Apocalypticism

Lineham, Peter

doi:10.1002/9780470670606.wbecc0056

“…This includes the call for a 'lived experience' perspective of projects , Lineham and Kavanagh, 2006and Smyth and Morris, 2007. A similar, more recent call is to utilise a Heideggerian paradigm (which has a focus of 'being-in', a contextualised, personal experience) to provide the ontological underpinning for project research and practice (van der Hoorn and Whitty, in press).…”

Section: Research Problemmentioning

confidence: 99%

Playing projects: Identifying flow in the ‘lived experience’

Hoorn

¹

2015

International Journal of Project Management

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The purpose of this paper is to contribute to the 'lived experience' of projects discourse. The research study uses an arts-based research method (musical improvisation on a xylophone and/or glockenspiel) to access the participant's perception of their experience of managing a project. Participants are then asked to explain their improvisation and therefore their experience. Key findings were that participants described their 'lived experience' of project managing as having 'ups and downs', including challenges and issues, and as experiencing variations in emotions over the project lifecycle. Csikszentmihalyi's flow theory is used to show that these 'lived experience' findings support a Heideggerian paradigm and personal perspective of what a project is. Projectness is not a characteristic of the activity itself. A project is a personal phenomenon defined in terms of the relationship between the individual or organisation and activity. It is dependent on capability versus the challenge presented by the activity. Graphical AbstractPlaying projects: Identifying flow in the 'lived experience ' van der Hoorn, Bronte (in press-2015) International Journal of Project Management Page 2 of 29 IntroductionThis research study aims to contribute to the 'lived experience' of projects literature, highlighting how this perspective can bring new insights to fundamental project concepts. The motivation for the research is to contribute to the diversification of our understanding of projects beyond the knowledge captured by positivist scientific research. This impetus is driven by the suggestion that the often positivist and Cartesian foundations that underpin much existing traditional project management research and practice are not sufficient to improve project outcomes. It is posited that through enriching our understanding of the phenomena of projects, which includes an understanding of the personal 'lived experience', we will further our knowledge of projects-in-practice. It is from this understanding of the 'lived experience' that we may derive new insights that improve project outcomes.The 'lived experience' approach to project research is focused on capturing what actually happens in projects . This 'lived experience' stream of inquiry sees project management as social conduct, and that there is a need to understand what project managers actually do in concrete situations, the social processes, thinking in action and the actual experience of practitioners in situ .In order to capture a 'lived experience' perspective, this study leverages an arts-based inquiry research method. The selected method echoes Whitty's (2010) artefacts and emotions study that required project managers to characterise the concept of a project in the form of a line drawing and provide a subsequent explanation of their representation. This study draws on musical improvisation as a device to access the 'lived experience' rather than drawing. The improvisation is followed by a semistructured discussion between researcher and participant rega...

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“…410 Similarly, Peter Lineham has argued that churches felt the need to assure their parishioners of the nature of the war, including its cause, cost and righteousness. 411 Certainly a major task in this was to affirm the nature of the enemy in religious/apocalyptic terms. In September 1915 a Baptist Minister noted ‗I am increasingly convinced … that Britain and her Allies are fighting not only against flesh and blood but against the wicked spirits that rule the darkness of this world.'…”

Section: The Hunmentioning

confidence: 99%

Sentimental Equipment: New Zealand, the Great War and Cultural Mobilisation

Loveridge¹

1

0

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<p>During the First World War, New Zealand society was dominated by messages stressing the paramount importance of the war effort to which the country was so heavily committed. Reflecting the total nature of the conflict, these exhortations regularly linked individual duties to the war effort and associated that effort with larger, or higher, purposes. It is often perceived, or presumed, that the dominance of this material arose from general wartime hysteria or was the result of imposed propaganda - with all the manipulative trickery that term connotes. Either way, such perceptions dovetail with notions that the war represents a historical rupture and that wartime discourse might be characterised as insincere, inauthentic and abnormal. Challenging this interpretation, this thesis considers wartime messages as emblematic of deeper cultural sentiments and wider social forces. Specifically, it argues that they represented the results of a cultural mobilisation; a phenomenon whereby cultural resources were mobilised alongside material resources. Consequently many pre-existing social dynamics, debates, orientations, mythologies, values, stereotypes and motifs were retained, but repurposed, in response to the war. A range of subjects illustrating this phenomenon are surveyed, including collective identity, anti-Germanism, gender archetypes, gender antitypes and social cohesion. This study highlights two major dimensions of the phenomenon: firstly, the relationship between the pre-war social/cultural landscape and the mobilised results; and, secondly, how the ideological war effort operated by layering meanings upon wartime developments. Analysing these aspects of cultural mobilisation sets New Zealand‘s military involvement in a broader context and enriches our historical understanding of the society which entered and fought the Great War.</p>

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“…Christ and anti-Christ.' 413 Reverend J. Gibson-Smith observed that ‗Germany today is the Lucifer of nations … already she has sold her soul to the powers of darkness … the real God of Germany today is Mars or Odin or Boal [sic].' 414 Much of this might be framed as a top down campaign run by elites, situated in the press, parliament, pulpit and private sector, with support from a radical fringe; certainly the WAGL was never a mass organisation.…”

Section: The Hunmentioning

confidence: 99%

Sentimental Equipment: New Zealand, the Great War and Cultural Mobilisation

Loveridge¹

0

View full text Add to dashboard Cite

<p>During the First World War, New Zealand society was dominated by messages stressing the paramount importance of the war effort to which the country was so heavily committed. Reflecting the total nature of the conflict, these exhortations regularly linked individual duties to the war effort and associated that effort with larger, or higher, purposes. It is often perceived, or presumed, that the dominance of this material arose from general wartime hysteria or was the result of imposed propaganda - with all the manipulative trickery that term connotes. Either way, such perceptions dovetail with notions that the war represents a historical rupture and that wartime discourse might be characterised as insincere, inauthentic and abnormal. Challenging this interpretation, this thesis considers wartime messages as emblematic of deeper cultural sentiments and wider social forces. Specifically, it argues that they represented the results of a cultural mobilisation; a phenomenon whereby cultural resources were mobilised alongside material resources. Consequently many pre-existing social dynamics, debates, orientations, mythologies, values, stereotypes and motifs were retained, but repurposed, in response to the war. A range of subjects illustrating this phenomenon are surveyed, including collective identity, anti-Germanism, gender archetypes, gender antitypes and social cohesion. This study highlights two major dimensions of the phenomenon: firstly, the relationship between the pre-war social/cultural landscape and the mobilised results; and, secondly, how the ideological war effort operated by layering meanings upon wartime developments. Analysing these aspects of cultural mobilisation sets New Zealand‘s military involvement in a broader context and enriches our historical understanding of the society which entered and fought the Great War.</p>

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Apocalypticism

Cited by 3 publications

References 2 publications

Playing projects: Identifying flow in the ‘lived experience’

Playing projects: Identifying flow in the ‘lived experience’

Sentimental Equipment: New Zealand, the Great War and Cultural Mobilisation

Sentimental Equipment: New Zealand, the Great War and Cultural Mobilisation

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