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Considering the central role of narratives in the articulation of the self, processing experiences and conveying meaning, many scholars in marketing and consumer behaviours have tried to study the subject. This pool of multi-disciplinary studies has yielded fragmented literature resulting in ambiguity. Therefore there is a need for an article, which studies the extant literature comprehensively. Hence, this paper aims to pursue two objectives, to summarize prominent research studies in consumption narratives and to suggest directions for future research.

The paper reviews 25 key studies on consumption narratives and highlights their most important contributions, methods and findings.

As in consumer narrative research, the concept almost always has been borrowed from different domains, the findings suggest a concise definition to fill this gap. Also, to enrich the findings, three-level of consumption narratives are discussed.

This paper serves as a basis to comprehend the essence of consumption narratives in the consumption context, to understand the research gaps and provides directions for future research.

Considerando el papel central de las narrativas en la formulación de uno mismo, el procesamiento de las experiencias y la transmisión de significados, muchos académicos en marketing y comportamiento del consumidor han tratado de estudiar este tópico. Este conjunto de estudios de carácter multidisciplinar ha dado lugar a una literatura muy fragmentada y ambigua. Por tanto, se hace necesario un trabajo de investigación que estudie de menara exhaustiva la extensa literatura existente. En definitiva, este artículo persigue dos objetivos, resumir las investigaciones más destacadas sobre narrativas de consumo existentes en la literatura y sugerir orientaciones para futuras investigaciones.

Este artículo revisa 25 estudios clave sobre narrativas de consumo y resalta sus contribuciones, métodos y hallazgos más relevantes.

Teniendo en cuenta que en la investigación sobre narrativas de consumo el concepto ha sido casi siempre tomado de diferentes ámbitos, los hallazgos sugieren una delimitación conceptual más concisa para cubrir este vacío. Asimismo, para enriquecer los resultados se analizan tres niveles de narrativas de consumo.

Este artículo sirve de base para comprender la esencia de las narrativas de consumo en el contexto del consumo, entender las brechas de investigación que aún existen en este ámbito y proporcionar guías para futuras investigaciones.

考虑到叙事在自我表达、处理体验感受和传达意义方面的中心作用, 许多营销学者和消费者行为学者都试图对这一主题进行研究。由于研究成果横跨多个学科, 而导致文献支离破碎, 造成了歧义。因此, 有必要对现存文献进行综合研究。因此, 本文的研究目标有二, 一是总结当前消费叙事研究的主要成果, 二是为今后的研究指明方向。

本文回顾了关于消费叙事的25个主要研究, 并强调了它们最重要的贡献、方法和发现。

由于之前的消费者叙事研究中, 消费者叙事的概念几乎总是从不同的领域借用, 研究结果提出了一个简明的定义来填补这一空白。此外, 为了丰富研究结果, 本文还讨论了三个层次的消费叙事。

本文作为理解消费语境中消费叙事本质的基础, 来理解研究的差距, 为今后的研究指明方向。

Prior research has indicated that narratives may lead to fantasy which may evoke narrative transportation. Researchers have also established that narrative transportation affects persuasion, changes in attitudes and brand evaluations. To this end, several studies have focused on narrative consumption (i.e. being hooked into a narrative) and the aforementioned consequences of narrative transportation. However, research investigating the role that fantasy plays in consumers’ journey from narrative consumption to narrative transportation is scant. The purpose of this paper is to develop a multidimensional scale for measuring narrative-driven fantasy in order to detail which dimensions of fantasy facilitate narrative transportation. Further, this paper posits that prior research has overlooked the mediating role that fantasy plays within the narrative consumption and narrative transportation process. As the exploration of overlooked mediators is important for theory development, this paper uses the scale developed here to test for fantasy as a mediator.

This research involves four studies, taking a multi-methodology approach including one-on-one interviews and questionnaires. Exploratory factor analysis and sequential equation modeling are used to develop a valid scale for fantasy.

This work results in the development of an eight-item scale of narrative-driven fantasy, highlighting two dimensions of fantasy: identification and passport. Further, this work finds that both dimensions of fantasy mediate the relationship between the level of narrative consumption (being hooked into the narrative) and narrative transportation.

