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STorytelling ORganization Workshops
STORI stand for STorytelling ORganization Institute, a provider of workshops for consultants, their clients and researchers. Listed below are workshops we offer. They can be customized to fit your
needs. Following is a list of workshop modules, that can be scheduled in combination, and tailored to meet particular needs.
Storytelling is an ancient powerful method of communication. In this "how to" workshop, participants will work in pairs and small groups to learn some basics about how to tell a more powerful story using voice, body language, visual imagery, and improvisation experiential exercises.
Story is defined as a verbal, written, or artistic performance that transforms the world of events into social experience.
Participants will leave with more powerful stories to tell and the confidence to tell them. They also learn the difference between story, and the two most common types of narrative (BME and fragment). At this level story consulting helps clients either tell a concise, short, coherent, retrospective BME (beginning, middle, end) narrative.
BME defined as Beginning, Middle and End progressive sequenced retrospective narrative coherence, and limited to five-senses wholeness
BME narratives are often very linear, not the stuff of co-construction of story. Barbara Czarniawska (2004), for example, refers to 'petrified narratives' as the foundation of strong corporate cultures. BME narratives are fully explicated. Yiannis Gabriel (2000) started a nifty debate with Boje (p. 20 footnote 8) on whether a terse-told narrative fragment is a proper story. Gabriel raises important question about where does story reside? To Boje, a story resides in socially-constructed collective memory, and in social networks of situated performance. To Gabriel the proper story, has “plots and characters, [is] generating emotion in narrator and audience, through a poetic elaboration of symbolic material” – Gabriel (2000: 239). Boje and Gabriel prefer to to focus on story rather than BME narrative.
Boje (1991), a pioneering field researcher, in his eight-month empirical study of Goldco Office Supply's Storytelling Organization, discovered that, in situated talk among executives, managers, salespersons, customers, and vendors, the BME is much rarer in corporate discourse than the more often told Fragmented Narratives. Petrified BMEs are so rare, one has to wonder if something more elemental is going on. For example, terse-fragments, are many times so often told, and well understood, they can be conveyed by experts in a single word, or phrase, such as "9-11," "You know the story," or police codes such as '217' (Assault with intent to murder), or '240' Assault, versus '245' (Assault with a deadly weapon) set the context of what an expert listener fills in, so the teller can keep their account quite short, focusing just on the nuances.
Fragmented narratives are defined as tersely-told, "requiring the hearer to fill in silently major chunks of story line, context, and implication" (Boje, 1991: 106).
The problem raised by Walter Benjamin (1936) is that people have lost important competencies, over the years, and in this information age, they have lost the ability to decipher fragments, to read between-the-lines, and know what aspects of their context to fill in the blanks. In the age of movies, with BME plots, there is a strong social expectation, to tell even terse narratives, in alinear BME format.
A tersely-told BME, for example, is how an entrepreneur is taught in narrative workshops to pitch their business proposal to venture capitalists (see examples of 15 minute pitch story sessions; Video-conference pitch stories). Both BME and Fragmented Narratives are backward-looking (retrospective ways of sensemaking), and are the most common forms studied.
To gain more insight, there are excellent how to tell BME or terse-fragment narrative training workshops (See Shawn Callahan's Antedote Circles, Steve Deming's Springboard 2-minute pitches, Terence Gargiulo's Making Story, Dave Snowden's Cynefin which links narrative to archetypes). If you are a graduate of any of these workshops, our own 'Power of Storytelling' workshop, proceed to the next level.
Suggested time: Two Hours
Skill Level: Beginner
Storytelling Disorganization is an enterprise divided, apathetic, confused, passive, reactive, drifting, and inert.Storytelling Organization is an enterprise transformed, passionate, focused, active, reflexive, strategic, and energized by story awareness.
Storytelling Organization is defined as, "collective storytelling system[icity] in which the performance of stories is a key part of members' sense-making and a means to allow them to supplement individual memories with institutional memory" (Boje, 1991: 106, bracketed amendment systemicity, mine).
