Impression Of Authenticity Research Articles

“A tyranny of technology”: The logic of Instagram in forming the photojournalistic professional persona through performed authenticity

Authenticity in photojournalism as documentary evidence differs from Instagram-created authenticity as “sincere” self-presentation that equates self-branding with self-expression. Self-branding tactics can consolidate or compromise authenticity standards in photojournalism rooted in factuality, reality, and truth value. Yet, the rise of self-branding through performed authenticity by and of photojournalists on Instagram has not attracted scholarly interest. In this study, I undertake an automedial close reading of the persona performances of two established photojournalists. I probe (1) how Ed Kashi and Sebastian Rich engage with Instagram logic’s capitalist and commercial imperatives to construct an Instagram-mediated work persona through performed authenticity and (2) how they articulate the impression of authenticity in their Instagram portfolios. Kashi and Rich’s persona work does not necessarily conflict with the traditional identity roles, norms, and practices of photojournalism when they claim, pose, and promote authenticity as professional photojournalists on Instagram. The reading indicates that Kashi and Rich capitalise on their existing reputations to create an authentic, notable, and sometimes intimate image of their digital work-life-selves. They perform authenticity in ways that seem authentic yet are managed “safe enough” for the authenticity myth of photojournalism and the photojournalists themselves.

Implementasi Bahasa Indonesia Dalam Upaya Pengembangan Bisnis UMKM Kuliner di Medokan Asri

Implementing Indonesian in efforts to develop culinary MSME businesses has its own advantages and challenges. Through the use of Indonesian, MSMEs can strengthen their local identity and build closer relationships with consumers. promotion and branding carried out in Indonesian is very important because it can give an authentic impression and depict the authenticity of local products, which can be an added value for consumers who are looking for an authentic culinary experience. Using empirical qualitative research methods is based on the view that researchers can explore and understand social reality more deeply through in-depth qualitative data analysis (Creswell, 2013). Data was collected through interviews and filling out questionnaires with culinary MSME owners and direct observation of their interactions with Indonesian-speaking customers. The use of Indonesian has a great influence on increasing product attractiveness and sales as well as being an effective strategy in introducing Indonesian when developing a culinary business in Medokan Asri with a focus on marketing using creative and attractive Indonesian.

The Statics of the Threshold

The paper is a narratological study that problematizes the graphic or textual demarcation between the preface to the novel as a secondary text and the novel as a primary text. Methodologically, it draws on the study Thresholds (Seuils, 1987) and attempts to explain Genette’s structural and functional definition of prefaces, especially those that the French structuralist labels as pseudo-editorial, through more recent studies on the frame narrative (e.g. Abbot 2004, Fludernik 2009, Wolf 2006). On one hand, it outlines the possibilities of the above-mentioned structural categories coinciding, while on the other hand it points to the presence of an independent, broader fabula in both the preface and the frame narrative.In particular, it focuses on the problem of the functional image of certain prefaces in the Enlightenment novel, analysing the prefaces to Prévost’s Manon Lescaut and Marivaux’s The Life of Marianne, while taking Cervantes’s Don Quixote as a historical starting point. The chosen examples demonstrate how and why the boundary between the preface and the novel became blurred in the 18th century, a time when the novel as a narrative genre was articulated and established. One of the main, if not the only, functions of the pseudo-editorial preface, which is per definitionem fictional, is to create the impression of authenticity, with the preface-writer most often using the topos of a found manuscript. However, it turns out that its “dramatization” goes beyond the textual boundaries of the preface and continues in the novel itself, proving that the graphic image of the preface as a paratext no longer corresponds to its functional image.Even if we can trace a similar narrative strategy in both Baroque and Enlightenment novels, it is necessary to distinguish between the reasons for it application. Don Quixote is an example of artful, dynamic, “ingenious” composition and parodies the preface as a rhetorical convention. The fictional nature of the Enlightenment novel, however, inevitably rests on an impression of verisimilitude, and consequently the preface, the privileged place where these two characteristics meet, becomes a full-fledged literary component of the narrative work.

The role of natural scarcity in creating impressions of authenticity at the Farmers’ market

The role of natural scarcity in creating impressions of authenticity at the Farmers’ market

O Papel da Música no Documentário “Miles Davis: Birth of the Cool”

This study seeks to address the use of music in the film “Miles Davis: Birth of the Cool”. The theoretical reference for the analysis is Bill Nichols (2005). Among the ways Nichols addresses to delineate the boundaries that separate a documentary film from a fiction film is the audience, or the viewer. This is viewers, when watching the film, may assume that the sounds and images in that film originate from the historical world. I argue that in documentary film the viewer can retain their belief in the authenticity of the historical world represented on the screen, but this does not prevent their understanding of the film as a perspective on the world. It is part of the tradition of documentary to be able to convey an impression of authenticity, even if the close correspondence between image and reality is not guaranteed. However, when the music used is original, in this respect the correspondence with factuality gets closer.

