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Samopredstavljanje na društvenim mrežama / Self-Representation on Social Networks

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Abstract

This paper presents a sociological theoretical framework for the study of self-representation in social networks. Theoretically, the paper draws on the sociological classics of E. Goffman and M. Castells, as well as work from other academic fields that have explored self-representation and social networks as social phenomena. The first part of the paper provides a contextual framework for the development of information technology and the growth of social network users, and offers some terminological clarifications. Then, the sociological approaches to the phenomena of social networks and self-representation are analysed within the framework of the dramaturgical approach. The spatio-temporal framework created by the emergence of the Internet is questioned and self-representation is examined in this context. The notion of the exhibition site that defines the new form of appearance on social network platforms, the temporal status of the contemporary form of self-representation on social networks and the asynchronous character of communication implied by this self-representation are also analysed. (Translation of the entire text in progress)
Presentation of Self on Social Networks
Ivan Perkov & Petar Šarić
Faculty of Croatian Studies, University of Zagreb
Abstract
This paper presents a sociological theoretical framework for the study of self-presentation in
social networks. Theoretically, the paper draws on the sociological classics of E. Goffman
and M. Castells and work from other academic fields in which self-presentation and social
networks have been explored as social phenomena. The first part of the paper provides a
contextual framework for the development of information technology and the growth of
social network users, and offers some terminological clarifications. Then, the
sociological approaches to the phenomena of social networks and self-presentation are
analysed within the framework of the dramaturgical approach. The spatio-temporal
framework created by the emergence of the Internet is questioned, and self-presentation is
examined in this context. The notion of the exhibition site that defines the new form of
appearance on social network platforms, the temporal status of the contemporary form of
self-presentation on social networks and the asynchronous character of communication
implied by this self-presentation are also analysed.
Keywords
social networks, social media, self- presentation, dramaturgical approach, Erving Goffman,
Manuel Castells, asynchronous communication, exhibition page
INTRODUCTION
The spread of two technological achievements, first the computer and then the Internet, has
enabled the development of social networks and social media. Their presence has reached
almost the whole world through globalization processes, and social networks have become
part of people's daily lives. Part of social life and social processes has shifted from ordinary
to virtual reality, to the sphere of social networks - platforms created for the needs of human
communication and content sharing. In preparation for interaction in social networks, people
present themselves (self-presentation) by creating their own profiles, which they design
according to the image they want to present. The aim of this article is to analyze the process
of self-presentation in social networks, primarily using sociological concepts and theories
with the help of a critical philosophical apparatus.
Self-presentation is analyzed through the prism of the dramaturgical approach of sociological
classic Erving Goffman. Bernie Hogan's concept of the exhibition site is used to apply
Goffman's approach to social media. The paper addresses the settings of the spatio-temporal
context of self-presentation and the background processes, as well as the differences in the
processes of classical and virtual self-presentation. At the same time, the concept of
asynchronous communication in virtual self-presentation is highlighted. Theoretical concepts
of sociologist Manuel Castells and philosopher Marshall McLuhan are drawn upon for a
deeper understanding of the interrelationship between society and information technology.
Furthermore, the theses and concepts of contemporary authors who have dealt with this topic
are analyzed and critically interpreted, especially by authors who have applied Goffman's
concepts.
The Context of the Growing Importance of Social Networks in the Information Age
The beginning of the 21st century is marked by the widespread use of computer information
technology. Sociologist Manuel Castells has addressed the sudden changes brought about by
new technological advances, the information technology revolution, which is leading
humanity into a new information age. Computers and communication systems are becoming
"amplifiers and extensions of the human mind"1 and there is an "increasing integration of
mind and machines".2 With emergence of the internet „for the first time in history the same
system unites all written, spoken and audiovisual forms of human communications“.3 The
Internet is becoming the basis of a new way of processing and exchanging information
through communication. A medium of such power as the printing press once was is having a
significant impact on human culture and "our historically established belief systems and rules
are changing radically and will continue to change more and more under the influence of the
new technological system".4 The enthusiasm behind early idea of the Internet proved to be
justified over time, so much so that Castells elaborated on the claims in his later work, saying
that
"In the network society, culture is mostly embedded in the processes of communication,
particularly in the electronic hypertext, with global multimedia business networks and the
Internet at its core".5
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A few years after publishing the book in which he cites the above mentioned quote, Castells
writes about the many social movements that have shaped today's world and would not have
been possible without the Internet.6
The relationship between the media, man and society was also studies by Marshall McLuhan.
