Book contents
- Constructing Crisis
- Constructing Crisis
- Copyright page
- Dedication
- Contents
- Tables
- Preface
- 1 Undertaking a New Interpretive Effort
- 2 Crisis as a Reification of Urgency
- 3 Advancing the Crisis-as-Event Model
- 4 Problems, Crises, and Contextual Constructionism
- 5 An Objective Description and a Subjective Uh-Oh!
- 6 Believing Claims of Urgency – Or Not
- 7 The Power of a Good (Crisis) Narrative
- 8 To Create Such a Crisis, to Foster Such a Tension
- 9 Beyond Forged-in-Crisis Leadership
- 10 So What?
- References
- Index
6 - Believing Claims of Urgency – Or Not
Published online by Cambridge University Press: 23 August 2019
- Constructing Crisis
- Constructing Crisis
- Copyright page
- Dedication
- Contents
- Tables
- Preface
- 1 Undertaking a New Interpretive Effort
- 2 Crisis as a Reification of Urgency
- 3 Advancing the Crisis-as-Event Model
- 4 Problems, Crises, and Contextual Constructionism
- 5 An Objective Description and a Subjective Uh-Oh!
- 6 Believing Claims of Urgency – Or Not
- 7 The Power of a Good (Crisis) Narrative
- 8 To Create Such a Crisis, to Foster Such a Tension
- 9 Beyond Forged-in-Crisis Leadership
- 10 So What?
- References
- Index
Summary
It’s an iconic moment from a classic fifties-era Broadway musical. The Music Man, con artist “Professor” Harold Hill, is about to arrive in the fictional town of River City, Iowa. His goal is to sell the locals something they neither want nor need: marching band instruments and uniforms. Now, he had no intention of delivering those goods. He is a con man, after all. The plan, instead, is to take the money and run. But Harold Hill has this nagging problem to solve first: how to create demand where there is none.
- Type
- Chapter
- Information
- Constructing CrisisLeaders, Crises and Claims of Urgency, pp. 106 - 139Publisher: Cambridge University PressPrint publication year: 2019