The main contention of this paper is that our ability to embed a consideration of values into business school curricula is hampered by certain normative parameters that our students have when entering the classroom. If we don’t understand the processes of valuation that underpin our students’ reasoning, our ethics teaching will inevitably miss its mark. In this paper, we analyze one of the most prevalent metaphors that underpin moral arguments about business, and reveal the beliefs and assumptions that underpin it. (...) By revisiting the content of Adam Smith’s “invisible hand” metaphor, we show that the moral content of the metaphor has been significantly misconstrued through its subsequent reception in economic theory. The “Giving Voice to Values” pedagogy aims to enable students to act on their tacit values and address the rationalizations that they may encounter for not acting on these values. We believe our analysis can strengthen the employment of GVV in three ways: understanding tacit blockages to moral action, i.e., how students’ belief in the moral efficacy of the invisible hand could undermine their own sense of moral duty; addressing common rationalizations that may emerge from different assumptions about morally appropriate courses of action in the workplace; and resolving values conflicts on how to act. (shrink)

The development of art marketing as a new field of management occurs in a context of great confusion as to what constitutes the very definition of art, one aspect of this confusion being nothing else but the confusion between art and marketing itself. This confusion leads to conflicts between those who consider that art should be defined by a clear aesthetic criterion and those who accept the absence of such a criterion as a legitimate consequence of the principle of freedom (...) which applies both to the creation of the artist and to the taste of the public. This state of confusion does not seem to be experienced in the same way in France where it has tended to be considered as a symptom of crisis in the world of art and in the United States where it has raised as a dominant force in contemporary art. Hence the confusion of art and marketing varies as a function of time (as shown by the emergence of a new field of management) and of space (as shown by the comparison of the French and American cases). It will be proposed that it is possible to account for these historical fluctuation thanks to an institutional approach based on the notion of system of legitimacy. We shall propose the essentially dynamic institutional foundations of modernity leading to the proliferation of innovations which consequences are ever more difficult to anticipate as a reason why, in America, philosophers coming from the analytic tradition found it meaningful to address questions such as “What is art” (Arthur Danto) or “When is there art” (Nelson Goodman”) expressing the need to go beyond pragmatism as expressed by John Dewey’s Art as Experience to promote a positive attitude towards contemporary art, while, in France confusion between art and marketing has been commonly considered negatively as the sign of the triumph of the most radical form of rhetoric, i.e. sophism. (shrink)

So far aesthetics has played a limited role in our understanding of business activity, focused mainly on evaluating product quality and the character qualities (virtues) of the firm that produced them We draw on Heidegger’s fuller account of aesthetic value to show how a firm—like a work of art – can disclose the way human projects and technologies are already at work in a given context. In this way, we show that firms play an essential role in human self-understanding—a role (...) that Heidegger assigns primarily to works of art. We then apply the Heideggerian approach to the contemporary turn to artisanal products such as personalized handcrafts, craft beer and the “third wave” coffee movement. (shrink)

This paper begins from the context of virtue ethics theory as applied to business ethics. We note that the concept of a practice therein lacks the full richness of the Aristotelian concept of virtue. In essence, when applied to business in the virtue ethics literature, the practice loses its reflective quality. It becomes beholden to, and irredeemably interdependent with, the economic institution (i.e., the for-profit firm) that houses the practice. Furthermore, the conventional practice of virtue ethics lacks the self-reflective ability (...) to challenge and overcome this interdependence. As a solution to this problem, we suggest tapping into a relatively recent stream in the business ethics literature, namely the application of aesthetics. We integrate aesthetics into virtue ethics in the form of a reflective practice. This reflective practice can be defined as one which embraces the firm as pure phenomenon. It opens a space or clearing that enables business practitioners to reflect and act within a broadened perceptual and conceptual understanding of the ‘true’ nature and purpose of business. (shrink)

This paper draws on the work of Alain Badiou and Martin Heidegger to construct a postructural theory of the firm. The ideal firm is conceived as a technology that facilitates a technology-free void/site of potential. For actors within this firm to be ethical requires their achievement of human subjecthood through aesthetic fidelity to the site-induced events. Heidegger’s concerns regarding the enframing effects of technology and his recognition of the truth-revealing qualities of art, are incorporated here into a theory of the (...) firm as an idealized, technology facilitated, aesthetic void-of-potential revealing. Authentic human being thus implies that firms-as-technology ‘get out of the way’. This theory of the firm is further revealed through Badiou’s concept of event-driven human flourishing. We embrace Badiou’s ‘ethics-of-truths’ in which fidelity to the trace of an event creates human subjecthood. We consider implications of our theory-of-the-firm for social media firms such as Alphabet and Facebook. (shrink)

This paper discusses the problematic use of the “pragmatic credo” – defined as a minimal set of basic pragmatist propositions – in practice, especially when facing creation. To do so, we analyze how managers deal with “art-based firms” and provide results from an in-depth case study of a small firm operating in garden art and design (Béjean 2015; 2008). The findings are interpreted in light of previous theoretical developments in management theory (Hatchuel European Management Review, 2(1): 36–47.), as well as (...) symbol theory (Goodman 1968; 1978). They suggest that, while appearing wise and reasonable, the pragmatic credo as embodied in practical management doctrines rather inhibits collective action and masks the necessary revision of symbolic “orders of action”, defined as the way action is itself pre-categorized by a special class of symbols. The paper concludes by providing further insights of how an “epistemology of action” could contribute to enriching both pragmatism and management, especially when action is no longer the solution to resort to but rather the enigma to unfold. (shrink)