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This study centers on high school pre-teacher education students’ reviews of their peers’ digital stories. The purpose of this study is twofold: to bring digital storytelling to the forefront as a literacy practice within classrooms that seeks to privilege students’ voices and experiences and also to encapsulate the authors’ different experiences and perspectives as teachers. The authors sought to understand how pre-teacher education candidates analyzed, understood and made meaning from their classmates’ digital stories using the seven elements of digital storytelling (Dreon et al., 2011).

Using grounded theory (Charmaz, 2008) as a framework, the question of how do high school pre-teacher education program candidates reflectively peer review their classmates’ digital stories is addressed and discussed through university and high school instructors’ narrative reflections. Through peer reviews of their fellow classmates’ digital stories, students were able to use the digital storytelling guide that included the seven elements of digital storytelling planning to critique and offer suggestions. The authors used the 2018–2019 and 2019–2020 cohorts’ digital stories, digital storytelling guides and peer reviews to discover emerging categories and themes and then made sense of these through narrative analysis. This study looks at students’ narratives through the contexts of peer reviews.

The seven elements of digital storytelling, as noted by Dreon et al. (2011, p. 5), which are point of view, dramatic question, emotional content, the gift of your voice, the power of the soundtrack, economy and pacing, were used as starting points for coding students’ responses in their evaluations of their peers’ digital stories. Situated on the premise of 21st century technologies as important promoters of differentiated ways of teaching and learning that are highly interactive (Greenhow et al., 2009), digital stories and students’ reflective practices of peer reviewing were the foundational aspects of this paper.

The research the authors have done has been in regards to reviewing and analyzing students’ peer reviews of their classmates’ digital stories, so the authors did not conduct a research study empirical in nature. What the authors have done is to use students’ artifacts (digital story, digital storytelling guides and reflections/peer reviews) to allow students’ authentic voices and perspectives to emerge without their own perspectives marring these. The authors, as teachers, are simply the tools of analysis.

In reading this paper, teachers of different grade levels will be able to obtain ideas on using digital storytelling in their classrooms first. Second, teachers will be able to obtain hands-on tools for implementing digital storytelling. For example, the digital storytelling guide to which the authors refer (Figure 1) can be used in different subject areas to help students plan their stories. Teachers will also be able to glean knowledge on using students’ peer reviews as a kind of authentic assessment.

The authors hope in writing and presenting this paper is that teachers and instructors at different levels, K-12 through higher education, will consider digital storytelling as a pedagogical and learning practice to spark deeper conversations within the classroom that flow beyond margins and borders of instructional settings out into the community and beyond. The authors hope that others will use opportunities for storytelling, digital, verbal, traditional writing and other ways to spark conversations and privilege students’ voices and lives.

As the authors speak of the original notion of using students’ crucial events as story starters, this is different than prior research for digital storytelling that has focused on lesson units or subject area content. Also, because the authors have used crucial events, this is an entry point to students’ lives and the creation of rapport within the classroom.

Knowledge differs markedly from information and data. At rock bottom, knowledge is socially constructed in discourse communities. Because knowledge is not synonymous with information, IT cannot deliver knowledge management. Since there will always be uncodified or uncodifiable knowledge content and contexts – given the social nature of knowledge – several barriers to the creation and utilization of knowledge exist. The task of knowledge management is to identify such barriers and to overcome them.

This paper aims to present some intake on advance fee frauds. Frauds of which frequency of occurrence, despite being long present and people are globally aware of them, still present great danger. Several quantitative and qualitative analyses were done in order to find out how and why these messages actually work.

The paper is based on a literature review, quantitative analysis (using SPSS) and qualitative analysis (using MAXQDA). Databases ware composed from messages accumulated in two periods, 1998‐2005 (547 messages) and Jan‐Sept 2012 (59 messages).

Advance fee frauds are not declining in occurrence. They are constantly developing and use both bulk sending and narrower targeting. The latter present more dangers as the messages are more adapted to the interest of the message receiver. There also seems to be a severe resemblance and connection to other types of fraud, especially cybernetic frauds (like pilfering, phishing, or e‐mail spoofing). These types of frauds are global and no country is immune, nor can any country be excluded, from hosting the perpetrators.

Though the authors' quantitative research database was big enough, there are some minor problems connected with it. Part of a database is a product of Slovenian police, which intended to analyze the content of messages, therefore because of police confidentiality issues, the database lacks some traceability. One would maybe argue that the methodology used by the police is not always the same as scientific usage of research methods, but in this case the database possesses all other necessary empirical attributes. The second database was composed from messages received by the authors, therefore they cannot say that it's totally globally representative.

Though there are several qualitative and quantitative studies of advance fee messages done almost daily, only a limited number are done in academic settings. However, some academic studies would benefit from non‐academic and vice versa. So the authors present some input to both kinds of studies.

Taking a set of studies about business action as the empirical starting-point, this paper looks at the various ways in which action is represented. The overall research question can be stated as follows: how is business action reconstructed in our narratives? The texts analyzed are collected from research on exchange relationships in the field of marketing. To analyze how these texts depict business action, four narrative constructions are focused: space, time, actors, and plots. The categorization and analysis are summarized and followed by a set of concluding implications and suggestions for narrative practice aiming to reconstruct business action in the making.

The event management (EM) industry has attempted to elevate the professional status of event professionals. Contributing to these efforts, this study explores the professional identity (PID) construction process of event professionals. To facilitate the relevance of the PID construction process before the COVID-19 pandemic, it includes the impact of COVID-19 on event professionals' PID constructions.

Using narrative inquiry as the methodological approach, the study includes 18 semistructured interviews with event professionals before COVID-19 and additional 14 interviews during COVID-19. A narrative framework was developed to analyze the data.

The results include five significant themes highlighting the imperative role of agency in PID construction. Before the pandemic, event professionals pointed to self-driven pride and social-driven stigmatization as a part of PID narratives. Before and during the pandemic, profession-driven professional status recognition was significant. During the pandemic, situational reality-driven work skills and community-driven commitment became central to PID narratives.

The findings suggest the need for the EM industry to harness a collective PID. Specifically, given the community-building role professional associations played during the pandemic, associations can take part in leveraging a PID that connects core values.

This study contributes to the EM literature by using PID, a novel construct in EM research, to develop a baseline for event professional PIDs in changing environments; this functions as a platform for the EM profession to create a shared collective identity.

We conducted a narrative analysis of a collective narrative comprising inscriptions left on the locally famed “Apology Wall,” written by thousands of community members in the immediate aftermath of the 2011 Vancouver Stanley Cup Riot. In considering the Apology Wall as an “evocative object,” this study emphasized the significance of material objects as meaning-making devices. Interpretation of themes was conducted through a constructivist lens, specifically guided by literature concerning meaning-making following negative life events. Results bolstered the significance of the Wall as a sense-making device that provided a forum for the community to collectively share positive emotional expression, construct solidarity and collective identity, and express desires for restoration. By studying this collective narrative, the study not only illuminated how those affected constructed meaning after the Vancouver sports riot, but it also contributes to the literature on how communities, in general, make early sense of and respond to destructive events.