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Using a dialogic approach to narrative analysis through the lens of fairytale, this paper explores the shared construction of corporate environmental stories. The analysis provided aims to reveal the narrative messaging which is implicit in corporate reporting, to contrast corporate and stakeholder narratives and to bring attention to the ubiquity of storytelling in corporate communications.

This paper examines a series of events in which a single case company plays the central role. The environmental section of the case company's sustainability report is examined through the lens of fairytale analysis. Next, two counter accounts are constructed which foreground multiple stakeholder accounts and retold as fairytales.

The dialogic nature of accounts plays a critical role in how stakeholders understand the environmental impacts of a company. Storytelling mechanisms have been used to shape the perspective and sympathies of the report reader in favour of the company. We use these same mechanisms to create two collective counter accounts which display different sympathies.

This research reveals how the narrative nature of corporate reports may be used to fabricate a particular perspective through storytelling. By doing so, it challenges the authority of the version of events provided by the company and gives voice to collective counter accounts which are shared by and can be disseminated to other stakeholders.

This paper provides a unique perspective to understanding corporate environmental reporting and the stories shared by and with external stakeholders by drawing from a novel link between fairytale, storytelling and counter accounting.

This paper aims to discuss visitor behaviour and net present value (NPV) of the only theme park in Turkmenistan – Turkmenbashi World of Fairytales.

Visitor behaviour, in terms of allocating time and expenditure to different parts of the theme park, is analysed using time and cost blocks. The data from a questionnaire answered by 317 visitors are employed in the descriptive analysis of visitor behaviour. The data on visitor behaviour are also incorporated into an estimation of the theme park’s net present value, as well as its sensitivity and scenario analyses.

The results show that the park is mostly visited by young people, at the time before noon or after 4 p.m. A majority of the visitors do not spend a significant amount in the theme park. Hence, achieving positive NPV may require improved revenue growth.

Turkmenbashi World of Fairytales is one of few publicly owned theme parks in the world. This provides a unique opportunity to test if positive NPV plays any role in construction of a public theme park.

The purpose of this paper is to explore storytelling in sustainability reporting. The author posits that large PLCs use their sustainability reports to support the construction of a fairytale of “sustainable business”, and asks if organisations with an alternative purpose (social enterprises, values-based SMEs) and/or ownership structure (co-operatives, partnerships) can offer a counter-narrative of the sustainability–business relationship.

The paper uses the literature on storytelling and organisational mythmaking to gain insight into the construction of narratives and their impact on the reader. A narrative analysis is conducted of the sustainability reports of 40 organisations across a range of entity classes, including large PLCs, values-based SMEs, co-owned businesses and social enterprises.

The analysis indicates that the narratives presented in sustainability reporting are of much the same form across entity classes. The author argues on this basis that sustainability reports represent stories targeted at specific stakeholders rather than accounts of the organisation’s relationship with ecological and societal sustainability, and urges scholars to challenge organisations across entity classes to engage with sustainability at a planetary level.

The paper seeks to contribute to the literature in two ways. First, the author illustrates how the literature on storytelling can be used to analyse organisational narratives of sustainability, and how narrative forms and genres can be mobilised to support potential counter-narratives. Second, the author explores and ultimately challenges the proposition that organisations less often examined in the literature, such as social enterprises and co-operatives, can offer alternative narratives of the sustainability–business relationship.

In the fairytale Peter Pan, the Lost Boys are quite content to skip merrily along behind their leader. The extent of their ambition is to emulate him. At Nissan, a somewhat different philosophy prevails. The Japanese automaker has no intention of simply following in the wake of rivals because, according to CEO Carlos Ghosn, those who habitually follow the leader never get to be leader themselves.

This chapter examines women’s participation at the Portuguese punk scene, suggesting the use of fanzines as an alternative medium able to spread feminist narratives. Through the words and pictures of the Portuguese punk fanzines – X.cute, Modern Girl, Global Riot, Sisterly, Mulibu and Cuecas Quentes – we highlight the strength of the symbolic resistance of the Portuguese punk women. This approach allows us to show the existence of an imaginary structure of equality within an actual scenario of inequality and reproduction of society’s gendered structure. The theoretical discussion involves themes related to feminism, the punk movement (Guerra, 2013, 2017; Guerra & Silva, 2015; Guerra & Straw, 2017), the riot grrrl scene (McRobbie & Garber; 1987; McRobbie, 2000, 2009), and the universe of alternative media and fanzines (Guerra & Quintela, 2014, 2016; Triggs, 2006; Worley, 2015).

The purpose of this paper is to investigate tourists’ representations of the Arctic through the lens of the photo-sharing social network Instagram. The study focuses on the particular tourist experience of crossing the Arctic Circle in Rovaniemi, Finland, as in tourism, it represents the “official” entry to the Arctic. The study also aims at drawing assumptions about the future experiences of crossing the Arctic Circle, with the development of new technologies such as augmented and virtual realities.

