Search results

The purpose of this study is to prove that narratives can be a adequate foundation for human behavior in general and economic behavior in particular using the Donald Duck universe as an example.

By using a content analysis, the authors examine 208 stories of the Donald Duck universe to prove that economic behavior is already embedded in modern narratives of the 20th century.

This analysis shows that behavioral finance effects are identified in a total of 52.4% of the analyzed comics. This study furthermore distinguishes the main comic characters Donald Duck and Scrooge McDuck and finds that eight of the nine considered behavioral finance biases can be detected in both. The most striking effect for Donald Duck is overconfidence and for Uncle Scrooge loss aversion.

Collectively, these comics provide potential exemplars for behavioral finance. Regardless of whether these comics depict human nature or merely reflect human behavior during that time, they inevitably contribute to the understanding that psychological and sociological influences determine behavior in addition to economic factors that can be used for academic teaching.

In summary, comics, such as the Donald Duck universe, are suitable narratives for behavioral finance.

The aim of this paper is to contribute to an understanding of how the child consumer has been constructed in experience advertising in a historical perspective, how the view of the child has changed and how the presentation of the “good” experience has developed.

The study is based on ads in the Danish children's magazine Donald Duck. The study is a historical overview drawing on both quantitative and qualitative approaches, drawing theoretically on consumer, childhood and experience theory.

The results show that the “child consumer” has moved from being invisible on the backstage to the very front of the stage in experience advertising during the four decades examined. Moreover, the idea of what an experience is for the child has changed radically and a move occurs from a focus on aesthetic experiences to experiences of immersion and challenges of the senses. The most recent ads promote the child as not just the co‐creator but the actual creator of the experience.

It is a limitation that the study is based on a Danish sample only, and findings cannot be generalized to other national markets. It would, however, be interesting to compare with other national markets.

Marketing implications of the findings could be to go further into the direction of user generated experiences as suggested in the most recent ads, e.g. in the direction of online games where the consumer is him or herself writing the storyline of the experience unlike the pre‐planned rides most amusement parks offer today.

This study draws on child experience professionals, who have been found to be more proactive in recognizing the child consumer than, e.g. academics, and in translating the view of the children as actors to advertising copy and imagery. These marketing professionals have from early on addressed children in their own language clearly perceiving them as consumers in their own right. The most recent ads staging the consumer as creator of experiences challenge Pine and Gilmore's experience realms and call for a new way of conceptualizing and offering experiences. This is interesting for researchers working with perceptions of childhood and actors working with commercial conceptualizations of experiences.

Product functionalities aim to satisfy the operative needs of the customer, while product meanings (i.e. the emotion and the symbolic values represented by the product) aim to satisfy the emotional and socio‐cultural needs of the customer. What consumers are increasingly looking for in consumer products are new forms of psychological satisfaction that go beyond normal and simple consumption; today, more than ever, products define their own presence not only through their attributes, but also through the meanings that they assume, through the dialogue that they establish with the user, and also through the symbolic nature that they emanate. Figures of speech can be exploited to emphasise a message or a meaning. The purpose of this paper is to propose an application of rhetorical figures to product design that will make them more communicative.

Specifically, the authors propose the “Rhetorical Innovation Process” as a methodology that foresees the application of figures of speech as semantic operators. First, the authors discuss several product innovations that can be interpreted according to the “Rhetorical Innovation Process”. Then, a brief workshop assignment in the strategic design course at the Faculty of Industrial Design of Politecnico di Milano explored the potentialities of the method in relation to different product typologies: 40 Italian master students were divided into eight groups (five industrial design students each) in order to develop five products per group.

The results obtained by design students demonstrated as figures of speech can stimulate associations with other contexts and modifications to existing architecture. The exploration of the “rhetorical innovation process” in collaboration with eight design student teams has shown that this method can support and enrich the concept generation phase. Moreover, four configurations proposed by the “rhetorical innovation process” allow one to generate different alternatives supporting the creative process and allowing the identification of strengths and weaknesses associated to each solution.

