-A study of resistance and accommodation of project management tools and techniques AbstractPurpose: The paper discusses and critically examines how formal project management tools and techniques affect the organization of university research.Design/methodology/approach: The paper is empirically grounded and explores how university researchers respond to an increasing emphasis on formalized Project Management methods to manage research work conducted within the university. The empirical material consists of 20 interviews with research staff working with engineering, natural and medical sciences at Uppsala University, Sweden. Describing how PM techniques are increasingly imposed upon the researchers, the article analyses different modes of relating to the formalized toolsets, and discusses their accommodation and resistance within academia. Findings:One key finding is how the PM formalization is resisted by partial accommodation and containment. This can be described in terms of an enactment of a front and a backstage of the research organization. At the front-stage, formal PM technology and terminology is used by specially appointed research managers as means of presenting to funding agencies and other external parties. At the backstage, researchers carry out work in more traditional forms. Practical implications:The findings indicate a challenge for research to comply with increased project management formalization and secure on-going open-ended research. Secondly, the paper points toward a risk of young researchers being nudged out into "frontstage" administration with little chance of returning to "backstage" research.Originality/value: This paper builds upon a growing area of the critical analysis of project management practice, offering insights into the tension between the values and norms of university research and an on-going formalization of project management in some organizational contexts.

The notion of experience economy asserts that staging the most mundane consumption practise as individualized entertainment adds value to the producer and consumer alike (Pine and Gilmore, 1999). This article questions this assumption of mere added value. Probing into an interplay between a marketing fantasy and a customer movement passionately engaging with its promise, it draws attention to a structural inability to enjoy the pleasures that the experience economy revolves around. Invoking the theoretical apparatus outlined by Lacan in The Other Side of Psychoanalysis (2007), the analysis sheds light on a social dynamics regulating this impossibility. This brings to the fore a range of ethical, political and economic consequences left largely untended by the literature, and dwelling on the other side of the lustrous enjoyment that so easily captures our imagination.We are obviously living in a time when the most mundane economic activity is turned into spectacular entertainment; a time when anything from handling our household economy to the reconditioning of ramshackle cars is presented as potential amusement. This becomes evident in computer games such as Rune Factory Frontier (Neverland), which offers you the thrill of growing your own farm. Or in popular TV-shows such as Pimp My Ride (MTV), in which your neighbour's run-down car might be transformed into the most opulent and excessive creation imaginable.But dramatized and aestheticized packaging does not merely supplement the most mundane of organizing routines by making them into exciting, open-ended experiences. We are also living in a

This article deals with rap music and with two distinct discourses in which rap artists habitually engage. It also deals with the way that one, in these, can find a dialectic between the special and the mundane, between succeeding-makin' it-and remaining loyal to the values of your community or culture-keeping it real. Furthermore, it deals with how the rap star Shawn "Jay-Z" Carter handles this dialectic, positing entrepreneurship as both a politics and an ethic, and how we, by reading his lyrics, are led to some forgotten localities in academic research-the disenfranchised, urban, marginalized, entrepreneurial "'hood."

Whereas literary and cinematic representations of economy and management have been analyzed for some time (see e.g. Czarniawska and Guillet de Monthoux, 1994;Hassard and Holliday, 1998), precious little interest has been directed to similar aspects in popular music. Consequently, this paper analyzes economy as it is portrayed and disseminated in rap music. By discussing how conspicuous consumption and economic discourses are used in rap lyrics to convey the image of success and possibility, the paper attempts a reading of contemporary capitalism in a particular cultural setting through the notion of a minor literature as theorized by Deleuze and Guattari. The multidimensionality and ironical approach held to the 'bling-bling' thus problematizes simplified analyzes of economic language as colonizing (cf. Gibson-Graham, 1996) and instead opens up to a reading of economy as openness.

In a time when the privileged market position of Svenska Spel is under intense scrutiny by EU officials and pro-market ideologists, this study provides a critical reading of the advertisement material issued by this Swedish state-run gambling operation. Drawing on a [ Z c a r o n ] i[ z c a r o n ]eko-Lacanian critique of ideology, the essay identifies and theorizes different kinds of enjoyment promoted in a number of TV advertisement campaigns issued by the company. By taking recourse to the Lacanian notion of jouissance, the study throws light on the radical ambiguity that resides in the gambling win -an ambiguity which manifests itself in the win being pictured as both pleasurable and painful. Moreover, the essay suggests that Svenska Spel entirely excludes the enjoyment derived from the gambling experience as such from its advertisement material, possibly as a consequence of the threat that the promotion of such enjoyment would pose to the company's legitimacy.