Journal
of Critical Postmodern Organization Science| http://www.zianet.com/boje/tamara |
Journal
of Critical Postmodern Organization Science
To subscribe to TAMARA send Name, phone number and address (indicate institutional or scholar subscription) to Candace Brown at Tamara@nmsu.edu
OPTION ONE: TAMARA is freely available to individual subscribers in HTML format on the web. Note these are not the final print versions and do not have same format as Option Three below.
OPTION TWO: TAMARA in printed format costs $250/year for a library/ institutional rate; it includes 4 print issues per year. Please choose this option. Make checks payable to New Mexico State University.
The individual Scholars rate is $60/year plus postage for four printed issues -- Please send Name, address, and email and we will send you an invoice for payment and mail your issues to you. Make checks payable to NMSU (New Mexico State University).
Subscriptions are important to the life of the journal. We paid for this first issue with the current subscription base and some start up funds. Future print issues depend upon our ability to sell Tamara to individual and institutional subscribers. We encourage you to order the print version of the journal.
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As a tag for the journal - TAMARA, is the "stories we chase from room to room in the mansion of organization science." In the play TAMARA a dozen characters unfold their stories before a walking, sometimes running, audience. The spectators are expected to choose which characters to follow from room to room. The play was written by John Krizanc and first performed in Canada in 1981. The audience fragments into small groups that chase characters from one room to the next, from one floor to the next, even going into bedrooms, kitchens, and other chambers to chase and co-create the stories that interest them the most. If there are a dozen stages and a dozen storytellers, the number of story lines an audience could trace as it chases the wandering discourses of Tamara is 12 factorial (479,001,600). Each character in Krizanc's play changes their mask from scene to scene, making it more impossible to make sense of the plot. And the spectators become "informers" and "spies" and therefore part of the multiple pathway stories networked across the interconnected stages of this play. One theme of the play is fascism and how the ethics of each individual, especially the audience, is complicit in the plot. No one is an innocent by-stander in Tamara. We pay tribute to Krizanc's (1989) play and note its more critical theory and postmodern implications. There is more information inside this issue about the play.
http://www.zianet.com/boje/tamara/pages/Tamara_subscribe.html
TAMARA thanks the International Academy of Business Disciplines for its sponsorship (www.iabd.org).