The method described in the paper elucidates the structure and process adopted by several designers and also illustrates an effective framework for communicating choices to their clients. In particular, the cross‐context associations proposed in the “rhetorical innovation process” provide additional insights and incentives during the concept generation.

It's not enough to simply acquire alternative and small‐press materials. They must also be made easily accessible to library users by means of accurate, intelligible, and thorough cataloging.

“What kind of culture does Walt Disney Company (WDC) want to create? This case uses the experiences of a young visitor to one of WDC's resort hotels to set the stage for an analysis of selecting, hiring, training, and retaining and how those practices are governed by the culture of a large American company. The situation provides an opportunity to explore human resource policies, organizational design as well as how all those elements reinforce the culture.

The case opens with an interaction between a young Animal Kingdom Lodge guest and an employee (or cast member as the company refers to employees). There were many different ways the exchange could have unfolded yet the experience was magical for the youngster. What made this exchange a memorable experience for this young guest? Would Walt Disney have been surprised?”

Alongside the ubiquitous computer games apparently the marketing success of the 1992 toy season was a series of 25 year old puppets who had featured in a repeat showing of the orginal ITV series on BBC — Thunderbirds — more than 70 franchises have been sold to sell goods marked with the International Rescue logo and it is alleged that these products are even bigger than the previous smash marketing hit the Teenage Mutant Ninja turtles, saving thousands of jobs and making substantial profits for the British toy industry. The characters are licensed for right‐owners ITC (originally the international marketing arm of ATV, the ITV company which put out the programme, and now an independent company, ATV having long since lost its ITV franchise) by Copyright Promotions, Europe's largest licensing company (‘Thunderbirds are go to save the toy industry’ Sunday Telegraph 15/11/92).

This study conceptualizes a form of luxury consumption in which luxury brands collaborate with unconventional non-luxury partners. These unconventional luxury brand collaborations are growing in popularity among Chinese luxury consumers of the post-1990s generation. Luxury brands are exploring new branding strategies due to the growing commercial importance of Chinese luxury consumers.

An in-depth qualitative study informs this paper. Interviews with young adult luxury consumers self-identifying as Chinese reveal a growing interest for luxury brands that collaborate with odd partners in social media and online culture.

Unconventional collaborations between luxury brands and non-luxury partners catalyze shifting meanings of luxury through the following juxtapositions: ephemeral instead of timeless, trendy rather than inaccessible, and playful in contrast with traditional. First, young Chinese consumers construct luxury meanings through ephemerality, like digital possessions, social media fame and fleeting experiences. Second, luxury meanings emerge in trendiness among social media influencers and online culture rather than in the seemingly inaccessible taste regimes of the upper class. Third, younger consumers appreciate fun, rebellious and over-the-top aesthetics in luxury brands.

The study contributes to the nascent field of unconventional luxury by conceptualizing how unusual, odd and unexpected collaborations constitute new forms of luxury consumption. The shifting meanings of luxury consumption that this study conceptualizes raise new opportunities and challenges for luxury brands. One of such is the release of limited collections with non-luxury partners seemingly at the opposite spectrum of design, image and values. Moreover, the study adds nuance to the understanding of luxury consumption among young Chinese consumers.

Joseph Schumpeter once argued, “Creative destruction is the inevitable companion of capitalism.” The late Harvard economist predicted that the rise of giant corporations would lead to an economic collectivism (in his words, “a sober kind of socialism”) and, with it, the demise of the free enterprise system.

This study reports on an inductive, qualitative content analysis exploring depictions of the United States and U.S. citizens in translated, international literature for children. The sample included 18 titles recognized with the Batchelder Award or Honor, a recognition given to U.S. publishers who translate and publish outstanding children’s literature with international origins. The study was situated within the framework of cosmopolitanism, a theoretical perspective acknowledging the importance of local values, culture, and traditions while embracing the global and the unfamiliar. Findings revealed depictions of the United States on the local level as a destination, refuge, and glamorized place of diversity. On the global level, the United States was portrayed as a world power with regard to its military, economics, media, and culture. These findings promote perspective taking and critical literacy as they offer a window for U.S. students into how people from other nations perceive their country.