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As they completed their scene, they each wandered off into different rooms, leaving the audience, myself included, to choose whom to follow.As I decided which characters to follow, I experienced a very different set of stories than someone following another sequence of characters.It is Italy, January 10, 1927, in the era of Mussolini.
Tamara cannot be understood in one visit, even if an audience member and a group of friends go in six different directions and share their story data.
Two people can even be in the same room and -- if they came there by way of different rooms and character-sequences -- each can walk away from the same conversation with entirely different stories.
Subsequent sections address storytelling organizational theory, analyses of official accounts of Disney enterprises, and less well-known, even contrary, accounts.
The implications for postmodern theory and future storytelling research projects are discussed. Walt Disney enterprises is a storytelling organization par excellence.
Walt Disney enterprises are theorized as a storytelling organization in which an active-reactive interplay of premodern, modern, and postmodern discourses occur.Discursive metaphors "read" story plurivocality -- the potential for multiple interpretation -- back into the constructions that organizations collectively "write" as their histories.Therefore, the research question here is, What are the collective and historical dynamics of the storytelling organization, viewed as a Tamara, as it writes its story onto the employees and the public?If there are a dozen stages and a dozen storytellers, the number of story lines an audience could trace as it chases the wandering discourses of Tamara is 12 factorial (479,001,600).For example, when attending the play I followed the chauffeur from the kitchen to the maid's bedroom; there she met the butler, who had just entered the drawing room.Use of a plurality of stories, voices, and realities, as well as a multiplicity of ways to interpret stories, appears in experimental fictions that the French term nouveu roman (Heath, 1972; Zeraffa, 1976).The aim of a nouveau roman is to provide multiple forms of discourse.This research goes behind the artful and managed happy constructions of the Disney storytelling enterprise to reveal a darker side: a Walt who was a tyrant, the crafting of an official history out of multifaceted reality constructions, the excluded voices of former employees, and exercises in story surveillance.In the past, management theorists have written stories without attention to plurality and economic context.(1) As writers, researchers are therefore complicit in marketing the happy kingdom stories to their readers.In the "management of writing and writing of management," the construction and choice of the happy story over competing voices is less a search for the truth than a naive political and economic complicity that marginalizes alternative stories.I demonstrate plurality here by describing Tamara, a play that is a discursive metaphor of the storytelling organization.