Well known is his saying that the medium is a message, which in his view:
"...simply means that the personal and social consequences of each medium - that is, of each of our
extensions - result from the new proportions introduced into our affairs by each of our extensions or
each new technology".7
The consequences of using a medium derive not only from the content conveyed by the
medium, but also from the medium itself.8 Some authors still use McLuhan's theories to study
media, such as the tetrad about media performance.9 The tetrad concept has been applied to
the analysis of smartphones as media in the work of Isabelle Adam,10 while Kestas Kirtiklis
highlights the link between McLuhan's understanding of the potential impact of new media
on the world and Castells description of the Internet and its impact on society in the
information age.11 Castells believes that the most important change that the Internet has
enabled, and that has had a significant impact on human society, concerns the fundamental
dimensions of reality. With the advent of the Internet, a new construction of space and time
emerges. Space transforms into the so-called space of flows12, while time becomes timeless,13
which we will discuss in the second part of the article. The change in the form of space and
time on the Internet is clearly visible. The flows of exchange of heterogeneous and extensive
amounts of information between Internet users are current in the material world regardless of
their distance. Space is no longer an obstacle when it comes to the transmission of
information. The form of time is also different. The temporal rhythm of the material world
does not manifest itself in a virtual environment without a defined context that gives the
impression of a temporal flow. The flexible world of the Internet has opened up the
possibility of creating platforms for accessible forms of interaction and communication.
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The main topic of this article is not media in a broader sense, but social media, or more
precisely, social networks. In a 2011 article, Kietzmann et al.14 offer a definition and
methodological framework for the study of social media. The relationship between social
media and networks is a topic in itself, and the terms social networks15 and social media16 are
mainly used to describe online communication platforms. It can be concluded that the term
social networks in itself does not presuppose a virtual platform, but it does not exclude it
either. Platforms such as Facebook, YouTube, LinkedIn and WhatsApp can be described as
both virtual social networks and social media. The main difference is that the term social
network should primarily refer to the relationships of individuals within an internet platform,
while the term social media primarily refers to the internet platform as a medium with all the
features that open up a space for human interaction.
The extent to which active computer-mediated communication is now widespread is shown
by data presented by analyst Simon Kemp.17 He estimates that by 2020, about 4.57 billion
people will have access to the Internet, more than half of the world's population of about 7.77
billion. Compared to last year's data, the number of internet users has increased by about 301
million, while the total number of people in the world has increased by about 82 million.
According to the projections, there are 3.81 billion active social media users worldwide.
Compared to the 2019 data, the number of social media users has increased by about 304
million. Currently, the three most popular communication platforms are Facebook, YouTube,
and WhatsApp. According to Jacob Poushter et al,18 social media and networks are used all
over the world. As expected, more in developed countries, but less developed countries are
catching up at an accelerated pace. In any case, Internet-mediated interaction in social
networks has become an inevitable phenomenon in the modern world, and the formation of
one's identity in social networks has thus become a relevant issue. In the next chapter, this
identity formation, i.e. self-presentation in social networks, will be analyzed using Erving
Goffman's sociological-dramaturgical approach.
Goffman's theory and self-presentation in social networks
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In this chapter, self-presentation and social life in social networks are considered in the
context of Erving Goffman's dramaturgical approach. For a clear definition of self-
presentation, see the work of Barry R. Schlenker et al:
"Self-presentation is the conscious or unconscious attempt to control self-relevant images that are
projected in real or imagined social interactions."19
According to Laura Robinson, who advocates the application of Goffman and similar theories
to the study of human virtual personhood,20 "interaction in cyberspace perpetuates the same
self-ing that exists in the offline world".21
In The Presentation of Self in Everyday Life of 1956, Goffman develops a dramaturgical
approach that can shed light on the process of self-presentation of individuals. This approach
is characterized by the perspective of understanding social life as a theatrical performance
where the actor is an actor on the stage of reality where, given his situation, he defines his
performance.22 When an individual begins an interaction with others, they create an image of
him based on the information he reveals and the social context in which he performs, and
they relate to this formed image. The actor acts to present the desired image of himself. In
Goffman's words, performance means "all the activity of a given participant on a given
occasion which serves to influence in any way any of the other participants".23 It can be said
that an actor's performance serves the purpose of managing the audience's impressions and
this works in the following way,
"...when ones activity occurs in the presence of other persons, some aspects of the activity are
expressively accentuated and other aspects, which might discredit the fostered impression, are
suppressed".24
The point is to selectively control or suppress activities in order to better control impressions.
