No full-text available
To read the full-text of this research,
you can request a copy directly from the author.
The Language of Internet Memes
... Memes are often recognizable by their common format, content, and positioning (Seiffert-Brockmann et al., 2018;Shifman, 2013b). The macro image (or "macro meme"), an image to which text is added according to stylistic rules, is the most common meme format, particularly since it encompasses several subtypes (i.e., Davison, 2012;Drakett et al., 2018). This type of medium is prevalent on most social media platforms (Denisova, 2019;Meikle, 2016), and is especially salient in 'politically incorrect' humor (Greene, 2019;Topinka, 2018) and far-right digital spheres that perpetuate white, heteronormative, and male supremacist ideologies (Andreasen, 2021;Drakett et al., 2018;Milner, 2016;Trillo & Shifman, 2021). ...
... Indeed, memes can be understood as "expressive repertoires that simultaneously enable and limit expression" (Nissenbaum & Shifman, 2018). Understanding memes requires a certain amount of media literacy-and shared values-and remains subject to the interpretation of the audience (Davison, 2012;Shifman, 2013aShifman, , 2013b. This interpretation is dependent both on the emotional connotation of the meme and the emotions of the person viewing the meme (Nissenbaum & Shifman, 2018). ...
... Thus, memes are an integral part of the media landscape, as they reflect the interactive spirit of the participatory web. Memes allow individuals to easily create humorous, sarcastic, ironic, or political messages (Davison, 2012;Shifman, 2013b;Taecharungroj & Nueangjamnong, 2015). Because the existence of a meme is dependent on its diffusion and its appropriation by the target audience, it cannot exist without its message resonating with individuals (Denisova, 2019). ...
Virgin young adult men (VYAM) are often stigmatized for deviating from the social clock. Despite the importance of media in young adults’ lives, few studies have examined media representations of VYAM, and none have yet examined the numerous memes about virgin adults. Memes are sets of visual and cultural elements diffused and replicated on the internet. An increasing number of studies reveal the importance of memes in youth identity construction through the memorable messages they often convey. This is especially prominent for communities whose values or behaviors (or, in the case of VYAM, lack thereof) diverge from mainstream tendencies, such as the social clock. While memes are abundant online discursive tools, they tend to reproduce stereotypes and misrepresent marginalized groups. The objective of the present exploratory study was to describe the memetic representations of virgin young adult men (VYAM) published on the platform 9GAG, which is particularly popular among VYAM. Our hybrid analytical strategy combined content analysis, textual analysis, and tenets of dialectical team-coding, taking inspiration from a past study on media representations of VYA—both men and women—in films and TV series. A sample of 47 memes showed the emergence of three categories grouping 10 VYAM profiles: (1) virginity as a mark of belonging (the integrated and the notorious virgin), (2) virginity as a subjective experience (the voluntary, the sublimated, the naive, and the subversive virgin), and (3) virginity as a burden (the stigmatized, the resigned, the anxious, and the gender double standard-affected virgin). The different profiles support stigma and self-determination discourses relative to virginity experiences. This study sheds light on the stigma surrounding sexual inexperience in adulthood in the memetic culture.
... The ideal dictates the behavior, which in turn creates the manifestation. If the manifestation is a funny image of a cat and the behavior is using software to make it, then the ideal is something like Davidson (2012) propõe, a partir disso, o meme como separável em três componentes: a manifestação, o comportamento e o ideal 1 . Tais componentes são explicadas a seguir: ...
... É por isso que separar a manifestação, o comportamento e o ideal é útil. Enquanto um dos três componentes é transmitido, o meme está se replicando, mesmo se mutando e se adaptando (Davidson, 2012). ...
... A evolução dos memes, no entanto, está intimamente ligada aos conceitos explicitados anteriormente, dos genes de Dawkins (1979) à digitalização de Davidson (2012). Ao nos atarmos à linha do tempo vemos que os primeiros memes começam de maneira crua. ...
