Capitalism run wild: Zizou Corder`s lion boy and Victor Kelleher`s dog boy

While capitalism has long made highly efficient ideological use of Darwin's 'survival of the fittest' principle to justify ruthless business practices, this appropriation of animal metaphor has taken on new and considerably more problematic resonances in the wake of globalization. At a time when the negative consequences of corporate greed are becoming more apparent, as inequalities widen and power is shifted beyond governments and their borders, there is a spate of children's novels that explicitly challenges this new world order.

Triangulation in organizational research : a re-presentation

This paper extends the discussion of postmodern thinking in organizational theory through a re-presentation of the concept of triangulation in organizational research. Initially triangulation is defined through the contrasting lenses of positivism and post-positivism/postmodernism and analysed as a metaphor for fixing and capturing the research subject. Subsequently triangulation is ‘re-presented’ as ‘metaphorization’—in terms of process and movement between researcher-subject positions. Rethinking the lines and angles of enquiry in triangulation, the paper suggests a shift from the ‘triangulation of distance’ tradition to a more reflexive consideration of ‘researcher stance’. This movement is represented across three perspectives: the researcher as a follower of nomothetic lines; the researcher as the taker of an ideographic overview; and the researcher as the finder of a particular angle. The implications of this re-presentation are then discussed in terms of perspective, data capture, reflexivity and metatriangulation.

Families divided : culture and control in small family business

In this article, we explore the dynamics of control, compliance and resistance using two case studies where ‘family’ has symbolic, material and ideological significance. While the ‘family’ metaphor is often invoked to suggest a normative unity and integration in large organizations, we investigate the use of shared understandings of divisions (Parker 1995) and difference, as well as unity and similarity, in constituting organizational culture in two small family-owned firms. Diverging from mainstream family business research, we adopt a critical and interpretative approach that incorporates employee perspectives and explores how forms of control and resistance need to be understood in relation to their local contexts. We also argue that organization studies could benefit from revisiting progressive assumptions that equate developments in forms of organization with forms of organizational control.

A creative twist: management theory, creativity and the arts

For many theorists and practitioners in the area of organizational theory, HRM, marketing and other domains of organization studies, organizational creativity is something to be distilled and managed as an element of organizational performance. The article argues, however, that this process of appropriation from the creative arts is subject to a number of problematic transitions. The article's starting point is the notion of creativity itself. Within the creative arts, the question of what constitutes creativity and its relationship to artistic practice is subject to considerable debate. This debate centers on the question of whether creativity represents an essentialist and inexplicable (even spiritual) component of artistic practice or whether creativity is a trait of work and cannot be attributed as a unique aspect of art. The mantra of creativity provides nothing more than a means to control individuals and provide them with a false hope that contributing to the success of business will provide a means to self fulfillment.

Are university students really customers? when illusion may lead to delusion for all!

Purpose – The marketing concept is an idea that has been adopted in non-marketing contexts, such as the relationships between universities and their students. This paper aims to posit that marketing metaphors are inappropriate to describe the student-university relationship.

Design/methodology/approach – The authors provide a conceptual discussion of the topic.

Findings – The use of marketing metaphors appears sometimes to be indiscriminate and the appropriateness to use them in student-university relationships is questioned in this article.

Research limitations/implications – This notion of students as customers has caused a misinterpretation of the relationship between universities and students.

Practical implications – Students should not be viewed as customers of the university, but as citizens of the university community. The contention contained within this paper is that the customer metaphor is inappropriate to describe students' relationships to universities.

Originality/value – The use of marketing buzzwords does not contribute to a correct description or an accurate understanding of the student-university relationship. On the contrary, misconceptions and misunderstandings flourish due to misleading terminology and contradictory vocabulary. These frameworks tend to be illusionary if used in non-marketing contexts, such as universities.

