La relation marque‐consommateur telle qu’identifiée et formalisée par Fournier (1988) apparaît comme une problématique centrale du management de la marque tant d’un point de vue académique que pour les entreprises. Si la littérature s’est intéressée au phénomène relationnel, à ses antécédents mais aussi à ses conséquences en termes de gestion de marque, le mécanisme dynamique de la relation reste absent des recherches et travaux. Ce mécanisme, avec en particulier la structure de la relation et le sens de la relation, constitue pourtant un élément essentiel à l’opérationnalisation de la relation. Notre recherche vise donc à comprendre la construction du processus relationnel entre une marque et un consommateur en s’appuyant sur la métaphore narrative de la marque, et plus spécifiquement sur le modèle dramatique. Sur le plan méthodologique, une démarche compréhensive reposant sur une approche exploratoire est retenue avec un travail empirique mené en trois volets : une série de dix entretiens en profondeur, quatre réunions de consommateurs, une analyse statistique explicative. Il apparaît ainsi, (A) que la relation marque‐consommateur tient d’un dispositif scénique, d’un jeu, où la marque est le personnage et le consommateur, le spectateur (B) que la mise en relation peut se concevoir selon le modèle de la double énonciation dramatique impliquant un double statut de la marque (objet du spectacle, sujet du message) et un double statut du consommateur (consommateur‐ acheteur‐ consommateur‐ individu) (C) que la marque peut s’apparenter à un personnage (et non une personne) de théâtre qui doit articuler son être et son faire pour assurer sa légitimité et sa puissance identificatoire et que la relation peut s’établir selon une typologie en quatre figures relationnelles fondamentales (le maître, le mentor, l’alter‐ego, l’acolyte). Ainsi, notre recherche permet d’ouvrir la réflexion, en dehors de la métaphore anthropomorphique, et de proposer une structure narrative spécifique au développement de la marque relationnelle. / The brand‐consumer relations as identified and formalized by Fournier (1988) appear a central brand management problematic, from an academic point of view as much as for companies. The literature has mostly devoted attention at the phenomenon, its antecedents and consequences in terms of brand management implications. However the mechanics of the relation itself remains unexplored. This mechanics, and especially the structure of the relation and the meaning of the relation, constitutes a major issue in operationalizing the relation. This particularly research aims at exploring the dynamic mechanism at stake, using the brand as a narrative metaphor and more specifically the theatre narrative model. In methodological terms, a comprehensive and exploratory approach is used, with a three‐phase empirical work conducted: a 10 long interviews initial study, a second part consisting in three 3‐hour focus groups of 8 to 9 respondents and a final descriptive and explanatory statistical analysis. The results of the research help us to understand the relation and its execution. (A) The brand‐consumer relation belongs to a shared set‐piece, a play, where the brand is the character and the consumer the spectator (B) To create a relation, the brand must convey a twofold message at the same time (object of the performance and subject of the message) recognizing the double status of the consumer (a buyer, an individual). This refers back to the process of drama‐writing designated by the linguistic term “double enunciation” (C) The brand can be considered as a theatrical character (not a person) that has to express its doing as well as its being in order to support its legitimacy and ensure its projective and identifying power. Based on this character metaphor, four prototypical figures (the master, the mentor, the alter‐ego the acolyte) can be considered within a relational context. Thus, our research sheds new light on the brand‐consumer relation, steering clear of temptations too anthropomorphic, and allows us to consider a specific narrative structure to implement relational brands.