The studies were conducted with respondents only from the USA, potentially limiting its generalizability to other countries and cultures. This research has several implications. This paper introduces a model that highlights fantasy’s role within the narrative consumption and narrative transportation fields of study. It also delineates a scale that measures the different dimensions of fantasy. This scale can be used to gain further understanding of the strength and type of fantasy that narratives consumed via various mediums (music, movies, commercials) evoke, the relationship between these measures and narrative transportation, and the subsequent changes in intentions and attitudes. Further, the identification of fantasy as a mediator in the relationship between narrative consumption and narrative transportation allows for further theory development and exploration.

The fantasy scale that is detailed in this paper may be used to indicate which celebrities, music, images, movies, commercials, products, brands and other stimuli best evoke narrative-based fantasy. The scale should apply to all types of fantasizing, enhancing the understanding of what increases levels of fantasy and the effects of such fantasy on persuasion.

This research extends the literature on consumer engagement in narrative consumption and transportation by providing novel and valid scale measures for narrative-based fantasy. The fantasy scale provided is internally consistent and proves accurate across many samples and stimuli. The scale is also short (only eight items) and easy to administer. Additionally, to the best of the authors’ knowledge, this work is the first to generate insights into the mediating role that fantasy plays within the narrative consumption and narrative transportation framework.

The purpose of this paper is to elaborate on a novel multi-modal enabling technique for contextualising brand consumption experiences.

A multi-modal interpretive narrative approach is presented as a means of investigating brands as experiential entities for use in consumer identity projects. It reports the strategic use of different modes of data collection: autobiographical narratives generated by solo participants to create a benchmark of identity and subsequent friendship pair guided discussion interviews. This offers a faster, cheaper and more convenient means of gaining access to consumer experiences of brands than traditional ethnographic methods, which require prolonged engagements within a community.

Consumer narratives of actual brand consumption and of mediated brand consumption are enhanced using this method. The consumer narratives generated provided rich insights into the role of brands in contributing to national identity. The contextualised use and function of identity narratives provided by brands were identified in addition to the identification of national community rituals of consumption.

The multi-modal use of friendship pair interviews with solo autobiographical interviews is shown to offer benefits to qualitative consumer researchers focussing on brand/identity issues. The combination of data collection methods allowed for greater reflexive, memorial and contextualised discussion in the friendship pair interviews about brand narrative consumption and generated responses that advance beyond socio-political conventions concerning brands. Consequently, contextualised brand consumption experiences can be accessed more effectively than in conventional depth interviews.

The purpose of this study is to focus on analyzing the role of music subcultures in the communication and promotion of conspicuous consumption practices. The object of study is the “altered movement” as the music style of the drug subculture in Mexico.

A qualitative content analysis of 78 lyrics and music videos of “altered movement” was carried out between August and December 2018.

The analysis of lyrics and music videos leads to the identification of four narratives (from poor to rich, power through violence, lavish lifestyle and power over women) and diverse symbolic markers (luxury brands mainly) that together, display messages aimed at promoting conspicuous consumption practices.

The current research expands the body of literature of music subcultures in the consumer research area by contesting the common conception of this phenomenon as a healthy source of self-identity formation and deepening into its role as a source of conspicuous consumption practices.

Marketing products as guilt-free is not new, especially in the food industry, but what is new is the scope of ethical choice on offer and the variety and complexity of guilt-free narratives sold as part of the consumption package. The purpose of this paper is to present – and test – an innovative framework with which to analyse the key strategies in the creation of guilt-free narratives within the food industry and examine how consumer habits, motivations and attitudes are afforded by these narratives. The trend towards interpassivity, in which a consumer “outsources” moral responsibility to manufacturers, suppliers or retailers, is critically examined.

Data collection consisted of a non-probability quota sample of UK residents, administered online. There were three main areas of this study: consumers’ attitudes towards guilt-free products and marketing, consumers’ consumption habits and conscious-motivating factors and insights in unconscious-motivating factors. The questionnaire was designed to provide both qualitative and quantitative insights. It consisted of a variety of open-ended questions, as well as sets of given choices regarding habits and motivations, where the options were designed to encompass as many potential responses as necessary. The survey was shaped using a mini-focus group.

