Reflexivity

Just as the concept paradigmenergized the human sciences in spite of its manydefinitions and uses, so now does the conceptreflexive seem to be of increasingsalience, again with many definitions and uses. It is argued thatreflexivity, as a fundamental human quality underliesvarious attempts to understand and intervene in humanrelationships. By juxtaposing paradigms, reflexivity, and therapeutic progression it is possible toset out several types of reflexivity, some relativelyself-contained and others at the edge of our possibleknowledges.     

Go and Say, “We're Shutting”: Ju Jutsu as a Metaphor for Analyzing Resistance

While it is well known that employees inorganizations may successfully resist managerialimpositions, relatively little is understood about howresistance operates. The present study utilizes amartial arts metaphor known as ju jutsu to generateinsights for understanding how resistance is exercised.The ju jutsu metaphor was chosen because it is adefensive technique whereby a physically weaker person may resist a much stronger one. Ju jutsu asmetaphor suggests resistance can be exercised bysystematically employing bodily movements which disturban opponent's balance and/or strike at physiological weak points. By exploring a case study of asuccessful example of organizational resistance, the jujutsu metaphor is utilized to generate new perspectivesfor conceptualizing and analyzing the dynamics of resistance.     

'Becalmed on Strange Waters': Wordsworth,Reagan and Late Ashbery

Abstract

This essay presents an analysis of 'A Wave', the watershed poem of Ashbery's later career, as a Wordsworthian response, in the medium of the romantic crisis poem, to the rise of Reagan and neo-liberalism. 'A Wave' was composed between 1982 and 1984 amid drastic changes to US domestic and foreign policy that aggravate the necessity for a change in poetic stance from the newly 'central' American poet Ashbery had become. In this context, the relationship is explored between 'A Wave' and a poet similarly engaged in articulating crises of social conscience as part of a more specific development of poetic personality. 'A Wave', then, is read as a reading of Wordsworth's Prelude. In this, the particular stylistic issue of Ashberyan metaphor is raised, as 'A Wave', for the first time within Ashbery's reading of romanticism, begins to position irony at the centre of romantic metaphor. Finally, I conclude that the result of Ashbery's wavering crisis poem is a positioning of style as the ultimate determinant of social self-identity.