Actors usually control impressions in clever and sophisticated ways. Firstly, "individuals
often foster the impression that the routine they are presently performing is their only routine
or at least their most essential one"25 and secondly, "performers tend to foster the impression
that their current performance of their routine and their relationship to their current audience
have something special and unique about them".26
Self-presentation is often a delicate process, and in performance "...the performer must act
with expressive responsibility, since many minor, inadvertent acts happen to be well designed
to convey impressions innapropriate at the time".27 While performing the actor intends to
show an idealized picture of oneself:
"We consider here another important aspect of this socialization process-the tendency for performers
to offer their observers an impression that is idealized in several different ways."28
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It is important to mention the front and back stage parts of every actors self-presentation
process. The frontstage of front region implies the part of the personality that one is trying to
portray in an idealized form, while the backstage or back region implies the background in
which the captured thoughts remain inadequate in the context of one's performance.
"It is clear that accentuated facts make their appearance in what we have called a front region; it
should be just as clear that there may be another region-a back region or backstage- where the
suppressed facts make an appearance“.29
In other words,"We often find a division into back region, where the performance of a routine
is prepared, and front region, where the performance is presented".30 The continuation of this
article will address the possibility of recognizing these theoretical concepts in the virtual
world of social networks.
There have been previous applications of Goffman's theoretical toolkit to actors in the virtual
environment.31 An important contribution for studying the process of self-presentation in
social networks was made by author Bernie Hogan, whose theory was an important
foundation for the application of Goffman's theory in this paper and it secondarily also served
as a bridge to other theorists who applied Goffman's concepts to social networks. To adapt
Goffman's approach to social media, Hogan posited the idea of an exhibition site. This is "a
site (typically online) where people submit reproducible artifacts (read: data)“32with which
they present themselves and which they store in databases.
After the data is stored, the so-called curator mediates "our experience with social
information"33 when needed. It is an algorithm of a particular social network that presents the
exhibition site to the public. A search engine on the popular social network Facebook can
serve as an example of a curator. After typing the name of the person to be searched, the
curator, i.e. the Facebook algorithm, tries to offer the desired search result based on the
information available in the system, which leads to the exhibition page where the searched
person was presented. The need for such an extension of Goffman's approach stems from the
inability of humans to perform in the social network, i.e. to detach themselves from the
temporal and spatial context of a given situation.34 Among other things, the exhibition pages
are good units for the study of the presented actors in social networks, because they contain
in one place all the content that the actor wanted to present to the public.
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The question arises as to how actors present themselves on social media and whether this
form of self-presentation follows the same patterns described by the classical dramaturgical
approach. Liam Bullingham and Ana C. Vasconcelos presented the results of a joint survey of
ten interviewees.35 First, they emphasized the flexibility with which virtual self-presentation
can be designed-"users are now editors and creators designing and creating their self-
presentations, choosing what to bring to the foreground or hide in the background"36-but
regardless of the possibility of creating any social identity and imitating different personality
types, people generally choose to portray the same traits they represent in everyday physical
interactions face-to-face.37 These findings suggest that social network actors attempt to
present themselves in a consistent manner, implying that there is a high degree of overlap
between their offline and online self-presentation. It was also found that respondents
emphasized some personal attributes on social networks while suppressing others, which is
an obvious effect of impression management.38
The dramaturgical framework for the study of virtual identities in research is also used by
Jaime R. Riccio.39 Ricco believes that "Goffman believed a performance consists of any
activity of an individual that occurs during a period of continuous presence before a set of
observers, which also has some influence on observers. In no space is this more fitting than in
the setting of social media, in which a performer has both a truly continuous presence
(sometimes even after death, as in Facebook memorial pages) in the form of a profile page,
and a captive audience".40 The research involved analyzing profiles on Facebook and Twitter
over a period of time and asking research questions. One of the questions was, "What
performance roles do young adult users play in their interactions on Facebook and
Twitter?."41 To categorize identified roles in this question, Goffman's division of roles on
stage with the main actor was used, the roles are: the informer, the shill, the spotter, the
shopper, and the go-between"42 there is also a role of "the 'non-persons' who are present in the
interaction but in no way take on the role of actor or audience."43The results of research on
Facebook and Twitter show that "The roles of shill and informer remained prevalent, while
instances of someone performing as spotter or mediator were quite uncommon."44 A more
recent attempt to apply Goffman's theories to the study of self-presentation and identity
formation in social networks is offered by authors Lucie Merunková and Josef Šlerka45, they
used similar methodology defined by Jaime R. Ricco with slight changes. Using qualitative
content analysis, they examined 50 Facebook profiles of college students, eight observed
students were also interviewed using the semi-structured interview method. They went a step
further and established five categories into which they placed the students based on the
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content they discovered on their profiles. The categories of the profiles are "public diary,
influencer, career and education, hobby, entertainer," and the larger profile contained a
combination of the content from these categories.The results of the second part of the study
showed that users "consciously adapt the way they present themselves to the expected
audience" and that they "consciously control the language they use and try to align their
presentation with their real-life behavior".46
Frontstage and backstage in the context of social network
As defined earlier, frontstage implies a defined actualization of the actor's performance, i.e.
