Becoming #Instafamous

2021 ◽  
Author(s):  
Dominika Kováčová
Keyword(s):  
The Self ◽  
Professional Life ◽  
Self Presentation ◽  
Self Image

Abstract Drawing on Goffman’s (1990 [1959]) metaphor of stage, this paper considers Instagram a frontstage environment where users are cautious of being watched and attune their performance to how they want to be perceived via strategic self-presentation. This understanding of online performance is particularly pertinent in the discussions of bloggers who turn to Instagram to promote their work to new audiences. Examining the self-presentation practices of three fashion bloggers, this paper argues that to gain popularity on Instagram, bloggers utilize the features of formality and informality in the construction of an authentic and likable self-image. Since in the photographs the bloggers’ professional life is usually depicted as distant from their audience’s reality, the accompanying textual caption serves as a means of providing balance for the overall image the poster seeks to present. Consequently, the caption abounds with features of informality, which connote linguistic immediacy and imitate an intimate conversation with peers.

The impact of advertising self-presentation style on customer purchase intention

2019 ◽  
Vol 32 (6) ◽  
pp. 1242-1254 ◽  
Author(s):  
Fue Zeng ◽  
Wenjie Li ◽  
Valerie Lynette Wang ◽  
Chiquan Guo
Keyword(s):  
Purchase Intention ◽  
The Self ◽  
Presentation Style ◽  
Self Presentation ◽  
Content Type ◽  
Mediating Role ◽  
Self Image ◽  
Consumption Situation ◽  
The Impact ◽  
The Relationship

Purpose The purpose of this paper is to propose the self-presentation styles of advertising influence consumer self-image, which in turn influence purchase intention. Design/methodology/approach Using virtual brands as stimuli in a series of experiments, this study collects data on consumer self-image and purchase intention in the conditions of different advertising styles. Findings While consumer self-image mediates the relationship between advertising self-presentation style and purchase intention, the consumption situation (public vs private) moderates the relationship between self-presentation style, consumer self-image and purchase intention. That is, self-enhancing advertising promotes customers’ ideal self, which in turn increases their purchase intention for publicly consumed products, whereas self-deprecating advertising solicits customers’ real self, which in turn increases their purchase intention for privately consumed products. Practical implications This study informs product/brand managers and marketers of the importance of aligning the self-presentation style of advertising with the consumption situation of the product being advertised. Originality/value Based on self-consistency theory, this study not only finds a relationship between the self-presentation style of advertising and purchase intention, but also uncovers the mediating role of self-image in this relationship. Furthermore, the relationship chain of “self-presentation style of advertising – self-image – purchase intention” is moderated by the consumption situation of the product. This is one of the first studies to explore the intricacies of these relationships.

Dialogues

2019 ◽  
Vol 1 (2) ◽  
pp. 94-98
Keyword(s):  
Latin America ◽  
New Spain ◽  
The Self ◽  
Colonial Latin America ◽  
Artistic Practice ◽  
Self Presentation ◽  
Self Image ◽  
Introductory Essay ◽  
Codex Mendoza ◽  
America Latina

Each of the four articles in this Dialogues draws on recent conservation and/or material analysis of a single work created in colonial Latin America, specifically New Spain, to explore the self-image of the artist as manifest through practice—that is, the techniques of manipulating a range of materials to achieve a desired aesthetic effect. The four foci are a featherwork miter and infulae, the Codex Mendoza, the Adoration of the Magi by Cristóbal de Villalpando, and a casta painting by Miguel Cabrera. The introductory essay argues that examining artistic practice is one avenue to ascertaining artists’ own choices about self-presentation. RESUMEN Cada uno de los cuatro ensayos se basa en la conservación reciente o el análisis material de una única obra creada en la América Latina colonial, específicamente en la Nueva España, para explorar la autoimagen del artista tal como esta se manifiesta a través de la práctica, es decir, el conjunto de técnicas desarrolladas por artistas para poder manipular diversos materiales a fin de lograr el efecto deseado. Los cuatro focos son una mitra e ínfulas de plumas, el Códice Mendoza, la Adoración de los Reyes Magos de Cristóbal de Villalpando y una pintura de casta de Miguel Cabrera. El ensayo introductorio sostiene que asignar un papel principal a la práctica de los artistas permite entender las propias decisiones de los artistas sobre la auto-presentación. RESUMO Cada um destes ensaios baseia-se em análises de conservação ou material recentes de um único trabalho criado na América Latina colonial, especificamente na Nova Espanha, para explorar a auto-imagem do artista como manifesta através da prática, isto é, o conjunto de técnicas que artistas desenvolveram para manipular os efeitos desejados de uma variedade de materiais. Os quatro focos são uma mítra e ínfulas em arte plumária, o Codex Mendoza, a Adoração dos Magos por Cristóbal de Villalpando e uma pintura de casta por Miguel Cabrera. O ensaio introdutório argumenta que atribuir um papel primário à prática dos artistas é chegar às próprias escolhas dos artistas sobre a auto-apresentação.