Notre recherche s’intéressera à la composition sophistiquée de ce que nous allons dénommer « la maison livresque frésanienne » ou « série intertextuelle ». À travers notre étude, il s’agira de montrer que les neuf ouvrages de Rodrigo Fresán, sans égard à leurs appartenances génériques et leurs thématiques diverses, forment un tout cohérent et ils ne peuvent pas, par conséquent, être étudiés de façon séparée. Nous mettrons en évidence la continuité, la logique et, surtout, le caractère systématique du projet littéraire unissant tous les livres de l’auteur dans une série intertextuelle unique, fractale et « en devenir ». Eu égard au fait que cette écriture génériquement hybride est caractérisée par une tension entre les techniques d’unification et celles de discontinuité, nous effectuerons une présentation des procédés d’intégration et d’atomisation mis en place dans les collections de nouvelles intégrées et dans les romans de l’auteur. Ensuite, nous dégagerons la stratégie principale d’édification du continuum de la maison livresque : le principe de répétition et de variation. Nous explorerons plusieurs domaines d’application du mécanisme de la répétition/variation à différents niveaux de toute la série. Notre étude sera focalisée notamment sur les structures narratives, la dimension métafictionnelle, les hybridations génériques et les modèles extralittéraires de l’écriture frésanienne, c’est-à-dire ses inspirations musicales, picturales, photographiques, cinématographiques, scientifiques et religieuses. / The aim of this thesis is to examine and interpret the sophisticated composition of Rodrigo Fresán’s “house of books” or “intertextual series”. Our research will demonstrate that the nine books of the Argentinean writer, in spite of their different generic classifications and their significant thematic diversity, form a coherent whole and they cannot be therefore analyzed separately. The continuity, the logic and, most importantly, the systematic nature of this literary project, that unites all the books of the author in an original and fractal intertextual series “in progress”, will be showed. Considering the fact that this work is characterized by a generic hybridity and a tension between the unification and discontinuity techniques, the processes of literary integration and atomization utilized in the integrated story collections and in the novels of the author will be presented. Then, a repetition and variation principle will be investigated as a main construction strategy of this continuum. Many fields of application of the repetition/variation mechanisms on various levels of the series will be explored. Our study will be concentrated mostly on the narrative structures, the metafictional dimension, the generic hybridity and the extraliterary models of the Fresán’s books, that is, his musical, pictorial, photographic, film, scientific and religious inspirations.

La presente tesis tiene como tema la influencia del periodismo de inmersión en la televisión peruana en época de pandemia. El objetivo general es describir los componentes del periodismo de inmersión que se encuentran presentes en los reportajes sobre el Covid-19 presentados en el programa Al Sexto Día a través de su secuencia televisiva En Carne Propia (marzo – agosto 2020). El método seguido fue el de análisis de contenido de los reportajes emitidos entre el 15 de marzo del 2020 al 30 de agosto del 2020. Se delimitó dicho periodo por su nivel de coyuntura periodística. Se sabe que el 15 de marzo del 2020 fue la fecha que el presidente de la nación, Martin Vizcarra, decretó el Estado de Emergencia en el país y el 30 de agosto del 2020 fue la fecha de cese de la sexta extensión del Estado de Emergencia. El principal hallazgo es que los reportajes tienen una innovadora forma de contar una historia a través del involucramiento del reportero. Asimismo, utilizan recursos y estrategias tales como la participación en los hechos investigados y la suplantación de la personalidad en donde hacen ver a los reportajes desde otra perspectiva. / The subject of this thesis is the influence of immersion journalism on Peruvian television in times of pandemic. The general objective is to describe the components of immersive journalism that are present in the reports on Covid-19 presented in the Al Sexto Día program through its television sequence En Carne Propia (March - August 2020). The method followed was the content analysis of the reports issued between March 15, 2020 to August 30, 2020. This period was delimited by its level of journalistic situation. It is known that March 15, 2020 was the date that the nation's president, Martin Vizcarra, decreed the State of Emergency in the country and August 30, 2020 was the date of cessation of the sixth extension of the State of Emergency. The main finding is that reporting has an innovative way of telling a story through the involvement of the reporter. Likewise, they use resources and strategies such as participation in the investigated facts and the impersonation of personality where they make the reports look from another perspective. / Tesis

