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Introduction Adolescence, when physical body image changes occur, is highly vulnerable to the development of eating disorders. At this age, there is an acute task of accepting oneself as another - an adult who has changed. Objectives To study the features of the image of an adult in young people with eating disorders. Methods The study involved 58 girls (from 17 to 22 years old). The main group included 31 people with a high risk of eating disorders, the control group - 27 people with an average and low risk. Respondents filled in: Taylor Manifest Anxiety Scale, Eating behavior rating scale, projective drawing of an adult and child, association test about words «adult» and «child» Results 1. A high level of personal anxiety was revealed in the main group; 2. The visualized image of an adult in the main group has more distortions and fewer signs of gender identification than in the normal group; 3. Semantic ideas about adulthood in the main group are negatively emotionally colored and include categories related to eating behavior; 4. Semantic ideas about childhood in the main group are more negatively emotionally colored, and ideas about the present are more connected with appearance than in the control group. Semantic ideas about the future in this group are often negatively colored. Conclusions Figurative and semantic ideas about childhood, adulthood and about oneself in the present and in the future in girls with eating disorders have qualitative characteristics in comparison with the control group. Disclosure No significant relationships.

Michel Foucault’s work made Pliny’s correspondence one of the turning issues towards the so-called self-care, initiated at the beginning of the second century BC. This paper proposes an analysis of the corporal constructions in Pliny’s correspondence via the self-representation’s process. Its aim is to reconsider the whole places of learning and practice of the body according to a qualitative nomenclature of the ‘body-in-representation’ suggested by Pliny the Younger (mores, gestures, age).

While playing an important role in psychic development and sustenance as well as in triggering or causing psychopathology, neighbors have attracted little attention from psychoanalysts. Freud's wry protest against the Biblical injunction to love thy neighbor as thyself and Volkan's psychopolitical studies of ethnic neighbors are exceptions in this regard. Taking them as a starting point but going much farther, this paper elucidates the complex relationships that exists between actual neighbors. It also sheds light on the "neighborly" aspects of the analyst–patient bond. Finally, it underscores the existence of unassimilated self‐representations within each individual that can be viewed as neighbors to his or her core self and deserve benevolent acknowledgment and acceptance. [ABSTRACT FROM AUTHOR]

This article explores potentialities for experiencing trans joy via creative praxis, which the author coins "trans failure." As the author defines it, trans failure builds on examples set by queer failure, such as casting off limiting cultural norms (like binary gender and oppressive framings of what identities should look like), and incorporates new strategies such as deploying play as a means of self-articulating beyond the bounds of what is currently available. Trans failure's use of play has a utopian impulse often achieved via alternating strategies of theatricality, pleasure, collaboration, and experimentation in a mode of enacting alternative worlds and experiencing joy. The article discusses how play, a strategic mode of trans failure, is used to intervene in consumer culture and to work toward self-articulation and the procurement of joy. First, an explanation of gender as we understand it today is sketched out. Then, issues around representations of trans constituencies are discussed as problematically informed by dominant conceptions of gender and perpetuated in mainstream consumer culture. Then two distinct contemporary projects that disrupt the space of consumer culture are analyzed, deploying what the author names a praxis of trans failure in search of creating joy. [ABSTRACT FROM AUTHOR]

This article analyzes emerging artificial intelligence (AI)-enhanced lie detection systems from ethical and human resource (HR) management perspectives. I show how these AI enhancements transform lie detection, followed with analyses as to how the changes can lead to moral problems. Specifically, I examine how these applications of AI introduce human rights issues of fairness, mental privacy, and bias and outline the implications of these changes for HR management. The changes that AI is making to lie detection are altering the roles of human test administrators and human subjects, adding machine learning-based AI agents to the situation and establishing invasive data collection processes as well as introducing certain biases in results. I project that the potentials for pervasive and continuous lie detection initiatives ("truth machines") are substantial, displacing human-centered efforts to establish trust and foster integrity in organizations. I argue that if it is possible for HR managers to do so, they should cease using technologically-based lie detection systems entirely and work to foster trust and accountability on a human scale. However, if these AI-enhanced technologies are put into place by organizations by law, agency mandate, or other compulsory measures, care should be taken that the impacts of the technologies on human rights and wellbeing are considered. The article explores how AI can displace the human agent in some aspects of lie detection and credibility assessment scenarios, expanding the prospects for inscrutable, "black box" processes and novel physiological constructs (such as "biomarkers of deceit") that may increase the potential for such human rights concerns as fairness, mental privacy, and bias. Employee interactions with autonomous lie detection systems rather with than human beings who administer specific tests can reframe organizational processes and rules concerning the assessment of personal honesty and integrity. The dystopian projection of organizational life in which analyses and judgments of the honesty of one's utterances are made automatically and in conjunction with one's personal profile provides unsettling prospects for the autonomy of self-representation. [ABSTRACT FROM AUTHOR]