his self-presentation, while backstage refers to the background in which the frontstage is
thought and defined. The backstage plan implies a certain degree of privacy and may contain
some repressed desires and beliefs that the actor does not want to highlight in his
performance or, in the case of social networks, on his exhibition page. Among the works that
Goffman has analyzed so far and applied to social networks, the understanding of the
frontstage and backstage domains in relation to social networks differs significantly.
Hogan briefly addresses the issue of backgrounds in social media, criticizing authors who
want to portray certain parts of social media profiles as an actor's backstage. Hogan
emphasizes the importance of a third actor, namely the owner and moderator of social
networks, and argues that a person presenting him or herself on a social network may want to
narrow down his content to acceptable groups of people, which does not mean that this
content is part of the backstage. It could also be seen as a part of the frontstage, but limited to
the scope of a social group in which actor wants to present himself. 47
Bullingham and Vasconcelos lean towards the idea that the frontstage is the self-presentation
on social networks, while the backstage is an offline person in the material world that defines
the virtual self.48 Ricco touches on the idea of frontstage and backstage in the research
question, "What parts of interaction do Facebook and Twitter present?".49 The author presents
Facebook as a social medium suitable for frontstage content, while seeing Twitter more as a
backstage for actors.50 Merunková and Šlerka also address the question of frontstage and
backstage based on the feedback they received from their interviews. They define the
exhibition page as the frontstage in social networks, while backstage is associated with the
private messages that social network users exchange with each other,51 because, as they note:
"The users themselves confirmed that both the form and the content of their presentation and
interaction that take place in the front region (in the personal profile) and in the back region (during
chat) differ, thereby confirming our hypothesis that Facebook is not just a back region, where the
user enjoys his privacy, but also a front region where the user presents his carefully prepared
identity."52
It is interesting to note that all four approaches to frontstage and backstage on social media
profiles differ, which does not necessarily mean that the validity of one precludes the validity
of the other. The only view that can be questioned is that of Twitter as part of the backstage.
,(&+
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It is hard to argue that the content users share on Twitter forms the backstage because, after
all, it is intended for the audience. What can be concluded is that exhibition sites on a social
network platforms can certainly be seen as a part of actors frontstage.
Asynchronous nature of self-presentation in social networks
Characteristic of all the above studies that have investigated self-presentation in social
networks is that they refer to exhibition sites where actors present themselves. These were
either interviews, in which users were asked how they form the content on their exhibition
sites, or a direct examination of the available content that appeared on an individual's
exhibition site.
The content of a person's exhibition site implies an organized and well-structured collection
of information with which the actor wanted to present himself carefully. Ricco describes
activity on social media sites as " reality show, even the most mundane minutiae of one’s
existence are brought into dramatic play and the proliferation of images shared on one’s
profile read like scenes from a live-action film".53 The site of exhibition, e.g. the Facebook
profile, is a high quality source of information for some people to explore and investigate the
ways of self-presentation, precisely because of the spatio-temporal continuity and easy
accessibility implied by this social networking site.
