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The purpose of this paper is to develop a visual perspective to the narrative management research by exploring the potential of drawings to construct organizational space. This study is explorative in nature and aims to open up a discussion on the importance of visuality within the narrative research. Visual narratives combined with written ones are constructed and analyzed in the paper.

The empirical illustrations of visual narratives outline students’ first-time encounters of the university campus. Their drawings and stories are used to describe and analyze their personal and subjective experiences of how they relate to the campus space. The students were asked to recall the moment they encountered the university campus for the first time and to draw their memories on a paper. Furthermore, they were asked to describe the drawings in a written narrative. Following that, the storyline was identified through a content analysis of both the drawings and the written narratives. This participatory research approach considers informants as co-researchers in producing data and emphasizes the inter-subjective nature of the study.

The study points out valuable aspects in visual narrative organization research. The drawings and written narratives were found to complement each other revealing different things of the experiences. The drawings were very rich and detailed. They captured and revealed emotions, symbolic meanings and interpretations that were not explicated in the written stories. Finally, categories of visual narratives on organizational space were developed.

This study contributes to the development of visual methodology in narrative management research. Moreover, this paper provides a methodological contribution to study organizational space. It sheds light on the potential of using visual narrative materials, especially self-produced drawings to construct organizational space. The study develops and illustrates a visual research method that combines written narratives with drawings. The study points out the importance to involve the informants as co-creators of a narrative study to capture the emotional richness of visual narratives. The authors envision that visual aspects of narratives will be a future direction in the narrative research, because visuality may capture hidden emotional aspects, symbols and artifacts that are not easily revealed in the told or written stories.

The purpose of this research is to explore how an industry is represented in multimodal public media narratives and to explore how this representation subsequently affects the formation of public sense-giving space during a persisting crisis, such as a pandemic. The question asked is: how do the use of multimodality by public service media dynamically shape representations of industry identity during a persisting crisis?

This study made use of a multimodal approach. The verbal and visual media text on the restaurant industry during the COVID-19 pandemic that were published in Finland by the public service media distributor Yle were studied. Data published between March 2020 and March 2022 were analysed. The data consisted of 236 verbal texts, including 263 visuals.

Three narratives were identified– victim, servant and survivor – that construct power relations and depict the identity of the restaurant industry differently. It was argued that multimodal media narratives hold three meaning making functions: sentimentalizing, juxtaposing and nuancing industry characteristics. It was also argued that multimodal public service media narratives have wider implications in possibly shaping the future attractiveness of the industry and organizational members' understanding of their identity.

This research contributes to sensemaking literature in that it explores the role of power – explicitly or implicitly constructed through media narratives during crisis. Furthermore, this research contributes to sensemaking literature in that it shows how narratives take shape multimodally during a continuous crisis, and how this impacts the construction of industry identity.

Visual ethnographic methods are increasingly popular in social science research. Much has been published on their design and use (e.g. Banks, 2001; Pink, 2001; van Leeuwen & Jewitt, 2001). Yet little has been written on using video in in-depth interviews, or how such video-interviews might differ from tape-recorded interviews. In this chapter I discuss the video interview, as developed in my research about gender in the sensory home,¹ to reflect on the nature of the ethnographic knowledge about everyday life and experience this method produces. I focus particularly on informants’ uses of narrative as a vehicle for self-representation that reveals and conceals. Video invites informants to produce narratives that interweave visual and verbal representation. In doing so they reference familiar everyday narratives and practices that are in part visual. Here I discuss how three narratives – which I shall call the “Hello magazine,” “estate agent” and “self-analysis” narratives – were developed in an audiovisual research context.²

Our aim is to highlight the value in using photographs and visuals for narrative criminology. We do this by showing how people draw from and create visual symbols to communicate personal narratives and by showing how we as researchers can use these images in interviews to elicit richer responses. Specifically, we illustrate the value of images for narrative criminology by telling the story of Chico, a 50-year-old, Hispanic man who has used meth for nearly three decades. In response to his marginalisation, Chico presents himself in two primary ways: as a rebellious, antiauthority menace to outsiders and as a caring, generous friend to insiders. He displays these identities through visual symbols (on his home, property and body) and through his stories and actions. Additionally, we use photographs taken of him and his home during interviews to elicit his personal narratives (i.e. photo-elicitation interviews). We argue that scholars have much to gain by examining the use of images to stimulate interviews and open necessary interdiscursivity of qualitative criminology.

This chapter details how engaging students in digital comics creation might support adolescents in strengthening their narrative writing capabilities. This chapter first provides a more detailed explanation of the micro and macrostructural elements involved in narrative production. Second, the chapter provides an introduction to comics and important design features. The authors also illuminate the complexity of multimodal texts (texts that combine images and words) and link visual narrative pedagogy and curriculum to classroom equity and accessibility. Across these opening sections, academic standards are referenced to show how the comics medium aligns with national visions of what robust English Language Arts education entails. The chapter concludes with descriptions of specific pedagogical strategies and digital comic-making tools that teachers and interventionists might explore with students within various classroom contexts. Examples of digital comics designed using various web tools are also shared.