Wooden Language - a Contemporary Tool in Political and Advertising Communication

Appeared with the totalitarian ideology, the wooden language remains a linguistic phenomenon frequently used in contemporary discourse. Used in contemporary thought circles, by advertisers, by communication agencies, by the media, by politicians, by polling institutes, etc., the wooden language pejoratively qualifies the discourse that contains it, provided that its specific structures be decrypted, as well as the intention of the issuer who wants to give the impression of authenticity, credibility and transparency. The issue of the use of wooden language in discourse presupposes a complex and transdisciplinary decryption process, which goes first through the identification of the means and procedures of realization, then through the identification of the functions that these linguistic structures hold at the level of discourse.

Fragmentation of Modern Artistic Narrative (English-Language Prose)

The question of the role, forms and functions of fragmentation of modern artistic narra tive is considered. The results of the analy sis of the fragmentary narrative of the works of contemporary English-speaking authors (J. Barnes, D. Mitchell, M. Cunningham, I. Banks, J. Franzen, S. Faulks, J. Eugenides, A. Smith, J. McGregor and others) are presented. The relevance of the study is due to the fact that in the modern literature of the postmodernist direction, nonlinearity of narration, deliberate mixing of temporal, local, descriptive and other layers are becoming widespread, practically becoming the norm. The novelty of the research is seen in the fact that the fragmentation of a literary text is studied at different levels — compositional, content-thematic, plot, ideological-figurative, genre, narrative, chronotopic. It has been proved that the forms of implementation of fragmentariness are quite diverse: irregular division of the text, heterogeneity of themes and ideas, lack of linear development of the plot, combination of elements of different genres, the presence of internal polystylism, the use of different types of narration and narrator, violation of the unity of the chronotope. The analysis of specific material showed that the functions of a fragmentary narrative are determined by each specific context, the leading ones being the impact on the reader, the management of his attention, the placement of accents according to the writer's intention, the creation of the impression of authenticity and reliability.

Brewing a Craft Impression: A Multilevel Study About the Orchestration of Organizational Impression Management Through Authenticity

Organizations face the tricky challenge of portraying a coherent appearance of identity to make an authentic impression on their audiences. This study argues that authenticity is a cross-level mechanism through which organizations and their individual members orchestrate a coherent impression. A qualitative investigation revealed how five Canadian craft breweries claimed authenticity in their formal images by referencing a collective organizational identity in the environment. These claims were authenticated by external audiences and by individual organizational members. Two distinctly organizational forms of authentication expressed by individuals were (1) consensus about facets of organizational identity that mirrored the institutional authenticity claim as a party line and (2) role claims about leaders and employees, each comprising behavior scripts that corroborated the organization’s authenticity claim. The two forms of authentication also supported authentic leadership in the organization and contributed to an orchestrated appearance by linking institutional and individual impression management.

Hell in the Cave: Falling down to find the light

When it comes to Hell, nothing is more appropriate than thinking about the Divine Comedy. In fact, this internationally famous poem by the Italian poet Dante Alighieri portrays the most popular and famous Hell in Western culture. From its very beginning, this poem has been performed in public readings and spread throughout the world and adapted in many ways. In the second half of the nineteenth century, a new tradition of shows paved the way for the many others that followed during the twentieth century, especially in relation to the various anniversaries of the birth and death of the poet. From the sixties and seventies, thanks to the theories and practices of New Theatre, the staging of Dante was given a second life: new techniques as well as new spaces were made available to the performers. The contemporary scene of the twenty-first century has developed from these multiple instances and now faces a new contribution, from social media. This article analyses a specific performance of Dante’s Inferno called Hell in the Cave. This show, performed for the first time in May 2011, gathers the audience and leads it deep inside the earth -- like a ‘second Dante’ -- using the geological site of Castellana Caves near Bari in Italy. The perfect setting of the caves offers a unique and immersive experience to the audience, who are also asked to take an active part in the infernal story. This vision of Hell combines drama, music and acrobatic dance with a singular setting in order to provide the most authentic impression of sin and damnation. This captivating performance testifies to a new kind of approach to performing Hell, especially related to Dante’s staging tradition.

