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Scott Loren
Title
Dr.
Last Name
Loren
First name
Scott
Email
scott.loren@unisg.ch
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1 - 10 of 59
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PublicationType: journal articleJournal: SPELL Swiss Papers in English Language and LiteratureVolume: SPELL Swiss Papers in English Language and LiteratureIssue: 36
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PublicationRogue Logics : Organization in the Grey ZoneThis paper explores the concept of the ‘rogue' through an examination of how the figure appears in business ethics and as the rogue trader. Reading the rogue trader through institutional logics and Jacques Derrida's book Rogues, we suggest that the rogue is not on the dark side of organization so much as in an indeterminate grey zone, where the boundary between acceptable behaviour and misconduct is unclear. We further argue that this boundary is necessarily unclear as it is in the nature of organization, at least within capitalist trading systems, to push the boundaries of what is possible and acceptable. The rogue thus helps produce the boundaries of ethically acceptable organizational behaviour in the very act of transgressing them. The location-bound specificity of the rogue, as well as the symbolic process of naming an individual or a state a rogue, finds a relevant correlate in the villain, as Derrida suggests. But what we call ‘rogue organization' may be constitutive of organization per se. As such, there is a potential roguishness in organization that should be addressed when considering the dark side of ethics in organization studies.Type: journal articleJournal: Organization StudiesVolume: 35Issue: 2
Scopus© Citations 20 -
PublicationAn American Odyssey of Suffering : Aesthetic Strategies in Steve McQueen's 12 Years a SlaveIn her seminal study on racial melodrama, Linda Williams suggested that "variations of the melodrama of black and white continue to be necessary to the way mass American culture ‘talks to itself' about race" (2001: 301), with cinema as a means for cultures to reflect on unresolved social tensions through fictional forms. Williams's choice of phraseology is reflexive of the theory informing her book: melodrama, a protean meta-genre and cultural mode, mobilizes cinematic aesthetic hyperbole and filmic realism, seeking to make an unspeakable moral order "legible;" a "mute text" used to conjure occult knowledge. Configured around signs of virtue and villainy through racial difference, racial melodrama's Manichaeism of good and evil allows for intense, emotive cinematic identification, capable of reconciling "the irreconcilables of American culture" (Williams 2001: 299). Hailed as the most important cinematic event in years, the critical success of Steve McQueen's 12 Years a Slave (2013) seems to attest to the continuing legitimacy of Williams's claims. This paper positions 12 Years a Slave in a melodramatic thematics of race. Examining the narrative and aesthetic strategies of McQueen's adaptation alongside generic conventions, it considers the ways the film, as a racial melodrama, negotiates ambivalences and contingencies of historic national trauma through a narrative of Manichaean moral legibility.Type: journal articleJournal: Anglia : Zeitschrift für englische PhilologieVolume: 132Issue: 2
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PublicationType: journal articleJournal: Journal of Visual CultureVolume: 10Issue: 3
Scopus© Citations 3 -
PublicationSelf-fashioning, Freedom, and the Problem of His-story: the return of noirWith a mix of two patently American film genres - film noir and the western - David Cronenberg's critically acclaimed A History of Violence (2005) sets up a group of oppositions through the story of a man who leaves a life of crime and violence behind to assume a new identity, start a family, and settle down in the quiet town of Millbrook, Indiana. The oppositions between gangster thug, super-killer and good citizen, family-man are paralleled in another opposition particularly typical to the noir genre: between benevolent small-town life and the belligerent city. The narrative establishes these oppositions in order to consider how they eventually clash or coalesce in time, and how the past might affect the future; for it is the difference between an abandoned past and an inevitable future that structures the action within this film. As the film's title suggests, the element of history in History of Violence takes up a position of centrality for the portrayal of American mythologies on a variety of levels. http://ejas.revues.org/1842Type: journal articleJournal: European Journal of American StudiesVolume: 3Issue: 1
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PublicationType: journal articleJournal: Carbon - Electronic journalVolume: 1Issue: 1
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Publication"What are the implications of the virtual for the human? An analytical ethics of identity in pop culture narratives"‘What are the implications of the virtual for the human?' provides a brief analysis of contemporary crises in identity as they are related to authenticity. It does this by way of a primarily psychoanalytical reading of four narratives about artificial beings which are representative of (if not definitive within) the genre: 2001: A Space Odyssey, AI, Blade Runner, and Frankenstein. By pitting the human against the artificial being, we are presented with certain difficulties in determining alterity and in determining what these very difficulties represent to us.Type: journal articleJournal: European Journal of American CultureVolume: 23Issue: 3
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PublicationType: conference paper
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PublicationNational Melodramas : Mass Media, the Syrian Exodus and Mother Merkel( 2016-03-19)
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PublicationType: conference paper