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This chapter addresses a sensitive topic in the field of education: the relationship between and among narrative inquiry, critical analysis, and critical theory. It argues that narrative inquirers are critical – but not in the same way that critical theorists are critical, although they may draw on the same literature and terms. To make our point, we unpack three of our peer-reviewed articles and highlight our theoretical frames and research moves to demonstrate criticality in narrative inquiry. We specifically discuss (1) titles and topics, (2) research frameworks, (3) historical and contemporary data, (4) use of participants' voices (words and feelings), (5) themes, and (6) new knowledge. We mostly argue that narrative inquiry exists because of experience. From experience, everything else unfolds – including criticality – depending on where the researcher in relationship with research participants, takes the inquiry. This chapter explicitly addresses a lived issue known both inside the narrative inquiry community and outside of it.

The increasing popularity of immersive activities (e.g. immersive performing art (IPA) at tourism destinations calls for the need to understand customers’ immersive experiences and its impact on their attitudes and behavioral intentions. This study aims to conceptualize customers’ interactive experience in IPA and systematically examine how interaction in IPA experience shapes customers’ word-of-mouth (WOM) intention and thus generates business values for destination managers.

A two-step mixed-methods approach was used. The qualitative study was adopted to identify the salient dimensions of interaction in IPA experience and develop a context-specific measurement scale. Structural equation modeling approach was applied to test the theoretical model using partial least squares 3.3.0.

The results indicated that the three dimensions of interaction in IPA experience (i.e. parasocial interaction, narrative interaction and environmental interaction) are positively related to customers’ experiences of narrative transportation and self-expansion related to the IPA, which further influence their WOM intention.

This study considers IPA as an emerging form of immersive tourism activities and conceptualizes its interactive nature, and contributes to the understanding of how customers’ interactive experience helps them construct meanings through narrative transportation, and offers valuable guidance for IPA designers and destination management organizations.

Some virtual, immersive stories are filled with documents that users must locate and interact with to experience a narrative. Exploring a new area of inquiry in the information science field, this study focuses on individuals' experiences with documents in a particular 3D storytelling world.

Using a qualitative approach, this study examined user interactions with virtual documents to better understand the relationship between information behavior and narrative spaces. This study employed observations of users in a story-rich world, followed by semistructured interviews using virtual artifacts and stimulated recall.

Using an interpretative phenomenological analysis, this study found that (1) environmental and personal influences, (2) the search and the narrative experience and (3) expectation and confirmation events surround a user's experiences with documents in storytelling worlds. These influences and experiences determine the user's relationship with these documents, which may be considered narrative ephemera – objects that a user accumulates to create and structure a story. This model of narrative ephemera depicts the user's search for narrative cadence, fulfillment of competence needs and visions of story events or the user's own lived experiences. Individuals may experience these phenomena from a single document, shifting back and forth between the designers' intentions and the users' own realities.

This study represents a first attempt to investigate information behavior in a distributed narrative space: a virtual world filled with documents. This study reveals that commonly employed information behavior theories, as well as literary and motivation theories, may be well suited for investigating story worlds. Continued research in this area of inquiry may benefit educators as well as designers of digital stories.

The purpose of this paper is to examine the extent to which presence, media richness, and narrative experiences yield the highest experiential value in augmented-reality interactive technology (ARIT).

A survey is performed to collect data. Valid questionnaires of 344 ARIT users are identified. The hypothesized associations are analyzed using structure equation modeling.

Empirical results indicate that narrative experience induces a higher experiential value than other simulative experiences, including presence and media richness.

Results of this study provide a valuable reference for managers attempting to design an ARIT process in order to optimize the experiential value in various online simulation environments.

This study adopts an integrated framework that incorporates narrative theory, media richness theory, and presence in the online ARIT. Exactly how narrative experience, media richness, and presence affect the formation of experiential value in the ARIT process is explored as well.

Although there is a vast array of theories on crime, one area that is largely under-represented is that of the actual experience of the offender engaged in criminal acts. The purpose of this paper is to examine the individual and phenomenological experiences of crime amongst women offenders.

The sample consisted of 128 women who had committed a criminal offence, with an average age of 36.40 years (SD=11.12). Participants were recruited to take part in the study by answering a questionnaire exploring the emotions and narrative roles they experienced during commission of a crime. From this, participants’ Criminal Narrative Experience (CNE) was determined.