La fonction structurante des mythes personnels à l’adolescence

La psychologie développementale souligne l’impact de la préservation de l’intimité au cours de la quête d’identité de l’adolescence moyenne. Or, les jeunes d’aujourd’hui sont soumis à une pression groupale massive en provenance des réseaux sociaux. D’autre part, il existe un risque accru de développer une dépendance aux jeux électroniques. En nous basant sur la littérature internationale et sur notre expérience personnelle en psychologie développementale et clinique, nous réfléchissons aux risques liés à la perte de l’intimité, ainsi qu’aux possibilités préventives et curatives d’une forme spécifique de psychothérapie à médiation artistique, susceptible de favoriser la construction de mythes personnels. La méthodologie de traitement était basée sur l’écriture d’histoires sous induction musicale, suivie d’une élaboration verbale dans la tradition cognitivo-psychodynamique. Une étude comparative a mis en évidence l’évolution des thèmes archétypaux et des stratégies d’élaboration entre l’adolescence débutante et l’adolescence moyenne. Nos réflexions cliniques sont illustrées par des exemples d’histoires écrites sous induction musicale, documentant l’intimité retrouvée et la restauration de la capacité d’élaboration imaginaire et symbolique. Des données de recherche en neurophysiologie et neuropsychologie de la musique documentent les fondements scientifiques de cette approche thérapeutique. The importance of preservation of intimacy during the identity quest of middle adolescence has always been underlined by developmental psychology. Many theorists insisted on the structuring function of juvenile imagination and on its importance for future social and professional integration and achievements. However, young people are currently exposed to heavy group pressures from social media. On the other side, there is an enhanced risk to develop dependency on electronic games that are dominated by violence. Thus, the free floating of dreaming may be compromised. Based on the state-of-the-arts and on our personal experience in developmental and clinical psychology, we reflect on the risks linked to the loss of intimacy, as well as on the preventive and curative potential of a specific kind of arts psychotherapy that can favor the creation of personal myths. The methodology of treatment was based on the writing of stories under musical induction, followed by verbal elaboration in the cognitive-psychodynamic tradition. A comparative study with small samples showed the evolution of archetypal themes and elaboration strategies between early and middle adolescence. The latter evolved towards a higher degree of mentalization. According to our clinical experience, a special kind of psychotherapies, based on the writing of stories while listening to music and followed by verbal elaboration in the cognitive-psychodynamic tradition, proved to be an appropriate method to restore intimacy with adolescents with an impinged identity quest. Some examples of stories written under musical induction document rediscovered intimacy and restored imaginary and symbolic elaboration. Adolescents who wrote banal descriptions during the first sessions finally developed quasi mythical scenarios, focused on love, birth and death and implementing great themes of collective imagination. The stories written in the final stage of therapy gave an impression of authenticity as the adolescents elaborated their personal existential situation and the deep emotions linked to it. Experimental data from neurophysiology and neuropsychology of music are documenting the scientific foundations of this therapeutic approach. As there is currently an enhanced risk of addiction to social media and electronic games with adolescents, the development of appropriate preventive and curative tools is essential. The classical theories of adolescence might even be rewritten.

The Image of the Czech Past in the Contemporary Docudrama

This study attempts to depict, describe and analyse the intersection of documentary material with the structure and, by extension, the fictional worlds of current drama texts. On the basis of selected examples, it presents several types of Czech docudrama, from biographically-based plays and “tribunal dramas” to stage collages. The common denominator behind these texts is their attempt to create an impression of authenticity among recipients, as well as “faithfulness” to reality. Their main objective is to provide a fresh interpretation of a historical event or to present or rehabilitate particular historical figures and, not least, also to recreate collective memory and the Czech national identity within the framework of the Central European cultural space.

Donald Trump, the Reality Show: Populism as Performance and Spectacle

The rhetoric of U.S. President Trump is deeply ingrained into a populist discourse that caters to the emotional – rather than the rational – elements of human perception and interaction. Most notably, Trump’s populist rhetoric is marked by links to the genre of reality television. Rather than aspiring to educate viewers, reality television emphasizes personal conflict and dramatic tension. Trump’s performances (his rally speeches, but also his bestselling publications) are permeated by a reality-TV aesthetics, designed to effectively entertain audiences and create an impression of authenticity. Trump’s ›authentic populism,‹ however, is also deeply embedded into the conventional structures of nationalist thought, nativism, anti-elitism, and religious fundamentalism. An investigation of Trump’s populist rhetoric reveals four key components that are in tune with the key criteria that, according to Michael J. Lee, define the populist rhetoric: (1) a portrayal of ›ordinary people‹ as heroic figures; (2) a focus on presumptive enemies as threats to traditional values; (3) attacks against an ›establishment‹ threatening the people; and (4) an evocation of apocalyptic scenery. As a media persona, Trump combines these characteristics into a spectacle that resembles the type of entertainment program American viewers are familiar with from reality television.

