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The purpose of this study is to investigate how brand communities collectively react towards brand transgressions, an area where previous research has been scant.

This study adopts a netnographic approach in studying the reactions of one particular brand community and its reactions to a marketer-initiated brand transgression.

Building on coping theory, we find evidence of brand community coping, a temporally bounded process in which the community seeks to come to terms with and even overturn the transgression. Overall, we define the brand community coping process as unfolding through three overlapping and temporally bounded stages of (1) making the problem communal, (2) exploring the problem’s meaning, and (3) co-creating responses.

Studies of consumer coping particularly in cases of brand transgressions have predominantly adopted an individualistic approach to coping, or have treated communities as coping resources for individual consumers. This study is the first study to truly look at brand communities’ collective coping endeavors. We also offer managerial implications by questioning the overtly positive tone of brand co-creation literature and underline potential threats to marketers when consumers decide to use their co-creative practices to punish the marketer.

The law-oriented short stories and novels of lawyer/English professor John William Corrington are receiving increasing attention from legal scholars. However, no one has analyzed the science fiction screenplays he co-wrote with his wife, Joyce, from a legal perspective. This article analyzes two such screenplays and concludes that they are “Socratic” texts whose narrative structures and epistemological processes work in much the same way that the traditional participatory exchange works in law school. My analysis explores the links between law, allegory and science fiction as intersecting methods to imagine the possibilities for the future.

The 1980s saw both a return and rise to box office prominence of the once-popular Sword and Sorcery genre. Following on from Arnold Schwarzenegger's performance as Conan the Barbarian (1982), a raft of imitators followed. On the one hand, there were films like Krull (1983) and He-Man and the Masters of the Universe (1983) with their big budgets and excellent casts. On the other were their ‘spaghetti’ variations, such as Conquest (1983), Hercules (1983) and the Ator (1982–1990) series, where poor production values, doleful acting, and even more atrocious dubbing remained more frightening than any monsters the hero encountered.

For the most part, the sword and sorcery genre predominantly focused on the male in the canon. However, using Yvonne Tasker's (1993) work on spectacular and hard bodies in action cinema, this chapter will provide an analysis of how female characters in the sword and sorcery genre are portrayed, using Barbarian Queen (1985) as a case study.

Purpose – This chapter explores the complexity and tensions inherent in the question of how story becomes research with particular attention to the use of narrative research in studying teacher education.

Approach – To do this, we begin each section with a narrative fragment from earlier published research in which we collaborated (Hamilton, 1995). Then, we use narrative research analysis tools to explore the meaning of each fragment, lay that understanding alongside research accounts and wonderings about research in and by teacher educators, and consider the fragment in terms of specific understandings of narrative inquiry as research methodology for studying teacher education.

Findings – This chapter examines when story moves to research while probing the tensions between knowledge and living as teachers, teacher educators, and teacher educator researchers. Using the first fragment, we explore fulfilling roles as a teacher educator by using a narrative analysis tool that teases apart the author's role of narrator, actor, and character. In the second fragment, we consider the contexts that influence a teacher educator researcher by examining the fragment to determine the levels of narrative. In the third fragment, we utilize the tools of plotlines and tensions to unpack the competing plotlines of epistemology (modernist vs. narrative) ending with an examination of the importance of ontology in narrative work. In our fourth fragment, we unpack nine approaches to narrative by examining the essential role of story for each element of the research process.

Research implications – As teacher educator researchers, we always stand in the midst – in the midst of the story where we may be simultaneously narrator, character, and actor, in the midst of living the research we are most interested in studying. Within a single moment, we can act as teacher, teacher educator, and teacher educator researcher when our research focuses on our own practice. Our experience as we live it represents the tension between arrival and arriving.

Value – The value of this chapter is the way in which it demonstrates narrative analysis and distinguishes among various approaches to narrative research.

Purpose – In this chapter, we examine the influence of the commonplace of sociality within narrative inquiry during the process of interpretation and meaning-making. Our project was multivisioned because we were interested in what we learned about the methodology of narrative inquiry within the context of a phenomenon for inquiry (Clandinin & Connelly, 2000), which for this study was our identity as teacher educators (Bullough, 2005).

Approach – Using narrative inquiry, we interrogate our interpretive processes privileging the commonplace of sociality in examining stories of our identity as teacher educators from our own experience as teacher educators.

Findings – In our inquiry into interpretation from the orientation of the narrative commonplace of the social, four points of understanding emerged: (1) interpretation within the methodology of narrative inquiry is living and interpretation exists in the midst; (2) all three dimensions of the narrative inquiry space are always part of the process regardless of the commonplace under consideration; (3) if we look inward/outward in the process of interpretation, it always leads us back to the relational; and (4) when we deepen the analytic process, ethical issues, and therefore renewed grappling with our identity, emerge.

Research implications – Narrative inquiry at every phase – design, data collection, analysis, and representation – is a form of living and analysis and interpretation. As well, representation must allow space for the holistic and organic quality that this form of inquiry demands in the development and communication of ideas.

Value – The study points to the ways in which research on humans’ action and interaction returns to the relational and ethical even when that is not the focus of the research. Further, our response to narrative inquiry is not always analysis but often turns to story instead.

This chapter examines existing approaches to conducting qualitative process research (i.e., studies that view phenomena as becoming or evolving over time) by analyzing published process research in six premier organizational journals from 2010 to 2017. We identify four modes of performing process research that we label evolutionary process stories, performative process stories, narrative process stories and toolkit-driven process stories, and explore the particular ways in which they formulate and link empirical and theoretical elements. We also identify some of their specific challenges and suggest directions for the future.