‘Will the real writer please stand up’: Flawed discursive self-presentation by Junot Diaz

2019 ◽  
Vol 11 (3) ◽  
pp. 377-412
Author(s):  
Sreedhevi Iyer
Keyword(s):  
Self Presentation ◽  
The Real ◽  
Junot Diaz

scholarly journals The structure of self-presentation of adolescents in real communication and social networks

2020 ◽  
Vol 11 (1) ◽  
pp. 180-192
Author(s):  
V.V. Fyodorov
Keyword(s):  
Social Networks ◽  
Social Network ◽  
Digital Communication ◽  
Principal Component ◽  
The Self ◽  
Structural Components ◽  
Self Presentation ◽  
The Real ◽  
Expert Analysis ◽  
Communicative Space

Research objectives are to develop questionnaires to assess the severity of the characteristics of self-presentation of adolescents in real and digital communication spaces, as well as to compare the main structural components of self-presentation of adolescents in real and digital communication spaces. The context and relevance of the study. Modern teens are active users of social networks. At the moment there are not so many scientific works devoted to the study of the characteristics of self-presentation of adolescents and their comparison in real and digital communication spaces. There is a lack of research tools to assess the severity of the characteristics of self-presentation of adolescents. Study design. The study included 6 main stages: 1) the identification of the substantial characteristics of adolescents inherent in real and digital communicative spaces; 2) compilation of two questionnaires to identify the severity of the characteristics of self-presentation in real and digital communicative spaces; 3) a study using these two questionnaires to identify the severity of the characteristics of self-presentation of adolescents; 4) the search for factor structures of components of self-presentation of adolescents; 5) expert analysis of the contents of the identified components and their assignment of names; 6) a comparison of the identified components of the self-presentation of adolescents in real communication and social networking. The sample consisted of 290 teenage students (44% male, 56% female) from grades 6 to 9 of a comprehensive school in Moscow. Methods. To the characteristics of adolescents that are characteristic of them in real and digital communication spaces, we used the author’s modification of the method of M. Kuhn and T. MacPartland “Who Am I?”. To determine the severity of the characteristics of self-presentation of adolescents, two author questionnaires were developed. To search for the factor structures of self-presentation components, an exploratory factor analysis, the principal component method, was used. The calculations were carried out in the SPSS 23.0 program. Results. The strongest and most stable components of the self-presentation of adolescents in the real communicative space and in the communicative space of a social network were revealed — “Friendliness”, “Hostility”, “Talent and Originality”, “Popularity” and “Shyness”. These components have substantial similarities with the known types of self-presentations in domestic and foreign classifications, which confirms their substantial validity. Main conclusions. Private acts of self-presentation of adolescents in the real communicative space and in the communicative space of a social network can be combined into groups that form the structural components of self-presentation. The stable structural components of the self-presentation of adolescents in the real and digital communicative space coincide in meaning, but have internal substantive differences.

scholarly journals Self Presentation dalam Kehidupan Virtual

2016 ◽  
Vol 13 (1) ◽  
pp. 93
Author(s):  
Ita Musfirowati Hanika
Keyword(s):  
Qualitative Research ◽  
Everyday Life ◽  
Virtual World ◽  
Real Life ◽  
Digital Game ◽  
Presentation Of Self ◽  
Self Presentation ◽  
The Real ◽  
Self Image

Abstract: The Sims 4 is a life simulation digital game, wherein the player can create and manage their virtual world. This research aims to reveal the players’ ideas in constructing their virtual world in this game. It is a qualitative research, using indepth interview to collect the data. Based on Ervin Goffman’s dramaturgy theory, “The presentation of self in everyday life”, this research concludes that The Sims 4 is played like a “real” life to create the expected self-image in the real world.Abstrak: Permainan digital The Sims 4 merupakan permainan simulasi kehidupan yang memberi kesempatan pemainnya untuk menciptakan dan mengatur dunia virtualnya. Tujuan penelitian ini adalah untuk mengungkapkan gagasan yang mendasari pemain dalam mengonstruksi dunia mereka dalam permainan digital. Penelitian ini merupakan penelitian kualitatif dengan wawancara mendalam sebagai metode pengumpulan data. Menggunakan teori dramaturgi Ervin Goffman, “The presentation of self in everyday life”, penelitian ini menyimpulkan bahwa permainan The Sims 4 dijalankan layaknya kehidupan “real” untuk menciptakan citra diri yang diharapkan di dunia nyata.

scholarly journals PRESENTASI DIRI NETIZEN dalam KONSTRUKSI IDENTITAS di MEDIA SOSIAL dan KEHIDUPAN NYATA