Interpreting Art with Light: Museum Lighting between Objectivity and Hyperrealism

ABSTRACTLight renders art visible in museums. At the same time, light also interprets. In this regard curators, architects, conservators, lenders, artists, and visitors often have differing expectations about how art should be appropriately displayed. This article is based on the aesthetics of image and exhibition and presents six categories of display—ranging from the objective reception of art to hyperrealism and the dynamic communication of art treasures. Differentiation occurs based on three aspects: The content within the artworks, formal aspects of the image medium, and the spatial and temporal surroundings of the work. By analyzing the artwork’s brightness, contrast, and light atmosphere, curators can appropriately specify lighting for the room and exhibit to aesthetically establish a common link between the observer and the artwork or to realize a modification for emphasizing a conceptual idea. The analysis also offers criteria as to what extent the lighting concept communicates an authentic impression in relation to the perception of how the artist created the picture.

On Vojislav Ilić: A Note from the Translators

On Vojislav Ilić:A Note from the Translators Ian Kennedy and Pavle Pavlović Our Motivation The works of Vojislav Ilić are important because he is one of the first modern Serbian poets. However, Ilić's works are little-known in English. Therefore, we commissioned ourselves to prepare a translation of his iconic poem. Our Approach We had to make decisions on which features in the original had to be carried through in our translation. As always, some adaptations had to be made. These were: 1. The adaptation of the Serbian versification system to the English one—of the Serbian syllabic to the English accentuate-syllabic pattern. 2. The adaptation to English of Vojislav Ilić's complex syntax and his invoking inversion of the normal order of Serbian words, for the sake of emphasis or to satisfy his metrical plan. 3. The use of duplicated verbs (neigh-neigh, snort-snort) to conjure up an authentic impression of the horse's speedy movement. In the original version, it is the appropriate choice of verbs and adjectives (hrže, grabi) that give that impression. The use of duplicated verbs is a poetic license that he used to satisfy his metrical plan. In the following commentary, we make our list of translation priorities explicit and reveal our workflow. The Translators' Conundrums In translating poetry, it is almost always necessary to create the poem from scratch. This is because an original poet may have exercised his poetic license and made compromises [End Page 235] to pure prose in order to get the poem to scan and rhyme. As translators, we were faced with the usual conundrums as to what was important to the reader in the original, and what was not. Xuelai Qiu reveals three translations of the same Chinese poem.1 The results differ dramatically because of the differing (unspecified) priority lists of the translators, which have to be speculated upon by inspecting the products: the translated poems. We admit immediately that other translators will disagree with our list of priorities, and therefore those translators will come up with dramatically different translations. So, we will diverge and list our priorities upfront. Our priorities to ensure fidelity and authenticity were: 1. The translated poem must rhyme. (The actual rhyme scheme we used could be different from the original.) 2. The translated poem must have rhythm. (The actual rhythm scheme we used could be different.) • Any padding used by the original author to effect proper scansion may safely be omitted. • Any contraction used by the original author to effect proper scansion may safely be restored. • Any transpositions used by the original author to effect proper scansion may safely be restored. 3. The poem must have reason. By this we mean that the accepted or implied intended purpose of the original must be carried through into the translation, and the original payload must be delivered in the translation. 4. Literary devices such as alliteration will not be introduced into the translation unless they occurred naturally. 5. The general genre (in this case, a lyric poem) must be carried through. Anachronisms and neologisms must be avoided. 6. Any secret agendas of the original poet will not be speculated upon, and the original poem will be read at face value. Many poets are regarded as mystic because they made choices which were completely arbitrary, so imaginary reasons should not be sought. Does it matter what color the dog was? Does it matter if it is a dog and not a cat? Let's not debate whether a cat or a dog better represents faithfulness. 7. As we have no record of the process of creation of the original poem nor access to the intermediate versions, we have no knowledge of what the original [End Page 236] poet would have liked to include but had to discard, perhaps because the poet could not find a rhyme for a good line. So, we refrain from guessing what was most important to the original writer, as it is not visible in the product, his poem. Our Workflow Furthermore, we reveal our workflow. We soon realized that the task of going directly from the original to a translation was impossible with our skills...

Alien Landscapes? Interpreting Disordered Mindsby Jonathan Glover. Cambridge, Mass., Harvard University Press, 2014, 448 pp., $35.00 (hardcover).

Alien Landscapes? Interpreting Disordered Mindsby Jonathan Glover. Cambridge, Mass., Harvard University Press, 2014, 448 pp., $35.00 (hardcover).

