Dawn R. Gilpin and Priscilla J. Murphy
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195328721
- eISBN:
- 9780199869930
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195328721.003.0015
- Subject:
- Business and Management, Strategy
This chapter discusses principles that an organization can adopt if it regards itself as a learning organization and sees its relationships as part of a complex adaptive system that changes through ...
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This chapter discusses principles that an organization can adopt if it regards itself as a learning organization and sees its relationships as part of a complex adaptive system that changes through continuous interactions within itself and its context. It cites two types of change relevant in crisis management: the gradual diffusion of local change and an avalanche of pent-up disturbance. It recommends a paradigm shift for crisis management in which uncertainty, adaptiveness, and improvization replace certainty, goal orientation, and control.Less
This chapter discusses principles that an organization can adopt if it regards itself as a learning organization and sees its relationships as part of a complex adaptive system that changes through continuous interactions within itself and its context. It cites two types of change relevant in crisis management: the gradual diffusion of local change and an avalanche of pent-up disturbance. It recommends a paradigm shift for crisis management in which uncertainty, adaptiveness, and improvization replace certainty, goal orientation, and control.
Margaret D. Kamitsuka
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780195311624
- eISBN:
- 9780199785643
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195311624.003.0006
- Subject:
- Religion, Theology
This chapter addresses one of the most contested issues in feminist theology today: solidarity. Three important contemporary approaches to this issue (by white feminists Sharon Welch and Sheila ...
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This chapter addresses one of the most contested issues in feminist theology today: solidarity. Three important contemporary approaches to this issue (by white feminists Sharon Welch and Sheila Greeve Davaney and womanist M. Shawn Copeland) are examined. In critical conversation with Welch's views on communicative action, Davaney's pragmatism, and Copeland's appeal to eucharistic unity, the chapter proposes some conditions under which feminists might continue rethinking the notion of solidarity. This is followed by discussion of how a metaphor borrowed somewhat eclectically from the field of dance improvisation theory can help us look anew (though still very skeptically) at solidarity in light of inescapable and determinative differences in women's experience.Less
This chapter addresses one of the most contested issues in feminist theology today: solidarity. Three important contemporary approaches to this issue (by white feminists Sharon Welch and Sheila Greeve Davaney and womanist M. Shawn Copeland) are examined. In critical conversation with Welch's views on communicative action, Davaney's pragmatism, and Copeland's appeal to eucharistic unity, the chapter proposes some conditions under which feminists might continue rethinking the notion of solidarity. This is followed by discussion of how a metaphor borrowed somewhat eclectically from the field of dance improvisation theory can help us look anew (though still very skeptically) at solidarity in light of inescapable and determinative differences in women's experience.
Kenneth Hamilton
- Published in print:
- 2007
- Published Online:
- May 2008
- ISBN:
- 9780195178265
- eISBN:
- 9780199870035
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195178265.003.0004
- Subject:
- Music, Theory, Analysis, Composition
This chapter examines the virtually universal custom before the mid-decades of the 20th-century of pianists improvising preludes and transitions between pieces, with especial attention to Chopin, ...
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This chapter examines the virtually universal custom before the mid-decades of the 20th-century of pianists improvising preludes and transitions between pieces, with especial attention to Chopin, Czerny, Liszt, von Bülow, Busoni, and Grainger. Possible reasons for the origin and eventual demise of the custom are suggested.Less
This chapter examines the virtually universal custom before the mid-decades of the 20th-century of pianists improvising preludes and transitions between pieces, with especial attention to Chopin, Czerny, Liszt, von Bülow, Busoni, and Grainger. Possible reasons for the origin and eventual demise of the custom are suggested.
Jonathon S. Kahn
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195307894
- eISBN:
- 9780199867516
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195307894.003.0007
- Subject:
- Religion, Theology
This concluding chapter begins to look beyond Du Bois for a larger tradition of African American pragmatic religious naturalism. Du Bois inaugurates this tradition, and this chapter argues that it ...