Digital culture is a consolidated cultural field in post-modernity. Despite the lack of materialization of this culture, the significant impact on the spheres of life in society is felt, as new forms of communication, interaction and symbols are developed between individuals who share, in this online space, a sense of deterritorialization. These specificities arising from the social development of the Internet and its uses brought several cultural characteristics based on the online reality. Memes, replicators of culture and information and the basic unit of culture, copied, disseminated and transmitted are performances of Internet culture. They can be defined in images, gifs or videos, without a strong presence of the author; being created, recreated and spread across all Internet platforms, developing an inclusive process of cultural experience. Having said that, the greater relevance of thematic analysis resides in the inherent complexity of the appropriations of meaning of a meme idea, which characterizes a significant part of digital culture. Launching a sociological look articulated with studies already carried out on the subject can draw different perspectives about this cultural practice, so present in today's communicative functioning. In this article we will discuss memes as a cultural practice within digital culture.
... In particular, Coleman defined online memes as "viral images, videos, and catchphrases under constant modification by users, and with a propensity to travel as fast as the Internet can move them" (2012: 109). Such content became a form of expression and participation of on-line communities (Vickery, 2014;Davison, 2012), through platforms of great connectivity and shareability that facilitate rapid consumption and propagation (García Huerta, 2014;Hernanz & Hernanz, 2012;Knobel & Lanshear, 2007). ...
... Pictures such as the Situation Room capturing the moment Obama and his team follow the operation that killed Bin Laden are examples of the strategic use of these images. They are content that, although they have a known sender, play with the phenomenon of non-attribution typical of memes (Davison, 2012) to foster dissemination and appropriation by web users. ...
... For this analysis, we considered both the content itself -graphic representation, theme and approach-as well as the formal elements in each image -image type, integration of text, font and text colour, integration of element(s) identifying a specific party (acronym, logos, websites, hashtag, etc.) As Davison (2012) claims, all memes include three elements: manifestation (external phenomenon); behaviour (manipulation method of this manifestation) and ideal (conveyed concept). The sample limited the manifestation (images) and the behaviour of the meme, both in its creation (photo editing, design and graphic labelling) as well as in its distribution (Twitter posting). ...
El salto de la esfera política convencional a los social media ha implicado la aparición de nuevos espacios, fórmulas y lenguajes para la comunicación política. En pleno proceso de evolución hacia una web más visual los partidos y líderes políticos han pasado a integrar diversos tipos de imágenes en su discurso 2.0. Estas imágenes han sido cuidadosamente seleccionadas para lograr el máximum comunicativo y suscitar la participación de los internautas en su distribución, posibilitando su conversión en memes. En este sentido, el presente artículo ha tenido por objeto conocer la utilización de las imágenes en el discurso 2.0 de los partidos políticos españoles en Twitter. A partir del análisis de contenido como método de investigación se estudió el empleo de dichos contenidos gráficos por los principales perfiles políticos –tipología de imágenes, estrategias comunicativas, hashtags o etiquetas más habituales, repercusión, etc.- en la conversación online que se estableció durante la celebración del Debate sobre el Estado de la Nación en España (2015). Este análisis de contenido se completó con el etiquetado temático de los memes gráficos, a partir del análisis de las significaciones del texto (imagen y texto). El trabajo efectuado ha permitido señalar divergencias en el empleo de los memes por los perfiles políticos con presencia en la Cámara. No obstante, más allá de las estrategias comunicativas desarrolladas, se han podido determinar unos perfiles con mayor potencial memético.
... What is a meme?. Memes might be the latest sensation on social media platforms, but it was conceptualized in 1979 by Richard Dawkins (Davison, 2012). Memes are coined as related to genes and taken from the Ancient Greek word mīmēma ("something imitated") (Börzsei, 2013, p. 3). ...
... This theoretical concept of memes is applied in a very different way in the online communities through social media and instant messaging apps. Meme for social media users is a joke carved out of the culture and spread through online transmission channels like Facebook, Instagram, WhatsApp, and Snapchat (Davison, 2012). The use of memes by Gen Z inspired Milner (2012, p. iii) to call them "amateur media artifacts" that are profusely remixed and circulated by countless users in diverse contexts. ...
Students process information in two modes: cognitive and experiential. Case studies and stories are generally used as tools for experiential information processing. This article uses memes as an instructional tool to deliver information for experiential information processing in a public speaking course. The effectiveness of memes as an instructional tool is assessed through a questionnaire in terms of their overall effectiveness and its memorability, concreteness, and course orientation. The findings suggest that memes can be used effectively as instructional tools like stories to make the students understand, discuss, and engage with course content.
