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Purpose – We examine the meanings of objects that have indexical (or direct first-hand) connections to celebrities. In so doing, we distinguish between the meanings of…
Purpose – We examine the meanings of objects that have indexical (or direct first-hand) connections to celebrities. In so doing, we distinguish between the meanings of proximal indexicality versus contagious indexicality. We reveal how these disparate meanings are linked to how consumers use a celebrity object, either by displaying the object or by using the object as the celebrity had originally used the object.
Methodology – Our informants were consumers participating in sales of celebrity-owned items. Data include videotaped depth interviews, photographs of auction participants and celebrity objects, field notes, and auction catalogue descriptions.
Findings – Some consumers were fans who desired to be close to the celebrity, while others participating in celebrity-object auctions desired to become a celebrity themselves. Those that desired to be close to the celebrity (fans) were attracted to the proximal indexical meaning of the object, in which an indexical link conveyed a perceived closeness between the perceiver and the signified (e.g., consumer and celebrity) through the indexically linked object. Those that desired to become a celebrity themselves were attracted to the contagious indexical meaning of the object which facilitates a perceived contamination of the perceiver (e.g., consumer) by the essence of the signified (e.g., celebrity) through the indexically linked object.
Contributions – We contribute to the Peircian semiotic framework as used in consumer research by differentiating between the meanings of proximal indexicality and contagious indexicality. We show these meanings are linked to consumers’ display use versus the original use of the celebrity-owned object.
This chapter serves as an introduction to the key themes found within the volume Ethics and Integrity in Visual Research Methods, and provides a rationale for the volume’s…
This chapter serves as an introduction to the key themes found within the volume Ethics and Integrity in Visual Research Methods, and provides a rationale for the volume’s focus on photography and film media. Drawing from other literature, the author discusses the significance of indexicality and visual language when working with photography and film in research contexts, and describes how these considerations set photography and film apart from other forms of visual data. The chapter concludes by outlining the format of the volume, which divides the nine chapters into three key areas of exploration: Voice and Agency, Power and Inequality, and Context and Representation.
Transnationalism is a multi-faceted phenomenon which has impacted on society and challenged, inter alia, the paradigm of national affiliations. The trasnationalisation of…
Transnationalism is a multi-faceted phenomenon which has impacted on society and challenged, inter alia, the paradigm of national affiliations. The trasnationalisation of the European field has arguably contributed to a political arena where embryonic post-national identities and new forms of belonging are being negotiated, challenged and legitimised. By investigating the discourses of members of a transnational NGO of ‘active’ citizens, this chapter seeks to understand how current European identities are discursively constructed from bottom up in the public sphere. Appropriating CDA, this chapter offers insights into how discursive strategies and linguistic devices used by the speakers and predicated on the indexicality of transnational frames, construct Europe and patterns of belonging to it. This chapter suggests different conceptual dimensions of transnationalism enacted by members in discourse which are conveniently summarised as nation-centric, Euro-centric and cosmopolitan.
The reflections presented in this paper were inspired by a simple consideration: that, although the kind of sociological investigation indicated as ethnomethodology…
The reflections presented in this paper were inspired by a simple consideration: that, although the kind of sociological investigation indicated as ethnomethodology originated as a reaction to the institutional sociological establishment, it has eventually become part of it (see Pollner, 1991). Some might quite rightly object that this is hardly surprising; actually, it is the destiny of most revolutionary movements inside and outside the sociological discipline. Moreover, the concern, often emerging from inside the field, that the term ethnomethodology has become no more than a confusing label for a variety of sociological investigations, may seem a pedantic issue of purity caused by the sectarian mentality of insiders.
I’m sorry, I’d really like to oblige but I cannot subject my precious paper to the brutal textual reductionism that is abstractisation. Aren’t abstracts most interesting…
I’m sorry, I’d really like to oblige but I cannot subject my precious paper to the brutal textual reductionism that is abstractisation. Aren’t abstracts most interesting for all they don’t say? Isn’t an abstract merely a textual device of indexicality, shouting and pointing “here is a paper” just like the disingenuous “last petrol before motorway” signs one learns never to believe because they really meant “last petrol before motorway” (not counting the other six petrol stations after this one). All you need to know, fellow marketing academics, is that you simply must read this commentary because, hey, you’re in it.
Despite the relatively low cultural status of department store music, it is proposed that music – the shopping soundtrack – is capable of transforming perceptions of the…
Despite the relatively low cultural status of department store music, it is proposed that music – the shopping soundtrack – is capable of transforming perceptions of the environment in which it is heard, and eliciting immediate emotional and behavioural responses, thus underlining the influence of music, regardless of whether it is passively heard as a background element or actively listened to as a live performance in a dedicated venue.
This study addresses a gap in the marketing literature for introspective research evaluating the experience of music in service environments. It draws upon auto‐ethnographic data through which participants ponder their own consumption experience and provide detailed, subjective accounts of events and memories.
When considering the effects of music upon emotional, cognitive and behavioural responses, it highlights the importance of musicscape response moderators.
The service environment appears more exciting and attractive and may encourage increased spending when background music is congruous with other servicescape elements. Music with positive autobiographical resonance elicits pleasurably nostalgic emotions, positive evaluations and longer stay. However, the aural incongruity of unexpected silence in music‐free zones produces feelings of discomfort leading to negative store evaluation and departure.
Qualitative data are deliberately represented using typically positivist discourse to encourage resolution of the inherent tension between interpretivist and positivist perspectives and stimulate increased methodological integration (e.g. through future studies of music combining quantitative and qualitative data).
This chapter investigates how musicians at jazz jam sessions engage in what I term “aggressive emergence.” In so doing, they introduce novelty, unpredictability and…
This chapter investigates how musicians at jazz jam sessions engage in what I term “aggressive emergence.” In so doing, they introduce novelty, unpredictability and creativity in their spontaneous interactions with other musicians. In order to discuss this emergence, a notion of signs in musical communications as indexes, in the Peircean sense, is developed. To produce emergence in the ongoing development of a jam session performance, musicians must produce signs that index new directions that jazz playing can take, such as different rhythmic or harmonic accompaniments, or changes to the volume at which individuals play their instruments.
Purpose – Stemming from extant literature on consumer brand narratives and the rising quest for consumption authenticity, the chapter aims at merging these two streams of…
Purpose – Stemming from extant literature on consumer brand narratives and the rising quest for consumption authenticity, the chapter aims at merging these two streams of knowledge. How can brand authenticity be defined and narrated? To what extent do companies and consumers interact? What are the consequences for branding?
Methodology – The chapter is case-based, and illustrates the branding strategy of l’Occitane en Provence, a company producing toiletries with a strong Mediterranean rooting. Data were collected through multisited ethnographic fieldwork in Paris and Manosque, Haute Provence. Depth and short interviews with customers and managers of l’Occitane were complemented by extensive observation and secondary data. The comprehensive dataset was analyzed consistently with interpretive research tenets.
Findings – Data document (i) five dimensions of brand authenticity contextualized to l’Occitane Mediterranean brand; (ii) the different branding strategies made possible to companies by the varied combination of these five dimensions; and (iii) the distinct profiles of brand consumers according to the specific authentic narrative each of them is more receptive to.
Practical implications – Implications for authentic brand narratives are drawn. I argue that when companies adopt a narrative approach to branding they can establish a stronger dialogue with customers and defend their competitive advantage more effectively. Actually, each brand narrative cannot be easily imitated by competitors since its imitation would turn out as a fake, unauthentic tale for the market.
Originality of the chapter – The chapter contributes to the fields of branding and authenticity, by extending the notion and understanding of consumption authenticity to brands.