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This concluding chapter begins to look beyond Du Bois for a larger tradition of African American pragmatic religious naturalism. Du Bois inaugurates this tradition, and this chapter argues that it continues in figures such as Zora Neale Hurston, Ralph Ellison, and James Baldwin. Using Albert Murray's work, the chapter understands African American pragmatic religious naturalism as a form of blues improvization where mimicking traditional forms of African American religion leads to flights of novel inspiration. The focus of this chapter is on a scene from Ralph Ellison's Invisible Man in which Ellison uses religion to unsettle racial essentialisms. Ironically, Ellison turns religion into a source for indeterminacy and ambivalence that strengthen a pragmatic confrontation with racial terms of existence.Less
This concluding chapter begins to look beyond Du Bois for a larger tradition of African American pragmatic religious naturalism. Du Bois inaugurates this tradition, and this chapter argues that it continues in figures such as Zora Neale Hurston, Ralph Ellison, and James Baldwin. Using Albert Murray's work, the chapter understands African American pragmatic religious naturalism as a form of blues improvization where mimicking traditional forms of African American religion leads to flights of novel inspiration. The focus of this chapter is on a scene from Ralph Ellison's Invisible Man in which Ellison uses religion to unsettle racial essentialisms. Ironically, Ellison turns religion into a source for indeterminacy and ambivalence that strengthen a pragmatic confrontation with racial terms of existence.
M. Whitney Kelting
- Published in print:
- 2001
- Published Online:
- November 2003
- ISBN:
- 9780195140118
- eISBN:
- 9780199834365
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195140117.003.0005
- Subject:
- Religion, World Religions
The women (and men) draw their daily practice from a set of appropriate actions, all of which are called puja. Improvization is framed by the appropriate sentiment of devotion, and the women use ...
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The women (and men) draw their daily practice from a set of appropriate actions, all of which are called puja. Improvization is framed by the appropriate sentiment of devotion, and the women use teaching puja and discussions of daily puja to explain the relationship between right action and intention. There are specific faults or sins that mark when the worshipper is ’getting it wrong’ and are considered a sign of the wrong religious sentiment. Despite orthodox arguments to the contrary, personal hymn repertoires express a belief in the Jinas’ grace and compassion for the devotees and reflect a personal style within the range of acceptable acts and beliefs.Less
The women (and men) draw their daily practice from a set of appropriate actions, all of which are called puja. Improvization is framed by the appropriate sentiment of devotion, and the women use teaching puja and discussions of daily puja to explain the relationship between right action and intention. There are specific faults or sins that mark when the worshipper is ’getting it wrong’ and are considered a sign of the wrong religious sentiment. Despite orthodox arguments to the contrary, personal hymn repertoires express a belief in the Jinas’ grace and compassion for the devotees and reflect a personal style within the range of acceptable acts and beliefs.
Paul Henley
- Published in print:
- 2010
- Published Online:
- March 2013
- ISBN:
- 9780226327143
- eISBN:
- 9780226327167
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226327167.001.0001
- Subject:
- Anthropology, African Cultural Anthropology
Though relatively unsung in the English-speaking world, Jean Rouch (1917–2004) was a towering figure of ethnographic cinema, who, over the course of a fifty-year career, completed over one hundred ...
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Though relatively unsung in the English-speaking world, Jean Rouch (1917–2004) was a towering figure of ethnographic cinema, who, over the course of a fifty-year career, completed over one hundred films, both documentary and fiction, and exerted an influence far beyond academia. This book provides a comprehensive analysis of Rouch's practical filmmaking methods, which he developed while conducting anthropological research in West Africa in the 1940s–1950s. His innovative use of unscripted improvization by his subjects had a profound impact on the French New Wave, the author reveals, while his documentary work launched the genre of cinema-vérité. In addition to tracking Rouch's pioneering career, the author examines the technical strategies, aesthetic considerations, and ethical positions that contribute to Rouch's cinematographic legacy.Less
Though relatively unsung in the English-speaking world, Jean Rouch (1917–2004) was a towering figure of ethnographic cinema, who, over the course of a fifty-year career, completed over one hundred films, both documentary and fiction, and exerted an influence far beyond academia. This book provides a comprehensive analysis of Rouch's practical filmmaking methods, which he developed while conducting anthropological research in West Africa in the 1940s–1950s. His innovative use of unscripted improvization by his subjects had a profound impact on the French New Wave, the author reveals, while his documentary work launched the genre of cinema-vérité. In addition to tracking Rouch's pioneering career, the author examines the technical strategies, aesthetic considerations, and ethical positions that contribute to Rouch's cinematographic legacy.