Zofia Kulik. The Splendor of Myself

2019 ◽  
Author(s):  
Agata Jakubowska
Keyword(s):  
Women Artists ◽  
The Self ◽  
Self Image ◽  
Physical Presence

Narratives about women artists usually point to the obstacles they face in the development of their artistic careers. In her article, the author proposes an analysis that concentrates on how a woman artist – Zofia Kulik – presented herself as the heroine of a successful story of emancipation in the series of works titled The Splendor of Myself (1997, 2015, 2017). The self-image she presents is paradoxical: we deal with both her ostentatious presence and her absence as her physical presence is hidden behind the gorgeous but extremely stiff dress. It corresponds with Kulik’s understanding of her success as directly related with the wealth of images and the mastery of composition.

The Self-Image as Defense and Resistance

1960 ◽  
Vol 29 (1) ◽  
pp. 72-81
Author(s):  
Esther Menaker
Keyword(s):  
The Self ◽  
Self Image

Langdell Laughs

1999 ◽  
Vol 17 (1) ◽  
pp. 141-144
Author(s):  
William P. LaPiana
Keyword(s):  
Twentieth Century ◽  
Critical Role ◽  
Teaching Profession ◽  
The Self ◽  
Primary Sources ◽  
Christopher Columbus ◽  
Self Image ◽  
American Law

The amount of ink spilled in consideration of the life, thought, accomplishments, and legacy of Christopher Columbus Langdell is eloquent testimony to the critical role he plays in the self-image of the American law teaching profession. It is both wonderful and astounding, therefore, to find that critical primary sources remained unread and unused at the very end of the twentieth century. Now that Bruce Kimball has brought them to light, we have a more complete view of the man and his thought, one that, not surprisingly, reveals to us someone quite different from the cruelly and crudely caricatured inventor of those twin devices for stifling young minds, the case and Socratic methods.

FASHION BLOGGERS AS CELEBRITY EXPERTS IN RUSSIAN-SPOKEN SEGMENT OF SOCIAL MEDIA

2021 ◽  
pp. 139-156
Author(s):  
Zemfira K. Salamova ◽  
Keyword(s):  
Social Media ◽  
The Self ◽  
The Internet ◽  
Self Presentation ◽  
Online Platforms ◽  
The World

Social media has contributed to the spread of fashion, style or lifestyle blogging around the world. This study focuses on self-presentation strategies of Russian-speaking fashion bloggers. Its objects are Instagram accounts and YouTube channels of two Russian fashion bloggers: Alexander Rogov and Karina Nigay. The study also observes their appearances as guests in various interview shows on YouTube. Alexander Rogov received his initial fame through his television projects. Karina Nigay achieved popularity online on YouTube and Instagram, therefore she is a “pure” example of Internet celebritiy, whose rise to fame took place on the Internet. The article includes the following objectives 1) to study the self-branding of fashion bloggers on various online platforms; 2) to analyze the construction of fashion bloggers’ expert positions and its role in their personal brands. Turning to fashion blogging allows us to consider how its representatives build their personal brands and establish themselves as experts in the field of fashion and style in Russianlanguage social media.

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