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Following recent terrorist attacks in the US and Europe, Western Muslims have been criticised for not taking a firm stand against radical Islam and extremist organisations. Drawing on insights from narrative criminology, we challenge such assertions and reveal Muslims' narrative mobilisation against violent jihadism. Based on 90 qualitative interviews with young Muslims in Norway, we show how violent extremism is rejected in a multitude of ways. This narrative resistance includes criticising extremist jihadist organisations for false interpretations of Islam and using derogatory terms to describe them. It also includes less obvious forms of narrative resistance, such as humour and attempts to silence jihadist organisations by ignoring them. While narrative criminology has effectively analysed the stories that constitute harm, less attention has been paid to narratives that counter harm. We argue that stories that counter jihadi narratives are crucial to understand the narrative struggles of Muslim communities, whose outcomes can help determine why some individuals end up becoming religious extremists – while others do not. By distinguishing between factual, emotional and humorous counternarratives and describing silence as a form of resistance, we show resistance to extremism that is often concealed from the public and the state.

This study examines how narratives and legitimacy formation affect crowdfunding capital assembly from distributed, heterogeneous investors.

The study explores a dataset of 80,181 projects from Kickstarter, a rewards-based crowdfunding platform, between 2009 and 2013. We explore the link between project-related variables, legitimacy formation and outcomes.

Entrepreneurs design narratives and create project legitimacy by exploiting crowdfunding platform-specific features. First, lower funding targets and shorter campaign durations confer positive project legitimacy. Second, entrepreneurs exploit reward-levels as narrative tools that encourage funders to engage with the project. Third, visual pitches transmit a broader sociocultural narrative, leveraging emotional rather than financial reasoning. We also note certain gender effects.

Crowdfunding platforms allow entrepreneurs to pitch business ideas to a broad online audience. We show that project legitimacy, including both structural and narrative elements, is linked to crowdfunding outcomes. In particular, legitimacy is co-created through the generation of a persuasive narrative linking the entrepreneur and investor cohort.

Entrepreneurs use crowdfunding platforms to generate a coherent narrative around unfamiliar business models. Generic platform tools may be set and manipulated in online crowdfunding pitches to support project legitimacy. Ultimately, these are less important than establishing an affinity-based narrative that engages and exploits investor participation. Successful crowdfunding pitches co-author the project story with investors.

Crowdfunding has been traditionally understood as simply an online-mediated venture resource assembly tool. A narrative framework highlights the critical role of legitimacy formation in a disintermediated investment system.

Dark Souls heralded a shift from the dichotomy of survival horror, and instead, thrust the player into a world where narrative was everywhere (if only you dared to look). This chapter explores the reimagination of Gothic narrative and narrative engagement in the cryptic and fragmented nested narratives of the iconic FromSoftware, Inc. series. In doing so, this chapter highlights the emergence of a hybrid ludo-narrative form within the Gothic genre, and examines the ways in which the series presents said narratives to the player as it shifts the onus of narrative engagement from the storyteller to the one now living the experience. The chapter explores video-ludic interpretations of death, play, and experientiality through the lens of video game studies, and posits the value of the series as a defining moment in the Japanese action role-playing game genre.

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.

Based on fieldwork among Muslim drug dealers in Norway, this chapter presents a narrative ethnographic framework for the study of storytelling. Whereas traditional narrative research considers stories mainly for their internal structure and meaning, narrative ethnography widens the focus to examine stories as they are being performed on specific social occasions. This widened focus requires sustained ethnographic attention to an array of situational factors, most notably the cultural context from which narratives emerge; the locations in which narratives are performed or not performed; the expressive means used during narrative performances; the sequence of actions that make up the scenario of performances; and the impact performances have on the narrators and their audiences. One of the advantages of narrative ethnography is that it allows for consideration of storytelling practices as they evolve and change across time and space. Another is that it facilitates embodied engagement and understandings of other people's situation. The chapter suggests that narrative criminologists may benefit from studying storytelling with all of their senses – not just hearing or reading words, but actively sensing narrative performances with their entire bodies. By mobilizing all senses, and attending to both verbal and nonverbal stimuli, the narrative researcher may develop an embodied ‘feel’ for the stories people are telling.

This chapter grapples with the relationship between dis/ability and narrative inquiry through the authors’ personal stories that push back at the cultural-historical, policy, and professional master narratives of dis/ability in order to contribute to efforts that theorize critical emotion praxis. We ask: what is the relationship between dis/ability and narrative inquiry? What are the lived experiences of those living within a variety of intersectional and emotional dis/ability narratives that resist and navigate the cultural-historical, policy, and professional master narratives of dis/ability at the intersections?

We use a Disability Studies in Education (DSE) paradigm to construct a collective autoethnography that challenges socially circulating cultural narratives of disability.

Our individual and collaborative narratives illuminate: (1) how master narratives impact self, (2) the ways that dis/abled women of color elevate human dignity and spiritual practices in ways that subvert and speak-back to master narratives, (3) the emotional impact of Learning Disability labeling, (4) forms of epistemic and personal experiences at various institutions of higher education, and (5) the liberatory practices manifest from co-created narratives with DSE students concerning disability identity within higher education.

This collaboration contributes to efforts that theorize critical emotion praxis with diverse positionalities of DSE scholars, teacher educators, and professionals within educational contexts. The chapter also suggests ways in which construction of collaborative narratives of resistance can point to paths for positive organizational change.

This chapter discusses the impacts of David Maines's scholarship in communication research. The utilities of Maines's scholarship in communication research were first identified in a 1997 session in the annual convention of National Communication Association (NCA) by many leading scholars. This chapter documents the applications of Maines's scholarship in communication research in recent years when communication researchers utilized concepts and arguments constructed by Maines to investigate narratives in relations to Donald Trump's presidential election as well as the COVID-19 pendemic.

This chapter features our innovative endeavors to inquire into an African-American student's potentially sensitive stories in a methodologically fluid and ethically delicate manner through two generative methods: digital narrative inquiry and musical narrative inquiry. Through a meta-level “inquiry into inquiry” approach, this work explores how we engaged in the digital and musical restorying of the participant's “Wounded Healer” narrative and uncovered its dynamism, cultural richness, and nuances. We subsequently represented the findings in humanizing ways using multimedia and music. Drawing on the insights from exploring these novel methods of digital and musical inquiry, our work illuminates noteworthy elements of narrative research: generativity, transformativity, interpersonal ethics, aesthetic ethics, and communal ethics. Additionally, the potential issue of trustworthiness in fluid narrative inquiries is addressed.

Drawing inspiration from C Wright Mills exhortation to sociologists to locate themselves and their experiences in the ‘trends of their epoch’, I consider how first-hand experience of imprisonment can help criminology account for the growing trend towards the use of imprisonment in many Western democracies. Using interviews with a small group of British criminologists who have experience of imprisonment, I explore the connections between personal stories and collective narratives. Drawing reflexively from my own imprisonment, my subsequent professional trajectory and experiences of prison research, I consider the difficulties and potential of crafting a collective criminological project from disparate and profoundly personal experiences of imprisonment. The chapter combines methodological reflections on the use of autoethnography, autobiography and vignettes as a means to an end: establishing collective narratives from personal stories. I argue that the task of connecting these narratives to the ‘trends of the epoch’ that manifest in expanding prison populations is difficult but developing some momentum in convict criminology.