Strategy Making in a Crisis
Show Less

Strategy Making in a Crisis

From Analysis to Imagination

Michael Gibbert

Which strategy making approach works best in a crisis? In current literature, the recommendations oscillate between prediction, control, and practice, but this unique book focuses specifically on strategy making in a crisis.
Buy Book in Print
Show Summary Details
You do not have access to this content

Imaginative strategy making: existing frameworks

Michael Gibbert


As discussed in the last chapter, it would appear that in using imagination for strategy making in a crisis, it is difficult to focus exclusively on what strategic positions of the firm lead to optimal performance under varying environmental circumstances, without simultaneously considering how a firm’s administrative systems and decision processes influence these strategic positions (Chakravarthy and Doz, 1992; Rumelt, Schendel and Teece, 1994; Schendel, 1992). My main point of departure is, therefore, the conjecture that crafting strategy imaginatively is an effort involving both strategy process research and strategy content research. The two streams of research can be thought of as the two dimensions of a matrix where the horizontal axis describes how a strategy is made and the vertical axis describes what is being imagined when crafting strategy. I envisage the question of how a strategy is made as a sequential process involving a number of process steps (see van den Ven, 1992, as well as Schendel and Hofer, 1979, for related arguments). On the horizontal axis, therefore, we find the three generic steps in the strategy-making process: envisaging, conceiving and realizing strategies. Exactly what is decided in this process is contingent upon an important source of such decisions: the human imagination (see Roos and Victor, 1999; Kearney, 1988). On the vertical axis, therefore, the strategy-making matrix argues that imaginative strategies can best be envisaged, conceived, and realized by considering all three thrusts of strategy making: descriptive, creative, and challenging imagination. The juxtaposition of the three generic steps of...

You are not authenticated to view the full text of this chapter or article.

Elgaronline requires a subscription or purchase to access the full text of books or journals. Please login through your library system or with your personal username and password on the homepage.

Non-subscribers can freely search the site, view abstracts/ extracts and download selected front matter and introductory chapters for personal use.

Your library may not have purchased all subject areas. If you are authenticated and think you should have access to this title, please contact your librarian.

Further information

or login to access all content.