In the Introduction to Storytelling Organization workshop, our story researchers and facilitators will discuss how and why stories can transform your enterprise from disorganization to Storytelling Organization. We do not live or work in completed, finalized, or merged-part systems. We have moved from system to complexity of unmerged systemicity (means our system are unfinished, half implemented, unmerged, undergoing reconstruction, so any citing of system is pure illusion). There is a paradigm shift from unitary system thinking, from mechanistic Newtonian science, to Einstein and Bohm's quantum dynamics, as well as Korzybski's work on the relation between complexity of Event, Sensory perception, and our ways of Textual abstraction (of which story and narrative are apart). Patterns of narrative (BME & Fragemented) in relation to Story (see the types that are in the follow-up workshops, such as Antenarrative, Tamara, Emotive-Ethical, Living) are pointing our attention to dynamic qualities in events and our interpretative attempts. Our ways of narrative and story, are indexical to the event-soup of dynamic complexity that we live and work in organization life. This workshop is an
excellent way to get leaders, managers, and staff interested in what Ken Baskin and David Boje call the 3rd Cybernetic Revolution (Boje & Baskin, 2005) from system to complexity thinking about organizations and their meaning-making and collective interpretation processes. Participants are presented with case examples of various types of storytelling organizations, and learn the most frequently used definition of story,
Story is defined as “an oral or written performance involving two or more people interpreting past or anticipated experience” (Boje, 1991a: 111).
As we we learned in the Power of Story workshop, story converts events into experience and collective memory.
The relation of the narrated past and the storied future, and our ability to discern the unfolding sotry in the Now. The future-story is the subject of the next workshops.
Suggested time: Two Hours
Skill Level: Intermediate
Prerequisite: Ours or anyone else's Power of Storytelling the Past workshop
Antenarrative Path to the Future
Most story consulting training is on the past, on backward-looking (retrospective) BME or Fragment Narratives. David Boje (2001) invented the concept of 'antenarrative' to be about the future, about 'prospective sensemaking.' for example, an annual report will have a few BME and Fragmented narratives, but most of the CEO's letter is about the future, what shareholders can expect in the months ahead. The new field of antenarrative research and practice, looks at the 'antes' those 'bets' on the future, and on the 'pre-narratives'.
Antenarrative is defined as “the fragmented, nonlinear, incoherent, collective, unplotted, and pre-narrative speculation, a bet, a proper narrative can be constituted” (Boje, 2001: 1).
Antenarratives are ubiquitous, the antes of launching new products, reorganizing, opening new outlets, expanding markets, etc. some antes become BMEs, others fizzle and subside. But antenarratives are also more powerful than BME (or fragmented) narratives. Antenarratives are powerful sources of organizational change and transformation, because they are not what Czarniawska (2004) calls 'petrified' (BME) narratives.
Antenarratives serve as input to our 'context,' to interpret dynamic events of organizaitons, but they are also speech acts (text or sometimes image-acts) that modify the 'context,' and are also the processes of transformation, moving in-between, 'contexts.' It is their dynamic, movement quality that makes antenarratives so transformative. An antenarrative is a bet (or prospective-proposition) about what change in context is possible.
Research on antenarratives by Collins and Rainwater (2005) in Journal of Organizational Change Management, in a study of Sear, suggests that it is time we looked at the relationship between petrified BMEs, Fragmented Narratives that are backward-looking, and the prospective (forward-looking) antenarratives. While BME depends upon plots, and embellishment, the antenarrative does not subordinate the audience to the monologue of linear petrification. Most story work in organizations is antenarrating the future, not reciting the petrified past. In long-standing organizations with strong cultures like Disney, Nike, Wal-Mart, and McDonald's, even the founding narratives are restoried, in each telling, to ante-up a way to future.