2016 ◽  
Vol 15 (2) ◽  
pp. 103
Author(s):  
Nuriyatul Lailiyah
Keyword(s):  
Social Media ◽  
Real Life ◽  
Research Data ◽  
Positive Part ◽  
Self Presentation ◽  
The Real ◽  
Construction Of Identity ◽  
The Social ◽  
Media And Identity ◽  
Depth Interviews

In real life we often took identity as something given. Social media gave users the opportunity to present themselves as they wished. Social media gave chances to people to choose the kind of person they wished to be in social medai. People could then construct their identity the same as or different from their true selves in the real world.This study aimed to identify and understand the self-presentation of social media users in the construction of identity in social media and identity in real life. The study was conducted through the methods of phenomenology and avatar research. Data was gathered by by in-depth interviews and observations in informants social media accounts.The results showed several findings, namely: construction of identity in social media take the positive part of identity in the real world, informants consistently set a certain image in the social media in match to their expectations, social media became a mean of users personal branding. Informants also divided into two categories: first, the group that consistently maintain the image they were trying to build. second, groups that occasionally appeared different from the image they wanted to construct.

‘Not even semblance’: exploring the interruption of identification with Lacan

Organization ◽  
2010 ◽  
Vol 17 (3) ◽  
pp. 379-393 ◽  
Author(s):  
Casper Hoedemaekers
Keyword(s):  
Public Sector ◽  
Organizational Context ◽  
The Self ◽  
Self Presentation ◽  
The Real ◽  
The Ideal

This article explores the question of identification through a Lacanian lens, paying specific attention to the interruption of identification in the self-presentation of employees. Jacques Lacan’s notion of the Real is taken up here as a conceptualization of the limits inherent in representation, and the unexpected effects of signification that go beyond the meaning effects engendered in the process of speaking. Identification is viewed here as an iterative condensation and simplification of recurrent significations within a local organizational context, aiming to displace and repress the indeterminacy of meaning and the failure of intentionality in discourse. Interview material from a public sector case study is used to analyse identifications with images of the ‘ideal employee’, which can be interpreted through interviewees’ moves to demarcate themselves from images of the ‘non-ideal’. The analysis then turns to examine interruptions in this self-presentation in the form of slips, contradictions and breakdowns of the narrative. The article concludes that the examined interruptions indicate considerable space for resistance and re-signification in identifications.

Witches and bitches: Reality television, housewifization and the new hidden abode of production

2016 ◽  
Vol 20 (1) ◽  
pp. 10-24 ◽  
Author(s):  
Alison Hearn
Keyword(s):  
Business Models ◽  
Reality Television ◽  
Women's Work ◽  
Television Programs ◽  
Television Industry ◽  
Self Presentation ◽  
The Real ◽  
The Public ◽  
Women’S Work ◽  
Economic Formation

The governance of affect by capital has seen its ideological legitimation and emblematic site of production in the mainstream television industry, specifically reality television programs, as they provide templates for affective self-presentation to the public at large. As even a cursory glance at most reality television production demonstrates, it is most often women’s bodies and self-concepts that bear the burden of signifying and legitimating the message of this new economic formation: ‘conform to our template, be seen, and build a reputation!’ This article will focus on the Real Housewives franchise, which along with its network Bravo is credited with saving the fortunes of NBC, as the paradigmatic example of these new narrative trends and business models. It will interrogate the historical resonances and discontinuities between the economy of affective visibility now apparent on reality television and its modes of production and the origins of the ‘real’ housewife in early capitalism. At this time, women’s skills, bodies and reproductive capacities were violently restructured; forbidden from earning a wage or having money, women’s work inside and outside the home was simultaneously appropriated and concealed. As reality television inaugurates new kinds of labor and value creation in the 21st century, it does so in ways that are deeply gendered or ‘housewifized’; reality television’s forms of hidden, precarious, and unregulated labour recall the appropriation and denigration of the value of women’s work by systems of capitalist expansion in the 16th and 17th centuries.

scholarly journals The Personality of N.S. Gumilev as a Standard of the Main Character’s Behavior in V.V. Nabokov’s Novel The Eye

2021 ◽  
Vol 6 (2) ◽  
pp. 198-211
Author(s):  
Anton V. Filatov
Keyword(s):  
Double Bass ◽  
The Self ◽  
Central Character ◽  
The Novel ◽  
Literary Works ◽  
Self Presentation ◽  
The Real ◽  
Presentation Strategy ◽  
Creative Person

