Introduction Storytelling ad is presented from one or more narrative perspectives. Narrative perspective, which can alter the way in which the plot is physiologically or psychologically perceived, ...can significantly affect consumer experience. Methods This study conducts three experiments with 526 participants to analyze the influencing mechanism of narrative perspective (first- versus third-person) on consumers’ brand attitudes in storytelling ads of products with different involvement (high versus low). Results (a) Narrative perspective (first- versus third-person) exerts persuasive effects on consumer brand attitudes; (b) Processes of social presence and self-brand connection explain the effects of narrative perspective on brand attitudes; (c) When product involvement is high, the use of the first-person narrative perspective in storytelling ads will result in a more positive brand attitude than the use of third-person narrative will; With lower product involvement, there is no significant difference in the impact on brand attitudes regardless of narrative perspective (first-person versus third-person). Discussion This research finds that different narrative perspectives significantly impact the persuasiveness of advertising. Boundary conditions exist for the effect of narrative persuasion, and product involvement moderates the effect of narrative perspective on brand attitudes.
This experimental study explores the effects of narrative perspective on the outcomes related to health testimonials. One testimonial was presented to each respondent regarding one of the four topics ...(AIDS, lung cancer, gum disease, and alcoholism) and in one of the three perspectives (patient, parent, and doctor). Respondents (n = 967) were then asked to report on various reactions to the video, including credibility, identification, and story-consistent attitudes. Results show that a testimonial narrated from the doctors' perspective, as compared to patient perspective, produced greater credibility but less identification, affecting persuasion in opposite ways. These findings are discussed in the context of message design choices.
This book considers how the concept of violence has been interpreted, used, defined, and explored by social researchers and thinkers. It does not provide a final answer to the question of what ...violence is or how it should be explained (or prevented), and instead offers a variety of useful ways of thinking about and theorising the phenomenon, mainly from a sociological standpoint. It outlines four ways of understanding violence: • Violence as situation: the tension that exists between category-driven and situational explanations. • Violence as speciality: the study of particularly violent actors, and how they may be understood by reference to childhood histories, technologies, institutions, culture, class, and gender. • Violence as politics: political violence and violent politics. • Violence as storytelling: representations of violence from a narrative perspective. Concluding with reflections on possible convergences between the four approaches and new directions for research, this book offers a unique and experimental approach to discussing and reconstructing the concept of violence. It is essential reading for criminologists, sociologists, and philosophers alike.
Experiments have shown that compared to fictional texts, readers read factual texts faster and have better memory for described situations. Reading fictional texts on the other hand seems to improve ...memory for exact wordings and expressions. Most of these studies used a "newspaper" vs. "literature" comparison. In the present study, we investigated the effect of reader's expectation to whether information is true or fictional with a subtler manipulation by labeling short stories as either based on true or fictional events. In addition, we tested whether narrative perspective or individual preference in perspective taking affects reading true or fictional stories differently. In an online experiment, participants (final
= 1,742) read one story which was introduced as based on true events or as fictional (factor
). The story could be narrated in either 1st or 3rd person perspective (factor
). We measured immersion in and appreciation of the story, perspective taking, as well as memory for events. We found no evidence that knowing a story is fictional or based on true events influences reading behavior or experiential aspects of reading. We suggest that it is not whether a story is true or fictional, but rather expectations toward certain reading situations (e.g., reading newspaper or literature) which affect behavior by activating appropriate reading goals. Results further confirm that narrative perspective partially influences perspective taking and experiential aspects of reading.
•Stigma is one of the severest burdens for persons with epilepsy.•Literature provides insights into societal attitudes.•Traditionally, epilepsy often appears in literature in stigmatizing ways.•Newer ...literature increasingly presents positive characters with epilepsy.•First-person narrators, electricity metaphors, and attractive smells are vehicles of destigmatizing fiction.
Stigma is perhaps the most important sociopsychological burden for people with epilepsy (PWE), and literature both reflects and influences societal attitudes including stigma. To study how representations of stigma have changed over time could provide interesting insights. Traditionally, often repeated stigmatizing aspects include possession, insanity and crime, the weak, dependent and miserable epileptic, unfitness for marriage and reproduction, unreliability, but also special gifts. Many works present characters with epilepsy as inferior, outsiders, or misers.
Recently, however, changes became apparent. First, several books addressed and criticized stigmatization of PWE. This was followed by works with positive characters, even role models, both women and men. They are independent, competent, sexually active, and attractive. Some indulge in sports, arts, or advanced technologies. Several are based on first-hand knowledge of people with epilepsy, and some belong to the field of autofiction. Optimistic literary categories like romance or coming-of-age are increasingly met, often with a first-person narrator.
Whereas traditional epilepsy metaphors often indicate vulnerability, emotional instability, and weirdness, newer literature increasingly uses electricity metaphors.
These represent power, excitement, and modernity. Another frequent new destigmatizing feature are olfactory auras that create a positive atmosphere.