Work by Alfred Habdank Skarbek Korzybski to be of interest to making a dynamic turn in the field of antenarrative. He came up with the tagline, “that map is not the territory.” Our narratives and stories (including antenarratives) do not capture all the dynamic complexity processes of events. Our sensemaking field (& motor senses) our of which narrative and sotry get fashioned (along with whatever reflexivity we do) do not capture all that is going on at the Event level. Our narrative and story oral, verbal, gesture, and artistic discourse, as a layer of meaning-making does not capture very much about the other layers such as Events and non-retrospective Sensemaking fields.
- Event - dynamic, holistic nonlinear process – no individual objects
- Objects - the human motor/sensory (sensemaking of 5 senses) field – individual objects
- Textual - verbal/textual labels such as terse or BME narrative, and story discourss, such as antenarratives (that move in-between)
Self-reflexiveness of our narrative and story knowledge is introduced to do more ‘story noticing’ to get at more of the holistic nonlinear processes.
Neuro-linguistic factors, in emotive-ethical and horsesense storying are important for human adjustment and maturity. Our a priori space-time ordering (orders of abstraction) inform our ways of narrating and storying Event dynamics, and preset our Object sensemaking (sensory) field.
We are only minimally aware of the consciousness of our ways of abstracting in narrative and story. Antenarratives, would then, represent travelers that move between each level of abstraction (Events, Objects, & Textual).
The characteristics migrate with antenarrative travelers in the Korzybski strings between particular levels of abstraction.
Antenarratives strings that don't make it to the next level represent characteristics left out of our storying, as do the holes without antenarrative strings at all. More is left out of our storying at each level of Korzybski's view of knowledge, than was there at the previous level
Participants will learn to identify their organization's antenarrative processes, the relationship between petrifying the past in BME, and developing prospective sensemaking in future stories.
Suggested time: Half Day
Skill Level: Intermediate
Prerequisites: Complete Storytelling Organization workshop module
When people learn to do story listening, it has a great impact on their growing story awareness of the interplay of Narratives of the past, with Antenarratives of the Future. The
activities our facilitators use are specifically designed to go beyond basic active listening skills, which while important, do not get at the more important lost art of reading between the lines, and personal reflexivity. In this workshop participants will learn to listen to repeated taped feedback, to deeper and deeper layers of meaning. We also train in reflexivity listening about client organization's stories of organization-past, stories unfolding in the now, and move to prospective stories of strategic futures. We also look at gestures and body language in our approach to the theatre of everyday life, exploring how we impute sotry meaniing in the dance of gestures. This is accomplished using improv theatre exercises. These listening activities prepare participants to extract greater understanding from the dynamics of events (particular nonlinear events) in their day to day work settings. Participants will leave with ideas for eliciting stories and engaging their own reflexivity on the relation of Events, Objects (sensory of sensemaking), and texts (BME narratives, stories such as antenarratives), as they play out on the human stage.
