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This conceptual, multi-voiced paper aims to collectively explore and theorize family entrepreneuring, which is a research stream dedicated to investigating the emergence and becoming of entrepreneurial phenomena in business families and family firms.

Because of the novelty of this research stream, the authors asked 20 scholars in entrepreneurship and family business to reflect on topics, methods and issues that should be addressed to move this field forward.

Authors highlight key challenges and point to new research directions for understanding family entrepreneuring in relation to issues such as agency, processualism and context.

This study offers a compilation of multiple perspectives and leverage recent developments in the fields of entrepreneurship and family business to advance research on family entrepreneuring.

In this chapter, we explore genre-blurring writing, where fiction meets theory, following the argument that texts in management and organisation studies suffer from the ‘textbook syndrome’. The stories that we tell through textbooks not only influence, but also set boundaries for, the way understandings are developed through the eyes of the reader. Often textbooks are written in a way that lead the reader into an idealised linear understanding of an organisation – far from the problems, dilemmas and messy everyday life that managers experience. Our discussion builds on previous literature on writing differently and our own experiences of writing a textbook by involving a professional novelist. Engaging in genre-blurring writing opens up how we think not only about writing, fiction and facts but also in our role as scientists. By situating ourselves, as researchers, at the intersection of fiction and the scientific work, not only new ways of writing, but also of thinking emerge. We discuss three aspects through which fiction challenge and develop our writing and thinking, namely to write with voice, resonance and an open end. Through genre-blurring writing, we create opportunities both to learn and to engage students in learning.

How do we write from the sensory body in ways that can convey the lived experience of the researcher and the researched, which can allow other researchers to make sense of their lived experience as well? What alternative writings could transform disembodied academia through dialogue and relational reflection? The aim of this chapter is to reflect on the value of the researcher’s embodied reflexivity in academic writing. More specifically, this chapter explores the ways in which we can write differently about organisational phenomena by experiencing aesthetic moments in the field. To accomplish this, I share examples of the aesthetic moments that I, as a researcher, experienced while undertaking three ethnographic projects: a study on professional dance, a study on academic motherhood and a study on female-canine companionship. This chapter identifies three aspects that allow the researcher to experience aesthetic moments – namely, appreciating sensory cues, writing ‘in and from the flesh’ and allowing vulnerability to flourish. Paying attention to the social micro-dynamics that exist between researchers and research phenomena and addressing the analytically marginalised experiences of researchers, therefore, allows for developing academic writing practices in more reflexive and sensory-appreciative directions.

This chapter offers five poems that aim to provide an affective and embodied engagement with the question why women stay silent after experiencing sexual violence. It aims to trouble the idea that coming forward as a victim or survivor is a one-time action or ‘event’. Instead it seeks to make felt how both staying silent and speaking out need continuous negotiation and effort. The poems provide a personal account of the difficulties inherent in navigating systemic power structures such as misogyny and rape culture that produce victims as shameful, guilty and broken. The writing speaks to both ongoing discussions in organisation studies regarding #MeToo (e.g. Ozkazanc Pan, 2018; Pullen & Vacchani, 2019) and efforts that aim to resist norms of academic writing, grouped under the heading ‘writing differently’ (e.g. Fotaki, Metcalfe, & Harding, 2014; Gilmore, Harding, Helin, & Pullen 2019; Grey & Sinclair 2006; Meier & Wegener 2017; Phillips, Pullen, & Rhodes 2014). More specifically, it uses poetic inquiry (cf. Prendergast, Leggo, & Sameshima 2009; van Amsterdam & van Eck, 2019) as the starting point of a feminist ethic of care in order to capture affect, embodiment and tacit knowledge, provide resonance and make an impact on the reader that goes beyond rational understanding.

In recognizing that we have different modes of listening, just as there are different ways of talking, the purpose of this paper is to explore how a greater awareness of listening can be a resource during fieldwork.

The paper uses a collaborative study of a family business as a starting point and focusses on a meeting held in the owner family where emotional issues concerning conflicts were discussed. Detailed illustrations from this two-hour meeting show how listening guided all participants, including the author in her role as a researcher.

Based on Bakhtin's work on dialogue as well as literature on listening the notion of “dialogic listening” is developed. This notion emphasizes four dimensions of listening: relationality and conversations as a shared activity, listening as an active process, the polyphonic nature of listening, and listening as an embodied activity. The paper illustrates how dialogic listening can create a feeling of an “us” where we can “listen into” things. “Listening into” involves a prospective way of exploring which can offer a feeling for that which we bodily “know” but do yet not understand cognitively.

The focus on listening makes it possible to explore new research practices in that it suggests an orientation toward language that does not depart from talk but rather emphasizes how the embodied and intertwined nature of relating to one another can guide and direct us during field studies.

This chapter takes the form of an open feminist letter, a complaint and a manifesto presented to the Critical Management Studies (CMS) Academy. It is posted with urgency at a time when Patriarchy is resurging across the globe. My complaint is against the misogyny and the moral injury done to all of us and to our participants through our detached, disembodied, non-relation, pseudo-objective, masculine ways of becoming and being CMS scholars. Drawing on the thinking of Hélène Cixous, I offer five gifts as strategies to break with the masculine reckoning and open up our scholarship to féminine multiplicity and generativity: loving not knowing, return to our material bodies, rightsizing theory, knowledge made flesh-to-flesh and women’s writing. I visit, and suggest our scholarship will benefit from visiting, Cixous’s School of the Dead and her School of Dreams. I advocate for social theatre/performative auto/ethnography as a way to effect change in organisations. Finally, I present a manifesto for women’s writing that can help take our scholarship ‘home’ and contribute to the creation of flourishing organisations. This letter is a Call to Arms.