This article examines visual representations of kisaeng (courtesans) in photographs and photo postcards, produced by Japanese entrepreneurs and kisaeng themselves, by viewing them as a contentious site of the historical memory of Japanese colonialism. It problematizes the nation-focused narratives on kisaeng in postcolonial South Korea as these narratives fail to recognize the complex dimension of the imagemaking process that cannot be fully grasped by the dialectic of the colonial aggressor and its victim. Instead, this article shows how kisaeng exercised their agency by actively engaging in producing visual images of themselves as a politically conscious response to the colonial reality. The author pays special attention to visual images appearing in the magazine Changhan, which was established by a group of kisaeng, to underscore women's political intervention in the visual regime of colonial capitalism. The women's voices embedded in Changhan are crucial, since they not only problematize their othered social position constructed by colonial capitalism and patriarchy but also lead us to investigate their interventions in the politics of representation that moved strategically across tradition and modernity while shifting their position from object to subject, and vice versa, revealing their tactical maneuver of the technological implications of visual politics. [ABSTRACT FROM AUTHOR]

This article employs an anthropology 'at-home' approach to discuss dimensions of social and cultural changes amongst women in posttransitional societies. By applying person-centred ethnography, we aim to provide rich insights into the socio-cultural context and individual development of a young woman in Croatia. We examine how a young woman reasons about what kind of a person she is and wants to become by comparing the different sets of basic values that she ascribes to her emancipatory efforts, with a focus on how she juxtaposes 'traditional family roles' and 'feminist values'. The article thus describes how this woman (Jadranka) experiences life challenges and shapes social values in her everyday cultural settings. [ABSTRACT FROM AUTHOR]

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This article explores the intertextual relationship between women's glossy fashion magazines and Instagram. As the boundaries between the two formats are becoming increasingly porous – with visual conventions and discourses flowing bi-directionally between women's magazines and Instagram – this article questions how they mutually reshape each other and the representations of femininities they carry. It explores the tensions emerging from these media's distinctive ethos of gendered representation, and it questions how the politics of gender representation can be negotiated through aesthetic practices. This research empirically grounds these discussions in a multi-sited qualitative textual analysis, comprised of both a sample of 18 issues of three glossy women's magazines' titles (Cosmopolitan, Glamour, Vogue) and a sample of 77 randomly selected female 'ordinary' Instagram users (i.e. not celebrities or Insta-famous users), aged 18–35. Both Instagram and women's magazines link gendered beauty to aesthetic values and the ability to look good in photographs, thus incentivising the pursuit of Instagrammable aesthetics. However, both formats can also highlight the everyday political potential of aestheticised representations. Relying on user-generated representations, Instagram has the potential to showcase a wider diversity of femininities, which can help to broaden the scope of who can be deemed photographable – an idea echoed by women's magazines' adoption of a popular feminist tone. These celebrations of diversity, reminiscent of strategies of visibility politics, and politicised discourses become materialised through aesthetic practices both within Instagram and women's magazines. Yet, despite the emphasis on a social media-inspired feminist and political tone, political engagements on these media can also become enmeshed with postfeminist sensibilities, thus conflating fashion, beauty, and empowerment. This article explores how the on-going changes in these multi-layered and intertextual representational practices echo broader cultural and political transformations in contemporary visual cultures. [ABSTRACT FROM AUTHOR]

