Costas explores the hidden underworld of Berlin's Potsdamer Platz, where cleaners seek dignity through work yet find it elusive. This book will appeal to anyone interested in taking a behind-the-scenes look at the working lives of cleaners who largely remain invisible yet cater to most of us.
Secrecy is endemic within organizations, woven into the fabric of our lives at work. Yet, until now, we've had an all-too-limited understanding of this powerful organizational force. Secrecy is a part of work, and keeping secrets is a form of work. But also, secrecy creates a social order—a hidden architecture within our organizations. Drawing on previously overlooked texts, as well as well-known classics, Jana Costas and Christopher Grey identify three forms of secrecy: formal secrecy, as we see in the case of trade and state secrets based on law and regulation; informal secrecy based on networks and trust; and public or open secrecy, where what is known goes undiscussed. Animated with evocative examples from scholarship, current events, and works of fiction, this framework presents a bold reimagining of organizational life.
Looking beyond the shiny surface of Potsdamer Platz, a designer micro-city within Berlin's city center, this book goes behind-the-scenes with the cleaners who pick up cigarette butts from sidewalks, scrape chewing gum from marble floors, wipe coffee stains from office desks and scrub public toilets, long before white-collar workers, consumers and tourists enter the complex. It follows Costas's journey to a large yet hidden, four-level deep corporate underworld below Potsdamer Platz. There, Costas discovers how cleaners' attitudes to work are much less straightforward than the public perceptions of cleaning as degrading work would suggest. Cleaners turn to their work for dignity yet find it elusive. The book explores how these cleaners' dramas of dignity unfold in interactions with co-workers, management, clients and the public. The book will appeal to students and academics in the fields of organisational theory, organisational behavior, organisation studies, sociology, social anthropology, cultural studies and urban studies.
On the southern end of the Grand Rue, a major thoroughfare that runs through the center of Port-au-Prince, waits the Haitian capital's automobile repair district. This veritable junkyard of steel and rubber, recycled parts, old tires, and scrap metal might seem an unlikely foundry for art. Yet, on the street's opposite end thrives the Grand Rue Galerie, a working studio of assembled art and sculptures wrought from the refuse. Established by artists André Eugène and Jean Hérard Celeur in the late 1990s, the Grand Rue's urban environmental aesthetics--defined by motifs of machinic urbanism, Vodou bricolage, the postprimitivist altermodern, and performative politics--radically challenge ideas about consumption, waste, and environmental hazards, as well as consider innovative solutions to these problems in the midst of poverty, insufficient social welfare, lack of access to arts, education, and basic needs. In Riding with Death, Jana Evans Braziel explores the urban environmental aesthetics of the Grand Rue sculptors and the beautifully constructed sculptures they have designed from salvaged automobile parts, rubber tires, carved wood, and other recycled materials. Through first-person accounts and fieldwork, Braziel constructs an urban ecological framework for understanding these sculptures amid environmental degradation and grinding poverty. Above all, Braziel presents Haitian artists who live on the most challenged Caribbean island, yet who thrive as creators reinventing refuse as art and resisting the abjection of their circumstances.
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