Suggested time: Half Day
Skill Level: Intermediate
Prerequisites: Complete Storytelling Organization and Antenarrative workshop modules
Tamara Storytelling Organization
You have attended workshops on BME or Fragment (quick pitch) Narrating the past, and Antenarrating the future. You are ready to look at more complex dynamics of human events, in the theatre that is our everyday life of story meaning-making. In this workshop you enter the fascinating field of in-the-Now storytelling. It is in the present, not stuck in BME past or visioning the future, we have spotted several important breakthroughs. The first is Tamara (Boje, 1995, Academy of Management Journal research article). Tamara is a model of how organizations have storytelling going on in-the-now, simultaneously in more than one room. Virtually every organizations has storytelling going on in multiple sites, often in hundreds of rooms, in many buildings, even in different nations. And its all going on at once. People meet in hallways, catch up on email, try to phone or have more meetings to catchup on all that they missed in all those rooms they did not attend. From this simple observation, that no person can physically be in multiple rooms at once, comes several important insights. First, meaning attributed to stories told in any given room depend upon your social networking, the path history of all the room you were inm before the present one. Since it is likely that most people will have been in a different string of rooms, each person is likely to take away an entirely different meaning of the stories, BME, Fragments, Antenarrative or Living Stories they encounter, in the Now. Second, the complexity pathways of simultaneous story rooms, even in organizations with as few as 12 rooms is huge (12 factorial is 479,001,600 different pathways for people). Third, the opportunity for Disorganization, Misunderstanding, or just Strange interpretation of any given story communicated means there is a dispersion of differences, opportunity for factions, and even corporate story battle lines to form. Unless there are conciliation and conflict management of the many sides of stories heard in the Tamara of simultaneous rooms, there is going to be a decrease in communicative effectiveness. Fourth, tracking the dispersion if dissensus in Tamara is a full time job. The Tamara Effect is most important, when you add the constraint that people do not tell their story, as they move from room to room, in the same way. So besides pathway network complexity, there are just people telling stories differently to different audiences. For example, beginners get a more explicated rendition than experts. there is more embellishment with trusted audiences. In times of trouble the spin is on, and a problem scandal is likely told very differently, depending upon which stakeholders (investors, customers, regulators, board, etc.) are in the room, or likely to be told. Participants will get an experience of Tamara multi-room story simultaneity choice making, the importance of networking pathways, and ways to counter the comment communication breakdown problems.
Suggested time: Half Day
Skill Level: Intermediate
Prerequisites: Intro to Storytelling Organization, Antenarrative, and Art of Listening workshop modules
In the present (or Now), people make ethical choices based upon emotion. We used to think ethics was just rational, cognitive, Cartesian choice making. Or that it was ethics learned at Mother's knee. But recent cognitive neuroscience research by Josh Green (& colleagues, 2001) of Princeton University, argues that when people are presented with an ethical (or moral) choice, there is a sharp fMRI blip in the emotion part of the brain. In the trolley story experiment, people are given the ethical choice of being a bystander while a family is killed by a run away trolley or flipping a track switch and only killing an unaware man. In that moment of choice, the person is the only one who can change the fate, but their choice has costs. The concept of Emotive-Ethics in story was developed by Bakhtin (1990, 1991). When a compelling story is told, the listener can experience a deep obligation to act, to be answerable to do something in a crisis. Answerability is the opposite of apathy, or being the bystander, who lets someone else decide. In answerability stories, you as listener are on the spot, being the only person who can act, and if you don't act, no one will.
After we listen to and notice, or tell a story, we enter the arena of Story Ethics. Stories are owned by people and organizations. People, in particular, have Story Rights.
Story Rights is defined differently in oral tradition than property rights, since each story is assumed to be owned by a memory of a community, and can only be retold by another with explicit permission. Once in written form, and published on paper or on line, it can be cited (Boje, 2007).
Hearing a compelling story brings us into a responsibility for our own answerability. Participants will learn the difference between procedural and distributive justice. Story rights involves both procedures for eliciting and using stories by permission. In distributive justice, the issue is how are differences among individual sides of stories sorted up equitably in the organization.
