Search

Copyright of REDER: Revista de Estudios Latinoamericanos sobre Reducción del Riesgo de Desastres is the property of Corporacion Gestion de Riesgos y Desastres (GRID-Chile) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ámbitos: Revista de Estudios de Ciencias Sociales y Humanidades is the property of Asociacion de Estudios de Ciencias Sociales y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Social networks integrate adolescent daily life by configuring modes of socialisation, negotiation and self-representation through different practices that operate as subjectivation resources and condition the gender experience. The objective of this study is to explore the production of selfies and videos among adolescents from Puebla (Mexico) and Galicia (Spain) from a gender, territorial, and sociocultural perspective. A survey study was carried out using an online questionnaire designed ad hoc and applied to 6,654 adolescents (14-17 years), with different gender identities, from public secondary schools in Puebla and Galicia. The results show that the selfie is a more widespread practice among adolescents than video, with revealing differences in its production. Similarities are evident in the level of preparation and the motivations that lead to these practices. Gender differences are found in their production in terms of intentions, materialities, and body expression. The family’s sociocultural level and the territory are visualised as realities that affect the production of these practices. The conclusions point to a transition of knowledge and meanings between the selfie and video and the relevance of analysing gender experience on social networks in light of the forms of power they exercise there. [ABSTRACT FROM AUTHOR]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Observar is the property of Revista Observar and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Immaterial is the property of BAU, Centro Universitario de Diseno de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papeles del CEIC is the property of Centro de Estudios sobra la Identidad Colectiva, Facultas de Ciencias Sociales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study proposes an understanding of the selfie as a self-representation device, which modifies the symbolic interaction between the self and society. Besides, the relevance of Goffman's and Benjamin's conceptual frame will be evaluated. Both authors understood in some way that the actor had an identity in flux. The analysis of the selfie from the perspectives of Benjamin and Goffman allows to comprehend the complexity of the fragmentation of the self. The selfie promises symbolic interaction, characterized by the loss of uniqueness, asynchrony and the fragmentation of self. [ABSTRACT FROM AUTHOR]

Copyright of Nomadas (01217550) is the property of Universidad Central and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nexus (1900-9909) is the property of Universidad del Valle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This work analyzes the use of the social network Instagram by Spanish deputies in the present legislature (initiated in 2016), and pays special attention to the management of the posts and the possible strategies of humanization developed in that eminently visual media. A content analysis was carried out, complemented by a qualitative analysis; this allowed to address several aspects, such as the degree of use by the deputies, the representation of space, the degrees of intimacy, and the style of communication. It was found that the use of Instagram played with the illusion of closeness and access to private and intimate aspects of the deputies' lives, and above all, Instagram showed them as common people. Deputies' usage revealed a conventional aspect of Instagram -the social network holds great possibilities for political communication. [ABSTRACT FROM AUTHOR]

Copyright of Anáhuac Journal is the property of Universidad Anahuac del Sur S.C. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The complexities that involve selfies could not be contemplated in a single article. Thus, our goals are to provide a brief epistemological framework that allows a plausible interpretation of this photographic genre and to present the methodological approaches to the selection of a corpus for a possible self-portrait analysis on Instagram. We conclude that, despite the polysemic nature of social networks, it is possible a taxonomy of selfie applicable to other current photographic genres in media culture. [ABSTRACT FROM AUTHOR]

This article proposes a reflection on the selfie, not only for the presentation of the user in social contexts of interaction, but also as a creative, playful or self-reflective socio-technical practice upon himself, body and personal identity, through mobile. This practice of self-portrait, usually linked to everyday personal narrative becomes, through internet, a public practice that may have a wide audience. In this sense, it could also be understood as a new cultural form of social presentation of self that entail work-pierced of the personal identity of a relational way, either as a public performance of self or as a result of a performative practice on own body. [ABSTRACT FROM AUTHOR]

Copyright of Revista Fotocinema is the property of Revista Fotocinema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the contemporary world we witnessed the search by the new media of their own narrative identities. These are accompanied, generally, to novel uses of technology. In this sense, the universe of virtual social networks proposes different ways of telling visual stories, along with experiments with multimedia, video games and various forms of transmediation. In that area coexist narratives and old uses of media, converge and practices of previous sense that are baptized with new nominations. Virtual social networks are embedded in a narrative dynamic of I (self), befitting of the Internet. The subject of communication, -sometimes called prosumer- usually counts oneself, has friends, followers and tells his/her everyday life for them. Around these dynamics, the image is central. Hence photography is held as the privileged practice in this space. The selfie -self-made photograph- is a narrative of virtual social networks. However, in its existence and genealogy other languages participate, such as myth, painting, literature, photography as art and various social incorporation of the technologies involved. These senses are the ones we want to track from an essay based on an archaeological perspective bibliographic relationships, and from there allow a philosophical reflection of a current phenomenon unexplored, always focusing our interest on the communications aspect of social dynamics that unfold through these uses of the image. What are the constituent elements of a photograph, a product of a self-made image to be shared on the Internet? How much of this personal relationship with the image belongs to the natural subject and how that is crossed by culture? To whom is it addressed? What does it communicate? What does the communication have to say? The Selfie phenomenon is relatively new, at least not enough to have academic and scientific materials that address the issue. The subject is of interest to the press in connection with new youth practices, hence there are newspaper articles that reflect the phenomenon without going into depth. The current text is proposed as a racconto of information, historicizing and a starting point for deepening research and analysis of the phenomenon of selfie, from a communications perspective. [ABSTRACT FROM AUTHOR]

Copyright of Revista Fotocinema is the property of Revista Fotocinema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)