Search results

This paper aims to demonstrate how consumer attachment to celebrity brands is driven by perceived narratives about the celebrity’s persona, which triggers communal (i.e. altruistic) relationship norms. The research investigates the differential role of narratives about celebrities’ personal vs professional lives in creating attachment and identifies and tests moderating effects of narrative characteristics including perceived source of fame, valence and authenticity.

Three online experiments tested the proposed direct, meditating and moderating relationships. Data was analyzed using mediation analysis and multiple ANOVAs.

The results suggest relationship norms that are more altruistic in nature fully mediate the relationship between narrative type and brand attachment. Additionally, personal narratives produce stronger attachment than professional narratives; the celebrity’s source of fame moderates narrative type and attachment; and on-brand narratives elicit higher attachment than off-brand narratives, even when these narratives are negative.

The authors offer recommendations for how marketers can shape celebrity brand narratives to build stronger consumer attachment. Notably, personal (vs professional) narratives are critical in building attachment, especially for celebrity brands that are perceived to have achieved their fame. Both positive and negative personal narratives can strengthen attachment for achieved celebrity brands, but only if they are on-brand with consumer expectations.

This research is an introductory examination of the fundamental theoretical process by which celebrity brand relationships develop from brand persona narratives and how characteristics of those narratives influence consumer-brand attachment.

The purpose of this paper is to explore and incorporate personal narratives as a new methodological tool into the qualitative research of complex organisational issues such as identity. Particularly, this study provides a fresh methodological perspective on organisational identity exploration by using personal narratives to examine multiple identities that occur in dynamic organisational contexts.

In order to examine multiple identities, personal narratives found in the 43 semi-structured in-depth interviews collected were analysed. These narratives were examined following a textual and performative analysis.

The paper furthers methodological discussions in organisations in three ways. First, it responds to the need for a methodological approach that allows multiple identity exploration in organisations while it presents personal narratives as a valuable methodological perspective within organisational research. Second, it extends the methodological use of personal narratives for the in-depth qualitative study of complex organisational issues such as identity. Finally, the study stretches the boundaries of mainstream organisational research by illustrating that personal narratives can be used as a methodological approach to explore organisational identities.

This research integrates personal narratives as a methodological tool into the qualitative research of dynamic organisational issues. Employing personal narratives has allowed the exploration of multiple identities that take place in organisations in a manner not previously achieved in organisational studies. The study, therefore, challenges previous organisational research and expands the boundaries of organisational identity studies, offering a new qualitative methodological account for identity exploration in organisations.

Stories draw meaning from narratives. The resulting narrative component in a story is entirely personal or contains fragments of organizational and/or societal narratives. Therefore, understanding how stories obtain these narrative fragments is critical to offering valid interpretations of narratives based on stories. In an effort to advance narrative research, the purpose of this paper is to address this fundamental question: How do stories obtain their reflected narrative fragments? Without a firm understanding of how stories draw meaning from narratives, the critical role of disentangling compound narratives from stories – interpretation – remains suspect.

The findings are drawn from extant research and prior conceptualizations, and the story formulation model is introduced.

Through the introduction of the story formulation model, it is shown that personal narratives are omnipresent within collective narratives. Additionally, the analysis indicates there are two stages in which narrative interaction occurs, during the formulation of stories and during the formulation of narratives.

The findings have significant impact on the interpretation of stories, as well as furthering the understanding of how stories draw their meaning from narratives. In particular, the omnipresence of personal narratives within stories is particularly relevant for interpreting stories and narratives. Therefore, this paper offers a framework in which to conceptualize the story formulation process and contributes to story and narrative analysis research methodologies.

The chapter examines the storied experiences of a preservice teacher in India who transitioned to become a beginning year teacher over the course of this study. Multiple threads unraveled the complex interweaving of her personal and professional selves in her scholarship of teaching, further suggesting that teachers teach who they are. Through the course of this research, I explored the following questions about my participant: What was the source of her energy and passion for working with her students? What did her story reveal about the development of her personal practical knowledge? What were those experiences in the teacher education program which enabled her to intervene and connect with her students at a deeper level? As the inquiry travels back and forth on the temporal dimension, including various social spaces and interactions, my participant demonstrated an evolving understanding of her self-as-a-thinking being with an agency and social justice perspective.