Along with comparable destigmatizing features in present popular music, recent developments in literature may represent a parallel to an emerging change in public opinions on epilepsy to which they could contribute an emotional dimension.
A variety of visual information has received attention in the field of destination sensory marketing. However, the horizon height in a panoramic advertising image - one visual message often used in ...advertising - has yet to be researched. This research causes several noteworthy findings through three scenario-based experiments. Results reveal that the horizon height in a tourism panoramic advertisement should be tailored to the tourism activity type to enhance advertising effectiveness (i.e. increased travel intention): for a relaxing activity, customers should be exposed to a panoramic advertisement featuring a high horizon; for a challenging activity, a panorama with a low horizon is more persuasive. Findings also unearth the mediating (i.e. engagement) and moderating (i.e. narrative perspective) effects behind the interaction between the horizon height in a panoramic advertising view and tourism activity type on travel intention. These discoveries enrich the literature on tourism destination sensory marketing and provide destination marketers with a novel means of attracting visitors.
We introduce the task of changing the narrative point of view, where characters are assigned a narrative perspective that is different from the one originally used by the writer. The resulting shift ...in the narrative point of view alters the reading experience and can be used as a tool in fiction writing or to generate types of text ranging from educational to self-help and self-diagnosis. We introduce a benchmark dataset containing a wide range of types of narratives annotated with changes in point of view from deictic (first or second person) to anaphoric (third person) and describe a pipeline for processing raw text that relies on a neural architecture for mention selection. Evaluations on the new benchmark dataset show that the proposed architecture substantially outperforms the baselines by generating mentions that are less ambiguous and more natural.
•Introduce the new task of changing the narrative perspectives of a text.•Develop an end-to-end system for deictic to anaphoric point of view (PoV) change.•Design a neural architecture for mention selection, trained on coreference data.•Introduce a dataset with different types of narratives annotated for PoV change.•Evaluations show that the output text is generally fluent and non-ambiguous.
This paper concentrates on the self-reflexive and multi-voiced narration in Damon Galgut's The Promise. Adopting Elleke Boehmer's analysis of postcolonial poetics and Derek Attridge's notion of ...resistance, the discussion shows how Galgut's novel both invites and resists modes of reading associated with the third-person narrative, specifically the principles of detachment and narratorial omniscience. The first part of this article investigates the narrator's complex interaction with the protagonists and the narratees. One feature of narration in The Promise is that it shows the narrator as belonging to the same racial group as the protagonists, at the same time seeking to transcend the limitations of their viewpoint. The fact that the protagonists' racially inflected perception of the world is projected onto the narratees impacts the readers' reception of the narrative text, denying them a stable subject position from which to judge the thoughts and actions of the protagonists. The second part of the article is devoted to the treatment of narratorial omniscience, which is consciously and self-reflexively limited by Galgut's decision to focus on the perspective of white South Africans. It is shown that the narrator's limitations direct our attention to the boundary between the said and the unsaid, thus resisting modes of reading connected with the realist novel. The conclusion of the article considers The Promise in the wider context of the liberal humanist tradition, arguing that the novel can be situated in the broad tradition of reconstructed liberalism, though it should be kept in mind that Galgut's treatment of this stance is characterized chiefly by cautiousness and political realism.
Contemporary reviewers of Byron’s work often noted his skill in cultivating sympathy for outlaw figures – a skill that was admired, but also worried over since it implied sympathy’s independence from ...a moral code. Recent scholarship about sympathy in the Romantic period has not focused much on Byron, but this essay highlights a complexity and originality in his invocation of sympathy that has been overlooked. Analyzing The Corsair with particular attention to narrative perspective and the use of direct address, this essay shows Byron portraying characters overcoming the boundaries of gendered, national, class or religious difference in acts of generous sympathy, only to have these acts rendered ineffectual or even destructive. The ineffectiveness of intradiegetic acts of sympathy complicates the text’s invitation for readerly sympathy, suggesting that sympathy is morally neutral, a catalyst for unpredictable actions.
Life‐history narratives describing how a transgressor developed aversive traits can mitigate blame. How is their effectiveness affected by narrative perspective? In particular, how is blame ...mitigation impacted when the transgressor appears to be knowledgeable of the story of his self‐formation? In three experiments, we compare the effectiveness of narratives that reflect an objective perspective to those that reflect the transgressor's perspective. The experiments contrast two hypotheses. The Perspective Taking hypothesis asserts that the transgressor perspective will be especially effective for blame mitigation because it encourages ‘stepping into the shoes’ of the transgressor. In contrast, the Should Know Better hypothesis asserts that the transgressor perspective will be especially ineffective because it reveals the transgressor to have self‐knowledge, which triggers an inference that he deeply comprehends the suffering he causes. Results support the Should Know Better hypothesis. Furthermore, Experiment 3 shows that the transgressor perspective increases blameworthiness regardless of whether the transgressor's prior life experiences parallel what he inflicts on his victims.
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