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1、Selling Your Self: Online Identity in the Age of a Commodified InternetAlice Emily MarwickA thesissubmitted in partial fulfillment of therequirements for the degree ofMaster of ArtsUniversity of Washington2005Program Authorized to Offer Degree:Department of CommunicationTable of ContentsTable of Con
2、tentsiList of FiguresiiiIntroduction: A Brief History of Online Identity Scholarship1Introduction1Contemporary Internet Life7Thesis Structure12Conclusion15Chapter One: Identity Scholarship, Cyberfeminism, and the Myth of the Liberatory Subject16Introduction16Identity16Online Identity and Identity On
3、line21Early Cyberculture Studies23Queer Theory and Post-Human Subjectivity27Critical Cyberculture Studies37Authenticity47Conclusion51Chapter Two: Internet Commercialization and Identity Commodification52Introduction52Internet History54Early Internet Culture61Mosaic and the Expansion of the Internet6
4、4The Boomtime67Contemporary Internet Era70Commodification of Identity74Identity and Commodification86The Digital Divide92Conclusion94Chapter Three: Self-Presentation Strategies in Social Networking Sites95Introduction95Social Networking Services96Social Network Analysis97Social Networking Sites101Se
5、lf-Presentation in Social Networking Sites104Authenticity108User Presentation Strategies110Application Assumptions116Conclusion122Chapter Four: Xbox Live and the Political Economy of Video Games123Introduction123Introducing the Xbox125Ms Pac Man to MMOs: A Highly Abbreviated Video Game History129Ide
6、ntity Presentation in Gaming Environments134Xbox Live141X and G145Xbox 360148Framing Gaming as Commodity152Conclusion: Reflections155Introduction155Authenticity156Back to Theory159The Evil Empire vs. The Creative Commons: False Dichotomies in Cyberculture Studies162Identity Management Moving Forward
7、164Conclusion167Bibliography170List of FiguresFigure 1: Top 10 Parent Companies of Popular Websites in the United States, Home Panel71Figure 2: Example of an Authentic profile111Figure 3: Example of an Authentic Ironic profile112Figure 4: Example of a Fakester profile113Figure 5: Ad placement based
8、on search results on MySpace121Introduction: A Brief History of Online Identity ScholarshipIntroductionConceptualizing online identity has been a key part of cyberculture scholarship throughout the history of the field. Indeed, mediated communication has long held a fascination for writers and resea
9、rchers interested in how self-expression may change as it moves through a telephone line or fiber-optic cable. Marshall McLuhan and Neil Postman,See McLuhan, M. Understanding Media: The Extensions of Man. (New York: McGraw-Hill, 1964) and Postman, N. Amusing Ourselves to Death. (New York: Penguin Bo
10、oks, 1985). for example, both wrote of the shift from a literate culture to one mediated by television, and how the presentation of information altered as the medium through which it was transmitted changed. This presentation includes the way the author or originator of the information is represente
11、d. A sense of self or authorship is conveyed differently in a telephone conversation, a hand-written letter, a printed book, a home movie or an in-person meeting. These concerns are equally applicable to internet and computer-mediated communication. The increased interactivity and creative potential
12、 of the Web has brought issues of identity and self-representation to the forefront of cyberculture studies. Generally, early cyberculture scholars regarded online spaces, such as MUDs, “MUDs” is an acronym which stands for either Multiple User Dungeons or Multiple User Domains, depending on who you
13、 ask. bulletin boards, chat rooms and text-based adventure games, as sites in which users could play with aspects of their identities that, in meat-space, would generally be viewed as fixed, such as gender. This idea of the internet as a site for identity play assumes that users can and do represent
14、 themselves online in ways that do not map to their physical bodies. Freed from the constraints of the flesh, users could choose which gender or sexuality to perform, or create entire alternate identities nothing like their “real-life” counterpart, even in online environments where play was not pres
15、umed. This idea held a great deal of fascination for scholars and journalists alike. For example, Sherry Turkle devoted a chapter of her influential work Life on the Screen to gender-switching in MUDs, interviewing users who “play” a different gender online than they perform in real life. Turkle, S.
16、 Life on the Screen. (New York: Simon and Shuster, 1995.) See also Bruckman, A. “Gender Swapping on the Internet.” In Proceedings of the Internet Society (INET 93) in San Francisco, California, August, 1993, by the Internet Society. Reston, VA: The Internet Society. (18 February 2004). Similarly, Ho
17、ward Rheingold, in The Virtual Community, writes “the grammar of CMC media involves a syntax of identity play: new identities, false identities, multiple identities, exploratory identities are available in different manifestations of the medium.” Rheingold, H. The Virtual Community: Homesteading On
18、the Electronic Frontier. Revised Edition. (Cambridge: MIT Press, 2000) 152.Inevitably, this ability of users to consciously perform identity in a flexible, non-fixed way was viewed as liberatory, as a way to break down the traditional liberal humanist subject as one “true identity” grounded in a sin
19、gle physical body. Allucqure Rosanne Stone writes in The War of Desire and Technology:The cyborg, the multiple personality, the technosocial subject. all suggest a radical rewriting, in the techno-social space, of the bounded individual as the standard social unit and validated social actant. Stone,
20、 A. R. The War of Desire and Technology. (Cambridge: MIT Press, 1996) 43.For Stone, the ability of users to change their performative identities at will, or to perform a series of differing identities simultaneously, is representative of a larger breakdown in a singular concept of self. Frequently,
21、thinking about selfhood in these terms is intimately tied to the deconstruction of fixed conceptions of gender and sexuality. Turkle writes: “like transgressive gender practices in real life, by breaking the conventions, online gender play dramatizes our attachment to them.” Turkle, 212. As feminist
22、 postmodern scholarship was deconstructing gender as a social construct expressed through a series of performative actions, There are key differentiations to make here between the idea of performance and performativity. Ill use gender as an example: playing with gender online would be performance wh
23、ile the day-to-day performance of gender in real-life illustrates genders performativity. The distinction between the two involves how agency plays into the performance. A person interacting as an alternate gender online is conducting a self-conscious, deliberate performance (for whatever reason). A
24、lternately, a woman living daily life as a woman, whether online or offline, is, most likely, not making strategic choices about enacting and re-enacting her gender in her daily life; she is not self-conscious about performing as a particular gender. However, whether or not a person performing gende
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