The article considers the intertextual level of V.V. Nabokov’s novel The Eye. Particular attention is paid to the analysis of reminiscences and citations from N.S. Gumilev’s literary works, which were known and appreciated by V.V. Nabokov. It is proved that the mythologized image of the poet and warrior, as well as Gumilev’s characters, are the basis of the self-presentation strategy of Smurov, the central character of the novel. Being a creative person, he invents a fictional biography for himself in order to impress the society of Russian emigrants, especially the girl Vanya, with whom he is in love. However, numerous reminiscences to the Acmeist poet’s texts demonstrate an increasing discrepancy between the courageous and selfless characters of Gumilev and Smurov, who wants to look like a hero to the others, and not to be one in reality. The irony of Nabokov is that the real Smurov turns out to be a double of the comic character of A.P. Chekhov’s story Romance with Double Bass, also mentioned in the story, which is decrypted due to reminiscences on Chekhov’s works.

scholarly journals Cognition as expression: On the autopoietic foundations of an aesthetic theory of nature

2001 ◽  
Vol 29 (1) ◽  
pp. 153-168
Author(s):  
Andreas Weber
Keyword(s):  
Aesthetic Theory ◽  
Nature Protection ◽  
Self Presentation ◽  
The Real ◽  
Autopoietic Systems ◽  
Real Presence ◽  
Mode Of Being ◽  
Autopoietic Theory ◽  
Basic Level ◽  
Material Constraints

This paper attempts to put forward an aesthetic theory of nature based on a biosemiotic description of the living, which in turn is derived from an autopoietic theory of organism (p. Varela). An autopoietic system's reaction to material constraints is the unfolding of a dimension of meaning. In the outward Gestalt of autopoietic systems, meaning appears as fonn, and as such it reveals itself in a sensually graspable manner. The mode of being of organisms has an irreducible aesthetic side in which this mode of being becomes visible. Nature thus displays a kind of transparency of its own functioning: in a nondiscursive way organisms show traces of their conditio vitae through their material self-presentation. Living beings hence always show a basic level of expressiveness as a necessary component of their organic mode of being. This is called the ecstatic dimension of nature (G. Böhme, R. Corrington). Autopoiesis in its full consequence then amounts to a view reminding of Paracelsus' idea of the signatura rerum (c. Glacken, H. Böhme): nature is transparent, not because it is organized digitally as a linguistic text or code, but rather because it displays analogically the kind of intentionality engendered by autopoiesis. Nature as a whole, as «living fonn" (S. Langer), is a symbol for organic intentionality. The most fundamental meaning of nature protection thus is to guarantee the «real presence" of our soul.

The Making of an Intellectual Hero: Chinese Narratives of Qian Xuesen

2011 ◽  
Vol 206 ◽  
pp. 352-371 ◽  
Author(s):  
Ning Wang
Keyword(s):  
Role Model ◽  
The State ◽  
Self Presentation ◽  
The Real ◽  
Official History ◽  
Unofficial History ◽  
The Media ◽  
National Defence

AbstractBetween 1991 and 2001, Qian Xuesen, China's leading missile expert, was given an array of honourable titles by the state, followed by eulogistic narratives by the media and his biographers. This article analyses three forms of Chinese narratives about Qian: commendations from the state, stories told by his biographers, and Qian's self-presentation. It aims to show that although the CCP showered Qian with compliments seemingly because of his contributions to China's national defence and space programmes, the real reasons were Qian's political fidelity and the Party's aim to build a role model for intellectuals to emulate. The article demonstrates that Maoist practices of “hero construction” and using history for the present persist in the post-Mao period with some variations, and that the writings of “unofficial history” are heavily influenced by official history.

scholarly journals The Personality of N.S. Gumilev as a Standard of the Main Character’s Behavior in V.V. Nabokov’s Novel The Eye

2021 ◽  
Vol 6 (2) ◽  
pp. 198-211
Author(s):  
Anton V. Filatov
Keyword(s):  
Double Bass ◽  
The Self ◽  
Central Character ◽  
The Novel ◽  
Literary Works ◽  
Self Presentation ◽  
The Real ◽  
Presentation Strategy ◽  
Creative Person

The article considers the intertextual level of V.V. Nabokov’s novel The Eye. Particular attention is paid to the analysis of reminiscences and citations from N.S. Gumilev’s literary works, which were known and appreciated by V.V. Nabokov. It is proved that the mythologized image of the poet and warrior, as well as Gumilev’s characters, are the basis of the self-presentation strategy of Smurov, the central character of the novel. Being a creative person, he invents a fictional biography for himself in order to impress the society of Russian emigrants, especially the girl Vanya, with whom he is in love. However, numerous reminiscences to the Acmeist poet’s texts demonstrate an increasing discrepancy between the courageous and selfless characters of Gumilev and Smurov, who wants to look like a hero to the others, and not to be one in reality. The irony of Nabokov is that the real Smurov turns out to be a double of the comic character of A.P. Chekhov’s story Romance with Double Bass, also mentioned in the story, which is decrypted due to reminiscences on Chekhov’s works.

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