Castells uses the aforementioned notions of fluid space and timeless time to describe the
change in the construction of time and space brought about by the advent of the Internet.54 He
also offers a simple description of fluid space:
Localities become disembodied from their cultural, historical, geographical meaning, and
reintegrated into functional networks, or into image collages, inducing a space of flows that
substitutes for the space of places“.55
He describes timeless time as follows:
„Time is erased in the new communication system when past, present, and future can be programmed
to interact with each other in the same message.“56
With the development of virtual world culture and the Internet, time has changed in two
ways: "simultaneity and timelessness"57 and, at the same time, "instant information through-
out the globe, mixed with live reporting from across the neighborhood, provides
unprecedented temporal immediacy to social events and cultural expressions".58
"Timelessness" can be seen as "the mixing of times in the media, within the same channel of
communication and at the choice of the viewer! interactor, creates a temporal collage, where
not only genres are mixed, but their timing becomes synchronous in a flat horizon, with no
be ginning, no end, no sequence."59
In determining the concept for the exhibition site, Hogan noted that "In contrast to situations,
many social media sites do not depend on being bounded in space and time".60 What makes
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self-presentation on social media platforms possible and practical are the temporal and spatial
possibilities of the virtual world. Exhibition sites on social networks can be accessed at any
time and from any location connected to the network. Social networks provide a platform
where a third party (the curator mentioned above) directs search engines to a particular
exhibition page.61 It follows that the process of self-presentation has changed in the context of
a networked society that uses social media platforms for presentation and communication.
However it is still not entirely clear what this new form of self-presentation is that manifests
itself as an exhibition site on social media, and what exactly distinguishes this type of self-
presentation from that which takes place in the everyday world of face-to-face interaction.
In order to categorise and describe this new form of self-presentation, it is worthwhile to
consider the notion of synchronous and asynchronous communication. The definition of these
terms comes from the work of Richard Caladin, who states that "Synchronous interactions
are those that happen more or less at the same time".62 Terms of synchronous and
asynchronous appear with theories about studying.63 The synchronous type of communication
implies real-time interaction, while the asynchronous type of communication is not limited to
the classical space-time framework, which the author shows with simple examples, citing
virtual chat groups for discussions as a synchronous type of communication and email
messages as an asynchronous interaction, since email is not limited to a specific situation but
is more flexible in time.64 These asynchronous and synchronous groups refer to dialogue, but
the author also offers a category of representations to which the same principle is applied. An
example of a synchronous presentation would be a live broadcast, while an example of an
asynchronous presentation would be a web page or a recording.65 Social network exhibition
sites would belong to the asynchronous representation mode, where the process of creating
the exhibition page would be an asynchronous moment, as in a face-to-face interaction, but
taking place outside of a temporal context and solely subject to the spatio-temporal properties
of the virtual world.
Hogan notes that the major drawback of the exhibition page approach presented is that "The
exhibitional approach does not cover all online interaction, much like the dramaturgical
approach does not cover all off-line interaction".66 This is quite true: the exhibition approach
is effective in defining asynchronous self-presentation on social networks, but social
networks offer a very wide range of tools that open up space for both synchronous types of
communication and synchronous self-presentation. Facebook, for example, offers all users
the option of live streaming. The user can record and communicate with his Facebook friends
in real time. In this case, the presentation is not done by creating an exhibition page, but in a
real-time broadcast, which is an example of synchronous communication. Once the
transmission is completed, the user can keep this transmission on his exhibition page, so the
recording becomes part of his asynchronous exhibition page.
Today, there are many Internet platforms that practice the synchronous form of presentation
and communication, and in the wake of the SARS-CoV-2 pandemic, their popularity is
increasing dramatically, making platforms like Zoom, Microsoft Teams, and Google Meet
part of many people's everyday lives. They enable real-time conferencing, meetings, teaching
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and many other activities. However, it seems that in synchronous communication, the
Internet provides only a simulated form of face-to-face interaction, while in asynchronous
communication, the space-time infrastructure of the Internet has opened up a whole new
world of interaction that did not exist before, except in some more elementary forms (a
resume, for example, can be interpreted as a kind of pre-Internet version of asynchronous
self-presentation).
