Social media platforms have given rise to diverse ‘reading formations’ (Bennett and Woollacott, 1987) from bespoke reading communities with strong affective bonds to the ‘ambient affiliation’ (Zappavigna, 2014) more typical of followers of reading-related hashtags (#amreading). What makes all of these formations distinctive is that they ‘bring into visibility an entirely new social dimension to reading’ (Pinder, 2012:68), and a sociality that is often reliant as much on the sharing of images as on words.

This article will focus specifically on shared acts of reading on Instagram, a social networking service for sharing photographs and videos. In particular, I will explore the phenomenon of the #bookstagram where readers share images of the book they are currently reading aestheticised and personalised through the use of evocative backdrops and objects. Such activities are all too often dismissed as empty displays by narcissistic millennials keen to make their mark in the ‘attention economy’. However, I will argue that the #bookstagram offers a way for readers to share acts of reading with others in a way that evokes the sensory and the sensual, and also provides a form of ‘embodied reenactment’ (Tolins and Samermit, 2016) that can generate discussion and empathy between users.

My analysis will focus on the ways in which body parts, especially hands, feature in the images to evoke a sense of an embodied connection between reader and book. I will also examine how the images create a strong sense of reading as a situated activity that is associated with calmness, serenity and being close to nature. My discussion of emerging reading practices is informed by theories which move away from an exclusive focus on reading as a series of mental processes or the decoding of signs, to consider reading as a distributed, embodied activity that involves interacting with others and one's environment. The analysis of the #bookstagram will examine how the activity can be located in relation to culturally and historically grounded practices relating to the book as object of display and to representations of reading bodies from visual art. However, I will also be arguing that the specific affordances of social media help produce readerly interactions that are dialogic and reliant on an ethos of participation where displays of intimate and private acts are routinely commented on and repurposed by others.

社交媒体平台已经产生了多样化的“阅读形式”（Bennett和Woollacott，1987），从具有强烈情感纽带的定制阅读社区到“与环境相关的成员”（Zappavigna，2014），这些都是阅读相关标签（#amreading）追随者的典型代表。 ）。所有这些构成形式的独特之处在于，它们“将可见性带入了阅读的全新社会维度”（Pinder，2012：68），并且其社交性往往取决于图像的共享和文字的共享。

本文将重点关注在Instagram上的共享阅读行为，Instagram是一种用于共享照片和视频的社交网络服务。特别是，我将探讨#bookstagram的现象，在这种情况下，读者可以通过使用令人回味的背景和物体来共享他们当前正在阅读的书籍的图像，这些图像具有美感和个性化。那些热衷于在“注意力经济”中崭露头角的自恋千禧一代常常将这种活动视作空洞的展示。但是，我会认为#bookstagram提供了一种方式，使读者可以通过唤起感官和感官的方式与他人分享阅读行为，还提供了一种“体现的重演”形式（Tolins和Samermit，2016）可以引起用户之间的讨论和同情。

我的分析将集中于图像中身体部位（尤其是手）的特征如何唤起读者与书本之间的内在联系。我还将研究图像如何作为一种与安静，宁静和亲近大自然相关的固定活动来营造强烈的阅读感。我对新兴阅读实践的讨论是从理论出发的，这些理论不再将阅读完全集中在一系列心理过程或符号解码上，而是将阅读视为涉及与他人和周围环境互动的分散，体现的活动。对#bookstagram的分析将检查该活动如何与基于文化和历史的实践相关，该实践与作为展示对象的书籍以及与视觉艺术中的阅读主体的表示有关。但是，我还将争辩说，社交媒体的特定能力有助于产生读者互动，这种对话是对话性的，并依赖于参与的精神，在这种精神上，亲密和私人行为的展示经常被他人评论并重新利用。