The paper demonstrates that consumers are in general willing to pay more for a guilt-free product but not for the reasons normally presented within the marketing literature. The paper shows that while self-accountability and anticipatory guilt are reasons for the effectiveness of guilt-free marketing, they are only minor factors. The paper shows that other motivating factors are more important as many participants buy products they do not entirely trust or have a particular preference for. One motive relates to interpassivity, that is, that guilt and guilt-alleviating actions can be transferred or delegated to the product itself.

The concept of interpassivity and the idea of transference of actions or emotions to products has potential for new marketing frameworks. There are many different coping mechanisms for guilt or shame, and these could all be packaged into products to arouse a preference with the consumer. The entire area of guilt-free marketing is under-researched but because of the continued growth in consumer guilt-mitigation strategies, it is likely to see a lot of research activity in the near future. The main limitation is the limited statistical analysis afforded by the non-probability nature of the sample.

The paper has developed a clearer definition of what constitutes a guilt-free product, that is, a guilt-free product is created when a regular product has any one or more of the three types of guilt (anticipatory, reactive and existential) packaged into it. Using this definition, the paper examined why guilt-free marketing has been effective, identifying that though consumers are willing to pay more for a guilt-free product, self-accountability and anticipatory guilt are only part of the explanation, with guilt and guilt-alleviating actions being transferred or delegated to the product itself a significant factor.

The paper has impacts for producers and consumers wishing to highlight the social good of a product. The study shows that consumers are sophisticated enough to examine social impact but often express a desire to delegate action to firms. Firms can more clearly frame their activity and contrast their action to the misleading marketing claims of rivals.

This paper is the first detailed analysis of guilt-free foods of its type. It seeks to create clearer definitions and frameworks with which to examine marketing practices and discourses of guilt in food consumption and marketing. The paper findings suggest that a relatively novel approach to consumption – interpassivity – is a useful explanation for otherwise puzzling consumer behaviour in a newly emerging area of guilt-free food marketing.

The aim of the paper is to discuss a possible extension of narrative analysis to a new medium of expression of consumer behaviour, specifically YouTube.

Marketing and consumer behaviour studies often apply narrative analysis to understand consumption. The consumer is a source of introspective narratives that are studied by scholars. However, consumption has a narrative nature in itself and consumers are also storytellers. YouTube is a new context in which subjects tell stories to an audience through self‐made videos and re‐edited TV programs. After defining the pros and cons of different approaches to the study of YouTube, narrative analysis is presented as a possible means of understanding YouTube.

Some preliminary evidence is presented by discussing several YouTube videos. These indicate that YouTube content can be better understood as stories, rather than example of other approaches, such as visual analysis, media studies, videography, and others.

From the analysis conducted, preliminary managerial implications can be drawn. It seems unlikely that normal TV broadcasters will be substituted by YouTube videos. For the most part, YouTube content draws its sense and shared meaning from the major TV shows and series. The discursive nature of YouTube is also an indication of how to deal with this new medium as a company or researcher.

The paper is an attempt to open up new applications of interpretive market research in the form of narrative analysis. It explores a new context that is gaining relevance in both the marketing literature and managerial practice.

The purpose of this paper is to explore how US cities are communicating a sustainability narrative. Based on an analysis, cities are using a sustainability narrative focusing on environmental sustainability and consumption. Critical theory is introduced as a means to imagine alternative narratives.

Exploratory in nature, this study relied on qualitative media analysis to analyze documents and images gathered from 22 US city websites. Critical theory is then introduced to provide a conceptual way forward from the status quo narrative form.

Cities are utilizing environmental narratives largely, rather than including social and economic interests inherent within holistic sustainability practices. Moreover, cities are promoting sustainability as consumption, a practice that is inherently not sustainable. Critical theory explains that marketers are relying on the “status quo” when it comes to crafting a sustainability narrative.

Destination marketing managers can think outside of given narratives to create their own sustainability stories that might help the place achieve a competitive advantage.

Knowledge into sustainability marketing practices is extended by revealing a consumption narrative and utilizing critical theory to move beyond this status quo.