... The use of memes is the most popular online medium for discussing the mental strains the pandemic. Memes are an important aspect of digital dialects and information diffusion, because they are always culturally relevant and transformative (Danesi, 2019;Davison, 2012;Shifman, 2014). Memes must be suited to the sociocultural environment in order to "spread" successfully (Shifman, 2014:9). ...
... Internet memes are denoted by rapid transmission and uptake, where they are unique in that they can capture "memeable" reactions and snapshots of society and culture in the form of transmittable imagery and language, creating relatable and editable content. This content becomes folklore due to the way it is remembered and transmitted within and between communities (Danesi, 2019;Davison, 2012;Shifman, 2014:13). Political and social commentary memes are a prominent example of this phenomenon (Danesi, 2019:7, 15, 39, 40;Davison, 2012:131;Shifman, 2014:15, 33, 119-50). ...
Drawing on 15 semi-structured interviews with Aotearoa youth, all of whom actively discuss disability and/or mental health online, alongside textual analysis of a variety of posts collected through approximately 100 hours of observation among 15 online community groups and tag searches across the social media platforms Facebook, Reddit and Instagram, I investigate how these New Zealanders engage in and with digital space. A core argument of this thesis is that social media forums and communities provide youth with a place to create a sense of solidarity in a society dominated by ableist assumptions. However, these spaces are also constructed and encoded with these ableist assumptions. As a member of the disabled community examining these issues and what it means to consider mental illness to be a "chronic disease"-or disability-of youth (McGorry et al., 2007:S5) were incredibly interesting. Digital technologies and social media provide spaces for the hidden histories of socially marginalised groups, such as the disabled and mentally ill, to be given their own voices. In this thesis, I investigate how some disabled and mentally ill youth in Aotearoa use the freedoms, information-sharing capacities, and community features of digital and social media (such as memes, photos, and YouTube content) in their communications of their experiences and perspectives. Language, as a social practice, plays a critical political and social role in how disabilities and mental health are understood in Aotearoa and, therefore, how disabled and mentally ill youth communicate on social media. These explorations lead to understandings of the relationship between voice and the activist, something which is non-linear and temporally situated. Activism and the activist are influenced by social norms, often being placed as the Other, leading to temporal retreats from activist activity. Social media provides a space and opportunity for disabled and mentally ill youth to reclaim their autonomy and their voice, which in traditional ableist spaces have been taken from them. Additionally, the Covid-19 pandemic has illustrated our digital technologies of care. The dual use of online groups for social support and information-seeking demonstrate how these social media platforms can perform as what Long (2020:250) calls "vital technologies of care" through which users possess the capacity to sustain relationships and wellbeing. They also demonstrate what I have termed "long social Covid"-the shared sense of social consciousness that reflects the social impacts of Covid-19. I suggest that digital communication, by enabling autonomy, voice, and validation, provides vital spaces for intra-group support that can develop into acts of broader social activism. However, social activism is temporally sensitive, an activity which people can and do move in and out of according to their capacities, needs, and ability to engage in activism; the retention of their voice is not dependent on their participation in social activism.
... Con la aparición y popularización del Internet y las redes sociales a inicios del presente siglo, y su cuasi-omnipresencia en el presente, el término meme ha ganado progresivamente un lugar preponderante en la conversación popular 2 y vuelve a recibir atención desde la academia, desde donde surgen diferentes propuestas de definición, aunque sin lograr aún una precisa y consensuada (Davison, 2012). ...
El presente trabajo tiene por objetivo analizar la función de los memes en una controversia pública digital acerca de representación racial y cultural en el Perú. Los memes, signos y textos que configuran discursos, nos permiten conocer los modos de ver de públicos nuevos y diferentes. Por el modo en que circulan en la esfera pública digital tienen un impacto significativo sobre los temas que reciben atención como parte del debate. Sin embargo, a la vez que amplían el alcance de los discursos, merman también la capacidad crítica, reflexiva y de diálogo entre individuos y grupos.