This paper aims at unpacking the cultural, historical and political significance behind the representations (including pictures, caricatures, journalistic articles, etc.) and self-representations of Rachel Félix (1821–1858), the first prominent Jewish performer on the French and British and American stage, as a prism which may afford a broader discussion about the literary formations of the figure the Jewish female artist Félix, renowned for her exquisite beauty and daring sensuality, serves as an excellent paradigm of how Jewish artists used and, at times, manipulated their "biblical"/"oriental"/ "sensual" beauty with the aim of promoting their artistic career. My discussion, adopting a New Historicist outlook, also aims at explaining the correlation between such literary formations and their political implications with regards to the representation of Jewish artists. Since the identity of an actress is so obviously "constructed," and because of the intricate relationship between the Jewishness, artistic vocation and femininity, the figure of Félix provides a direct engagement with a particular set of cultural and political assumptions about Jewish female artists. Looking at Félix's literary and artistic representations by her contemporaries and at her own self-representation as reflected on the stage and in her letters leads us to a better understanding of the relationship between the cultural, political and artistic constructs of Jewish female artists. [ABSTRACT FROM AUTHOR]

When you and I share an experience, each of us lives through a we-experience. The paper claims that we-experiences have unique phenomenality and structure. First, we-experiences' phenomenality is characterised by the fact that they feel like ours to their subject. This specific phenomenality is contended to derive from the way these experiences self-represent: a we-experience exemplifies us-ness or togetherness because it self-represents as mine qua ours. Second, living through a we-experience together with somebody else is not to have this experience in parallel with the experience of the other. Rather, the paper argues that a we-experience is partly co-constituted by the experience of the other. After offering an account of the phenomenality and constitution of we-experiences, which traces these two elements back to the subject's self-understanding as a group member, the paper argues for the claim that an experience's for-us-ness is committal to this experience being co-constituted by another we-experience. [ABSTRACT FROM AUTHOR]

The sharenting practice, or the sharing of one's parenting and children online, has become a popular topic of critical focus that decries it as an exploitative disregard for children's privacy and rights. The practice is performed, however, by a population (i.e., parents) that is generally inclined to protect its children, raising the present research question of whether sharenting could be alternatively guided by self-presentational goals. Guided by the theoretical notion of the extended self, the present study qualitatively examines parents' Instagram posts using constant comparative analysis to identify how parents self-present in their sharenting posts. The results identify three self-presentational categories that illustrate how parents' social media posts that depict a parent–child relational identity may actually be intended representations of the parent's self. Implications for theory are discussed, as well as practical implications for the appropriate management of parents' identities in a manner that respects children's rights and privacy. [ABSTRACT FROM AUTHOR]

Copyright of Estudios Atacameños is the property of Estudios Atacamenos 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 Archivio di Etnografia is the property of Pagina Societa Cooperativa 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 Revista Numismática Hécate is the property of Revista Numismatica Hecate 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 following article we propose to reconstruct, through the numismatic record, the image of power shaped in the mints of Segestica and Viminacium by the emperor Gallienus (253-268). After a brief historical introduction, we will first examine the two mints in question, and then go on to statistically analyse their numismatic production: the denominations used, the most frequently repeated reverse legends, the divinities most involved in numismatic propaganda, the most frequently used configuration of the emperor's image on the reverse and finally, the most common reverse types related to the army and the triumph. We will see how much of the emperor's propaganda effort is focused on promoting Gallienus as a battle-hardened and victorious general, his legions as loyal to his figure and the lasting peace that his campaigns bring to the Danubian limes and adjacent regions. [ABSTRACT FROM AUTHOR]

In a cinematic era where audiovisual production trascends the film industry boundaries, expanding and reshaping itself in multiple amateur configurations, the authorial role undergoes profound trasformations due to the theoretical focus shift from medial products to the audiovisual practices and processes. Within such framework, in parallel with mainstream and star authorships, the amateur author interacts with a dynamic and intermedia environment that allows the proliferation of narrative possibilities, along the path from vernacular and home modes up to Instagram stories and reels. The amateur authorship therefore becomes a privileged setting to develop and evolve the long tradition of the selfportrait into participatory and user-generated audiovisual forms, whose resemantization contributes to reformulate the methodological and operative connection between amateur and author. Based on these premises, the essay aims to investigate and describe the amateur audiovisual authorship, to specifically dwell on peculiar self-representative manifestations. According to such purpose, two Italian case studies will be analyzed, Italy in a Day and Fuori era primavera —Viaggio nell'Italia del Lockdown, both particularly emblematic as productive outcomes of the interaction between the director as author (at the service of the mise-en-scène?) and prosumers' participatory and performative creativity, with the purpose of questioning the role and function (even the existence?) of an amateur authorship in the contemporary audiovisual scenario. [ABSTRACT FROM AUTHOR]