This paper focuses on the relationships that consumers develop with experiential objects in the context of the Biennale of Contemporary Art Exhibition, viewed from a dialogical and intersubjective approach. The purpose of this paper is to elaborate on the interpersonal relationships that visitors of the Biennale establish with contemporary artworks and to understand the characteristics of these relationships as well as their role in shaping Biennale visitors’ identity narratives.

This research employs an instrumental case study that draws on multiple data sources and examines consumers’ relationships with contemporary artworks.

The case study evidence introduces the relationships that emerged from Biennale visitors’ interactions with contemporary artworks and the identity narratives evolving from these relationships. The findings suggest that Biennale visitors’ relationships with the contemporary artworks take the form of I-thou and I-it relationships. These two modes of interpersonal relationships by entailing different characteristics led investigated visitors to live different types of experiences of contemporary art consumption.

The first limitation of this research is that it focuses on the establishment of interpersonal relationships at the microgenetic level. Further research can provide additional insights by conducting a longitudinal case study. The second limitation is that it provides limited insights into the relationships that are revealed by consumers’ experiences with possessive objects. Future research may examine interpersonal relationships in terms of consumers’ relationships with their brands.

The understanding of visitors’ interactions and relationships with contemporary artworks provides insights into curatorial and marketing practices for such art institutions.

The findings of the current research provide new theoretical insights into the interpersonal relationships that consumers develop with experiential objects and into the distinctive identity narratives that evolve from the establishment of different types of interpersonal relationships.

The purpose of this paper is to highlight the importance and utility of introspective accounts to ethnography when it deals with consumption experiences.

The paper reviews the changes in the way “reflexive consumers” write introspective narratives about their intimate thoughts and deep feelings lived during an experience and takes advantage of previous research carried out in different contexts, e.g. music concerts and internet‐based services.

The paper specifies the more original stages of a complete ethnographic approach to consumption experience. These include co‐immersing; organising the narratives' write‐up; combining the experience's time frame with data generated via observation and introspection; and producing interpretations that will vary depending on the consumer's expressed level of pleasure.

This type of approach does not work in all consumption situations, nor does it apply to all consumers.

The combination of observation and introspection will enrich researchers' toolboxes in the quest to unravel the increasingly complex and unpredictable experiences the consumption of today products and services affords consumers.

The paper advocates that the writing up of introspective narratives and diaries has become a common practice for reflexive consumers accustomed to telling their stories online that must be used in market research.

In the last few years, signs of material excess by organizational and political leaders have often evoked public outcry. The paper aims to argue that there is insight to be gleaned from drawing together strands from the leadership literature with the literatures on moral economy and conspicuous consumption. The premise is that views of leader conspicuous consumption are shaped by their moral economy, the interplay between moral attitudes and economic activities. The paper seeks to juxtapose tales of Cleopatra and Antony's display of wealth with current media accounts to contribute to the leadership literature on ethics, specifically its intersection with power and narrative representation.

The paper adopts an analytic approach, with an international orientation and an interdisciplinary perspective. It acknowledges the role of narrative representation in shaping leadership and the psychological ambivalence with which societies approach their leaders' practices, focus here on desire-disdain and discipline-decadence. Cleopatra and Antony's conspicuous consumption generated a legacy of condemnation for millennia. Drawing from the retellings of their story, four moralizing representations – by Plutarch, Shakespeare, Sarah Fielding and Hollywood – are analyzed and juxtaposed with current media accounts. Altogether, the paper combines the interest in leadership across history with moralizing perspectives on the display of wealth by leaders.

The intersection of the literatures on leadership, moral economy and conspicuous consumption draws together several dynamics of relevance to leadership. First, evaluations of the display of wealth on the part of a leader are contextual: they change across time and place. Second, interpretations of conspicuous consumption involve aesthetic judgment and so sit at the nexus of morality and taste. Third, following tragedies, tales of leader conspicuous consumption offer critics another knife to dig into the fallen tragic hero. Fourth, views of conspicuous consumption are gendered. Last, conspicuous consumption by leaders attracts condemnation through support for social responsibility and sustainability.

The paper establishes a novel articulation between the literatures on leadership, moral economy and conspicuous consumption.