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Story and Discourse: Narrative Structure in Fiction and Film

31 May 1980-
About: The article was published on 1980-05-31 and is currently open access. It has received 1885 citations till now. The article focuses on the topics: Narrative structure & Narrative criticism.
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Journal ArticleDOI
TL;DR: A construct of the effectiveness of storytelling in agricultural marketing is conceptualized and a measure with further validation is developed, which supported a structural model with strong order among the four dimensions and good model fit.
Abstract: Storytelling is a mode of communication in human interaction and is pervasive in everyday life. Storytelling in marketing is also a managerial application as a marketing strategy. Researchers of consumer psychology and marketing have devoted great efforts to developing theories and conducting empirical studies on this approach. However, in addition to narrative theories, many researchers are mainly concerned about the effect of telling a good brand story and its applications, such as advertising design and presentation. However, for those products that usually lacks branding, such as agricultural products, knowledge remains scarce about the relative impact of storytelling in marketing. Few researchers have explicitly developed a valid tool for measuring the effect of storytelling in marketing. To aid storytelling research in consumer psychology, this article conceptualized a construct of the effectiveness of storytelling in agricultural marketing and developed a measure with further validation. This scale consisted of 13 items with four subscales: narrative processing, affect, brand attitude, and purchase intention. The findings of this study supported a structural model with strong order among the four dimensions and good model fit. A discussion of the results and the theoretical and practical implications for consumer psychology and marketing practice are also addressed.

20 citations


Cites background from "Story and Discourse: Narrative Stru..."

  • ...Chatman (1980) believed that a narrative is the basic mode of an organizational schema represented in the forms of language, paintings, dance movements, and music....

    [...]

13 Dec 2019
TL;DR: In this article, the authors discuss the majoriteten av dagens foraldrar och blivande foraldaris framkommer som viktiga informationskanaler och virtuella motesplatser dar foraldras kan utbyta erfarenheter och kunskap och ge varandra stod och hjalp.
Abstract: Tidigare forskning har visat att majoriteten av dagens foraldrar och blivande foraldrar anvander internet for att soka information, rad och socialt stod. Diskussionsforum pa natet riktade till foraldrar och blivande foraldrar framkommer som viktiga informationskanaler och virtuella motesplatser dar foraldrar kan utbyta erfarenheter och kunskap och ge varandra stod och hjalp. I avhandlingen undersoks modrars berattelser i ett amerikanskt diskussionsforum pa natet dar modrar soker och ger praktiska rad till varandra om foraldraskap. Fokus ligger pa hur modrar konstruerar och anvander sina berattelser om foraldraskap nar de ger rad till varandra. Materialet bestar av berattelser i diskussionstradar som fokuserar bland annat pa barnavard och uppfostran, barnets fysiska och mentala halsa, barnets utveckling och beteende, forlossningsradsla, problem i parforhallandet och modrars mentala halsa. Avhandlingen visar att modrar anvander berattelser for att bedoma mottagarnas problem, stodja sina egna eller andras pastaende och formedla samt exemplifiera praktiska rad. Berattelserna fungerar ocksa som en strategi for att inta en solidarisk stallning gentemot mottagarna for att kunna ge rad. Resultaten visar aven att diskussionsdeltagarna i forumet anvander berattelser pa ett strategiskt satt for att argumentera med och mot varandra i moraliska fragor om foraldraskapet angaende till exempel vad en ”bra” eller ”dalig” mamma ar.

20 citations

Journal ArticleDOI
01 Jan 2001
TL;DR: In this paper, the authors retrace and analyse the debate around a major infrastructure project in central Stockholm, the construction of a third railroad track over the islet of Riddarholm.
Abstract: This paper retraces and analyzes the debate around a major infrastructure project in central Stockholm, the construction of a third railroad track over the islet of Riddarholm. Using the analytical framework of the New Rhetoric (Perelman and Olbrechts-Tyteca, 1958), it shows that the debate is not only a matter of diverging views about the necessity or the impact of the project but, as well, a matter of epistemology. Whereas both sides tend to refer to similar values and make use of matching rhetorical devices, they differ quite radically as to which knowledge they regard as valid and as to how they have organized their approach to the debate. Demonstration faces argumentation, the New Rhetoric suggests, as its contribution to our understanding of the genesis of urban projects.