Data were gathered with netnography methodologies on the Instagram social network. The first stage was the observational part and consisted of “lurking” at specific hashtags and locations, both referring to the Arctic Circle in Rovaniemi. Data were gathered in December 2018 and consisted of images and descriptions of Instagram posts published by users between June 1, 2018 and December 31, 2018, so data collection encompassed both summer and winter seasons. The second stage was the analysis part and involved interpretive understanding, and especially phenomenological sociology.

Results show that three dominant representations of the Arctic emerge when tourists cross the Arctic Circle. The region is either seen as a frozen fairytale wonderland due to the close proximity of the Christmas industry, as a far and northern destination participating in the realization of the self, and as a territory where summer weather conditions are not necessarily synonymous with the Arctic. In addition, the study acknowledges the future challenges of conceptualizing “Arctic tourism” due to the development of virtual reality technologies that could provide immersive Arctic experiences outside the region.

The paper investigates connections between social media studies and tourist experiences in the Arctic context. It also questions the future of Arctic tourist experiences with the development of new technologies enhancing experiences and, thus, potentially threatening the exceptionalism of the Arctic and what makes the region a unique tourism destination.

This chapter examines how hospitality and tourism researchers can use ‘expressive text’ (or writing) to express the lived quality of an experience in order to ‘show what an experience is really like’ rather than ‘tell what it is like’. Expressive text refers to written language forms such as narrative, poetry and metaphor that can be used as tools in research to vividly represent the meaning and feeling conveyed in an experience. The expressive text-based approach to researching lived experience provides a textual link between experience and its expression. For this reason, it is especially useful when working with lived experience accounts of phenomenological and hermeneutic research.

The expressive text-based approach suggested here is still a relatively under explored arena within hospitality and tourism research. As a relatively under explored arena, the rich insightful knowledge that can be gained from understanding practitioner experience is rarely a central focus of scholarly writings about the workplace in hospitality and tourism contexts. However, in order to be fully appreciated as a discipline in its own right and to advance knowledge of the field, understanding the typical and significant attributes of hospitality and tourism work will be decidedly helpful.

One of the difficulties of working with lived experience accounts is finding a suitable research approach that helps to both retain the lived elements of the experience and ensure the rigour of the inquiry. An expressive text-based methodological framework that has a phenomenological and hermeneutic philosophical underpinning is argued to be suitable for this purpose. Therefore, the focus of this study is to discuss such a methodology and explain the reasons for its content, style and structure in researching lived experience. The approach that is proposed here consists of a five-tiered textually expressive methodology that is employed to contextualise, portray and interpret the lived experience meanings in order to understand the significance of the experience in relation to relevant discourses in hospitality and tourism studies, and to consider implications for policy and professional practice. The guiding questions of the five-tiered framework cover the following issues: (1) What is the context of the lived experience? (2) What is the lived experience of this practice like? (3) What is the meaning of this experience for the practitioner? (4) What is the significance of the experience in contributing to the advancement of knowledge within the field? (5) What are the implications for practice and professional development?

To illustrate uses of this methodology in research, the study here includes an example showing portrayals and interpretations of the typical and significant lived nature of hospitality reception work. This shows and communicates the full meaning of the episode, circumstances or situation. The chapter then concludes with some reflections on benefits as well as tensions in working within an expressive text-based phenomenological and hermeneutic framework.

The purpose of this paper is to explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characteristics of the blockbuster sub-brand?

Using extant literature, interviews and content analysis in a comparative case study format, this paper has three aims: first, to embed exhibitions within the marketing and branding literature; second, to identify the drivers of a blockbuster strategy; and third, to explore the key characteristics of blockbuster exhibitions.

The authors present a theoretical model of major exhibitions as a sub-brand. The drivers identified include the entrepreneurial characteristics of pro-activeness, innovation and risk-taking, while the four key characteristics of the blockbuster are celebrity; spectacle; inclusivity; and authenticity.

These exhibitions are used to augment a host art museum’s own collection for its stakeholders and differentiate it in the wider cultural marketplace. While art museum curators seek to develop quality exhibitions, sometimes they become blockbusters. While blockbusters are a household word, the terms is contested and the authors know little about them from a marketing perspective.

Art museums are non-profit, social organisations that serve the community. Art museums therefore meet the needs of multiple stakeholders in a political environment with competing interests. The study draws on the experiences of a major regional art museum, examining the characteristics of exhibition sub-brands and the paradox of the sub-brand being used to differentiate the art museum. This paper fills a gap in both the arts marketing and broader marketing literature.

The use of the identified characteristics develops theory where the literature has been silent on the blockbuster sub-brand from a marketing perspective. It provides an exemplar for institutional learning on how to initiate and manage quality by popular exhibition strategies.