<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>It is impossible for a play that is performed in-theatre and with a sedentary audience to have multiple scenes transpiring simultaneously. In contrast, in the Tamara-Land plays, scenes are played on multiple stages with the audience moving freely between rooms, selecting acts that are of interest to them, and chatting with passers-by in corridors to catch up on missed expository. Most organizational cultures typify Tamara-Land scenarios. In other words, discourses occur in multiple settings and with multiple audiences making it impossible to witness and/or participate in polyphonic conversations. The crux of this paper contends that organizational behaviour can be understood through storytelling venues in order to discover and uncover simultaneity. However, to date, a framework for understanding the infinite permutations that lead to these parallel discourses has been underdeveloped. This paper utilizes a model comprised of four ‘love systems’, seven differing antenarratives, and four forms of consciousness. It updates prior works describing Tamara-Land and antenarrative processes. Because of the model’s complexity, two case studies will be provided to aid in its understanding.</p>
</abstract>

It is impossible for a play that is performed in-theatre and with a sedentary audience to have multiple scenes transpiring simultaneously. In contrast, in the Tamara-Land plays, scenes are played on multiple stages with the audience moving freely between rooms, selecting acts that are of interest to them, and chatting with passers-by in corridors to catch up on missed expository. Most organizational cultures typify Tamara-Land scenarios. In other words, discourses occur in multiple settings and with multiple audiences making it impossible to witness and/or participate in polyphonic conversations. The crux of this paper contends that organizational behaviour can be understood through storytelling venues in order to discover and uncover simultaneity. However, to date, a framework for understanding the infinite permutations that lead to these parallel discourses has been underdeveloped. This paper utilizes a model comprised of four ‘love systems’, seven differing antenarratives, and four forms of consciousness. It updates prior works describing Tamara-Land and antenarrative processes. Because of the model’s complexity, two case studies will be provided to aid in its understanding.

Implications of Tamara-Land Consciousnesses Discourses for Organization Culture Studies

Discourses on Culture

This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License.

It is impossible for a play that is performed in-theatre and with a sedentary audience to have multiple scenes transpiring simultaneously. In contrast, in the...

Implications of Tamara-Land Consciousnesses Discourses for Organization Culture Studies

Publié en ligne: 20 nov. 2022

Pages: 101 - 123

Reçu: 19 oct. 2021

Accepté: 09 févr. 2022

DOI: https://doi.org/10.36145/DoC2021.11

Mots clés
antenarrative, Tamara-Land, storytelling organizations, whoconsciousnesses, polyphonic discourse

© 2022 David Boje et al., published by Sciendo

This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License.

Implications of Tamara-Land Consciousnesses Discourses for Organization Culture Studies

Publié en ligne: 20 nov. 2022

Pages: 101 - 123

Reçu: 19 oct. 2021

Accepté: 09 févr. 2022

DOI: https://doi.org/10.36145/DoC2021.11

Mots clésantenarrative, Tamara-Land, storytelling organizations, whoconsciousnesses, polyphonic discourse

© 2022 David Boje et al., published by Sciendo

This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License.

Mots clés
antenarrative, Tamara-Land, storytelling organizations, whoconsciousnesses, polyphonic discourse