Smallest Space Analysis (SSA) analyses revealed that emotional experiences and narrative roles were thematically associated, and when both were subjected to SSA analysis, two main themes of CNE were identified: Avenging Angel and Choiceless Victim. The Choiceless Victim experience was the most representative of women’s experiences in this study.

The theoretical and practical implications of these findings are discussed. Future directions for research are also outlined.

The findings offer an alternative perspective and theoretical framework for examining women offenders’ criminal experiences.

The authors present concepts developed at University of Naples Federico II (Italy), where the Challenge Based Learning methodology (CBL) is utilised in a programme aimed at software development for the Apple technology ecosystem. The collaborative and self-guided, inquiry-based learning method focusses on intrinsic motivation of learners, working on real world problems organised in projects (Challenges in CBL) with an experiential and progressive approach. As entrepreneurship is best promoted through practice, the programme is a guided immersion into reality that is entrepreneurial in nature, rather than a simulation of hypothetical projects, and requires learners to take ownership of entrepreneurial skills to complete the course. Academic research has shown that use of storytelling is beneficial to learning and can foster engaging and more formative experiences. Additionally, scholars have developed systems to design unscripted narratives within educational contexts using emergent narrative concepts. This conceptual chapter describes an educational experience design system that encourages unscripted, emergent narratives for experiential education. It categorises the components for designing an educational experience that allows the learning progression to be affectively driven by learners. By focussing on setting parameters and giving learners autonomy as co-authors, the model describes mechanisms that allow powerful, unscripted narratives to emerge based on intrinsic motivation. The Emergent Narrative System developed by the authors is a contribution to innovation in entrepreneurship teaching and intends to empower learners towards building entrepreneurial and twenty-first century skills complementary to software development education in a conducive and experiential learning environment.

In this chapter, we inquire into our ever-unfolding experiences as teachers and with teacher research participants in order to explore the complexities of curriculum making in teacher education. In doing so, we lay the foundation for understanding narrative inquiry as both theory and method as such, frame our work in this volume. Curriculum making, a term introduced by Joseph Schwab, reflects the dynamic process of learning in which the teacher, learner, subject matter, and milieu interact. Moreover, we think about the ways people make sense of themselves, identity-making, in the process of curriculum making. Through Derek’s experiences with Lee, a previous Grade five student, and Cindy’s work with Jesse, a research participant, we inquire into their curriculum making and identity-making. We argue that in schools, there are multiple curricula in the making, going beyond the formal notions of curriculum as grade-level standards or classroom objectives. In our inquiry process, we consider experiences in schools through Aoki’s understanding of curriculum-as-plan and lived curriculum. In his writing, Aoki noted that the lived experience of curriculum in schools is much more complex and varied than the planned curriculum that is meant for a generalized audience; students and teachers bring their lives with them into particular contexts that indelibly shape the ways that curriculum is lived out. As well, we think about the ways experiences and places shape teachers and researchers and the ways we see the world.

In this chapter, I explicate the engagement of poetic expression as research analysis to understand more deeply and to represent more rigorously the experience of research participants within educational research. As a tool of analysis, poetry has the strength to disrupt expectations and invite multiple interpretations of research. Here, I articulate a methodology for engaging poetic expression fully as a tool of narrative research to reach beyond textual analysis and representation of participants’ conversations into a deeper expression of their stories to live by. Poetic expression of narrative research is the particular emphasized, which is to say that meaning-making facilitated by poetic expression relies on a consistent and minute focus on the particular. Through poetic expression of research, thoroughly member-checked by participants, I surface and make evident my position as a researcher within the research. This chapter identifies ways in which poetic expression of research invites voice on multiple levels. The poetic expression of research within a narrative inquiry makes visible the experience of the research as an unfolding experience itself for the participant, the researcher, and the reader. I demonstrate the ways in which infusing a narrative inquiry with the poetic expression of research provokes the researcher as well as the reader to draw deeply on personal experience to make sense of the research. Furthermore, poetic expression of research invites participation from readers to engage poetically with the research and become a subsequent co-participant/researcher as they make sense, themselves, of the poetic expressions of research.