Digital media and human mobility are intrinsically connected in an era where the human and the technological converge for representation and agency. In this context, platforms such as TikTok become prime spaces for diverse creative voices. This study constitutes the first exploratory analysis of TikTok as a medium where migrants embody their belonging through aspirational, performative, and self-governance creative and platformed practices. Through a content and discourse analysis of 198 videos gathered with relevant hashtags, using a Python script, we delve into the content created by Latin American migrants in Spain and the United States. The concept of platformed belongings is theorized in their use of TikTok's affordances and vernaculars to express aspirations to be part of certain socioeconomic, national, cultural, and digital communities. This is achieved through a range of storylines, from collective identities that align with expected values to stern challenges to oppressive norms. In this sense, we argue that platformed belongings enable migrants to reclaim their rights and negotiate existing symbolic boundaries by achieving different levels of visibility within this platform. [ABSTRACT FROM AUTHOR]

The article analyzes experiences in archaeology and ethnology museums in Brazil that promote collaborative actions with Indigenous peoples involving studies of collections, exhibitions, preventive conservation, and collection management policies. We reflect on how these practices supplant thoughts and practices of the past concerning Indigenous rights, especially those related to the dialogic relations between Indigenous people and museum professionals, and the inherent conflicts, disputes and negotiations involved in decision-making. We rely on published articles, documentation of exhibitions, and testimonies from Indigenous people to understand the development of and contributions to collaborative processes, presenting reflections on experiments that point us to circumstances and possibilities of joint/shared activities from representation to self-representation as expressions of the active participation of Indigenous peoples in museums. [ABSTRACT FROM AUTHOR]

In contemporary European societies, which for decades have been going through a process of redefinition as a result of migratory phenomena, Islamophobia is certainly one of the conflicts that must be discussed and tackled. The Norwegian postmigration literature, which portrays the life of the "second generation", provides interesting insights into this problem. If on the one hand there are many cases showing that Islamophobia negatively affects the lives of young Muslims, on the other they express the desire to talk about themselves and to be recognized as full-fledged Norwegian citizens. [ABSTRACT FROM AUTHOR]

Copyright of Index.Comunicación is the property of Index.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 use of gendered occupational titles by women in higher-education settings has rarely been discussed either in the Saudi context or at the international level. This study investigates how Saudi women academics tend to represent themselves in their titles, in particular whether they use Arabic feminine or masculine markers. A corpus of 558,474 CVs was extracted from CVs published on Saudi women academics’ websites at the two largest Saudi universities: King Saud University and King Abdulaziz University. The data gathered was analysed quantitatively. The frequencies of gender markers attached to positions’ titles were analysed by adopting a corpus-based variationist linguistics. The findings reveal that the majority of Saudi women academics use more masculine markers in their academic titles than feminine gender markers. The study finds that both type of institution and the hierarchy of the academic discipline plays a significant role in the tendency to use masculine markers with the professional title, however, the academic discipline has no significant effect on the usage of masculine form. This study provides a cross-linguistic review of the use of gendered markers in other languages, such as French, German and Polish. It compares its findings with the findings of available international studies, a point that contributes to the significance of this study. It is hoped that this study will shed light on linguistic practices that should be reflective of policies that aim to empower Saudi women. This study contributes to a growing research of language and gender that focused on the linguistic representation of the titles of professional women and how grammar can be reflective of practices that are hindering women’s empowerment in gender-specific languages.

