By Carl Rhodes, Robert Westwood
This booklet demanding situations conventional organizational conception, seeking to representations of labor and organisations inside of pop culture and the ways that those associations have additionally been conceptualized and critiqued there. via a chain of essays, Rhodes and Westwood learn pop culture as a compelling and significant enviornment within which the advanced and contradictory family members that individuals have with the corporations within which they paintings are performed out. by means of articulating the data in pop culture with that during conception, they supply new avenues for realizing paintings organisations because the dominant associations in modern society. Rhodes and Westwood supply a severe evaluation of the way businesses are represented in a number of examples of up to date pop culture. The booklet demonstrates how pop culture could be learn as an embodiment of information approximately companies – usually extra compelling than these universal to idea – and explores the serious strength of such wisdom and how during which pop culture can examine the spirit of resistance, carnivalisation and uprising.
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Additional resources for Critical Representations of Work and Organization in Popular Culture (Studies in Management, Organizations and Society)
The representations provide a rhetoric of motive, the resources for the legitimation and justification of who they are and what they do. It would be fallacious to suggest that there is a distinct boundary between these processes and the processes of management ‘knowledge’ production within the academic sphere. The constructed bifurcation which delineates academic from popular representations is at best misleading, in part, because it ignores the equal reliance of academic representations on the rhetorics of persuasion, stylistics, narrative and other tropological devices.
Still others are spoofs or parody, such as Kehlog Albran’s (1974) The Profit! What is notable is that academics are invoking some of these alternative modes of representation in ways that, ipso facto, raise questions about the status of management ‘knowledge’ in its various representational forms. Some are using popular culture modes and suggesting that they constitute valid forms of management ‘knowledge’, sometimes disparaging or downplaying more orthodox academic modes of representation in the process.
34 Management as popular culture 2003) and the construction of management ‘knowledge’ emerges in a dynamic interaction between the practitioner and the guru or other members of the management fashion industry such as consultants. Practitioners are tactical in their appropriation and use of guru ideas within their own spheres of action (Benders and van Veen, 2001). Of most significance, though, is the notion that guru representations actually constitute what management is and what it is to be a manager.