Without You, I'm Nothing: Performances of the Self on Twitter.
Online social platforms collapse or converge public and private boundaries, creating both opportunities and challenges for pursuing publicity, privacy, and sociality. Presentations of the self thus become networked performances that must convey polysemic content to audiences, actual and imagined, wi...
| Publicado en: | International Journal of Communication (19328036) Vol. 6; pp. 1989 - 2007 |
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| Formato: | Artículo |
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University of Southern California, USC Annenberg Press
2012
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=116801328&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 116801328 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 19328036 3836 jtl: International Journal of Communication (19328036) issn: 19328036 maglogo: N pubinfo: dt: 2012 vid: 6 pid: 16336 pub: University of Southern California, USC Annenberg Press artinfo: ui: 116801328 ppf: 1989 ppct: 18 formats: tig: atl: Without You, I'm Nothing: Performances of the Self on Twitter. aug: au: PAPACHARISSI, ZIZI affil: University of Illinois at Chicago su: Twitter (Web resource) Self-presentation Computer network resources Privacy Internet software Computer software Publicity sug: subj: Self-presentation Computer network resources Privacy Computer and software stores Computer and Computer Peripheral Equipment and Software Merchant Wholesalers Software publishers (except video game publishers) Computer, computer peripheral and pre-packaged software merchant wholesalers Wired Telecommunications Carriers Internet software Computer software Publicity Twitter (Web resource) ab: Online social platforms collapse or converge public and private boundaries, creating both opportunities and challenges for pursuing publicity, privacy, and sociality. Presentations of the self thus become networked performances that must convey polysemic content to audiences, actual and imagined, without compromising one's own sense of self. This study explored how individuals perform the self through the use of Twitter trending hashtags. Content and discourse analyses were used to examine performative strategies and the form of performance in 140 or fewer characters. Findings underscored play as a dominant performative strategy and pointed to the reordering of grammar, syntax, and literary conventions as prevalent ways through which play is performed. Affect, redaction, and deliberative improvisation frame performances that become part of the ongoing storytelling project of the self on Twitter. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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