Our aim is to stimulate critical reflection on an issue that has received relatively little attention: how alternative presuppositions about time can lead to different narrative ways of researching and theorizing organizational life. Based on two amendments to Paul Ricoeur’s work in Time and Narrative, we re-story narrative research in organizations as Narrative Temporality (NT). Our amendments draw upon the temporality perspective of Jean-Paul Sartre in order to reframe narrative research in organizations as a fluid, dynamic, yet rigorous process open to the interpretations (negotiated) of its many participants (polyphonic) and situated in the context and point of enactment (synchronic). We believe an approach to narrative organizational research grounded in NT can open up new ways of thinking about experience and sense-making, and help us take reflexive responsibility for our research.

Enron shows us dramaturgy gone amuck. In this article, critical theory and postmodern theory are crossed to form a critical dramaturgy resulting in two main contributions. First, critical dramaturgy is differentiated from other forms of dramaturgy, showing how 'spectacle' is accomplished through a theatrical performance that legitimates and rationalizes, and casts the public in the role of passive spectators. Second, critical dramaturgy has important connections with public relations theory. While contemporary public relations is concerned with the building of relationships, critical dramaturgy looks at how corporate theatrical image management inhibits relationships by erecting the barrier of the metaphorical proscenium. The Enron scandal is viewed as the collapse of a corporate spectacle illusion into megaspectacle fragments. These fragments include the naming of Enron, the Valhalla Rogue Traders scandal, the Gas Bank, Greenmail, Cowboy Capitalism, the Skilling-Mark rivalry, and the Masters of the Universe theme. Intertextual analysis demonstrates how these fragments contribute to the 'Greek Mega-tragedy' of the Enron megaspectacle. The article integrates several corporate theatre processes relevant to understanding four types of spectacle: concentrated, diffused, integrated, and megaspectacle. The value of the critical dramaturgy conceptual work is to lift the romantic veil of spectacle theatrics to reveal the antenarrative fragments of stories marginalized and backgrounded.

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In previous research the author conducted a narrative examination of the literature on labor-managed firms to discover the nature of “organization democracy.” The result was a broad conceptual framework. This article builds on the framework by offering two theoretical postulations. First, it offers a substantive theoretical postulation that organization democracy is a conflation of political visions that can be represented by Mannheim’s (1936) four utopian images of anarchism, liberalism, conservatism, and radicalism. Second, it offers a formal theoretical postulation that organization democracy is an additional form of legitimate authority to add to Weber’s (1947, 1978) typology. The author proposes “rational-collective” legitimate authority as the fourth form and ends with a two-dimensional representation of the four types of legitimate authority.