Leon Dash and Ted Conover have modeled an ethnographic approach to literary journalism. This approach combines literary journalism's compelling narrative techniques with ethnographic “naturalist-like” (Brewer, 2000) thoroughness and trustworthiness. Rosa Lee: A Mother in Urban America, by Leon Dash, and Newjack: Guarding Sing Sing, by Ted Conover, exemplify this painstaking method that skillfully uses the narrative craft, generates trustworthy data, and contributes to an academic body of knowledge as well as exposing findings to the general public. Dash, Conover, and others have demonstrated the synergy and problem-solving potential of merging anthropology with literary journalism, yet there is no typology, no common name and no set of ground rules describing this work. Identifying Dash's and Conover's methods may advance cross-pollination between anthropology and literary journalism, fields that share the role of reporting on contemporary culture. This cross-pollination serves both disciplines. Ethnography stands to increase its numbers of readers by enlisting the writing techniques of literary journalists and by publishing “more public-spirited” (Fillmore, 1987, p. 1) findings in more public venues. Literary journalism stands to be seen and applied as a credible form of qualitative science by enlisting trustworthy naturalistic methods and aiming to contribute to an academic body of knowledge. This thesis explores the promise of ethnographic naturalism in narrative form, as “scholarship for real readers” (S. Olsen, March 2, 2009, personal communication) by examining how practitioners meet rigorous naturalistic criteria for trustworthiness (Lincoln & Guba, 1985) and how they present findings in narrative forms and public venues. This exploration draws on personal interviews with Dash and Conover and analyses of their long-form narrative research texts in the context of other scholars' outlooks. Key findings include the discovery that although Dash and Conover were not consciously using naturalistic criteria for trustworthiness, their work meets these criteria. Another key finding is that while both writers consider themselves primarily journalists, they both have read anthropology extensively. A notable finding is the fact that Dash and Conover rely on time-invested “unfettered inquiry,” (Dash, 1996) the mind-set of insatiable curiosity, caring and the liberty to apply practices of other disciplines to conduct research, free from external controls.

Characterization in Pulitzer-awarded features and traditional features was measured using a characterization typology developed by the author. Although some of the results were statistically constrained by a small n, those results which were statistically significant reflect that what separates Pulitzer-winning features from regular features are those elements of characterization particular to scene: a character's distinctive physical characteristics, clothing and possessions; the setting and environment as it defines a character; a physical description of character that is not lineament nor habitual posture or expression but bodily appearance in the immediate moment; a character's movements and actions, facial expressions, words, and thoughts. In an era when the predicted demise of newspapers is more fact than fiction, the reader's experience with newspapers is paramount. Crucial to the news reading experience is the reader's enjoyment: how "I" experienced a story through empathy, parasocial interaction, and/or identification. Perhaps a solution to newspapers' loss of readership is scene: within scene, fear, anguish, exhilaration, and joy are not only the experiences of the characters, but also that of the reader's.

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Internationally, there is concern among judges and organisers of documentary film festivals pertaining to the lack of a proper storyline in documentary films. According to certain documentary film producers and theoreticians, however, there is a solution. They are of the opinion that the three-act structure that was originally applicable to fiction films can also be applied to documentary films. The three-act paradigm serves as a guideline for the writing of successful fiction film screenplays. Should the three-act structure be applied to documentary films, the three-act paradigm could possibly achieve the same measure of success. Therefore, the research questions are, firstly: What are the basic elements of successful screenplay writer, Syd Field’s three-act structure? Secondly, to what extent do the three selected films by Michael Moore namely Bowling for Columbine (2003), Sicko (2007) and Fahrenheit 9/11 (2004) adhere to the requirements of Syd Field’s three-act structure? The research for this study was performed by means of a literature overview of Field’s three-act structure; secondly, by means of semi-structured interviews with four South African documentary film producers; and thirdly, a qualitative content analysis of three of Michael Moore’s films. The interviews consisted of semi-structured questions about the problem pertaining to story structure in documentary films, and how Syd Field’s three-act structure can make a contribution to the success of the documentary film. The study entails a qualitative content analysis of three selected documentary films by Michael Moore. The three-act structure of Syd Field was analysed by means of a literature study and seven main elements were identified as the important elements for a three-act structure. The three films by Michael Moore were analysed by means of a qualitative content analysis based on the seven elements to determine whether the three films adhere to the three-act structure elements. The findings of the study are as follows: The three documentary films by Michael Moore, namely Bowling for Columbine, Sicko and Fahrenheit 9/11, possess all seven elements of the analysis framework that was composed according to Syd Field’s three-act structure. The conclusion can therefore be drawn that a large part of the success of the three selected films by Moore is based on the three-act structure elements that can be found in all three films. / MA (Communication Studies), North-West University, Potchefstroom Campus, 2014

