Travel Reference
In-Depth Information
the narrative unfolds (Megehee and Woodside 2010). Art as a means for telling a story non-
verbally is one of the oldest forms in which human beings tell a story, since the days when the
cavemen painted on the walls of caves, and remains one of the most modern forms of
communication in the twenty-fi rst century (Megehee and Spake 2012).
In consumer behaviour research, creating and interpreting a VNA helps to make explicit
unconscious thinking and emotion-based associations, and helps to clarify the role of a brand
in consumers' stories and consumers' lives. VNA can increase accuracy (and fi nd different
insights concerning) of how archetype enactments in consumer stories about buying/using
a brand.
The use of VNA in research is based on the theory of dual processing accounts of reasoning,
emotions, judgment and social recognition (Evans 2008), where there occurs on the one hand
unconscious, holistic and associative thought processes that are common to all animals irrespective
of intelligence, while on the other there is also a parallel process that is conscious, analytical,
based on rules and solely human, pertaining to intelligence and limited to the capacity of a
working memory. As individuals use both types of mental processing, researchers can make use
of reports that refl ect on the two processes, creating verbal reports of the concepts and results,
but also VNA enhances data interpretation (Megehee and Woodside 2010).
Method
Two stories by consumers were collected from blogs on the Internet, both of which involve
place brands. Both stories appear in
Appendix 17.1
and
Appendix 17.3
.
The stories were analyzed
using the DFA method, using an instrument created for each archetype. A total of 13 archetypal
themes were used, all of which had previously been classifi ed in the literature (Mark and
Pearson 2001). Two themes appear. The fi rst example of a consumer story is compatible with the
innocent archetype. The story describes two sisters who travel to New York City. The second
narrative involves the magician archetype and includes the adventures of a protagonist and
her 'labmates'.
Example 1: The innocent archetype
In general, human beings dream of the triumph of good over evil and happiness resulting from
the ideation of purity and kindness in the world. This utopian and somewhat naïve view is the
essence of the innocent archetype (Mark and Pearson 2001). Sood (2010) uses the story of
Daphne (Hamilton 1942) to illustrate this archetype. Daphne is a nymph who wanders freely and
happily through the forest, which she has made her playground. The Greek god Apollo falls in
love with her and becomes besotted with her as she runs through the forest. Apollo gives chase
and Daphne asks her father, the river god Peneus, for help. She is turned into a laurel tree, no
longer free to roam the forest and fi elds. To show his love for Daphne, Apollo presents winners
at the Delphi games with laurel wreaths.
According to Pearson (1998), the image of innocence is usually one of youth fi lled with
hope and expectation, without having experienced any disappointment, rejection or betrayal.
But at a higher level, the innocent archetype is one of simplicity and optimism, with emphasis
on values and integrity (Mark and Pearson 2001), leading human beings to live freely and 'be'
rather than 'have'.
Classic brands such as Ivory Soap and Coca-Cola use this archetype (Mark and Pearson
2001). The 1970s campaign, 'I'd Like to Buy the World a Coke', is a good example of optimism
and viable happiness here and now. Mark and Pearson (2001) state that consumers who respond
