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TV changes in several disciplines concurrently: from analogue to digital, from scheduled broadcasts to on‐demand TV on the internet, from a lean‐back (passive) to a lean‐forward (active) media, from straight watching to the consumption of content connected to additional services, from the sole TV viewer to the viewer being part in social networks and communities regarding to the TV content, etc. The purpose of this paper is to demonstrate the adaptation of design and realization of TV program formats to the changes that happen to television. In addition, the paper would like find out how to support the design of interactions, dynamic narrations and content types as well as the role of the internet within these processes and this application area.

Currently, there exist many approaches towards the development of social, collaborative, and interactive TV program formats and systems. Within the scope of this paper, the authors present latest case studies and example program formats for each case. The paper examines them concerning their interaction possibilities and architecture as well as the influence and utilization of the web. Finally, the paper provides a simple categorization according to the narration character, content, and interactivity types of the listed TV program formats.

Caused by the collaborative and interactive characteristic of the web, a big influence of the web concerning the hardware‐ and content‐sided development of TV is discovered. Nevertheless, the web's potential is absolutely not exploited in this area, neither to give more dynamic to the narration, nor to appreciate the content type or the interactivity. Finally, the paper identifies a high effort, occurrence and development in the interactivity, in contrary to the narration characteristic and content types.

Only one representative, example TV program format enabling interactions by the viewer for each case in the paper, has been chosen. The authors make no claim to be complete, in covering all genres, possibilities of interaction or TV program formats existing for the field of interactive/social/collaborative TV.

This paper presents an extension of a previous paper presented at the MoMM2009.

Responding to recent pleas both to critically analyze and to conceptually advance social entrepreneurship. The purpose of this paper is to examine how the political “unconscious” operates in the narration of social entrepreneurship and how it poses a limit to alternative forms of thinking and talking.

To move the field beyond a predominantly monological way of narrating, various genres of narrating social entrepreneurship are identified, critically discussed and illustrated against the backdrop of development aid.

The paper identifies and distinguishes between a grand narrative that incorporates a messianistic script of harmonious social change, counter‐narratives that render visible the intertextual relations that interpellate the grand narration of social entrepreneurship and little narratives that probe novel territories by investigating the paradoxes and ambivalences of the social.

The paper suggests a minor understanding and non‐heroic practice of social entrepreneurship guided by the idea of “messianism without a messiah.”

The paper suggests critical reflexivity as a way to analyze and multiply the circulating narrations of social entrepreneurship.

This study aims to explore how people bodily narrate and use collective memory to clarify their embodied experiences regarding a city which they memorise.

Drawing on 1,359 short stories collected by the online travel portal Visit Turku about ‘How the city feels’, the fine-grained embodied experiences of people are represented through descriptions of their feelings towards the city of Turku.

Based on the analysis, two aspects through which the respondents narrated their embodied experiences of cities have been identified: (1) the sociomaterial entanglements with the city and (2) the humane relationship with the city.

This study is limited to short stories acquired online, raising questions of anonymity and representativeness. Thus, these narrations are constructions which have to be interpreted as told by specific people in a certain time and place.

Tourist agencies should pay attention to the value of looking at written stories as bodily materialisations of people’s experiences of city destinations. Understanding this would strengthen the cities’ competitiveness.

By empirically highlighting how people memorise a city through narrations, the study offers novel viewpoints on the embodied experiences in cities as well as the cultural constructs these narrations are based on, thus broadening our understanding of how cities become bodily entangled with us.

Textuality within the Western tradition has functioned in Derrida's analysis as the essential, yet disavowed supplement of a logos that perpetually sets itself against the necessary interventions of writing. Derrida compares textuality to a pharmakon, an ambivalent substance that has the capacity to act as both poison and cure. The ‘cure’ that textuality offers to the law pertains to the law's inability to establish its own permanence, or presence, without some literary intervention: only once it is ‘put into writing’ does the law remain ‘on record’, its permanence ‘ensured [by the text] with the vigilance of a guardian’ (Derrida, 2000b, p. 113). At the same time, however, textuality could be said to commit a kind of crime against the logos: it improperly appropriates the ‘presence’ of the law, steals it and substitutes itself for it. Writing is, as Maurice Blanchot puts it, ‘the enemy of all relationships of presence, of all legality’ (Blanchot, 1987, p. 156). The law's ‘presence’ nevertheless depends upon this criminal narrativity. In particular, the emergence of law requires the emergence of a narrative capable of resolving the trauma that attends the inception of communal and individual subjectivity: the law acquires its ‘presence’ only after a certain violent communal fantasy has established a vital untruth about the law's origins. The founding moment of Western law is a representation of a fictive transgression that serves to account for the terrifying, symbolically unrepresentable rupture that separates the individual and the community from the pre-symbolic void. In order for the law to take its place, it is necessary to stage a ‘crime’ and then to re-present it as the law's sure foundation. This crime is parricide and Derrida links it explicitly to the advent of narrativity as the law's uncanny, necessary condition of being:[…] this quasi-event bears the marks of fictive narrativity (fiction of narration as well as fiction as narration: fictive narration as the simulacrum of narration and not only as the narration of an imaginary history). It is the origin of literature as well as the origin of law – like the dead father, a story told, a spreading rumour, without author or end, but an ineluctable and unforgettable story. (Derrida, 1992, p. 199)

