Sinusuri ng papel ang mga retrato sa Instagram account ni Geena Rocero bilang bílang isang Transgender transgender Woman Woman. Gamit ang teorya ni Erving Goffman (1959) na Dramaturgy at ni Judith Butler (1988) na Gender Performativity, sinipat ng mananaliksikik kung paano itinatanghal ni Rocero ang kaniyang sarili at kasarian sa birtwalbirtuwal na espasyo. Sa kabuuan, mayroong bíilang na 986 ang mga retratong naipaskil niya sa kanyang account. Ang unang bahagi ay bubuuin ng 197 na retrato na ipinaskil niya bago ang nasabing pag-amin; at ang natíitiráang 789 na retrato ay ang mga ipinaskil niya makaraan niyang gawin ang nasabing pag-amin sa TED Talk noong Marso taóong 2014. Sa kung mayroong malaymaláy o di-malaymaláy na pagma maniobra si Rocero sa kanyang mga retrato ay mas higit na dapat bigyang-diin sa kung paanong naitanghal niya ang sarili at kasarian upang mabuo ang “impression” higit sa “appearance” sa harap ng kanyang mga taga tunghay. Dagdag pa, mas higit na napansin din sa analitikal na konteksto na ang naturang pagtatanghal ni Rocero sa birtwalbirtuwal na mundo, partikular sa Instagram, ay maaari ring tingnan bilang bílang politikal. Sa ganitong gana, nagkakaroon ng pagtatalaban sa pagitan ng politikal at dramaturhikal naong aspeto aspekto sa bahagi na nagkakaroon siya ng kakayahan na iderehe idirehe ang gawain ng isa pang indibidwal. This paper analyzes photos on Geena Rocero`s Instagram account who is a Transgender transgender Womanwoman. Using Erving Goffman’s (1959) Dramaturgy and Judith Butler’s Gender Performativity (1988), the researcher then moves to investigate how Rocero portrays herself and expresses her gender identity in the virtual space. In total, there are 986 pictures on her account. The first part is comprised of 197 photographs that she posted prior to such admission and the rest of the 789 photographs are postings after she revealed her gender identity in her TED Talk last March 2014. Whether Rocero has a conscious or unconscious maneuvering in her photographs, it is important to emphasize how she presents herself and her sexuality in forming "impressions" rather than "appearance" to her audience. Furthermore, Rocero`s performance in the virtual world can also be a political one in an analytical context. Thus, in the integration of the political and dramaturgical aspects of her act, it allows her to influence the work of another individual.
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