Les travaux sur les stratégies politiques des entreprises ont accordé une importance prépondérante à l’analyse des manœuvres déployées par ces dernières afin d’influencer le jeu politique, à l’exclusion des autres acteurs institutionnels participant de ce même processus. Cette communication entend ainsi resituer de telles stratégies dans une perspective interactionniste afin de mettre en exergue les modalités selon lesquelles le discours de responsabilité sociale et environnementale permet de faire converger les intérêts d’une diversité de parties prenantes autour d’une acception de la régulation environnementale plus favorable aux entreprises. Deux cas sont explorés et analysés de manière comparative : VHU dans l’industrie automobile ; NICKEL dans l’industrie minière. Les résultats issus de cette étude invitent à questionner la RSE, et les démarches de transparence auxquelles elle donne lieu, comme une manière de détourner l’attention publique de stratégies politiques plus tacites.
A large body of literature has emphasised the importance of every day forms of resistance in the workplace. In this paper, we seek to overcome the criticism of localism and banality that has been directed towards the everyday view of individualistic resistance as well as the limits of the conception of creative resistance that aims to co-produce change within a given system of power. To do this, we highlight and discuss the ideas concerning resistance generated by the film Modern Times, and more particularly by the tramp’s character. We focus on a local, highly individual, spontaneous and not formally organized kind of resistance, but one that builds on dissensus and reconfigures the order of a situation radically. Relying upon Rancière’s philosophy, we develop a conception of resistance that takes the form of affirmation rather the mere reaction to a system of domination. This allows us to underscore the power of the ‘aesthetic regime’ in understanding individual resistance as part of a universal claim for equality.
The present paper seeks to contribute to the understanding of the role played by materiality in institutional work (Lawrence and Suddaby, 2006). To do so, we consider practices as a key point to define institutions (Greenwood et al., 2008) and to understand agency (Bourdieu, 1992; 1996). Doing so, we follow Neo-Institutional Theory recent additions to the institutional work literature and take part in an emerging movement of renewed attention towards (micro-)practices and materiality (Zietsma & Lawrence, 2010; Jones & Massa, 2013; Gawker & Phillips, 2013 ; Raviola & Norbäck, 2013).
In particular, our study investigates how objects (either physical or not) play a role in institutional work through practices.
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Thanks to a field case study of the French recorded music industry (1994-2014), based on observation data, secondary data and interviews gathered in four sub-cases, we deliver narratives of how objects together with actors, shape micro-practices - therefore emergent patterns of practices, and play an active role in creating, maintaining or disrupting institutionalized practices at the field level.
First, our case reveals that objects relate to other objects and material practices within what we call « objects and practices groupings », as components. A so called grouping is both a process and the result of that process. It constitute the level where institutional work is enacted. Second, our study suggests the addition of two specific kinds of component objects in the researcher toolbox to investigate materiality: bridge objects and community objects. They play different roles in institutional work. The former enables the importation of useful object resources (from another grouping). The latter seams to play a crucial role in micro- practices transformation into collective practices at the macro level. Last but not least, our study leads to a sensitive consideration of material practices. Indeed, the audio form of objects influences actors decisions and practices. Yet, these decisions and practices also depend subjectively on actors skills to learn and evaluate the given audio form.
All in all, the present paper shows how materiality (objects and practices groupings) empower actors, either classic organizations such as companies or more informal groups of actors such as consumers, shape their decisions and practices and enable them to take an active part in the institutional work. That object grouping empowerment can be described as a process of social, economic and cultural capital acquisition.
Cette étude représente une analyse approfondie des jeux des acteurs au sien du secteur touristique marocain. Une étude empirique a été conduite auprès des acteurs du secteur en suivant la démarche Mactor (Méthode Acteurs, Objectifs, Rapports de force) afin d’analyser la structure des influences entre les acteurs et de définir la position de chacun d’eux vis-à-vis des objectifs. Les résultats obtenus montrent une gestion participative du secteur patentée par le ministère et la représentation des professionnels, mais aussi un besoin immense de transparence, d’organisation du pouvoir et de dynamisation afin d’avoir des répercussions positives sur la performance du secteur touristique. Nous avons terminé ce travail par des scénarios proposés en tant que des perspectives de développement du secteur touristique marocain.
