Abstract
The purpose of this study is to explore how the postmodern era may have altered the functioning of the Freudian super-ego. The aim of this paper is to create a discussion about which ...super-ego features may have disappeared, which may have been modified and which may have remained unaltered. Some of the hypotheses are illustrated through the discussion of the COVID-19 pandemic. The analysis suggests that postmodernity has modified aspects of the super-ego, promoting emancipation and the reduction of repression, while it generated uncertainty, new anxieties and an unconditional obligation to conform to unrealistic ideals of happiness and freedom.
We review two important schools within business and society research, which we label positivist and postpositivist corporate social responsibility (CSR). The former is criticized because of its ...instrumentalism and normative vacuity and the latter because of its relativism, foundationalism, and utopianism. We propose a new approach, based on Jürgen Habermas's theory of democracy, and we define the new role of the business firm as a political actor in a globalizing society.
Sustainability as a business model is a strategic tools to obtain company long term goals. This study is a postmodern imaginary research dialogue. The dialogue is between two people: Sustainable ...Accountant, and Senior Businessman. This research dialogue is based on the uses content analysis to analyze the practice of building strategic management sustainability through sustainability reports in a main fertilizer company in Indonesia. Next, the result of content analysis is compared to the Pentaple Bottom Line values: Planet, People, Profit, Phenotechnology and Prophet, in form of imaginary research dialogue too. This study found that the fertilizer company as the object of this study has implemented well the Pentaple Bottom Line values from the strategical step to the implementation step, and finally, it is reflected in the sustainability report.
Beyond branding as a differentiation strategy, branding theory now recognizes the significance of social, cultural, and political relationships relating to brand consumption. In focusing on the ...consumer's experience of the iconic brand of Harley–Davidson, this work reports on more than three years of ethnographic research undertaken in Australia. The outcome is a description of the experiential meaning of Harley–Davidson for Australian consumers. The findings confirm and extend previous research (Martin, D., Schouten, J., McAlexander, J., Claiming the throttle: Multiple femininities in a hyper-masculine subculture. Consum Mark Cult 2006; 9 (3): 171–205.; Schouten, J.W., McAlexander, J.H., Subcultures of consumption: An ethnography of the new bikers. J Consum Res 1995; 22 (1): 43–61.) investigating the Harley–Davidson subculture. These findings are also particularly informative regarding the consumer's brand experience. The article argues that personal experience of Harley–Davidson embedded in a collective social act (in this case, the Australian HOG community) is a spectacular (postmodern) symbol of freedom, where the rebel image of the bike and the brand is consumed by (predominantly mainstream) consumers, thus highlighting the co-construction of the consumer's brand experience. Recognizing this co-construction of brand experience enables brand managers and marketers an opportunity to manage and market brands from the fundamental level of what a particular brand means to consumers.
The transition towards a post-postmodern zeitgeist has attracted much scholarly attention over the last decade, highlighting the major traits of the coming post-postmodern condition, such as ...sincerity challenging irony, reconstruction despite paradoxes, hope despite difficult circumstances and structure counterbalancing anti-structure in lived experience. Nevertheless, we know little about what is happening with regard to nostalgia, a key characteristic of postmodernity, especially in terms of one of its major components, pastiche. From the start of the 1990s, marketing research on postmodern nostalgia and pastiche has largely focused on different models of cars. Through an interpretive analysis focusing on the dual comeback of an Italian car, the Giulia, this article aims to investigate the existence and forms that nostalgia and pastiche take under the new zeitgeist. It highlights a mutation of nostalgia that is becoming regenerative. The major consequence of this is the changing nature of pastiche, from stylistic to essentialist. Our understanding of the coming zeitgeist has also improved: in addition to confirming the major features of post-postmodernity already established in the literature, this study argues that the possibility of a (mini)miracle is another key feature of our times.
The article deals with architectural image structure in the context of various types of form and compositional techniques employed to impart architectural objects originality and artistic ...expressiveness, and systematic compositional analysis of works of architecture. The study considered the specifics of architectural object perception regarding their imagery. A comparative analysis of architectural works and their morphological prototypes from the position of the figurative typology of architectural and other forms was performed to identify the prerequisites for the formation of their artistic image (or a complex of figurative characteristics).
The Appearance of Data St Pierre, Elizabeth Adams
Cultural studies, critical methodologies,
08/2013, Letnik:
13, Številka:
4
Journal Article
Recenzirano
This paper explores conditions that allow data to appear, to come into being, in both conventional and more radical approaches in empirical social science research. Conventional qualitative inquiry ...that uses a positivist ontology—even when it claims to be interpretive—treats qualitative data, words, as brute, existing independent of an interpretive frame, waiting to be “collected” by a human. However, a Deleuzo-Guattarian ontology that does not assume the subject/object binary might not think the concept data at all. The author resists recuperating data in the collapse of the old empiricism and is content to pause in the curious possibilities of a normative ontology that imagines a superior, affirmative, and experimental empiricism in which all concepts, including data, must be re-thought.
Margaret Atwood’s recent dystopian novel The Testaments (2019) revisits The Handmaid’s Tale by depicturing Gilead’s nightmarish world of the patriarchal order, which is established especially against ...women’s potency. The sequel reminds the contemporary readers of Offred and her miseries who told the categorised women of Gilead functioning as the Wives, Handmaids, and Marthas. This time, with three different female figures, Baby Nicole, Agnes, and Aunt Lydia, as protagonists/ narrators, who take place on the edges of the Gileadean order, Atwood transforms the events of The Handmaid’s Tale, told by Offred. The novel encircles Offred’s tale by shedding light on the subsequent events told by the second-generation women (Agnes and Nicole) and comprises the prequel parts that Aunt Lydia provides. In this way, to “destabilise the unitary vision of the subject and open it up to the multiple and complex reconfigurations of diversity and multiple belongings, so as to emphasise … the internal fractures within each subject-position, or the ‘difference within’” with this follow-up text. With the streaming narratives of the three women who set forth the intersected phases to destroy the totalitarian regime and reached “identities of their own,” the sequel maintains the intriguing magic of the Gileadean tales. This article aims to trace the outlooks of different female narrators who procure a dimension of “gynesis” through which the re-exhibited Gilead comes to its end via women who have taken part in the period of dissolution.
Margaret Atwood’s recent dystopian novel The Testaments (2019) revisits The Handmaid’s Tale by depicturing Gilead’s nightmarish world of the patriarchal order, which is established especially against women’s potency. The sequel reminds the contemporary readers of Offred and her miseries who told the categorised women of Gilead functioning as the Wives, Handmaids, and Marthas. This time, with three different female figures, Baby Nicole, Agnes, and Aunt Lydia, as protagonists/ narrators, who take place on the edges of the Gileadean order, Atwood transforms the events of The Handmaid’s Tale, told by Offred. The novel encircles Offred’s tale by shedding light on the subsequent events told by the second-generation women (Agnes and Nicole) and comprises the prequel parts that Aunt Lydia provides. In this way, to “destabilise the unitary vision of the subject and open it up to the multiple and complex reconfigurations of diversity and multiple belongings, so as to emphasise … the internal fractures within each subject-position, or the ‘difference within’” with this follow-up text. With the streaming narratives of the three women who set forth the intersected phases to destroy the totalitarian regime and reached “identities of their own,” the sequel maintains the intriguing magic of the Gileadean tales. This article aims to trace the outlooks of different female narrators who procure a dimension of “gynesis” through which the re-exhibited Gilead comes to its end via women who have taken part in the period of dissolution.
PDF