With the emerge of online social networks in recent years, the phenomenon of the extensive presence of Based on Gaffman's theory, celebrities use social networks as a front-end tool to offer their desired “self” to their audience. To this end, a comprehensive model of celebrity self-representations in the medium was presented through assessing self-representation patterns, methods and strategies.we selected 391 posts of Instagrams from the pages of the 5 most popular Iranian celebrities by targeted sampling. The results of qualitative content analysis on the samples obtained five self-representation patterns in their pages. These five patterns include the pattern of the representation of professional identity, the model of social activism representation, interacting patterns with the audience, the pattern of political activism and the pattern of representing everyday personal life. Each of the first three patterns contained different strategies for self-representation, which were described as sub-types. Five characters were obtained using semiotic interpretations and evaluating implicit implications of the patterns: being specific and popular; being belonged to ordinary level of society; being active and responsible; being approved and benevolent; and being intimate and popular. The five characters represent the celebrities as a reference group.

Recent media studies in Europe have stressed the importance of studying socie- ties’ negotiations on migration and the ability of migrants and other ethnic minorities to participate in these processes. Social media platforms have been widely praised for their openness to culturally diverse voices and representations. For minorities who have often been ignored and misrepresented in traditional media, these platforms arguably provide an empowering space where they can self-represent their identities, provide counter-representations to large and diverse audiences, and enhance their careers as media professionals. The video streaming social media platform, YouTube, is at the forefront of media participation. However, YouTube also has been criticized for promoting a highly commercialized culture of self-commodification and entertainment that maintains the status quo instead of enabling progressive social change. This study presents the results of an examination of the YouTube scene in Finland, a country with the lowest percentage of foreign-born inhabitants in Northern and Western Europe, where few YouTubers with migrant backgrounds have become increasingly visible within the last few years. Drawing on interviews with YouTubers, the study presents new insights into ethnic minority participation on YouTube and challenges binary oppositions between commercialism, entertainment and social change.

Hyperspectral image (HSI) band selection (BS) is an important task for HSI dimensionality reduction, whose goal is to select an informative band subset containing less redundancy. However, traditional BS methods basically work in the Euclidean domain, and thus, often neglect to consider the structural information of spectral bands. In this article, to make full use of the structural information, a novel BS method termed as efficient graph convolutional self-representation (EGCSR) is proposed by incorporating graph convolution into the self-representation model. Since the proposed method is typically modeled in the non-Euclidean domain, it tends to result in a more robust self-representation coefficient matrix. We provide a closed-form solution to the EGCSR model, which leads to high-computational efficiency. We further propose two strategies to determine the informative band subset from the coefficient matrix. The first is a ranking-based strategy, which ranks every band by calculating the cumulative contribution, and the second is a clustering-based strategy, which treats BS as a band clustering task based on using subspace segmentation. Extensive experimental results on three real HSI datasets show that the proposed EGCSR model is dramatically superior to many existing BS methods, and with high-computational efficiency.

The present paper aims to analyse the Machiavellian power strategy that Prince Hal, the new King Henry V, develops in Henry V in order to construct a legitimate self-image. We shall argue that Hal manages to become, by means of an extremely calculated technology of self-representation, the successful Machiavellian producer of his own hero-image.

Is there a way to visually depict the image people "see" of themselves in their minds' eyes? And if so, what can these mental images tell us about ourselves? We used a computational reverse-correlation technique to explore individuals' mental "self-portraits" of their faces and body shapes in an unbiased, data-driven way (total N = 116 adults). Self-portraits were similar to individuals' real faces but, importantly, also contained clues to each person's self-reported personality traits, which were reliably detected by external observers. Furthermore, people with higher social self-esteem produced more true-to-life self-portraits. Unlike face portraits, body portraits had negligible relationships with individuals' actual body shape, but as with faces, they were influenced by people's beliefs and emotions. We show how psychological beliefs and attitudes about oneself bias the perceptual representation of one's appearance and provide a unique window into the internal mental self-representation—findings that have important implications for mental health and visual culture. [ABSTRACT FROM AUTHOR]

The article analyzes notions of self-representation that interior photographs on the walls of domestic spaces may reveal during the early 20th-century in Istanbul, Turkey. Topics discussed are coexistence of elements like calligraphic panels with figurative representations such as family relations, guidance on displaying paintings, photographic images and souvenir objects in domestic interiors, and role of photos in forming and consolidating social ties and networks.