Not just for romance: applications of speed dating in social work education

In this article we address how a contemporary adaptation of the 'speed dating' model was used for educational purposes with two cohorts of social work students. We outline the dimensions of 'speed dating' as a contemporary social phenomenon, then address how this model relates specifically to groupwork process, and can be used to facilitate social work student learning. The curriculum for two classroom group activities using the 'speed dating' model are outlined, the first to develop university level study skills, the second for debriefing field placement learning experiences. Finally we examine why the 'speed dating' metaphor was successful in provoking a playful yet constructively creative space for students to engage in groupwork process.

The body keeps the score

American animator Robert Breer has been credited in introducing the first visual bomb to cinema in his loop film Image by Images I (1954), Two abstract animated films by Robert Breer are examined: 69 (1968 5 minutes) and Fuji (1974 10 minutes). Using Merleau-Ponty’s phenomenological perspective, though these films are not representational or photographic in the traditional sense it is argued that they are still able to talk to us about real experiences because ‘the lived perspective, that which we actually perceive, is not a geometric or photographic one.’(Merleau-Ponty, 1964b: 14) 69 provides a metaphor for a system that collapses and Fuji as an articulation of that embodied seeing required for train travel. It is argued that Breer’s work in its explorations of style ahead of content is research into an act of viewing that offers a contemporary simulation of the impact of a traumatic experience on the body. Just as one cannot grab each object in the landscape at the speed of train travel nor can one grab or understand each frame that is presented to the retina of a Robert Breer film. What is required to attain “stillness” is a more dissociated way of looking that allows the images to wash over you. Such a “stillness” may be more about suppression than contemplation and could involve a process of metamorphosis.

Actor network theory goes to school

Actor Network Theory (ANT) is explored as a useful tool in researching the intersection of English teaching and Information Communication Technologies (ICTs), to understand the complex interaction of influences, both human and non-human, that combine to achieve a particular outcome, in this case the uptake of ICTs by English teachers in an Australian school. What this means is that alongside interviewing the teachers, administrators and technical support people, recognition is given to the influence of inanimate objects such as computers, bluestone walls and curriculum documents. This constructs a more complex picture of the change process accounting both for the invisible ideology of teacher beliefs as well as the technical capacity and incapacity of machines, buildings and policies. At the heart of ANT lies the metaphor of the heterogeneous network which is made up of diverse, not simply human, materials. Often these networks become consolidated as single point actors e.g. the English curriculum, the computer laboratory, the library, which are then seen as fixed entities rather than an amalgamation of parts prone to change. ANT allows for the constituent parts to be investigated, and following Bruno Latour's Aramis, (1996) this can be done creatively by literally giving voice to inanimate objects such as computers.

Rote movie

"On the voice over de Bruyn places himself behind the wheel of a car, an appropriate metaphor for his expatriate driven reflections on his feelings of exile, distance and loneliness. Necessarily unintelligent memories highlight habitual subjectivity of "walking through a landscape alone", "gypsy", "victim". Images of roadsigns, cars, billboards, the passing landscape; elegantly simple rotoscope (by rote?) drawings, recopied and texturally manipulated filmic images; the inevitability of the repetition of leader. A tired, yearning, moving film." http://www.innersense.com.au/mif/debruyn_films.html

Why do medical graduates choose rural careers?