... 69) El meme expresa el desarrollo de apuestas narrativas, estéticas y políticas en un escenario de convergencia entre lo tecnológico, lo digital y lo social; el meme se ha identificado como esa unidad que permite expresar y difundir las narrativas generadas desde las cotidianidades sociales y que en este caso se centran en la sexualidad. Para Davison (2012), el meme es un segmento de la cultura que presenta la cotidianidad a manera de chiste y que en su réplica adquiere influencia; para Huerta (2014), el meme es una manera de transmitir ideas por medio de imágenes o videos enfocados en un suceso específico. ...
Este artículo propone un análisis de las narrativas sobre la sexualidad en la red social de Facebook durante
la emergencia sanitaria y cuarentena, resultado de la pandemia por COVID-19 durante el 2020. Establece
una metodología donde el corpus delimitado son 126 piezas de imagen fija, definidas como memes dentro
del eje de las relaciones afectivas, priorizando la sexualidad y la pareja. Este corpus se trabaja con el método
de análisis de contenido de imagen fija desde la semiótica en dos niveles: identificativo e interpretativo.
Se exponen once resultados sobre las narrativas de la sexualidad en Facebook durante la pandemia. El
escrito finaliza considerando los potenciales del meme y la imagen en la investigación social interdiscipli-
naria, así como la importancia de la sexualidad como dimensión humana y social, un producto de distin-
tas interacciones.
... Most importantly, they have been used as a medium to channel humour. Therefore, they are referred to as jokes (Davison, 2012;Dynel, 2016). Memes, like any other jokes, have a target which is either the author himself/herself or another person or something worthy to be made fun of. ...
Nowadays, people spend hours on social media conversing and sharing information through jokes and references made online. Digital memes are one of the most favourable means of internet communication, which thrives on humour. The main purpose of humour is to entertain and make people laugh. So, to avoid hurting others by joking at the expense of others, many people turn to self-mockery. One type of self-mockery is self-defeating humour in which the speaker targets himself/herself in a “poor me” fashion. By using a mixed approach of qualitative and quantitative analysis, this research investigated how internet users interpret the target of self-defeating humour in memes. This analysis used the relevance theory of Sperber and Wilson (1995). On this account, this research addressed the process of decoding and inferential enrichment, and lexical pragmatic adjustment. It is said that making oneself the target of a joke is safer and less sensitive than targeting other people. After analysing the inferences of 100 netizens that were drawn from five self-defeating memes, it has been concluded that targeting oneself could be as sensitive as targeting others.
... The latter were first defined in 2009 by Patrick Davison in his book The Language of the Internet. Davison states an internet meme is "an internet meme is a piece of culture, typically a joke, which gains influence through online transmission" [5] (pp.120-134) Starting from this definition, we already notice two important features that distinguish memes, as they were defined by Dawkins, from internet, namely humor and virality. ...
Idioms exhibit some semantic particularities and for this reason they exist in our minds as prefabricated elements, being memorized as such. Thus, an important role of idioms is to evoke images, to awaken the imagination, while transmitting information in a succinct and ingenious way. In the digital era, computer-mediated communication gains ground over interpersonal communication. Internet users have developed new communication systems on social networks, forums or blogs. These communication systems are largely based on communication through visual elements, such as memes. Internet memes are a type of content that consists of associating an image and a text in order to represent ideas, feelings or situations, generally in a funny way. Although, traditionally, images are not part of the object of study of linguistics, Internet memes are becoming linguistically relevant, as they are a new form of communication. People tend to have a mental representation for each idiom they know. Therefore, this article aims to show how idioms are visually represented in Internet memes in a bid to convey thoughts, opinions and feelings in an effective and creative way, while adding a note of fun to virtual conversations.
... On the positive side, it can lead to greater self-expression and creativity. On the negative side, anonymity makes it more probable to share offensive or taboo content because users feel less responsible for their online behavior and therefore less likely to consider the consequences of their actions (Davison, 2020;Vickery, 2014). ...
This research aims to identify the underlying discourses in the representation of vegan identity and its alterity in memes. We made a structural analysis of 276 memes published in two Chilean vegan accounts on Instagram. The results reveal that the discursive structures of the memes studied consist of two evaluation axis (one practical and one ethical-political) that generate a typology of representations about vegan identity (authentic vegan) and its alterity (impostor nonvegan, authentic nonvegan, impostor vegan). We also found two interactions that deepen the definition of the authentic vegan identity. In these interactions, conflict and ridicule toward the nonvegan prevail. We conclude that online contexts and the use of memes as the analysis unit allow an emerging conflictive side of veganism that had been hidden in previous works. This article invites others to delve into the study of vegan identities and existing negotiation strategies in both online and offline spaces.
