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Organizational Memory Studies (OMS) is limited by its managerialist, presentist preoccupation with the utility of memory for knowledge management. The dominant model of memory in OMS is that of a storage bin. But this model has been rejected by psychologists because it overlooks the distinctly human subjective experience of remembering, i.e. episodic memory. OMS also fails to take account of the specific social and historical contexts of organizational memory. The methodological individualism that is prevalent in OMS makes it difficult to engage with the rapidly expanding sociological and historical literature in social memory studies, where a more social constructionist approach to ‘collective memory’ is generally favoured. However, for its part social memory studies derived from Maurice Halbwachs neglects organizations, focusing primarily on the nation as a mnemonic community. From a critical perspective organizations can be seen as appropriating society’s memory through corporate sites of memory such as historical visitor attractions and corporate museums. There is scope for a sociological and historical reorientation within OMS, drawing on social memory studies and focusing on corporate sites of memory, such as The Henry Ford museum complex, as well as the mnemonic role of founders and beginnings in organizations. Taking a social constructionist, collectivist approach to social remembering in organizations allows connections to be made between memory and other research programmes, such as organizational culture studies.

PurposeThis paper seeks to identify and define the genre of corporate history within the pervasive historical discourse produced by and about organizations which tells the past of an organization across a multiplicity of texts: published works – commissioned and critical accounts, academic tomes and glossy coffee‐table books – as well as web pages, annual reports and promotional pamphlets.Design/methodology/approachThe approach takes the form of systematic reading of historical narratives for 85 mainly British and US companies from the Fortune Global 500. For these companies, a search was carried out for US printed sources in the British Library and a survey was conducted of historical content in web pages.FindingsFrom extensive reading of the historical discourse, recurrent formal features (medium, authorship, publication, paratext and imagery) and elements of thematic content (narrative, characters, cultural paradigms and business success), which together define the genre of corporate history, have been identified. Such a definition provides competence in the reading of historical narratives of organizations and raises questions regarding the role of history in organizational identity, memory and communication. In conclusion it is argued that the interpretation of corporate history cannot be reduced to its promotional function for organizations.Research limitations/implicationsThe list of the formal features and thematic content of corporate history detailed here is by no means exhaustive. They are not variables, but signs, which, in various combinations, compose the narrative and signify the genre.Practical implicationsIt seems likely that coffee‐table books will increasingly replace academic commissioned histories, with consultants professionalizing the discourse and formalizing the genre of corporate history.Originality/valueThe genre of corporate history has hitherto been neglected in organization theory, where the linguistic turn has led to a preoccupation with talk as text. The use of genre to analyse corporate history represents a textual turn to literary organizational texts as text.

The successful management of strategic change requires an understanding of which moves are possible in specific contexts, and thus of how specific contexts variously require, forbid, or permit certain organizational or policy actions. Appreciation of such modal issues of necessity and possibility thus becomes essential in understanding organizational and technological dynamics. This paper introduces the concept of modal narratives: forms of analytically structured narrative that explore questions of necessity, possibility and contingency. After a brief review of two common types of modal narrative—counterfactuals and scenarios— the potential of a third form is suggested: the superfactual. An extended example of a superfactual is provided in the Project Hindsight case, and the implications for strategic action are discussed.