This practice-led participatory study seeks to probe the extent to which ordinary people, in their everyday spaces, and whose voices are absent or co-opted in 'traditional' cinema, can actively participate in narrating their stories through short films. The project, titled Utaifa, entailed working with a focus group of eleven members of the Abakuria community in Kenya, over eight days, to prod-use three shorts. It relies of Homi Bhabha's cultural difference ideas, Nico Carpentier's maximalist media participation theory and conceptual discourses on self-representations. The article has three broad sections. The first offers insight into the Utaifa participants discussing their three shorts. The second unpacks the study's rationale discussing opportunities presented by access to digital platforms, gender dynamics in marginalized communities, dominance by media elites in representations, ubiquity of grand narratives at the expense of self-representations and the language question. The third section delves into the study's important insights and lessons. [ABSTRACT FROM AUTHOR]

This article analyses the film L'America me l'immaginavo. Storie di emigrazione dall'isola siciliana di Marettimo (1991) by Alina Marazzi, which reconstructs the experience of migration from the Sicilian island of Marettimo to the United States, at the beginning of the twentieth century. The narration proceeds through the memories and testimonies of women who directly experienced the facts retraced by the film, due to the departure of the men of the island: fathers, husbands and children, sailed to find a better job and salary. The subjective space is built through the aesthetics of re-appropriation of materials, encompassing some fundamental (self)-representation tools: photography, home movies, written correspondences, which are alternated with the interviews collected during the making of the film. The intimate discourses question the supposed objectivity of the historical narrative, just as the creative use of found footage exhibits the dialectical potential of the image in its relationship with the past. The article considers how the aesthetic work of re-appropriation and the systematic collection of testimonies lead the film to open a reflection on sexual subjectivity, gender identity and self-representation. [ABSTRACT FROM AUTHOR]

Copyright of Language & Intercultural Communication is the property of Routledge 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.)

A popular sentiment is that the Internet is for cute animal photos, but little has explored the visual cultures of pets and social media. The relationship between pets and social media is particularly prominent on Instagram, where pet owners often run Instagram accounts on behalf of their pets. Drawing upon in-depth interviews with 23 individuals who run Instagram accounts for their pets, I discuss three dimensions of pet photos and social media: how individuals use pet Instagram accounts to curate a "fur baby" self-representation, the unspoken politics to sharing pet photographs online, and how individuals hope they provide followers joy. While joy and pet Instagram accounts are not solutions to the Internet's problems, they do indicate how individuals work in ways to make platforms habitable. However, this joy is far from uncomplicated, as cultural dynamics of the Internet's cute economy may problematize relationships between people, their pets, and their followers. [ABSTRACT FROM AUTHOR]

This paper aims to clarify the date of birth of the Spanish Golden Age poet, Bernardo de Balbuena, based on the interpretation of a passage from his epic poem El Bernardo in which a remarkable element of his natal astral chart is presented: his birth under the great conjunction of 1563. After compiling all the available documentary information from the period, it presents a panorama on the evolution of the doctrine of the great conjunctions and evaluates the poet’s strategy of self-dignification through signaling of his birth under this astrological phenomenon and his double relationship, both astral and onomastic, with his poetic hero. [ABSTRACT FROM AUTHOR]

Self-reference effect (SRE) is defined as better recall or recognition performance when the materials that are memorized refer to the self. The SRE paradigm usually requires participants to explicitly refer items to themselves, but some researchers have found that the SRE also can occur for implicitly self-referenced items. Few studies though have investigated the effect of self-related stimuli without awareness. In this study, we presented self-related (participants' names) or other (other's names or nouns) stimuli for a very short time between masks and then explicitly presented subsequent trait adjectives to participants. Recognition performance showed no significant differences between the own-name and the other two conditions in Experiment 1 that had random-order conditions. On the other hand, the result of Experiment 2 that had block-order conditions and greater prime stimuli suggests that SRE can occur as a result of the instantaneous stimulus: Subjects who showed better memory performance also had relatively high recognition of the trait adjectives that they viewed after their instantaneously presented own-name. This effect would show that self-representation can be activated by self-related stimuli without awareness and that subsequent items are unconsciously referenced to that self-representation. [ABSTRACT FROM AUTHOR]