... A piece of culture (...) which gains influence through online transmission (Davison 2012). ...
This chapter studies humorous memes. It starts with an account of meme discourses with their definition, and also the origin of the term meme. Then, some discussion on the relationship between text and image in memes is provided, together with a proposal of types of text-image combinations, based on the role of the text and/or the image in deriving the intended humorous effects. The chapter then moves into the specificity of the use of memes for humorous purposes and how these are inferred according to relevance theory. The next section is devoted to the application of the incongruity-resolution theory to humorous memes. Then, the relevance-theoretic notion of ad hoc concept construction is applied to the comprehension of some multimodal memes. The chapter ends with an account of the specificity of Covid-19 memes compared to non-Covid humorous memes.KeywordsMemesText-image combinationHumorous memesCovid memes
... Internet Memes (IMs) can be defined as "a piece of culture, typically a joke, which gains influence through online transmission" [6]. An IM is based on a medium, typically an image representing a well-understood reference to a prototypical situation within a certain community [32]. ...
Internet Memes (IMs) are creative media that combine text and vision modalities that people use to describe their situation by reusing an existing, familiar situation. Prior work on IMs has focused on analyzing their spread over time or high-level classification tasks like hate speech detection, while a principled analysis of their stratified semantics is missing. Hypothesizing that Semantic Web technologies are appropriate to help us bridge this gap, we build the first Internet Meme Knowledge Graph (IMKG): an explicit representation with 2 million edges that capture the semantics encoded in the text, vision, and metadata of thousands of media frames and their adaptations as memes. IMKG is designed to fulfil seven requirements derived from the inherent characteristics of IMs. IMKG is based on a comprehensive semantic model, it is populated with data from representative IM sources, and enriched with entities extracted from text and vision connected through background knowledge from Wikidata. IMKG integrates its knowledge both in RDF and as a labelled property graph. We provide insights into the structure of IMKG, analyze its central concepts, and measure the effect of knowledge enrichment from different information modalities. We demonstrate its ability to support novel use cases, like querying for IMs that are based on films, and we provide insights into the signal captured by the structure and the content of its nodes. As a novel publicly available resource, IMKG opens the possibility for further work to study the semantics of IMs, develop novel reasoning tasks, and improve its quality.Keywordsinternet memesknowledge graphscontent enrichment
... The use of memes as part of digital food marketing may contribute to position products as part of current culture. Memes depicting situations that are contextually relevant to specific groups have become a key aspect of digital culture, contributing to making specific contents go viral (Davison, 2012). ...
Purpose: The current research aimed to examine the prevalence of Instagram posts featuring ultra-processed products targeted at adolescents in Uruguay and hence investigate the frequency of such posts among a vulnerable consumer segment in a country that cannot be classified as WEIRD (i.e., Western, educated, industrialized, rich, and democratic).
Methodology: The study relied on a cross-sectional content analysis. A total of 2,014 Instagram posts promoting ultra-processed products or brands commercializing such products, generated by 118 Instagram accounts between August 15th, 2020, and February 15th, 2021, were analyzed. Nine indicators of food marketing targeted at adolescents were selected to identify posts targeted at this age segment. Inductive coding was used to describe the content of the posts. Descriptive statistics and generalized linear models were used to analyze the data.
Findings: 17.6% of the posts were identified as targeted at adolescents. Graphic design and adolescent language were the most prevalent indicators of marketing targeted at adolescents, followed by explicit references to adolescents or young adults and memes. Posts identified as targeted at adolescents mainly promoted snacks and discretionary foods. Differences in the content of posts identified as targeted and not targeted at adolescents were observed.
Originality: The study breaks new ground by analyzing the prevalence and exploring the characteristics and content of Instagram posts promoting ultra-processed products to adolescents in an under-researched geographic area of the world.
Research limitations: The analysis was restricted to one social media platform in one country during a limited period of time, which limits the generalizability of the findings to other media platforms, samples, and settings.
