scholarly journals Dinamika Online Persona Akun Anonim Twitter Penggemar KPop

2021 ◽  
Vol 2 (1) ◽  
pp. 40
Author(s):  
Kirana Wistiani Ayundari ◽  
Pulung Setiosuci Perbawani
Keyword(s):  

KPop adalah salah satu subkultur dalam ranah budaya populer sekaligus polemik yang sering menjadi bahasan oleh publik. Sebagai bagian dari minoritas, fans KPop mencari tempat yang dapat memberikan kebebasan untuk aktualisasi diri sebagai fans yang aktif dalam kegiatan fandom, salah satunya dengan penggunaan pseudonim melalui Twitter.Melalui survei yang dilakukan terhadap 400 responden yang menggunakan akun anonim KPop di Twitter, dapat dilihat bagaimana kecenderungan yang ada. Mencari privasi dan hiburan sebagai bentuk pemisahan dari lingkungan tatap muka menjadikan fans KPop lebih banyak berinteraksi melalui kehidupan pribadi maupun minat KPop-nya melalui lingkungan virtual, yaitu Twitter.Dalam berinteraksi secara anonim, ada kalanya fans KPop tidak hanya membicarakan mengenai minat KPop-nya dengan fans lain, tetapi juga memperlihatkan identitas dan kehidupan pribadinya sebagai bentuk interaksi dengan fans KPop lainnya. Hal ini kemudian menciptakan adanya peningkatan solidaritas yang terjadi dalam fandom KPop di Twitter, dan hal ini juga memberikan adanya rasa diterima dan merasa beruntung ketika fans KPop yang tadinya tidak bisa mempresentasikan dirinya di kehidupan nyata, kemudian menjadi lebih terbuka dan lebih bahagia ketika berada di lingkungan Twitter.

Author(s):  
Dimitra Chasioti ◽  
James Binnie

AbstractProblematic pornography use (PPU) has been extensively studied in terms of its negative implications for various life domains. The empirical literature reveals measured outcomes of interpersonal and intrapersonal dysfunction in participants’ everyday living, supporting its classification as a disorder. The increasing number of complaints around PPU opens the door to the creation of online self-help rebooting communities. This qualitative study aimed to provide a better understanding of this behavior by investigating potential etiological pathways contributing to the onset of PPU, as they were expressed by members of the online NoFap/PornFree self-help communities with self-perceived PPU. The critical narrative analysis reveals a complex web of mutually informing causal connections. The dialectical relationship between situational resources, material conditions, and an embodied spectator gives rise to an online persona with motivations of self-exploration, experimentation, and socializing. A sense of vulnerability rendered the use of pornography as a means of escape and validation. Furthermore, commitment to abstinence, framed by the notions of recovery and relapse, was found to be a major factor for maintaining distress. The study highlighted the need for a thorough understanding of the etiological pathways of PPU for a more effective and targeted intervention. Moving beyond biomedical conceptualizations suggests an intervention whereby PPU is placed in a context of a crisis of meaning.


2017 ◽  
Vol 3 (1) ◽  
pp. 1-12 ◽  
Author(s):  
Christopher Moore ◽  
Kim Barbour ◽  
Katja Lee

Before Facebook, Twitter, and most of the digital media platforms that now form routine parts of our online lives, Jay Bolter (2000) anticipated that online activities would reshape how we understand and produce identity: a ‘networked self’, he noted, ‘is displacing Cartesian printed self as a cultural paradigm’ (2000, p. 26). The twenty-first century has not only produced a proliferation and mass popularisation of platforms for the production of public digital identities, but also an explosion of scholarship investigating the relationship between such identities and technology. These approaches have mainly focussed on the relations between humans and their networks of other human connections, often neglecting the broader implications of what personas are and might be, and ignoring the rise of the non-human as part of social networks. In this introductory essay, we seek to both trace the work done so far to explore subjectivity and the public presentation of the self via networked technologies, and contribute to these expanding accounts by providing a brief overview of what we consider to be five important dimensions of an online persona. In the following, we identify and explicate the five dimensions of persona as public, mediatised, performative, collective and having intentional value and, while we acknowledge that these dimensions are not exhaustive or complete, they are certainly primary.


2022 ◽  
pp. 1-32
Author(s):  
Csilla Weninger ◽  
Danyun Li

ABSTRACT Contemporary digital media is characterized by a cultural logic of participation that encourages sharing, confession, phatic communication, and an emphasis on the visual. In this techno-cultural milieu, self-presentation has become a key mode of communication, and has enabled ordinary individuals to attain a measure of celebrity status. A key component of being a microcelebrity entails developing a consistent persona that is recognizable and unique. How such persona can be studied from the sociolinguistic perspective of stance and style is the focus of this article. We combined corpus linguistic and qualitative discourse analytic methods to examine a small corpus of videos produced by Chinese online celebrity, Papi Jiang. The article presents key lexico-grammatical, discourse-level, and non-linguistic resources that are analyzed as stance markers that together contribute to Papi's intense, critical-satirical performative style. The significance of the findings is discussed in relation to performance, performativity, and critique in digital media. (Persona, microcelebrity, style, performance, stance)*


First Monday ◽  
2016 ◽  
Author(s):  
Jiyoung Cha

Recognizing the multiplatform and individualized video viewing environment, this study conducted focus groups to delve into reasons behind the choice and use of television over other types of video platforms, and the motives for using social television. The results suggest that the focus group participants feel affection for television as a medium itself — a feeling that is independent of the content available on television. The motives for seeking social television include a sense of community, social bonding with existing networks, reinforcement of an online persona, entertainment, information sharing, social movement, self-documentation, and incentives.


Author(s):  
Hilah Geva ◽  
Gal Oestreicher-Singer ◽  
Maytal Saar-Tsechansky

Assessment ◽  
2021 ◽  
pp. 107319112199008
Author(s):  
Dominick DeMarsico ◽  
Nadia Bounoua ◽  
Rickie Miglin ◽  
Naomi Sadeh

Empirical studies of adult cyber-aggression are sparse, partly due to a lack of validated assessments. We evaluated a new measure, the Cyber Motivations for Aggression and Deviance (Cyber-MAD) scale, designed to assess the motivations of adult cyber-aggression. Psychometric properties and factor structure were examined across three adult samples who regularly used the internet and reported a history of cyber-aggression. Exploratory and confirmatory factor analysis of the motivations for cyber-aggression indicated an eight-factor model best fit the data, with separable factors emerging for cyber-aggression motivated by a desire to affiliate with others ( Social Bonding), advance or defend political/social issues ( Social Activism), act on angry feelings ( Reactive Aggression), cope with relationship stress ( Interpersonal Distress), satisfy impulsive urges ( Impulsivity), adopt a new online persona ( Virtual Dissociation), experience excitement ( Thrill-Seeking), and seek revenge ( Vengeance). Overall, the Cyber-MAD scale showed good internal consistency, structural stability across samples, and construct validity, supporting its initial validation.


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