The first aim of this paper is to present the methods developed by one of the co‐authors to render visible the complexity of intellectual capital (IC). These were developed to make relationships between IC elements and value creation accessible to managers seeking to act on IC. The second aim of the paper is to explore the ability of visualisation techniques to inscribe the complexity of IC. This is pursued through a process of reflecting on the experiences of “being involved” in the production of IC visuals.

The study details the methods utilised in a case study of a shared service centre of a financial services organisation and presents a reflective analysis using the Latourian notion of inscriptions.

In conducting its reflective analysis, the paper traces the various translations undergone by the inscriptions of IC, with the end result of these movements being a visual meta‐narrative connecting the various IC elements to one another as well as dimensions of IC value creation.

The paper presents a novel examination of visualisations of IC as might be used within firms for the purposes of resource mobilisation and managerialist intervention.

This paper aims to offer a novel participatory visual research method, the mapping of identity (MOI) protocol that embraces the complex nature of contemporary consumers’ lived reality.

The MOI protocol is a two-phase methodology. The first phase includes collage creation, based on a taxonomy of attachments, followed by an elicitation interview structured around the participant’s collage. In phase two, the categories elicited in phase one are synthesised into key themes in collaboration between the researcher and the participant.

MOI methodology provides an effective platform for participants to bring together disjointed memories, fragments and thoughts. Two individual cases are presented that seem similar on the surface; however, when deconstructing these narratives, their lived experiences and the effect that these narratives have on the construction of the self are very different. Treating participants as co-researchers and letting the choices they make in their collage creation lead the interview empowers the participant and enables the researcher to better understand their complex identity articulations.

This study contributes a visual methodology capable of exploring and celebrating the complexities of self-identity.

MOI is a useful tool for facilitating self-exploration in liquid markets. Marketing experts should provide materials that are not too confining and facilitate consumers in expressing multiple voices.

The participatory nature of MOI methodology allows for the emergence of stories from those that might otherwise go unheard, helping to understand unfamiliar and sometimes unrecognised identities.

Marketing literature recognises the complex nature of contemporary lived reality; however, some of the intricate aspects of this reality have not been dealt with in all their complexity. A reason for this gap is the paucity of suitable research methods. The MOI protocol presented in this paper addresses this, providing an effective visual tool to explore the complex web of contemporary consumer life.

The purpose of this paper is to provide a methodological demonstration of how written and visual language in narrative and small stories about older workers might be read in multiple ways as supporting and/or constraining recent policy reform.

Critical theory and critical discourse analysis, supported by narrative analysis and visual analysis, offer a robust methodology to problematize the manner in which textually mediated discourses impact social policy reform for recruiting, retraining and retaining older workers.

The results show that still in such an “age positive” social policy environment, negative stereotypes about older workers persist, threatening to constrain social change.

An exemplary analysis of two texts, representative of those related to Australian government initiatives to reform access to work for older citizens, provides an accessible means of (re)evaluating if and how such policies are more inclusive of older workers.

This paper contributes to an emerging trend in organization studies using a critical discourse analytic approach not only to written texts, but also to the less familiar visual narratives and stories.

The purpose of this paper is to provide an analysis of intellectual capital (IC) disclosures in annual reports (mandatory and voluntary) and draw attention to the specific issues related to the methodology used i.e. content analysis. The focus is to incorporate all forms of IC disclosure – narratives, numbers, and visual images – into the analysis as well as highlight the need to study both quantity (extent) and quality of disclosure.

Using content analysis, this paper analyzes 30 of Malaysia's largest public‐listed companies from the IC disclosure of 2008 annual reports. The results are used to discuss specific methodological issues such as the usage of an IC index, choice of unit of analysis, quantity versus quality, presence/absence versus multiple disclosures, and the usage of narratives, numbers, and visual images.

This paper proposes that themes are the most appropriate recording and counting unit to analyze IC information combining narratives, numbers, and visual images. The discussion finds, among others, that while quantity and quality are highly related, quality of disclosure provides the most insights into the disclosure behavior adopted by companies.

This paper provides methodological guidelines to future IC researchers interested in analyzing the quantity and quality of IC disclosure.

To the best of the authors' knowledge, so far there are no studies published that provide a detailed discussion on ways to capture the quantity and quality of IC information disclosed in annual reports using all three forms of disclosure – narratives, numbers, and visual images.

This chapter discusses ethics in participatory photography with focus on refugee participants and informal refugee camp setting. The chapter draws on ethics in participatory photography projects elsewhere and especially the experiences of photographers who work with these methods. The context here is the Calais Jungle camp, where the authors worked with a group of participants, who were residents of the camp, over several months to encourage photographing and documenting life in the camp and beyond, and to work on life stories that can be drawn from and inspired by these photos. The project, and hence the ethics in our work, were framed by the experiences of the refugee participants, and so at all times the authors needed to navigate temporality, violence, state oppression, lack of resources, human rights violations, language barriers, religious and cultural differences, national and supranational immigration policies, shame, and more. This chapter discusses how the authors navigated these ethical issues, the limitations of the approaches and solutions they found, and the lessons they learned, which can be applied to research using participatory visual methods with refugees.