Asynchronous and synchronous self-presentation can differ significantly. In the case of
synchronous face-to-face interaction, it is sometimes difficult to create the desired image that
the process of self-presentation is supposed to convey and maintain. This is also noted by
Goffman who claims that small and harmless reactions, such as stuttering, can easily disrupt
the performance that the actor is trying to maintain.67 When creating an exhibition page on a
social network, the actor has enough time and opportunity to avoid all the pitfalls of everyday
life which could interrupt the performance in real time. At first glance, this may seem like a
positive feature of asynchronous self-presentation. The safety of asynchronous self-
presentation is probably one of the reasons for the success of social networking platforms that
offer the ability to create exhibition pages. It can also be put into question how the virtual
world, full of perfectly self-presented individuals affects the state of mind of a person who is
aware of his or her own weaknesses on a daily basis. But that is a question beyond the focus
and scope of this article.
CONCLUSION
In this paper, the process of self-presentation in social networks was critically examined. The
revolution of information technology was already recognized by M. Castells at the end of the
20th century. In his extensive work, he offered concepts for understanding the then new
world of the Internet, and these concepts are still relevant today. Space of flow and timeless
time give a quality description of the transformation of the space-time dimension with the
advent of the Internet. Erving Goffman's dramaturgical approach was used to describe the
process of human self-presentation in social media. The notion of the exhibition page offered
by Bernie Hogan was used to adapt Goffman's approach to the study of social media profiles.
A representative number of works that have used Goffman's concepts to explore people's
actions on social media were examined. Although the authors do not specify that this is a
study of exhibition sites, the methodology of the papers makes it clear that the focus is on
exhibition sites and the ways in which actors present themselves on them. The results of these
studies generally showed that self-presentation on social media, albeit often in the form of an
exhibition site rather than a standard face-to-face performance, followed similar motivations
and methods of impression management as the face-to-face interactions for which Goffman's
theory was originally intended. Actors wanted to present themselves in the best possible light
on social media and generally took their presentation very seriously, so they tried to present
themselves in accordance with their desired image in the real world. Some secondary
Goffmanian concepts were also recognized, for instance the social media and the exhibition
side can be clearly identified with what is called the frontstage.Since the content of the self-
presentation followed the patterns cited by Goffman, the work was directed at the part that is
clearly different, namely the mode of self-presentation.While everyday face-to-face
interaction is characterized by a synchronous mode of self-presentation through performance,
virtual social networking platforms have opened the space for the development of an
asynchronous mode of self-presentation through exhibition sites. It has also been pointed out
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that in the background of this phenomenon are the space-time capacities of the Internet,
which open up the possibility of such a phenomenon. It can be said that the Internet and
computers have been "a message" that has significantly altered the space-time construction
itself, especially for social reality. A social medium like Facebook is an open database where
anyone can edit their own exhibition site and simply present the image of themselves that
they want. In this context, the social network platform offers a timeless and crystallized
image of the individual that can be accessed from any internet-connected corner of the world,
diminishing the importance of the traditional space of place. The continuation of the analysis
and research presented in this paper could go in the direction of discovering the possible
social consequences of the global spread of asynchronous type of self-presentation.
ResearchGate has not been able to resolve any citations for this publication.
Article
Full-text available
To investigate how people form their identity on social networks and control the impressions they invoke in their audiences, we analyzed personal profiles of 50 university student Facebook users using Erving Gofmann´s dramaturgical theory. We identified five basic forms through which users create and present their identities: The Public diary, The Influencer, The Entertainer, Job and education and Hobby, as well as the appropriate secondary roles performed by users who interact with them.These findings are corroborated by 8 semi-structured interviews with respondents, which enable a more in-depth exploration of the way they use Facebook, the social interactions they participate in, their motivation for posting contributions, and how they engage in impression management, perceive privacy and resolve issues caused by multiple audiences.A better understanding of how privacy is conceived and what motivates users to share their personal information online is essential for public authorities’ cooperation on shaping company privacy policies and creation of appropriate legal regulations.The key results confirm the presence of conscious effort to make a desired impression and prove Goffman’s theory of face-to-face interactions to be relevant in the context of online social networks.
The Web's a Stage: The Dramaturgy of Young Adult Social Media Use«, Theses -ALL, br
  • Jaime R Riccio
Jaime R. Riccio, »All The Web's a Stage: The Dramaturgy of Young Adult Social Media Use«, Theses -ALL, br. 16, Siracuse University 2013. Dostupno na: http://surface.syr.edu/ cgi/viewcontent.cgi?article=1007&context=t-hesis (pristupljeno 15. 4. 2021.).
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