Internationally, there is concern among judges and organisers of documentary film festivals pertaining to the lack of a proper storyline in documentary films. According to certain documentary film producers and theoreticians, however, there is a solution. They are of the opinion that the three-act structure that was originally applicable to fiction films can also be applied to documentary films. The three-act paradigm serves as a guideline for the writing of successful fiction film screenplays. Should the three-act structure be applied to documentary films, the three-act paradigm could possibly achieve the same measure of success. Therefore, the research questions are, firstly: What are the basic elements of successful screenplay writer, Syd Field’s three-act structure? Secondly, to what extent do the three selected films by Michael Moore namely Bowling for Columbine (2003), Sicko (2007) and Fahrenheit 9/11 (2004) adhere to the requirements of Syd Field’s three-act structure? The research for this study was performed by means of a literature overview of Field’s three-act structure; secondly, by means of semi-structured interviews with four South African documentary film producers; and thirdly, a qualitative content analysis of three of Michael Moore’s films. The interviews consisted of semi-structured questions about the problem pertaining to story structure in documentary films, and how Syd Field’s three-act structure can make a contribution to the success of the documentary film. The study entails a qualitative content analysis of three selected documentary films by Michael Moore. The three-act structure of Syd Field was analysed by means of a literature study and seven main elements were identified as the important elements for a three-act structure. The three films by Michael Moore were analysed by means of a qualitative content analysis based on the seven elements to determine whether the three films adhere to the three-act structure elements. The findings of the study are as follows: The three documentary films by Michael Moore, namely Bowling for Columbine, Sicko and Fahrenheit 9/11, possess all seven elements of the analysis framework that was composed according to Syd Field’s three-act structure. The conclusion can therefore be drawn that a large part of the success of the three selected films by Moore is based on the three-act structure elements that can be found in all three films. / MA (Communication Studies), North-West University, Potchefstroom Campus, 2014

Since its development, critics of electronic literature have touted all that is “new” about the field, commenting on how these works make revolutionary use of non-linear structure, hyperlinks, and user interaction. Scholars of digital narrative have most often focused their critiques within the paradigms of either the text-centric structuralist model of narrativity or post-structuralist models that implicate the text as fundamentally fluid and dependent upon its reader for meaning. But neither of these approaches can account completely for the unique modes in which digital narratives prompt readerly progression, yet still exist as independent creative artifacts marked by purposive design. I argue that, in both practice and theory, we must approach digital-born narratives as belonging to a third, hybrid paradigm. In contrast to standard critical approaches, I interrogate the presumed “newness” of digital narratives to reveal many aspects of these works that hearken to print predecessors and thus confirm classical narratological theories of structure and authorship. Simultaneously, though, I demonstrate that narrative theory must be revised and expanded to account for some of the innovative techniques inherent to digital-born narrative. Across media formats, theories of narrative beginnings, endings, and authorship contribute to understanding of readerly progress and comprehension. My analysis of Leishman’s electronically animated work Deviant: The Possession of Christian Shaw shows how digital narratives extend theories of narrative beginnings, confirming theoretical suitability of existing rules of notice, expectations for mouseover actions, and the role of institutional and authorial antetexts. My close study of Jackson’s hypertext my body: a Wunderkammer likewise informs scholarship on narrative endings, as my body does not provide a neatly linear plot, and thus does not cleanly correspond to theories of endings that revolve around conceptions of instabilities or tensions. Yet I argue that there is still compelling reason to read for narrative closure, and thus narrative coherence, within this and other digital works. Finally, my inquiry into Pullinger and Joseph’s collaboratively written Flight Paths: A Networked Novel firmly justifies the theory of implied authorship in both print and digital environments and confirms the suitability of this construct to a range of texts.