Suggested time: Half Day
Skill Level: Intermediate
Prerequisites: Complete Power of Storytelling & Story Listening workshop modules
Horsesense is the brainchild of Grace Ann Rosile. She actually trains leaders using live horses. Horses are more powerful than humans. They don't lie to you. When you try to make a horse behave, and it doesn't work its you, not the horse who needs help. Horses mirror back your behavior, good or bad. If you don't have much horsesense, you get led around by the horse. There is also something deeper about horsesense. There is this connection, call it an energy wave relation, between horses and humans. We tune into ranges of our five sense (sight, hearing, smell, touch, & taste). That is just the micro-level of perceptual awareness. Yet, there are layers of awareness, below those sensory preceptors. For example, the sound quality of a flight recorder is beyond the ability of our ears. There are smells that only a perfume expert knows the blends. There is a body language and awareness of body gestures that horses read, as do humans, but at a very pre-perceptual level. There is the wine connoisseur who has a taste pallet far beyond the guy who diets on fast food. There are animal senses in Dolphins and other species far outside the five human empiric senses. When I pull a muscle, our Arabian stallion, Nahdion, knows, without my showing him, or cuing him, just where to rub, and does it better than any chiropractor. There are non-local effects in quantum physics experiments, such as when a couple is separated, and a stimuli to one in a separate room, will result in a reaction registered by the isolated partner. This effect has been observed, as well, between animal owners and their pets (ask any cat or dog lover). The current scientific explanation for horsesense is beyond Newtonian mechanistic physics. We have to turn to quantum physics, to Einstein or Bohm. In quantum dynamics, for example, particles separated by great distances, have been found to show wave-energy relationships to one another. The problem is not the quantum dynamic results of physics, it is in the way we are trained in BME narratives. We learn to expect BME in the movies, in simple TV shows, and in the way we learn to write in our high school English composition classBohm's Quantum Holism physics gives us a picture of Being (ontology) based in quantum theory that is relevant to horsesense and storytelling. We are too used to seeing the world via a mechanistic, linear, petrified BME narrative to see the deeper Holism dynamics. Spatially and temporally distant human and animal systems are interconnected at the level of particle waves (that's the theory). When we use a lens of BME narrative order, we don't understand much of the complexity of our universe. An alternative being put forth is to see the world as a Hologram, such as a laser picture, whose image facets are enfolded, yet unfoldable when viewed. If we look at BME or even Antenarratives as moving along continuous timespace trajectories, it is too mechanistic a lens to make sense of the complexity dynamics. In Horsesense, we are in-the-now, in the energetic flux of animal and human relationship.
Suggested time: Half Day
Skill Level: Advanced
Prerequisites: Complete Power of Storytelling, Listening, Ethics, & Living Story workshop modules
Stories are living in our daily lives. Our stories are alive. That is the view of Jo Tyler and David boje. for tyler, our living stories beckon us, compel us to act, to be characters in their aliveness. For BOje, BME and Fragment Narratives are the world of dead texts, opposed to the living world of social networking. The living story world is alive with social network dynamics. Native cultures around the world, also believe that stares are alive, and not just stories of humans, but stories of animals, stone-people, and the living elements of the Earth. Story aliveness workshops are focused upon waking you up to the living stories you live: physical health, career family, institution, mind scripts (or tapes) and spiritual path. We each have a story of our family, our career, community, physical and emotional health. In this workshop, we will explore the ways in which stories are living, take on a life of their own. Stories are living when the peak out of their place of uncertainty, and test the waters to see if its safe out there. We live in relationship to our stories. In the collective world, we are part of one another's living stories.
Suggested time: Two Hours
Skill Level: Intermediate
Prerequisites: Complete Power of Storytelling, Story Listening, & Story Ethics workshop modules
Noticing stories is when the door to organization transformation swings open, providing inspiration for restorying the organization.
Restorying combines the methods 'noticing stories that are taken for granted,' 'deconstructing story patterns that are stuck,' and 'restorying forgotten elements into a new story that can unleash potential.' This workshop will focus on exercises in noticing taken-for-granted oral, written, and visual unnoticed story opportunities, deconstructing blockages, and restorying that can lead to story action. Ideally, a series of on site workshops would help develop a deeper
understanding of story noticing and restorying processes. When we record and playback a moment in story dialogue, such as in a group, work by Theodore Taptiklis (2007), whose that there are layer upon layer of deeper understandings we can get concerning a speech act that lasts but a moment. Each playback, and we have done this in our STORI workshops, reveals to listeners, using reflexivity and story noticing, deeper and deeper layers of meaning, unnoticed on the first pass.