20 citations

Proceedings ArticleDOI
01 Oct 2014
TL;DR: In this article, mood-expressing, procedurally generated music for narrative foreshadowing in games was investigated, investigating the relationship between music and the player's experience of narrative events in a game.
Abstract: We experiment with mood-expressing, procedurally generated music for narrative foreshadowing in videogames, investigating the relationship between music and the player's experience of narrative events in a game. We designed and conducted a user study in which the game's music expresses true foreshadowing in some trials (e.g. foreboding music before a negative event) and false foreshadowing in others (e.g. happy music that does not lead to a positive event). We observed players playing the game, recorded analytics data, and had them complete a survey upon completion of the gameplay. Thirty undergraduate and graduate students participated in the study. Statistical analyses suggest that the use of musical cues for narrative foreshadowing induces a better perceived consistency between music and game narrative. Surprisingly, false foreshadowing was found to enhance the player's enjoyment.

20 citations

Journal ArticleDOI
TL;DR: The fact that people often confuse the author Horatio Alger with the protagonist of the stories he wrote reflects the fact that we know many stories by their main characters as discussed by the authors, and that the audience is already familiar with the story: a young man raises himself from humble beginnings by dint of his hard work and virtuous character.
Abstract: IntroductionMany of the stories that are most effective in politics are not told. Instead, they are alluded to. A politician might refer to "the Horatio Alger story," assuming that his audience knows that his point is about the importance of pulling oneself up by one's bootstraps. His audience is already familiar with the story: A young man raises himself from humble beginnings by dint of his hard work and virtuous character. Or perhaps the audience is not familiar with the actual story. Perhaps they think that Horatio Alger is a fictional character, or even a real one, rather than the author of a series of rags-to-riches novels. But they know that there is a story and that the story's moral is about self-help.The fact that people often confuse the author Horatio Alger with the protagonist of the stories he wrote reflects the fact that we know many stories by their main characters. Conservatives who fought to cut welfare on the grounds that poor people were taking advantage of government handouts in the 1990s did not refer to the "Welfare Exploitation Story." They referred to "welfare queens." The 2011 Occupy movement did not tell a story about risky investments, collusive bank rating practices, and government austerity; it pitted the "99 percent" against the "1 percent." Over the years, politicians have referred mordantly to "teenage mothers," "anchor babies," "climate-change deniers," "the silent majority," and "K Street lobbyists" (Loseke describes other characters in politics). Sometimes the story's protagonist is us; sometimes it is them, but the line between us and them is clear. We are the silent majority or the 99 percent. We are threatened by teenage mothers, anchor babies, climate-change deniers, K Street lobbyists, and the 1 percent. The line between us may not be one of enmity: Teenage mothers, like "at-risk youth," may be invoked to call for compassion and efforts to help. The politician who styles herself a "maverick" calls up images of a principled loner, willing to defy convention for the sake of principle and resolutely indifferent to "inside the Beltway" political strategists.Why are characters so effective politically? Probably in part because, as they call up multiple stories, of people real and fictional, who are different in many ways but alike in their common heroism, villainy, or-as the example above suggests-political independence. Characters are surely effective also because they are so central to how we read stories. Recent research suggests not only that stories are more persuasive than arguments but also that the key mechanism is one of identification (de Graaf et al.; Hoeken and Fikkers). We adopt the views of the characters with whom we identify, and we identify with characters who are presented sympathetically. Politically, it is characters, rather than the events in which they appear, who win us over.Yet we also have plenty of examples of political actors falling flat when they have tried to style themselves as heroes or martyrs or their opponents as villains or frauds. Think of vice presidential candidate Lloyd Bentsen's famous put-down of his counterpart Dan Quayle when the latter likened himself to a beloved former president: "I knew Jack Kennedy. Jack Kennedy was a friend of mine. Senator, you're no Jack Kennedy" (Clayman 120).When are political groups and actors able to use characters to advance their cause? Surely, rhetorical skill counts for something, as well as luck. But we should also be able to identify features of the context and the actors in it that give some an advantage in creating compelling characters. We should be able to tell whether anyone can be turned into a hero and when victims elicit a desire to act rather than pity or blame. We should be able to assess just how "sticky" collective memories of particular historical figures are. We should be able to identify the hurdles that are involved in turning a villain into a hero or a hero into a fraud in the public imagination. …

19 citations