Social and Behavioral Sciences Commons^™

Paving The Way For Merleau-Ponty’S Eye And Mind In Organizational Communication Studies, Johan Bodaski

Electronic Theses and Dissertations

The body is a sense-based medium that creates and interprets organizations. Bodies create organization. An aesthetic theory of organizational communication reveals the significance of the body to the organization. Maurice Merleau-Ponty’s philosophy of aesthetics offers a theory of aesthetic organizational communication that is yet to be developed. Merleau-Ponty’s aesthetic essay on painting, Eye and Mind, describes the body as the medium through which painters turn the world into painting. His philosophy of painting builds bridges between aesthetics, the body, and organizational communication.

In chapter one, four theories of organizational communication are described: communication constitutes organization (CCO), text/interpreter, ventriloquism, and …

Trivialized Content, Elevated From: Aesthetics Of Secrecy In Turkish Politics In The 2000s, Doruk Tatar

Secrecy and Society

This essay will first provide a brief history of the Islamist party's coming to power by means of its effective use of a populist imagery. The paper will then focus on the emergence of a new regime of secrecy in Turkish politics by looking at two high-profile legal cases, Ergenekon and the “Cosmic Room,” in which one can observe the blueprints of a struggle between different factions for taking over the state. During the investigations, secret documents about the wrongdoings of the secular establishment were leaked to and widely covered by the media. Sober debates on the contents of such …

Melodrama And The Aesthetics Of Emotion, E. Deidre Pribram Ph.D.

Faculty Publications: Communication

Melodrama has long been associated with emotion, frequently in a pejorative sense due to its apparent emotional excesses. Conversely, scholars have argued that the melodramatic mode expresses “forces, desires, fears which... operate in human life," for which we have “no other language” (Gledhill tool, 31,37). In this chapter I explore how emotionality serves melodrama as an alrernarive “language" precisely to express forces, desires, and fears that operate beyond cognitive or ideological explanation.