Suggested time: Half Day
Skill Level: Advanced
Prerequisites: Complete Power of Storytelling, Listening, Ethics, & Living Story workshop modules
Strategy is increasingly recognized as prospective story planning and implementation. Facilitators will address story strategy, and ways to shape it into a compelling form of collective organization action. Story strategy will be put in context of typical strategy models, such as SWOT (strengths, weaknesses, opportunities, & threats), Porter's strategic factors, and Mintzberg's contingency approaches. Participants will leave with story strategy actions, ways to move their home enterprise from Storytelling Disorganization of top-down to Storytelling Organization of participative approaches. These ways of analyzing and implementing strategy involve not just oral telling (.e. presentations & meetings), but restorying text and graphic presentation in annual reports (& other texts), and the very story architecture of the Storytelling Organization.
Suggested time: Full Day
Skill Level: Advanced
Prerequisites: Completion of Storytelling, Listening, Ethics, Living Story, and Story Noticing workshop modules
In some organizations, collective storytelling practices need to be addressed. The advanced process of Tamara (simultaneous storytelling in various rooms of an organization) is the focus. As this is an advanced workshop, we incorporate storytelling, story listening, story noticing, and story strategy action to analyze the pathways and complexities of collective storytelling practices. This workshop
demonstrates how an understanding of Tamara collective practices can move a Storytelling Organization effective collaboration, and more synthetic story action. "Story Domes" is an idea suggested by our friend Steve King, who sees a way to work with the social network (arcology, existential graphing) basis of metanarratives in relation to antenarratives (the bet that an antenarrative can be transformative of the social as it travels in social network), ”a refusal to admit to the existence of grand narratives, preferring to see instead a 1,000 local stories.“I define postmodern as an incredulity toward metanarratives”” (Boje, 2001, Narrative Methods for Organization and Communication Research, London: Sage). Antenarratives can allow diverse actors to act in concert to achieve mutually valuable and distributive goals. The idea to explore is how to explore the dynamics of Tamara, as people narrate, story, and antenarrate, so that a locally situated consensual distributive network unfolds. Building a collective 'story dome' is challenging due to instability and danger of collapse during the building process. More on STORY DOME and COLLECTIVE STORYTELLING PRACTICES
Suggested time: Full Day
Skill Level: Advanced
Prerequisites: Completion of Storytelling, Listening, Ethics, Living, Noticing, and Shaping Strategic Action workshops
In some enterprises, more concentrated intervention is required. for example, story Disorganization can be so severe, that people are acting out
stories that results in entrenched conflict among stakeholders. The consequences of not understanding patterns of story dysfunction can mean decreased revenues and increased costs. It takes a lot of energy to put out interpersonal fires. In this workshop we explore the difference between story facilitation and story intervention methods methods. Story facilitation is when you learn a technique such as telling, listening, or noticing. Story intervention transforms entrenched collective storytelling practices. Participants will leave with intervention plans to address more serious story dysfunction patterns.
Suggested time: Two Days
Skill Level: Expert
Prerequisites: Completion of Storytelling, Listening, Ethics, Living, Noticing, and Shaping Strategic Action workshops
For some organizations, there is a burning desire to align strategy and spirituality. THe difficulty can be that with multiple religions and spiritual traditions, how to sort out respectful and ethical practices. Participants will study examples of organizations that have aligned spirituality traditions and strategy. We focus on Ken WIlber's Integral spiritual quadrants and relate them to strategic directions.
Suggested time: Half Day
Skill Level: Intermediate
Prerequisites: Story Listening & Story Ethics
We are happy to help doctoral students and faculty with advice on the story research methods. Participants will learn about the differences in Beginning, Middle, End (BME) narratives and the polyphonic aspects of storytelling, including their networking in Storytelling Organizations. They will also learn the interplay of eight types of sensemaking.
