Internet Pragmatics - Online First

Drawing on Goffman’s (1990 [1959]) metaphor of stage, this paper considers Instagram a frontstage environment where users are cautious of being watched and attune their performance to how they want to be perceived via strategic self-presentation. This understanding of online performance is particularly pertinent in the discussions of bloggers who turn to Instagram to promote their work to new audiences. Examining the self-presentation practices of three fashion bloggers, this paper argues that to gain popularity on Instagram, bloggers utilize the features of formality and informality in the construction of an authentic and likable self-image. Since in the photographs the bloggers’ professional life is usually depicted as distant from their audience’s reality, the accompanying textual caption serves as a means of providing balance for the overall image the poster seeks to present. Consequently, the caption abounds with features of informality, which connote linguistic immediacy and imitate an intimate conversation with peers.

In its long presence on television and the internet, the genre of the cooking show has changed and diversified significantly. The initial principally instructional character has given way to more entertaining sub-genres, including parodic ones, that is, ‘spoof cooking shows’ on the internet. The presentation of self ( Goffman 1959 ) takes on many forms in everyday life, but the possibilities of publicly managing one’s own impression have enormously increased on the largest stage in the world, the internet (cf. Shulman 2017 ). The blurring of the Goffmanian concepts ‘front-’ and ‘backstage’ are important here in the presentation of self as ‘fake’ or ‘real’ person on the web. This article looks at the diversification of the genre of the cooking show in its transition to the internet, first by investigating strategies of formality or informality ( Irvine 1979 , 2001 ), then by exploring a particular spoof show, Cooking with Paris, as an example of how genre conventions are manifested by undermining.

This paper explores how ideological positions associated with food are construed multimodally in Instagram posts produced by everyday social media users. Discourse about food choices is an important site for revealing syndromes of values that characterise the ideological positions that are embedded in everyday life. An example of a highly valued food is the avocado which is an important bonding icon in semantic domains from veganism, clean eating, keto/low-carb eating, ethical/sustainable eating to fitness. We explore how values associated with avocado toast are enacted intermodally through the interplay of meanings made in the images, captions, and tags in a corpus of 64,585 Instagram posts tagged #avotoast. The study draws on previous social semiotic work on visual intersubjectivity and everyday aesthetics in social photography ( Zhao and Zappavigna 2018a ) to interpret the visual meanings made in these posts. It also draws on research into intermodal coupling (image-text relations) and ambient affiliation (online social bonding) ( Zappavigna 2018 ) to understand how different values are construed in these texts. A modified grounded theory approach is used to isolate and exemplify the visual and textual features at stake, and then to explore ideological positionings through close multimodal analysis. A particularly interesting pattern in the corpus is the interaction of aesthetic and moralising discourses. For instance, a regulative metadiscourse realised through hashtags is used to project an instructional discourse about how to eat and what is considered ethical, sustainable, and nutritious food consumption. Rather than being directly encoded as judgement of behaviour these assessments tended to be expressed as appreciation of food items and their aesthetics or worth (e.g., clean, healthy, etc.).

This study aims to uncover the complexity of emoji usage on Chinese social media. We investigate emoji usage in comments on push notifications from the WeChat official account of Guokr, which was chosen as a representative for an open forum for public communication. The data includes 2552 comments from 90 articles pushed by the account. The analysis adopts a discourse-pragmatic perspective within the framework of intercultural pragmatics ( Kecskes 2014 ), taking into account both the local discourse environment and the cultural context. It is found that Chinese WeChat users show a preference for using emojis that are unique to the WeChat platform. Qualitative analyses were carried out on selected WeChat emojis used in comments fulfilling the speech acts of self-disclosure, self-praise, humor and complaining. Emojis are found to be used to perform and reinforce a sense of playfulness in social media, but underlying this playfulness there is a discursive conformity to social norms in real life. The use of emojis resolves the tension between the openness and freedom in social media and the conservative, constraint-bounded nature of established social norms.

Migration is often seen as crossing both space and time, from the traditional past to the modern present, while leading to perceived changes in migrants themselves. This article draws on data from a large ethnographic project to explore the ways in which Chinese translocal families dispersed between China, Hong Kong and the UK exploit mobile messaging apps to negotiate the post-migration value of Chinese-ness and Chinese tradition in geographically dispersed family and social contexts. Drawing on the concept of the mobile chronotope, we show how Chinese families and friends employ textual and multimodal resources to negotiate mobile chronotopes of (non)modernity in translocal mobile messaging interactions. Our discourse analysis focuses on critical junctures at which modernist chronotopic negotiations are most visible. The article contributes to an understanding of the discursive construction of multiple (non)modernities by showing how migrants (re)position themselves along a gradient of chronotopic modernity in everyday mobile messaging encounters.