Reframing Organizational and Social Change: From Domination to Partnership

Eisler, Riane

doi:10.1108/s2058-88012016017

Cited by 3 publications

(9 citation statements)

References 10 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Many organizational theorists have begun to focus on the role of "relationship-maintaining" or "appreciative systems" rather than just "goal-seeking systems" (Cooperrider, 1990;Eisler, 2016a;Eisler & Montuori, 2001, 2003Montuori & Donnelly, 2014;Senge, 1994). The emphasis here is again on the context: on the ability of organizations to create environments that are "enabling" rather than "restrictive" of creativity and innovation.…”

Section: Contexualizing Creativitymentioning

confidence: 99%

“…While they had technologies of destruction such as swords to defend their ships, given the danger from pirates on the high seas, rather than acquiring wealth largely through armed conquest like more dominator-oriented ancient civilizations, they acquired wealth by selling their beautiful crafts far and wide (for example, the fine Minoan pottery found in Egypt). In short, here the distinction between a focus on what Eisler calls technologies of destruction and technologies of production, reproduction, conservation, and actualization (Eisler, 1987(Eisler, , 2007(Eisler, , 2016a) comes dramatically to the fore --with critical implications for all aspects of culture and of life.…”

Section: Creativity In a Domination And A Partnership Social Contextmentioning

confidence: 99%

“…As Eisler notes, this research points to the need to move away from the hierarchies of domination characteristic of dominator structures (with all their pentup frustrations) to the more flexible and empowering hierarchies of actualization and other structures more in line with partnership principles. These kinds of structures make it possible to no longer rely just on orders from above but instead create "selforganizing" teams and work units capable of designing their own creative strategies to tackle problems (Eisler, 1995(Eisler, , 2007(Eisler, , 2016a.…”

Section: Contexualizing Creativitymentioning

confidence: 99%

“…These earlier categories focus on factors such as geographic or historical location, ethnicity, or level of technological development, rather than on the kinds of relations a social system supports or inhibits. Moreover, they fail to take into account the impact of the social construction of gender and parent-child relations on what people learn to view as normal, moral, and even inevitable.Taking these foundational relations into full account, Eisler's historical and crosscultural study of relational dynamics reveals social patterns that are otherwise invisible (Eisler, 1987(Eisler, , 1995(Eisler, , 2014(Eisler, , 2016a(Eisler, , 2016b. Looking at this more complete picture of social relations makes it possible to identify two underlying social configurations: the partnership model and the dominator or domination model.…”

mentioning

confidence: 99%

See 3 more Smart Citations

Creativity, Society, and Gender: Contextualizing and Redefining Creativity

Eisler

Donnelly

Montuori

2016

IJPS

Self Cite

View full text Add to dashboard Cite

Abstract:Creativity is currently being redefined in more inclusive and complex ways. This article examines old and new ways of viewing creativity, focusing especially on how historically creativity has been considered a male preserve and the need for a more inclusive definition that includes areas such as Creativity, that ongoing mystery and subject of continuous fascination, has moved from the rarified realm of the arts and sciences to become a topic of considerable public interest at the opening of the 21 st century (Montuori & Donnelly, 2013). The economy is driven by creativity and so-called 'disruptive innovation.' New disciplines and practices like design and social innovation reflect a greater role for creativity, as does the recently popular idea of 'self-reinvention' (Elliott, 2013;Elliott & Lemert, 2009).The context for this increased focus on creativity is the growing recognition that ours is a time of massive social disequilibrium: one epoch is ending and a new one has yet to emerge. The frequent use of the prefix post-, as in post-industrial, post-modern, and post-materialist, to describe our time is an indicator that ours is a transitional period, so much so that Sardar has used the term "post-normal," to refer to an era in which an old world is dying and we need creativity and imagination to create a new world (Inglehart, 1997;Lyotard, 1984;Ogilvy, 1989;Sardar, 1999Sardar, , 2010Sardar, , 2015. 2 At the same time that creativity is seen as important, even vital, to the economy, our understanding of creativity is changing. If in Modernity creativity was identified with the classic image of the lone genius and his masterpieces, whether works of art or scientific discoveries, today there is much greater emphasis on collaborative creativity, on creative networks, and on "everyday" creativity (Eisler, 2000;Eisler & Montuori, 2007;Montuori, 2011a;Montuori & Donnelly, 2013;Richards, 2007aRichards, , 2007b Runco & Richards, 1997).To understand the impact and nature of creativity in this new context, it is important to approach creativity from a larger historical, and transdisciplinary perspective. Yet, ironically, there has been a movement in the psychology of creativity to actually shorten the traditional definition of creativity (stressing novel and useful or valuable), to simply novel (Weisberg, 2015).In contrast, we will expand the definition of creativity in a number of critical respects. We will examine creativity as an interconnected and interdependent phenomenon. In another departure from conventional approaches, we will focus attention on the hidden subtext of gender underlying how creativity has been socially constructed. We will also propose a contextualized approach to creativity that takes into account both its individual and social dimensions and how these relate to what Eisler (Eisler, 1987, 2007 has called a partnership rather than dominator or domination model of society. TOWARD A GENDER-HOLISTIC VIEW OF CREATIVITYUntil fairly recently, discourse about creativity has been almost exclusi...

show abstract

Section: Contexualizing Creativitymentioning

confidence: 99%

Section: Creativity In a Domination And A Partnership Social Contextmentioning

confidence: 99%

Section: Contexualizing Creativitymentioning

confidence: 99%

mentioning

confidence: 99%

See 2 more Smart Citations

Creativity, Society, and Gender: Contextualizing and Redefining Creativity

Eisler

Donnelly

Montuori

2016

IJPS

Self Cite

View full text Add to dashboard Cite

show abstract

“…In both organizations and communities, leading through collaboration, inclusion, and consultation can generate a partnership system that values empathy, creativity, and caring (Eisler, , ). This makes possible the creation of mindful organizational cultures (Pearson, ; Reitz, Chaskalson, Olivier, & Waller, ).…”

mentioning

confidence: 99%