The possibilities and perils of critical performativity: Learning from four case studies

King, Daniel

doi:10.1016/j.scaman.2014.11.002

Cited by 34 publications

(43 citation statements)

References 69 publications

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“…Our analysis of the interactions between extensionistas and WRE workers also enriches our understanding of 'critical performativity' Spicer et al, 2009) and more generally of scholars' 'critical engagement' (King, 2015;King and Learmonth, 2015).…”

Section: Contributions and Implications For Critical Performativity Smentioning

confidence: 80%

Supporting alternative organizations? Exploring scholars’ involvement in the performativity of worker-recuperated enterprises

et al. 2017

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This is the accepted version of the paper.This version of the publication may differ from the final published version. performativity' concept that we define as scholars' subversive interventions that can involve the production of new subjectivities, the constitution of new organizational models and/or the bridging of these models to current social movements. Our results uncover the multiple roles of academics in relation to these three facets and highlight the key interactions of these roles. Permanent repository linkIn so doing, our analysis advances prior studies of WREs by clarifying how academics can support alternative organizations while offering a renewed conceptualization of critical performativity as a multifaceted process through which academics and workers interact.

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Section: Contributions and Implications For Critical Performativity Smentioning

confidence: 80%

Supporting alternative organizations? Exploring scholars’ involvement in the performativity of worker-recuperated enterprises

et al. 2017

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“…In fact the action-researcher like the critical artist works without pre-established rules and is driven by democratic ideals (Reason, 2006). By embracing "the politics of the possible" there are multiple possibilities for critical scholars to engage in practice and struggle alongside others to generate alternative ways of living and working (King, 2015). Furthermore Muniesa (2014) notes that performance art, happenings and the dissolution of the fourth wall in theatre and experimental methods in the social science as group therapy and psychodrama appeared in the same social contexts and period (mainly USA in the 1960s).…”

Section: Method: Art Performance As Action-researchmentioning

confidence: 99%

Art performance as research, friction and deed

Reinhold¹

2017

M@n@gement

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To extend and enrich the debate on critical performativity, this paper proposes that critical management studies should create a strategic link with organisational aesthetics through an alliance with critical artists doing interventions in organisations. These artists produce social change at the margin of organisations and our task as critical researchers is to give a voice to their artistic action in the field of management. Art performance is presented as a research method and a political action able to give critical performativity a new impulse. Two dance performances in a bank are described and analysed: while the first one is a failure the second produces confusion and embodied tension in the bank's lounges. The aesthetic tactics used in this art performance are counter-performative: dancers introduce slowness and hesitation of bodies in a context of extreme closure and discipline. Art performance is described as a deed: its only value is that it could be done, which calls for more artistic action in corporate everyday life.

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“…Performativity as 'making critical theory influential' Spicer et al's (2009) recent conceptualization of 'critical performativity' -allied with subsequent papers that similarly promote critical performativity (Alvesson and Spicer 2012;Wickert and Schaefer 2015;King 2015) -has stimulated heated debates in OMT. The notion of 'critical performativity' is a critique of the anti-performative stance held by critical management scholars after Lyotard's definition of performativity as efficiency (Fournier and Grey 2000;Grey and Willmott 2005).…”

Section: Performativity As the Expression Of Routinementioning

confidence: 99%

What Do We Mean by Performativity in Organizational and Management Theory? The Uses and Abuses of Performativity

Gond

Cabantous

Harding

et al. 2015

Int J Management Reviews

277

262

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introduced the formulation 'performative utterance' in his 1962 book How to Do Things with Words. This term and the related concept of performativity have subsequently been interpreted in numerous ways by social scientists and philosophers such as Lyotard, Butler, Callon and Barad, leading to the coexistence of several foundational perspectives on performativity. This paper reviews and evaluates critically how organization and management theory (OMT) scholars have used these perspectives, and how the power of performativity has, or has not, stimulated new theory-building. In performing a historical and critical review of performativity in OMT, the authors' analysis reveals the uses, abuses and under-uses of the concept by OMT scholars. It also reveals the lack of both organizational conceptualizations of performativity and analysis of how performativity is organized. Ultimately, the authors' aim is to provoke a 'performative turn' in OMT by unleashing the power of the performativity concept to generate new and stronger organizational theories.

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The possibilities and perils of critical performativity: Learning from four case studies

Cited by 34 publications

References 69 publications

Supporting alternative organizations? Exploring scholars’ involvement in the performativity of worker-recuperated enterprises

Supporting alternative organizations? Exploring scholars’ involvement in the performativity of worker-recuperated enterprises

Art performance as research, friction and deed

What Do We Mean by Performativity in Organizational and Management Theory? The Uses and Abuses of Performativity

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