Understanding the work of the city manager

The managerial behaviour approach to understanding managerial work has developed from research over the course of fifty years. The approach represents a marked departure from mainstream (and still prevalent) management approaches that depict management as a set of general composite functions. The managerial behaviour approach is distinctive in its empirical research background, object, focus and methodology. Its objective is to provide the simple answer to the complex question: what do managers do? However, the emphasis in the studies on managerial behaviour represents a limitation in so far as a context for locating and judging that behaviour is largely absent (Hales, 1986). This paper presents the results of initial research into managers operating in a different and largely neglected context - city councils. The research uses Mintzberg’s (1973) concept of behavioural roles as an analytical tool to explain and understand what city managers do. This study assesses whether these roles adequately capture the important features of managerial work in the city council. It is argued that while Mintzberg’s role framework is useful, structured observation alone does not adequately address the complexities of environments and styles of managers or the cognitive processes of managers. However, by integrating this approach with an appreciation of context and cognitive processes and how they can influence or affect managerial behaviour, we develop a more realistic description of what managers actually do and why they do it.

Pedem referens: art historical memory and the analogue in the work of Tacita Dean, Jeremy Millar and Lucy Skaer

This thesis explores the new art historical turn in contemporary art through close engagement with three British artworks. These are Tacita Dean’s, Section Cinema (Homage to Marcel Broodthaers), 2002, Jeremy Millar’s, The Man Who Looked Back, 2010, and Lucy Skaer’s, Leonora, 2006. Each of these artworks combines an art historical agenda with a celebration of the specificities of analogue film and photography in the context of our digital age. This thesis combines twentieth century photographic theory from Roland Barthes, André Bazin and Walter Benjamin, among others, with the psychoanalytic theory of Jacques Lacan in order to argue that the indexical qualities of analogue film and photography place the medium in close proximity to the Lacanian Real. In its obsolescence the analogue’s language of both touch and loss is heightened. Each chapter of this thesis explores a different aspect of the Real in relation to specific attributes of the analogue, such as its propensity for archiving cultural traumas, its receptiveness to chance, and its proximity to death.