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The main thesis here is that the stories that some brands tell to consumers enable consumers to achieve archetypal experiences. Examining the stories consumers tell in natural contexts involving shopping for and using brands informs explanations of associations of archetypes, brands, and consumers. The study advances the use of degrees-of-freedom analysis (DFA) and creating visual narrative art (VNA) as useful steps for confirming or disconfirming whether or not the stories consumers tell have themes, events, and outcomes that match with the core storylines told by brands. As a proposal, an extension of thematic apperception tests (TATs) is relevant in applying the DFA to brand-consumer storytelling research. The study includes a review of early work on TATs, DFA, archetypal theory, and how brands become icons. The study's theory, method, and findings provide useful tools for brand managers and researchers on issues that relate to psychology and marketing.

A television comic announces a satiric Golden Fleece Award for the faux pas of some government official. The San Diego Chicken hams it up in the stands of the baseball park. A Swiss mime troupe advertises the services of a communications corporation. All these may be more familiar to young people today than is a circus clown. These and other entertainers are all in the business of laughter and provide commentaries on current society.

The purpose of this paper is to analyze customers’ perceptions about brand personality in different cultural environments, checking if the archetypal framework of Mark and Pearson (2001) applies to different brands across countries.

The authors measured consumers’ perceptions in different cultural contexts through a survey, and received 537 valid questionnaires from Portugal, Brazil, Colombia and Peru, countries that have some similar indicators of cultural proximity. The authors wanted to verify if the words and sentences that respondents related to each brand were coherent with the archetype/brand, and the homogeneity of the results in different cultural contexts.

Empirical evidence shows that there is proximity between the literature review and the associations – words and sentences – that consumers from different countries make with those brands. This consistency of results is significantly higher for word associations.

Regardless of the results, the perceptions of consumers expressed through the selected words were often diverse and heterogeneous among countries. This could possibly indicate insufficient efforts from global brands toward a coherent brand personality/global-archetypal approach. Therefore, managing brand personality deserves more attention and marketers must understand consumer behavior patterns in different markets.

The purpose of this paper is to examine the work of Rosemary Benjamin’s Theatre for Children in Sydney as a compelling narrative of the New Education in Australia in the late 1930s, an historical moment when theatre for children emerged as a cultural experiment rich in educational ideas.

Contemporary sources and archival records are explored through several interpretive frames to develop a historical account of Benjamin’s Theatre for Children from 1937 to 1957.

Benjamin’s concept of children’s theatre was shaped by English progressive education as much as the Soviet model she extolled. She pursued her project in Sydney from 1937 because she found there a convivial European emigré community who encouraged her enterprise. They understood her Freudian ideas, which commended the use of the symbolic resources of myth and fairy tales to help children deal with difficult unconscious material. Benjamin also analysed audience reactions applying child study principles, evidence of the influence of Susan Isaacs and the New Education Fellowship. More successful as a Publicist than a Producer, Benjamin was able to mobilise support for her educational cause among performers, parents, cultural figures and educational authorities. Her contribution was to pave the way for those who would succeed with different models of theatre for children.

This is the first study to employ archival sources to document the history of the Theatre for Children, Sydney and address its neglect as a theatre project combining educational and theatrical values.

Case study research frequently includes collecting and interpreting stories individuals tell about their lives and event that they believe that they know about. Chapter 3 discusses storytelling theory and describes case study research in consumer behavior of stories that consumers tell about buying and using products and services. Storytelling is pervasive through life. Much information is stored, indexed, and retrieved in the form of stories. Although lectures tend to put people to sleep, stories move them to action. People relate to each other in terms of stories — and products and brands often play both central and peripheral roles in their stories. To aid storytelling research in consumer psychology, this chapter develops a narrative theory that describes how consumers use brands as props or anthropomorphic actors in stories they report about themselves and others. Such drama enactments enable these storytellers to experience powerful myths that reflect psychological archetypes. The chapter includes findings from case study research that probes propositions of the theory. Implications for consumer psychology and marketing practice follow the discussion of the findings.

An emerging synthesis between natural and social sciences is discussed and the new science of “chaos” which originates in chemical researches is introduced. Educational systems are seen to be dissipative structures allowing analysis of them in “chaotic” terms. Such structures have a self‐organising dynamic which produces “second order” changes to a new regime. This has long been associated with analysis of leadership. The creative input of a single individual, though small, may lead to far‐reaching effects if guided by vision.