Consistent with current literature, which highlights the role of narration as a key tool for exploring the processes by which people construct the meaning of their critical experiences the authors propose a theoretical and methodological model to analyse the narratives of illness and identify any innovative aspects. The generative model of mind presented refers to a semiotic, narrative and socio-constructivist perspective according to which narration constitutes one of the possible processes by which the affective and pre-verbal sense of experience is transformed into a meaning that can be symbolized and shared.

The onset of an illness represents a critical event which interrupts a person's life narrative, shattering his/her biographical continuity and undermining any assumptions of him/herself and the world. In particular, the model proposes a method of analysis, currently absent in literature, of the narrative interview Narrative Function Coding System (NFC) in order to grasp the ways by which four main narrative functions, namely psychic functions, are classified: the search for meaning, the expression of emotions, the temporal organization and the orientation to action.

NFC appears to be able to capture the complexity of the narrative process of construction of illness' sense-meaning making process, identifying both representative modalities of good functioning, which express a gradual process of connection with the variability of the experience, and modalities that express moments of disorganization and rigidity, which can persist throughout the time of treatment. The NFC represents not only a method for analysing illness narratives but also a method for tracking and monitoring the process of clinical intervention and change.

The sense-meaning making process perspective within the narrative socio-constructivist and semiotic framework of analysis proposed by NFC is currently absent in the literature. NFC can be a device for analysing the narrative process of sense-meaning making both for its use for clinical and preventive purposes. In addition we believe that this method, which focuses on the “form” and “way” of narratively constructing the subjective experience, rather than on the specific thematic content, can be used with all types of illness narratives, in particular the longitudinal one to explore the changes in sense-meaning making process.

This study aims to examine the effects of voice enthusiasm (enthusiastic voice vs calm voice) on social ratings of the speaker, cognitive load and transfer performance in multimedia learning.

Two laboratory experiments were conducted in which learners learned from a multimedia presentation about computer algorithm that was narrated by either an enthusiastic human voice or a calm human voice.

Results from Experiment 1 revealed that the enthusiastic voice narration led to higher social ratings of the speaker and transfer performance when compared to the calm voice narration. Experiment 2 demonstrated that the enthusiastic voice led to higher affective social ratings (human-like and engaging) and transfer performance as compared to the calm voice. Moreover, it was shown that a calm voice prompted a higher germane load than an enthusiastic voice, which conforms to the argument that prosodic cues in voice can influence processing in multimedia learning among non-native speakers.

This study extends from prior studies that examined voice effects related to mechanization, accent, dialect, and slang in multimedia learning to examining the effects of voice enthusiasm in multimedia learning.

This study scrutinizes the convergence between commercial advertising and the political vision of social movement in media advertisements. This study deliberates how commercial advertisement could be compatible with movement discourses and social resistance. Such hybridization between commercial narration and movement discourses is different from political advertising sponsored by political and civic organizations. This study uses an advertising campaign in Hong Kong which expressed outcry against police search on an outspoken media as a case study to conceptualize advertising activism with the thematic analysis of the movement discourses shown in printed advertisements. This study aims to engage with scholarly dialogue surrounding social movement studies and discuss how movement discourses could hybridize with commercial advertisement.

This study examines the discourses and textual features of an advertising campaign initiated by the public instead of political elites and social movement organizations in Hong Kong, in which various individual citizens, anonymous participants, business enterprises and civic organizations expressed their anger over a police search against an outspoken media (Apple Daily) by Hong Kong police. This bottom-up advertising campaign shows how the narration of commercial advertising could be hybridized with the activism for social resistance, which is conceptualized as advertising activism in this paper.