Suggested time: Half Day
Skill Level: Advanced
Prerequisites: Story Listening, Story Noticing, & Story Ethics
Fees for Clients and their Story Consultants Half day: $600
Full day: $1200
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Fees for Story Researchers
Professors: $350 Full Day
Doctoral Students: $150 Half Day
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Keynote Lecture: Fee upon request
Story Research, Archiving, Storymaker or longer term projects: Fee upon request
![Our Main Web Site is StoryEmergence.org]()
ENDNOTES:
SYSTEMICITY -
Systemicity is defined as the dynamic unfinished, unfinalized, and unmergedness, and the interactivity of complexity properties with storytelling and narrative processes. Storytelling shapes systemicity, and systemicity shapes storytelling with ways of sensemaking. Return to Introductory Storytelling Organization Workshop
Bakhtin, M. M. 1990. Art and Answerability. Edited by Michael Holquist & VadimLiapunov. Translation and Notes by VadimLiapunov; supplement translated by Kenneth Brostrom. Austin, TX: University of Texas Press. From Bakhtin’s first published article and his early 1920s notebooks
Bakhtin, M. M. 1991. Toward a Philosophy of the Act. Translation and Notes by Vadim Liapunov. Edited by Michael Holquist & Vadim Liapunov. Austin, TX: University of Texas Press. From Bakhtin’s early 1920s notebooks.
Boje, D. M. 1991. "The storytelling organization: A study of storytelling performance in an office supply firm." Administrative Science Quarterly, Vol. 36: pp.106-126. Click here for PDF copy. Or Return to Introductory Storytelling Organization Workshop
Boje, D. M. 1995. "Stories of the storytelling organization: A postmodern analysis of Disney as 'Tamara-land'" Academy of Management Journal. Vol. 38 (4): 997-1035. Click here for html study guide. Tamara is a play in which storytelling occurs in many rooms of a mansion; all simultaneous.
Boje, D. M. 2001a. Narrative Methods for Organizational and Communication Research. London: Sage. Order from Amazon. Has basic analyses such as deconstruction, theme analysis, grand narrative, plot, story network, etc. and introduces concept of antenarrative. Read on line book introduction to antenarratives.
Boje, D. M. with Ken Baskin. 2005. Emergence of Third Cybernetics. E:CO Emergence: Complexity & Organization Journal. Vol. 7 (3-4): v-viii. Special Issue on Complexity and Story' guest editors: Ken Baskin & David Boje Click Here for PDF of pre-press pages. Or Return to Introductory Storytelling Organization Workshop
Collins, D. & K. Rainwater. 2005. Managing change at Sears: a sideways look at a tale of corporate transformation. Journal of Organizational Change Management, 18(1): 16-30. Applies Boje's (2001) antenarrative concept to Sears. Return to Antenarrative Workshop
Czarniawska, B. 2004. Narratives in Social Science Research. London: Sage. Moves to a recognition that storytelling in organizations can be quite unplotted, and tellings do not always have beginning, middle, or end (relates to Boje's 1991 terse storytelling ideas). Introduces petrified narrative, which makes nice counter form to emergent antenarratives. Return to Antenarrative Workshop
Gabriel, Y. A. 2000. Storytelling in Organizations: Facts, fictions, and fantasies. London: Oxford University Press. Scholarly piece of organizational folklore, but includes a nifty debate with Boje (p. 20 footnote 8) on whether a terse-told story is a "proper" story. Raises important question about where does story reside? Start with what is to Gabriel the "proper story", one subordinated to "narrative" defined as having “plots and characters, generating emotion in narrator and audience, through a poetic elaboration of symbolic material” – Gabriel (2000: 239) Return to Power of Storytelling workshop
Green, Joshua D; Sommerville, R. Brian; Nystrom, Leigh E.; Darley, John M.; & Cohen, Jonathan D. 2001. An fMRI investigation of emotional engagement in moral judgment. Science Vol 293: 2105-2108 (14 Sept).
Taptiklis, Theodore. 2007 (expected). Unmanaging: opening up the organization to its own unspoken knowledge. Publisher: Palgrave Macmillan. Publication date: November 15th, 2007.
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