The participant’s contribution to narrative research introduces an unexpected quantity to the findings, which can redefine how questions, perspectives and direction of the research are framed.

The research process can be viewed as a reciprocal event, a space where both researcher and participant co-exist, redefine understandings and contribute to findings in collaboration. This process relies heavily on relationships, and may be impaired if participant and researcher do not develop a suitable rapport.

This particular methodology can be unpredictable. As a creative process that depends on the development of sound personal relationships between participant and researcher, reliance on the researcher’s insight, ingenuity and resourcefulness is essential.

This paper focuses on the participant as equal protagonist in the research process. It seeks to view the research process differently, highlighting how and why narrative research can be a significant journey of growth and discovery for the participant as well as for the researcher.

Arts-based methodologies in qualitative research are still in a phase of exploration. The use of fiction writing in narrative research is a powerful way to explore issues in a way that connects researcher, participant and audience in meaningful discourse.

Principals’ leadership has become a subversive activity that is carried out strategically to challenge and disrupt the status quo and resist policies and practices that are counterproductive to their work. The purpose of this paper is to reveal subversive tactics principals use in pursuit of justice and equity in schools and identify challenges and risks associated with their subversive leadership practices. Power tactics were used as a conceptual framework to guide the analysis of subversive activities by school principals.

This qualitative study focuses on 18 elementary and secondary school principals from six district school boards in the Metro Vancouver area who participated in the semi-structured interviews on their practices that epitomize different tactics in response to increasing demand and accountability.

The power tactics identified in this study illuminate many of the dilemmas principals face in their work and demonstrate the various ways principals exercise their political acumen to “act strategically to determine which tactics to use, when, and with whom.” In exercising ethics of subversion and critique, participants are more likely to use soft, rational, and bi/multilateral rather than hard, non-rational, and unilateral power tactics. Such tendency reveals their concern about causing relational harm and shows their strategic avoidance of direct confrontation.

Considering the limitations on the sample size and the research context, more research is needed to examine to what extent subversive practices are exercised and how they play out in different contexts.

The study shows that leadership involves upholding morals and values, even if this means having to use subversive practices to ensure inclusive, equitable, and just outcomes.

This chapter is based on criminological research about theatre in detention. The research results allow a new conceptual approach to the notion of subversion. The purpose of this work is to (a) briefly present the object, context, and methodology of the research; (b) describe the concept of subversion; and (c) explain how subversion can serve an activist project in criminology. The topic will be situated in an epistemological reflection, illuminating the nature of the prison theatre project and its criminological applications.

Action in the 1980s to a large extent belonged to the hard, hyper-masculine physiques of Arnold Schwarzenegger and Sylvester Stallone, who seemed to embody the aggressive, go-getting, testosterone-fuelled spirit of the age. Except, as this chapter argues, it would be a mistake to take these representations of masculinity at face value.

Susan Jeffords has noted the evolution of Schwarzenegger's Terminator character from hard-bodied killer to nurturing father figure, linking this to the change in perceptions of masculinity between the Reagan and Bush eras. Indeed, as Schwarzenegger moved into the 90s his films increasingly played with notions of ‘the feminine’ – from the nurturing Schwarzenegger of Kindergarten Cop (1990) to the ‘maternal’ Schwarzenegger of Junior (1994).

This chapter focuses on Schwarzenegger's Commando (1985), the first film in which he plays a contemporary, ‘normal’ (though still unusually muscular) man: a widowed ex-special forces commando and now full-time father, named John Matrix. The act of naming this supposed he-man ‘Womb’ is only the beginning of the film's surprising and subversive disquisitions on gender. In between (and sometimes during) the expertly staged fist fights, gun battles and explosions, homoeroticism, the male gaze and gender stereotyping all bubble away under the surface. Schwarzenegger's body is presented for scrutiny in a way previously reserved for female Hollywood stars, and the film's antagonist, an embittered former colleague who is obsessed with Matrix in a way that verges on the erotic, transcends butch and enters the realms of macho camp. The film questions and subverts presumptions about the masculine and the feminine, while still delivering an ostensibly macho, quintessentially 1980s action film.