Based on the textual features and discourses embedded in the advertisements, this study investigates the printed advertisements mushroomed in Apple Daily since the police search in August 2020 by the thematic analysis under the concept of advertising activism: frame construction, identities mobilization and decentered solidarity. Advertising activism differs from commercial and political advertising from two ways. Firstly, its advertisements are cosponsored by numerous nonpolitically well-known individuals or organizations. Secondly, advertising activism feature with hybridization between commercial narration and political or movement discourses. Discourses of advertising activism aim to mobilize the commercial identity of consumers for noncommercial means by their consumption behaviors.

The findings illustrate a hybridization of commercial narration and movement discourses stemming from social movement and identity politics, which is coined by our conceptualization of advertising activism. While commercial and political advertising focus on business promotion and political messages, respectively, advertising activism demonstrates multiple layers of cultural meanings on the consumption behaviors which hybridize with political and movement discourses. The authors hope this study could unleash further intellectual dialogue on the social role of advertising in social movement and how movement discourses “spillover” from social events to the commercial advertisement.

The aim of the study was to analyze the use of power in a strategic change process within a large forest industry company. The organization in question had a total of 7,700 employees, 6‐8 organizational levels, over 30 production units and a widespread international sales network. The study highlighted the organization's internal narration as an important element in the use of power. It started in conjunction with the appointment of the new management group and continued throughout the two‐year monitoring period, so that gradually all organizational layers were involved in interpreting their roles and positions in the new structure.

The empirical data were collected during a period of more than two years through participatory observation and the change narrative was made using the change report method. The use of power was observed from the perspective of the management group. The researcher had a dual role; he served both as a researcher and a member of the management group.

The first conclusion revealed that the change did not represent a separate process that was taking place outside the normal, established functioning and management process of the organization. The second conclusion was that implementing a transformative change in a large organization is a multi‐stage and challenging learning process, both for the change makers as well as for other members of the organization. The third conclusion was that there were no shortcuts to change. It took place through the thinking and actions of the people starting from the understanding of the measures required for the change.

There are three limitations to the study. First, its findings are based on the viewpoint of the new management group. Second, the role of the researcher and the episodic progress narrative edited by himself defined the change process as a five‐phased process. Third, and closely linked to the previous limitation, the possible narrowness of the researcher in his thinking is also a potential limitation.

The results of the study could pave the way to a more realistic understanding of power and change in large multinational companies.

This article is a genuine research paper with profound fieldwork. It broadens viewpoints considering power, change and the role of top management in a large and global Finnish forest industry corporation.

The research discussed in this paper aims to study the impact of video footages on the academic performance of students. Video footages are usually inserted into video lectures — in addition to the verbal narration of any examples by the teachers — to explain and simplify concepts. Similarly, in conventional classrooms, teachers verbally narrate examples to clarify concepts — but, in this case, students have to rely on their imagination and previous exposure to similar situations to develop an understanding of the concepts.

A two-phase experiment was designed to compare these two teaching methods. A sample of 70 participants was drawn from non-psychology students in the Virtual University of Pakistan; and two groups, Group A and Group B, each with 35 participants, were formed through random assignment of the students. In the first phase of the experiment, members of Group A were taught through a 24-minute video lecture on psychology, which had four chunks of video footage in it. After the lecture, the students' academic learning was measured through a multiple-choice test with 27 items, which was developed by incorporating an equal number of questions on three levels of Bloom's taxonomy (viz. understanding, comprehension and application). The item levels were decided after agreement by three examiners who had at least three years of experience of developing such questions. In the second phase, a lecture with similar content was taught to Group B. The only difference was in the mode of delivery: in this case, the content was conveyed verbally and no video footages were used. The same test of students' learning was employed to get the scores of Group B. In addition, a qualitative study, involving data gathered through participants' feedback on the performance of the learning facilitators and weaknesses in both teaching modes was collected in order to explore the participants' perceptions and experiences of the phenomenon being studied. The results indicated that the two groups were significantly different in terms of academic achievement. The mean values suggested that those who were taught through video footages showed a higher level of academic learning than those who received a traditional verbal narration lecture. In addition, the students reported that the video footages and examples facilitated their learning, and helped them to remain focused and motivated in class. The findings have broad implications for teachers, content developers, academic policy-makers and producers involved in the production of academic content.