Current research on identification with narrative characters poses two problems. First, although identification is seen as a dynamic process of which the intensity varies during reading, it is usually measured by means of post-reading questionnaires containing self-report items. Second, it is not clear which linguistic characteristics evoke identification. The present paper proposes that an interdisciplinary framework allows for more precise manipulations and measurements of identification, which will ultimately advance our understanding of the antecedents and nature of this process. The central hypothesis of our Linguistic Cues Framework is that identification with a narrative character is a multidimensional experience for which different dimensions are evoked by different linguistic cues. The first part of the paper presents a literature review on identification, resulting in a renewed conceptualization of identification which distinguishes six dimensions: a spatiotemporal, a perceptual, a cognitive, a moral, an emotional, and an embodied dimension. The second part argues that each of these dimensions is influenced by specific linguistic cues which represent various aspects of the narrative character’s perspective. The proposed relations between linguistic cues and identification dimensions are specified in six propositions. The third part discusses what psychological and neurocognitive methods enable the measurement of the various identification dimensions in order to test the propositions. By establishing explicit connections between the linguistic characteristics of narratives and readers’ physical, psychological, and neurocognitive responses to narratives, this paper develops a research agenda for future empirical research on identification with narrative characters.

This study examines how audiovisual brand stories both invite and enable consumers to enact heroic archetypes. Integrating research on the archetypal structure of narratives with research on the event structure of narratives, we distinguish singular plot stories (i.e., stories that show a Hero’s Journey) from embedded plot stories (i.e., stories that not only show but also tell one or more Hero’s Journeys) and develop a conceptual and narratological framework to analyze their structural elements. Application of the framework to 20 brand stories representing 8 different brands reveals meaningful variation in elements between the singular plot stories and embedded plot stories. Differences in the expression of archetypes and event structure are argued to evoke different types of Hero enactment which in turn result in different outcomes. We specifically hypothesize that the enactment of heroic archetypes in singular plot stories primarily results in catharsis (pleasure), whereas the enactment of heroic archetypes in embedded plot stories primarily results in an outcome we describe as phronesis: a form of moral sense making of the self that advances one’s practical wisdom and prudence. The final section of the paper discusses how cathartic and phronetic outcomes of hero enactment may foster the psychological bonding between brand and consumer, and invite consumers to align their moral values with the values that are reflected by heroic character traits. The central aims of the analysis presented are to provide an exploration of narrative phenomena in a reasonably broad range of brand story videos and foremost to provide a conceptual framework with an applicable instrument suited to analyze relevant categories in these brand stories. The present study is interdisciplinary in its approach to a contemporary, developing marketing phenomenon, applying psychological modeling of archetypes and heroic values with narratological insights on perspective-taking and story structure. Its contribution is to systemize, from a narratological viewpoint, how various narrative archetypes in brand video stories may contribute to the development of brand-consumer relations.

This study examines how grammar and reference in journalistic narratives help to represent the viewpoints of eyewitnesses to shocking criminal acts. Grammatical roles of eyewitnesses and non-eyewitnesses and the expressions referring to them were analyzed in four journalistic narratives about different shocking events and compared to four non-narrative news reports about the same events. Results show that in the narratives, but not in the news reports, eyewitnesses appear more often in subject position of a clause than non-eyewitnesses. This indicates that in narratives, journalists choose eyewitnesses as the lens through which they narrate the events. Furthermore, eyewitnesses are more often referred to with pronouns than nouns, whereas non-eyewitnesses are more often referred to with nouns than pronouns. This indicates that eyewitnesses are cognitively highly accessible in news narratives and that their viewpoints are conceptually most proximate to the viewpoints of journalist and reader. It is argued that the strategic use of grammatical roles and referential expressions in journalistic crime narratives puts the reader in the position of a ''mediated witness''.

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This article reviews scientific research on narrative journalism, aiming to (1) demystify the nature of narrative journalism by specifying its core characteristics, resulting in a sustainable definition of the genre; (2) characterize the current state of the scientific field; and (3) identify gaps in our knowledge about narrative journalism. A systematic search of the scientific literature between 1998 and 2017 resulted in a set of 103 journal articles about narrative journalism. Their analysis reveals that the scientific field is dominated by essayistic and qualitative studies on printed forms of narrative journalism, with a focus on the history and style of narrative journalism, whereas systematic research on the function and impact of the genre is scarce. A framework is presented that synthesizes the hitherto isolated strands of research on narrative journalism and offers anchors for an empirical turn in narrative journalism studies.