Self-reference effect (SRE) is defined as better recall or recognition performance when the materials that are memorized refer to the self. The SRE paradigm usually requires participants to explicitly refer items to themselves, but some researchers have found that the SRE also can occur for implicitly self-referenced items. Few studies though have investigated the effect of self-related stimuli without awareness. In this study, we presented self-related (participants’ names) or other (other’s names or nouns) stimuli for a very short time between masks and then explicitly presented subsequent trait adjectives to participants. Recognition performance showed no significant differences between the own-name and the other two conditions in Experiment 1 that had random-order conditions. On the other hand, the result of Experiment 2 that had block-order conditions and greater prime stimuli suggests that SRE can occur as a result of the instantaneous stimulus: Subjects who showed better memory performance also had relatively high recognition of the trait adjectives that they viewed after their instantaneously presented own-name. This effect would show that self-representation can be activated by self-related stimuli without awareness and that subsequent items are unconsciously referenced to that self-representation.

Identities used to describe oneself after trauma may influence recovery, and searches for acceptable identities after sexual assault can be challenging. Fifteen Norwegian female survivors of sexual assault were recruited at a clinical center, and were individually interviewed about post-assault discussions with others. Our focus was on the experiences of non-blaming and believing interactions with others, and how these interactions can be understood as a process of searching for acceptable identities after sexual assault. A reflexive thematic analysis resulted in four themes: navigating between other people's stories and one's own; realizing the seriousness of the assault without drowning in the upset of others; finding a place between too much closeness and too much distance; and being more than a victim. We discuss the importance of participants retaining agency in post-assault interactions. We suggest that being a survivor of sexual assault increases the probability, even in believing and non-blaming interactions, of being cast in a subject–object relationship with less freedom and agency than before. Navigating toward acceptable identities may mean working one's way back to being a subject in a subject–subject relationship again.

If at its beginnings the Selfie was interpreted as an expression of the narcissism of contemporary culture, at the time of Covid-19 not only does it become the ordinary mask of the show performed on the stage of social networks, but it acquires the power to act on the social body. The Selfie, therefore, can be characterized as an iconic two-faced act with contradictory and ambiguous intentions and outcomes. The contribution examines the case of the Vaccine Selfie, in this particularly emblematic sense.

This article explores the use of ethnographic animation as a method to engage Indigenous youth actively in the production and representation of knowledge, producing research that not only examines social change, but also establishes pathways for change driven by participants themselves. Drawing on a recent collaboration with a professional animator, an Indigenous artist, and young Matses migrants in Amazonian Peru, I discuss how ethnographic animation can open up a space for Indigenous youth who feel radically unheard and unseen by wider society to discuss key challenges they face, while producing tangible outputs (animated films) to gain a sense of wider recognition through forms of self‐representation. [ABSTRACT FROM AUTHOR]

Respectability has been a significant feature of status in the Cape, shaped by racial dynamics that have their foundation in slavery and colonialism and later formalised in apartheid legislation. The issue of representation is central to the paper and draws on the work of Stuart Hall who suggests that the concept of representation plays a more active and creative role in how we think about the world and our place in it. Drawing on oral history and personal family photographs taken during apartheid, I postulate that, through acts of performance such as dressing up and sitting for photographs, people who were classified coloured, attempted to take control of the way they were represented. In so doing, they actively resisted their dehumanisation and racial subjugation. In this regard I argue that the photographs defy and resist the memories that we have of apartheid and testify to a will to freedom and humanity. [ABSTRACT FROM AUTHOR]

People construct self-representation beyond the experiential self and the self-concept can expand to interpersonal as well as intrapersonal dimensions. The cognitive ability to project oneself onto expanded selves in different time points and places plays a crucial role in planning and decision-making situations. However, no research to date has shown evidence explaining the early mechanism of how processing the experiential self-information differs from processing the expanded self-information across temporal, social, spatial, and probability domains. We report novel effects showing a systematic information prioritization toward the experiential selves (i.e., the self that is now, here, and with highest certainty) compared to the expanded selves (i.e., the self that is in the future, at a distant location, and with lower certainty; Experiments 1a, 2, and 3). Implicit prioritization biases lasted over time (Experiment 1b; i.e., 4 months) indicating a trait-like more than a state-like measure of individual differences. Different biases, however, did not consistently correlate with each other (Experiments 1a to 3) suggesting separate underlying mechanisms. We discuss potential links to the basic structure of self-representation and individual differences for implications. [ABSTRACT FROM AUTHOR]

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.)