Abstract

Cyber hate is increasing. Every 30 seconds, a woman, somewhere, receives an abusive comment on Twitter (Amnesty International). And, it is estimated that around 20% of college students in the United States have been cyber-bullied. This article explores the motivational factors encouraging online hate and abuse. It will draw on Goffman’s seminal work, The Presentation of the Self in Everyday Life, to critically understand online communication, interaction and behaviour. It will define virtual frontstages and virtual backstages. By critically understanding the different characteristics of online and offline communication, it will help us comprehend how Goffman’s dramaturgical model is compromised when applied to online communication. Therefore, the work attempts to update this model, illustrating that virtual stages have blurred which affects behaviours, and exacerbates performances of hate online. As a result, many online platforms have become Virtual Stages of Hate.

Highlights

  • It was originally predicted that reduced social cues on the Internet would result in less meaningful interaction meaning that social relationships online could not be significantly developed (Hine, 2012)

  • While Goffman (1959) suggested that frontstage and backstage performances were separate and distinct, it could be argued that virtual stages have blurred which exacerbates online hate speech

  • It has illustrated that the differences between online and offline communication affect performances which impacts behaviours

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Summary

Introduction

It was originally predicted that reduced social cues on the Internet would result in less meaningful interaction meaning that social relationships online could not be significantly developed (Hine, 2012). Backstage, Goffman, filter bubbles, frontstage, hate speech, internet, racism, virtual, online Hate speech is no longer confined to offline spaces, as electronic communications devices are being used to communicate and spread hatred, allowing individuals and groups the opportunity to reach potentially larger audiences than ever before (Brown, 2009; Farrington et al, 2015; Kilvington and Price, 2017, 2019).

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