Introduction: This study is based on the metaphor of the ‘rural pipeline’ into medical practice. The four stages of the rural
pipeline are: (1) contact between rural secondary schools and the medical profession; (2) selection of rural students into medical
programs; (3) rural exposure during medical training; and (4) measures to address retention of the rural medical workforce.
Methods: Using the rural pipeline template we conducted a literature review, analysed the selection methods of Australian
graduate entry medical schools and interviewed 17 interns about their medical career aspirations.
Results: Literature review: The literature was reviewed to assess the effectiveness of selection practices to predict successful
gradation and the impact of rural pipeline components on eventual rural practice. Undergraduate academic performance is the
strongest predictor of medical course academic performance. The predictive power of interviews is modest. There are limited data
on the predictive power of other measures of non-cognitive performance or the content of the undergraduate degree. Prior rural
residence is the strongest predictor of choice of a rural career but extended rural exposure during medical training also has a
significant impact. The most significant influencing factors are: professional support at national, state and local levels; career
pathway opportunities; contentedness of the practitioner’s spouse in rural communities; preparedness to adopt a rural lifestyle;
educational opportunities for children; and proximity to extended family and social circle. Analysis of selection methods: Staff
involved in student selection into 9 Australian graduate entry medical schools were interviewed. Four themes were identified:
(1) rurality as a factor in student selection; (2) rurality as a factor in student selection interviews; (3) rural representation on student
selection interview panels; (4) rural experience during the medical course. Interns’ career intentions: Three themes were identified:
(1) the efficacy of the rural pipeline; (2) community connectedness through the rural pipeline; (3) impediments to the effect of the
rural pipeline, the most significant being a partner who was not committed to rural life
Conclusion: Based on the literature review and interviews, 11 strategies are suggested to increase the number of graduates
choosing a career in rural medicine, and one strategy for maintaining practitioners in rural health settings after graduation.

African music : negotiating a space in contemporary society

This paper explores the notion of African music as a way forward to negotiate a 'space' in contemporary society. The word 'space' is used as a metaphor to explore and experiment with the dynamics of culture and hybridity. The authors view themselves as 'agents of change' and knowledgeable professionals in the teaching of African music, one based in South Africa (Johannesburg) and the other in Australia (Melbourne). They reflect on examples from their own teaching and learning experiences as they argue that the translation of 'traditional' African music can only be brought about by means of cultural dialogue, within cultures and between cultures. This paper also addresses the issues of cultural authenticity as a redefined and renegotiated space when teaching and learning African music. The authors also consider the difficulties of addressing 'difference' and 'otherness' when teaching African music, with South Africa and Australia both previously seen as outposts of the British Empire. They contend that such differences can prove to be productive and rewarding through subtle mediation and accommodation when crossing cultural borders.

Hair braiding : working the boundaries of methodology in globalisation research

This paper engages the constitutive as well as the representative role of metaphor in research. Metaphors are understood to provide possibilities for representations and conceptualisations. The use of metaphorical redescription permits us to 'use familiar words in unfamiliar ways' (Rorty, 1989, p. 18) and provides new language that deters the use of repeated ways of knowing. It invites us to see things differently and to act differently. Lakoff and Johnson (1980) argue that metaphor does more than represent: 'New metaphors have the power to construct a new reality' (p. 145). I have drawn on both these understandings of metaphor. In qualitative research, metaphorical analysis has a well-established history. Researchers analyse metaphors used by research participants and apply metaphors to participant actions and understandings (Koro-Ljungberg, 2001; Gregory & Noblit, 1998). Researchers also use metaphors to reflect or represent their methodological decision-making (Richardson, 2003; Gadamer, 1989). In this article, I have nudged the conceptual boundaries of methodology. I have argued the constructive nature of metaphor in methodological positioning and decision making. I use the writing of a doctoral thesis to argue this role of metaphor. There, the metaphor of hair braiding constructed and communicated my methodological decision-making and my researcher stance as a braider.

Memory, photography, and the politics of abuse : the ambiguous nature of photography

Critical commentary on Australian artist Bill Henson’s work including the series Untitled 1994-1995 which represented Australia at the Venice Biennale is frequently framed within the discourse of the ‘white cube’. Its contextualisation in predominantly art historical and formalist perspectives tends to operate as a mechanism that denies affective and embodied dimensions of meaning making. Much the same could be said of the work of Marian Drew who uses road kill in her photographic still life works. However, the ‘distancing’ in these works is also achieved through historical allusion, which at the same time reactivates the fl ow of emotional empathy and desire. In this paper, I ask the question: “What distinguishes the work of these two artists with media images of torture?”

