Stories and Social Media

Page, Ruth

doi:10.4324/9780203148617

Cited by 69 publications

(52 citation statements)

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“…Emerging sociolinguistic work on stories in social media confirms the validity of this view and the usefulness of small stories for analyzing mediatized narrative activities (e.g. Georgalou 2015;Page 2012;West 2013). …”

Section: Selfies Through the Small Stories Lensmentioning

confidence: 81%

From Narrating the Self to Posting Self(ies): A Small Stories Approach to Selfies

Georgakopoulou

2016

Open Linguistics

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Abstract:Selfies have by now earned a prominent place in the diverse forms of self-representation on social media. In sociolinguistic terms, they have been undergoing a process of enregisterment (Agha 2005), as attested to in moral panics in public discussions and in a developing selfie-related lexicon. A phenomenon worthy of study then, yet largely unexplored, particularly within discourse and sociolinguistic perspectives on identities (possibly due to the selfie's visual nature). My aim in this article is to venture (and justify) a 'claiming' of selfies by small stories. Selfies present the semiotic hallmarks of small stories, as I will show, and so they constitute valuable 'data', the study of which can benefit from small stories inquiry into genres as communicative and social practices on social media. Small stories apparatus is well-suited to selfie analysis: it has been specifically developed to account for genres that challenge the assumptions and modes of analysis of conventional narrative and life writing studies. Using data of selfie postings by adolescent women on FB, I will show how within a small stories framework, far from being narcissistic expressions of 'ideal selves', selfies emerge as contextualized and co-constructed presentations of self, shaped by media affordances.

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Section: Selfies Through the Small Stories Lensmentioning

confidence: 81%

From Narrating the Self to Posting Self(ies): A Small Stories Approach to Selfies

Georgakopoulou

2016

Open Linguistics

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“…"In terms of narrative form, they seemingly resemble the Facebook status updates studied by Page (2012) in their smallness and story-like fragmentary shape;…”

Section: Discussionmentioning

confidence: 98%

“…However, I would like to argue that analytical approaches to this type of narrative material are still largely modelled on typologies and definitions developed in literary studies aimed at understanding book-based illness narratives (Frank: 1995;Hawkins: 1999;Jurecic: 2012). With a few exceptions (McCosker: 2013;Page: 2012;Stage: 2017), social media cancer narratives are treated as though they were books, that is, as fossilized textual entities characterized by a particular narrative structuration of past events and with a single dominant narrator communicating his or her individual story to a passive audience of receivers. This implies, that the dynamic 'living' (Ochs & Capps: 2002) and interactional aspects of narrating cancer on social media are repeatedly downplayed -or at least not sufficiently integrated into the methodologies developed to approach this type of storytelling activity.…”

Section: Introductionmentioning

confidence: 99%

Cancer narratives on social media as ‘small stories’

Stage¹

2019

TFSS

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Cancer narratives shared on social media platforms have received increased academic interest over the last decade but often without sufficiently acknowledging the media specific narrative affordances of these platforms. The article will address this problem, by first presenting a ‘small stories’ approach to studying illness narrative on social media and then putting the approach to work in a case study of a Danish cancer patient’s Instagram profile (@jannelivsnyder66). The paper argues, that the storytelling practices on the profile can be analytically approached by focusing on the interplay between three co-constitutive levels of interaction: 1) a level of the desired illness narrative and position that the narrator, influenced by available cultural discourses and interaction with followers, hopes to be able to tell; 2) a level of sharing everyday posts, which can either support or disturb the desired narrative; 3) a level of follower responses, where relations between the desired narrative and singular posts are monitored through processes of liking and commenting. Followers of social media cancer narratives should in light of this not be understood as an audience witnessing an individual telling his/her “own” story, but rather as crucial contributors to the social interaction and co-creation of desired narratives, subject positions, narrative progress and tellability. In conclusion, the article thus stresses that cancer storytelling on social media, despite the strong biological connection of the disease to an individual body, emerges through inherently social processes of reading, liking, commenting, monitoring and co-deciding narrative practices.

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“…Regarding social networking sites, she notes that "emphasis on recensy [is] [...] a governing characteristic of stories told in social media." 49 In particular, "a comparison of the temporal adverbs associated with the near present (today, tomorrow and tonight) with adverbs associated with the past (yesterday and then) for each of the datasets used in this study suggests an emphasis on the present that increases sharply for the most recent genres: Facebook and Twitter." 50 The updates on social networking sites like Twitter and Facebook are so distinctive from those of other social media, as compared to those of narrative genres offline, precisely in the way in which they highlight the present at the expense of the past.…”

Section: Narrative Identity Reloadedmentioning

confidence: 93%

Narrative Identity and Social Networking Sites

Romele

2014

errs

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The following paper takes on a double hypothesis: (1) that the concept of narrative identity, as developed by Ricoeur, is a strong candidate to account for the consequences of the “emplotment (mise en intrigue)” of our identities on social networking sites; and (2) that social networking sites can be useful to reconsider some of the assumptions at the basis of the Ricoeurian concept of narrative identity. The analysis is developed in three sections: (a) Ricoeur’s “temperate” notion is compared to the “savage” post-modern concept of performative identity; (b) part of the literature about identity on social networking sites is criticized in the light of the Ricoeurian concept; and (c) the paper considers the impact of such a “detour” through social networking sites on Ricoeur’s still monomediatic and monolinear notion.

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Stories and Social Media

Cited by 69 publications

References 0 publications

From Narrating the Self to Posting Self(ies): A Small Stories Approach to Selfies

From Narrating the Self to Posting Self(ies): A Small Stories Approach to Selfies

Cancer narratives on social media as ‘small stories’

Narrative Identity and Social Networking Sites

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