Tamara, an expatriate Polish beauty, aristocrat, and aspiring artist, is summoned from Paris to paint d'Annunzio's portrait.
A postmodern analysis of these multiple discourses reveals the marginalized voices and excluded stories of darker side of the Disney legend.
Tamara, a play that is also a discursive metaphor, is used to demonstrate a plurivocal (multiple story interpretation) theory of competing organizational discourses.
Use of a plurality of stories, voices, and realities, as well as a multiplicity of ways to interpret stories, appears in experimental fictions that the French term nouveu roman (Heath, 1972; Zeraffa, 1976).
The aim of a nouveau roman is to provide multiple forms of discourse.
By discourse, I mean the infinite play of differences in meanings mediated through socially constructed hegemonic practices, especially in stories (Boje, 1991a: 107; Clegg, 1989: 178; Cooper & Burrell, 1988; Laclau, 1983, 1988).