My attempt to address this question will involve a narrative re-reading of selected works of Henson and Drew incorporating notions of affect, identification, memory and desire as processes which operate non-discursively, but which are inseparable from memory and lived experiences. This will permit a double exposure of the work of these artists. Within a psychoanalytical context, my re-reading will be used to extend an understanding of the now familiar press and Internet images of the torture of Iraqi prisoners.

As a metaphor for desire and ideology, photography operates within manifest and latent registers. I will argue that certain forms of photographic practice may be understood in terms of a politics of abuse — instantiating an uneven differentiation of power between actants, the winning (forcefully or otherwise) of consent or complicity, the silencing of refusal of resistance and/or the incriminating of the ‘victim’ — whilst at the same time upholding the claim of verisimilitude and aesthetic or ethical intent. Critical engagement with such practices is crucial to an understanding of the relationship between institutional discourses, trauma and abuse in contemporary society.

Defining learning communities

The beginning of the twenty-first century heralds a shift in emphasis from learning with the focus on the individual to learning as part of a community. The concept of “learning communities” is currently one that is to the fore of much educational and organisational literature and discussion. In the literature, however, the term “learning communities” is being defined and used in diverse and flexible ways. As well as learning communities that are geographically defined, there has been growth in accessing learning through participation in “communities of common purpose”. Information and communication technologies have facilitated the emergence and rapid growth of learning communities whose members interact from remote corners of the globe to form online learning communities.

This paper explores the ways in which learning communities are defined, and the commonalities, blurred boundaries and close associations that are apparent between learning communities and other contemporary areas of interest, such as lifelong learning, social capital, communities of practice and distributed cognition. The Faculty of Education at the University of Tasmania has acknowledged the potential that learning communities offer for the new century, and the benefits that can flow from an improved understanding of the concept, by adopting learning communities as the key metaphor of its research. It is apparent that learning communities can be a powerful means of creating and sharing new knowledge.

Dancing the thesis : potential and pitfalls in practice-led research

Practice-led or multi modal these (describing examinable outcomes of postgraduate study which comprise the practice of dancing/choreography with an accompanying exegesis) are an emerging strength of dance scholarship; a form of enquiry that has been gaining momentum over a decade, particularly in Australia and the United Kingdom. It has been strongly argued that, in this form of research, legitimate claims to new knowledge are embodied predominantly within the practice itself (Pakes 2003) and that these findings are emergent, contingent and often interstitial contained within both the material form of the practice and in the symbolic languages surrounding the form.

This paper draws on Dancing between diversity and consistency: Refining assessment in postgraduate studies in dance, a study conducted with funding by the Australian Learning and Teaching Council 2006-2008, to critically examine some of the issues raised by such degrees. The study's structure formed around extensive literature reviews into higher degree dance studies; general examination/assessment discussions at research masters and doctoral levels; and issues arising from the relatively new artistic degrees involving practice components. Focus group discussions and semi-structured interviews with 74 supervisors/examiners, research deans and administrators, and candidates/graduates elicited the views on assessing practice-led dance research of two principal participant groups; the professional dance community represented by Ausdance (The Australian Dance Council) and the staff and student cohort of Australian universities who offered dance or related postgraduate degrees.

Tensions arose through the project specifically in terms of deciding what kinds of articulations of practice-led dance research might be acceptable at the PhD level. Here, we address underlying issues of interdisciplinarity that arise from the current common practice of requiring a written requirement for PhD theses. This leads to a consideration of how differing cultural inflections and practices might be incorporated into our reading and evaluation of theses, how creative approaches to layered documentation can function as durable artifacts of creative research while contributing to the overall 'knowledge generation' of the thesis, and what kinds of language structures, such as metaphor, allusion and symbol, can be co opted to function generative in dialogue with other kinds of texts and discourses.