“Autobiographical in Feeling But Not in Fact”: the Finale of Alice Munro’s Dear Life

Abstract Alice Munro has always been known for reworking personal material in her stories. On numerous occasions she openly admitted to adopting some of her real experiences into her fiction, yet at the same time she declared that her writing remains fictional, not autobiographical. However, the writer’s attitude seems to have changed with the publication of Dear Life (2012), supposedly the last book in her career. In the note preceding the last four stories in the collection, she suggests that they might constitute her autobiography. This article discusses “The Eye,” “Night,” “Voices” and “Dear Life” in relation to Munro’s biography. It reflects on the narrative techniques the author uses to create the impression of authenticity and autobiographicality in the stories. It also aims to answer the question whether they should be indeed classified as Munro’s autobiography.

Between Documentary and Fiction: Authenticity and Voyeurism in the Cinema of Ulrich Seidl

The peculiarity of the films by Ulrich Seidl lies in the fact that the Austrian director combines freely the feature and documentary film techniques. This makes classifying his works not only impossible, but also pointless. Nevertheless, Seidl was perceived by critics as a documentary film director until he shot “Dog Days” in the year 2001. This film is regarded as a kind of a turning point in his career, a transition from documentary to fictional filmmaking. In fact it is hard to speak of a fundamental change in this instance. It seems more appropriate to perceive Seidl’s work as the director’s own consistently developed concept of cinema. The category of authenticity in meaning, contained in a definition formulated by the German film theoretician Manfred Hattendorf, proves to be very useful for describing the characteristic features of Seidl’s works. The techniques applied by Seidl in order to achieve the impression of authenticity by the viewer also bring to mind the voyeur’s perspective.

Authenticity and Excess in The Examinations of Anne Askew

The two volumes that constitute The Examinations of Anne Askew, published by the reformer John Bale in 1546–47, present a sparse first-person heresytrial narrative ascribed to Askew herself, interspersed with a lengthy polemical commentary by Bale and packaged amid a range of paratexts. Drawing on textual studies and feminist (or gender) theory, modern criticism habitually posits an antagonism between Bale and Askew, maligning Bale for obscuring an original Askew text or an original Askew voice, especially via the excesses of his editing and commentating practices. This essay offers an alternative perspective. Focusing on the medium of communication (early print), and drawing on the theory of remediation developed within media studies, it argues that the apparently surplus elements of the Examinations are, in fact, integral to the work’s representation of an authentic Askew text/voice in the first place. It therefore calls for a reconsideration of what it means to separate Askew from Bale, as some sixteenth century editions did, and as our teaching anthologies typically do today. In addition, it opens up the question of whether some of the characteristics we tend to view as definitive of today’s “new” media might also have been used to promote an impression of authenticity in early print culture.

The Display of Ruins: Lessons from the Ghost Town of Bodie

A gold-mining town in northeastern California that flourished during the 1870s and 1880s, Bodie has become known as one of the most extensive ghost towns of the American West. It is now a state park managed according to the preservation principle of “arrested decay” and, as such, is an unusual instance in the United States of a cultural heritage site presented through ruins. Investigations of comparable tourist venues have emphasized the role of preconditioned conceptions in shaping visitors’ reactions. Bodie offers an opportunity to consider in addition the direct effects of visual experience—the combined impression made by the geography of the site, the juxtaposition of the structures and setting, and the fragmentary furnishing of buildings—whether resulting from accidents of time or organizational decisions made at the park. Offering a minimum of written interpretation, the park is a display of fragments that creates a distinctive impression of authenticity while offering a message very different from both historical setting and the information offered to visitors. Bodie exemplifies the power of visual appearance to create meaning, whether intended or not.

Musical plausibility: Estimation and synchronisation

Synthetically modelled performances and commercial recordings of orchestral minuets were used in three rating tests and a synchronisation test to investigate two issues. The first one addresses the impression of authenticity and plausibility, i.e., the impression of a human-rendered performance, questioning whether smooth mathematical functions are adequate means of modelling timing and dynamics, or whether it is the deviations from smooth functions observed in human performances that contain hidden information contributing to the impression of authenticity and plausibility. The second question investigated whether the subjective impression of plausibility is also reflected in the anticipation of musical events, such as that required in a synchronisation task. In the plausibility tests, there was no significant difference between participants’ ratings of synthetic performances modelled with smooth functions and those including hidden information . In the synchronisation test, participants showed a higher standard deviation – proportionally to the mean beat length – in the tap-onset difference when tapping to the beat of a synthetic performance that had been rated implausible in the previous tests.