Purpose: Artists with disabilities use their bodies and minds to create art. Yet, the prevailing cultural narrative that art is “therapeutic” for people with disabilities shifts attention from their creative accomplishments to their disabilities. Some ally organizations attempt to challenge the narrative that art is merely therapy for people with disabilities. However, drawing on narratives of “helping” people with disabilities attracts funding. This chapter examines how organizations navigate empowering allies while still maintaining funding.

Methods/Approach: This chapter uses narrative analysis of material accessed through a nonprofit arts-based disability ally organization's website to address two research questions: 1. How do ally organizations both draw on and resist cultural narratives of disability in order to garner public support?; and 2. How do personal narratives of disabled artists associated with ally organizations support and/or resist organizational and cultural narratives about the connection between disability and art?

Findings: The organization uses narratives to address important and sometimes conflicting goals. Personal narratives from artists with disabilities that are available through the website tell a range of stories about art and disability. The organization draws on these heterogeneous stories to position itself as an ally. By including such personal narratives on its website, the organization challenges the cultural narrative that the art produced by disabled artists is merely therapeutic.

Implication/Value: Much of the work on allyship focuses on how individuals can be allies. Examining ways in which organizations frame themselves as allies can help us to more fully understand allyship on multiple levels of social life.

This is a book for teacher educators. It is also a book for teacher candidates and educational stakeholders who are interested in using storied practice in teacher education. It is about teacher educators and teacher candidates as curriculum makers (Clandinin & Connelly, 1992) who engage in narrative inquiry practice. As editors of this volume, we came to this important writing project as a result of our respective work using narrative inquiry that originated from our studies with Dr. Michael Connelly and Dr. Jean Clandinin. In a large sense, this book represents our interpretations, as second-generation narrative inquirers, of three main ideas: narrative inquiry, curriculum making, and teacher education. Narrative inquiry, curriculum making, and teacher education are vitally interconnected concepts that offer an alternative way of understanding the current landscape of education. Narrative inquiry in teacher education would not have been possible without the groundbreaking work of Connelly and Clandinin.

The purpose of this paper is to explore narratives in a new nonprofit arts center. It includes the macro‐, meso‐, and personal narratives that keep the center organized in the midst of the chaotic everyday activities. It advocates the explanatory force of narrative as an alternative to organizational life cycle theory for understanding organizational startups.

This narrative ethnography involved participant observation, full participation, and narrative interviews over a three‐year period. Using grounded theory, narratives were examined to discover how they engendered and maintained order.

This paper contributes to the understanding narratives as a constitutional organizing and sensemaking process, including the narratives of “do it yourself,” and economic production, family and home, and personal narratives that constitute community, community boundaries, and identity, adding to our knowledge of organizing.

The research examined only one local nonprofit arts center, therefore the findings are specific to this site and the same types of narratives may not necessarily be found in other nonprofits.

This paper examines a nonprofit during start‐up. It validates support for the examination of organizations through narrative ethnography and narrative interviewing. It purports that narratives constitute social identity, rather than being the evidence of social identity.

The purpose of this paper is to first consider how veterans use talk to shape interpretations of personal and social identify. Second, this paper seeks to gain an understanding of how veterans see themselves in a civilian world, their ability to re-conceptualise and realign their perspective on life to support their transition in to a civilian world.

Underpinned by Ricoeur’s theory of narrative identity, the work provides a qualitative analysis data from coaching interviews with five veterans.

The findings revealed the on-going legacy of military life and how its distinctiveness and belief centred on kinship shapes personal identity and the way they see their civilian world. The work sheds light on to the benefits of this Ricoeur’s self-reflexive approach and how it can be used to provide a deeper insight in to the nature of personal transitions and how narrative can be used to expose complexities of the narratives of personal history and meaning as the narrator becomes both the seeker and what is sought.

The work reinforces the value of Ricoeur’s self-reflexive approach identifying narrative mediating between two “poles” of identity and the act of mimesis; prefiguration, configuration and refiguration as veterans project stories of their world and their place within it.

The paper provides new insights in to the importance of narrative identify broadening its potential application with engagement across diverse communities, thereby providing depth and rigour of its conceptual understanding of personal identify. The work further provides insights in to the challenges facing veterans to integrate within a civilian society.