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The Instagram globe-trotters: contemporary representation (s) of the trip

Thesis

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KeywordsTriple Keywords
Identity
Identity (Philosophical concept)
Subject (Philosophy)
Experience
Communication
Mass communication
Communication, Primitive
Novellas (Short novels)
Stories
Metafiction
Fiction
Novels
Fiction--Philosophy
Worth
Values
Axiology
Images, Mental
Imagery, Mental
Mental images
Imagination
Mental imagery
Individuality
Individuation (Philosophy)
Individuals (Philosophy)
Particulars (Philosophy)
Individuation
Volition
Conation
Will
Concepts
Concept formation
Representation
Political representation
Self-government
Representative government and representation
Parliamentary government
Passion-plays
Political opposition
Opposition (Political science)
Travelers' writings
Writings of travelers
Travelogues (Travelers' writings)
Criticism--Technique
Evaluation of literature
Literary criticism
Literature--Evaluation
Criticism

Abstract

This research work focuses on studying the representations of the journey put into circulation via the Instagram device by a group of users — which we simply define as a globe-trotters whose passion and practice from the other side are laid down as communal denominators. The study of the process of building identity on the social network studied first enables us to understand the representative and technical methods to which it is subject. This leads to the creation of a narrative digital identity: that of a globe-trotter, both an actor and a storytelling, who tells his experience of travelling. Based on self-qualification, identity is proclaimed arbitrarily and must then be performed adequately. The existence of an implicit communication contract with a ‘public’ leads to its establishment of globe-trotter the need to adopt expected representations and to produce relevant signs. We also note that the identity model chosen is that of the traveller, as opposed to that of the tourist. By attaching to the mythified figure of the traveller and separating itself from the socially impaired figure of the tourist, the Instagram globe-trotter re-updates popular duality and affirms its willingness to relate to a pre-existing common imaginary. Our second time of study is an attempt to update narrative models and reference stories reinvested by our globe-trotters in their own narrative and the performance of their identity. Exploring the great narratives, figures and basic narratives of our common imaginative of ‘true travel’ allows us to compare contemporary productions of our globe-trotters with the practices and values associated with the mythic journey. It appears that the ‘storytelling’ on Instagram takes place from this great fresque that is our imagination of Voyage with a great ‘V’ — using the same models, the same stories and the same ideals. In this way, the Instagram globe-trotters are a continuation of the kind of travel story, offering a 2.0-style version, looking for a.Find way: it is apparent that the rules relating to registration in a social group and in a narrative gender, as well as the imperatives linked to the scheme and the requirements of the public, tend to limit the variability of individual expressions — in particular by implying the need to produce common (iconographic and linguistic) representations. We will then examine whether there is a simple search for mediagenia and strong symbolism on the part of the settlers or whether it is the real embodiment of a contemporary concept of travel.

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