The article subjects the assumptions and prescriptions of the ‘Corporate Culture’ literature to (A) ______ scrutiny. The body of the article is devoted to teasing out the distinctive basis of its appeal compared with earlier management theory. It is seen to build upon earlier efforts ( e.g. ‘theory Y’) to constitute a self-disciplining form of employee subjectivity by asserting that ‘practical autonomy’ is (B) ________ upon the development of a strong corporate culture. The paper illuminates the dark side of this project by (C) ________ attention to the subjugating and totalitarian implications of its excellence/quality prescriptions. To this end, parallels are drawn with the philosophy of control (D) __________ by the Party in Orwell’s Nineteen Eighty-Four. Specifically, the paper critiques the ‘doublethink’ contention that autonomy can be realized in monocultural conditions that systematically constrain opportunities to wrestle with competing values standpoints and their associated life projects.

favoured            conditioned             mandatory             catching             drawing             critical           tough            conditional

Impressionism was a nineteenth century art movement that began as a loose association of Paris­based artists who started publicly exhibiting their art in the 1860s. Characteristics of Impressionist painting include visible brush strokes, light colors, open composition, emphasis on light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, and unusual visual angles. The name of the movement is derived from Claude Monet’s Impression, Sunrise (Impression, soleil levant). Critic Louis Leroy (A) ________ coined the term in a satiric review published in Le Charivari. Radicals in their time, early Impressionists broke the rules of (B) ________ painting. They began by giving colors, freely brushed, primacy over line, drawing (C) ________ from the work of painters such as Eugene Delacroix. They also took the act of painting out of the studio and into the world. Previously, not only still lives and portraits, but also landscapes had been painted indoors, but the Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plain air (in plain air).

inadvertently          regular           academic         inspired           inspiration         exhibiting         exhibits