Social implications: Results stress the need to implement digital food marketing regulations to reduce exposure of adolescents to the deleterious effects stemming from marketing of unhealthy foods and provide empirical evidence to inform their development.
Keywords: digital marketing; food marketing; social media; nutrition policy; adolescence.
... analogue to a real-life space, it also encourages playful interaction as a unique affordance of the network. Visitors can generate not only 3D emoticons in the space but also floating gifs, deploying the pop culture signifiers that constitute the heavily referential, mimetic language of the Internet (Davison 2012). Visitors can also scrawl 3D doodles anywhere in the space with a colourful pen, spawn 3D models from a library, and activate a flight mode in order to move through walls and ceilings or view the work from an otherwise impossible angle. ...
In the wake of the COVID-19 pandemic, new and existing applications of digital technology in higher education have accelerated. Much recent writing around digital pedagogy conceptualises its affordances as a space rather than a tool. This paper presents a new digital pedagogy project, the Media & Communications Virtual Gallery, and considers how it makes use of those affordances for learning. The project is an online 3D, publicly accessible online gallery that houses a curated selection of student coursework. The objective of the project was to improve student engagement and visibility of student work. The gallery developed as an experiment towards this objective using digital technology in a way that did not simply replicate existing models. This paper elaborates on three key elements of digital space as they play out in the Virtual Gallery: authenticity, provocation, and play. Each element rests on the concept of the virtual as providing an ‘in-between’ zone, acting as both bridge and buffer between student experience inside a higher
... Memes are learned and constructed by social forces such as culture, religion, education, and greatly determine much of human behaviour (Davison 2012). In social media discourse, "Internet meme" is commonly applied to describe the propagation of content items such as jokes, rumours, videos, etc., from one person to another via the Internet (Shifman 2013). ...
This paper explores the deployment of multimodal elements as appraisal resources in #Endsars civil unrest-related memes in Nigerian social media space (WhatsApp and Twitter) to express affective meanings and intersubjective positioning. The study investigates how both verbal and non-verbal elements are deployed as appraisal resources to evaluate the trajectory of the protest. The data, which comprise thirty purposively selected Internet memes, collected between October and December, 2020, were analysed qualitatively. The study shows that the meme producers, through the use of multimodal concepts such as symbolic, analytical, action, reactional processes, offer and salience, among others, project various expressions of affect, judgement and appreciation of things to create important narratives in the memes. Thus, the verbal elements are graded/upscaled through the non-verbal elements in the memes to evoke specific reactions, positive/negative, which signal intersubjective positioning about the protest and relevant social actors. The study concludes that meme producers effectively utilize multimodal elements to interrogate various expressions of attitude and intersubjective opinions that Nigerians made about the protest and its management by the Nigerian government.
... Generally, memes can be considered as intertextual user generated contents (UGCs) (Wiggins, 2019), composed of both images and text (Davison, 2012). Indeed, memes remix references to contemporary occurrences or ordinary circumstances with references from pop culture -such as images from movies, tv series, music videos and so forth, often in an ironic manner. ...
During the first year of the COVID-19 pandemic, memes appeared as one of the cultural artefacts through which people could represent, and ironize on, the consequences of the spread of the virus. This paper presents the results of a research, based on a content analysis conducted on a sample of 1882 memes, which investigate the main themes and protagonists of the memes and the following collective narratives built and circulated in three different phases of the pandemic, in the Italian socio-cultural context. Drawing on the findings of this exploratory study, we argue that memes are socio-cultural and narrative artifacts that contribute to construct, and in which are inscribed, socio-narrative representations, that individuals employ to make sense of, and build imaginaries and narratives about collective experiences. Specifically, we support that memes, as socio-narrative representations, objectify facts through iconic representations, anchor new events to previously elaborated ideas and expressions, and entail skeleton stories, i.e., narrative programs in which are inscribed normative and ethical elements.
Key actors providing sources for meme repertoires and thus contributing to the construction of socio-narrative representations are broadcast media (news media, cinema, TV programs, etc.), which had a key role during the pandemic, following the social distancing and home confinement restrictions issued by the Italian government. During the hardest moments of the pandemic, memes worked as socio-narrative representations of the new type of everyday life with which individuals had to cope, thereby making familiar something that appeared dangerous and unknown. Memes eliminated the most disturbing and dangerous parts of the virus through narrations that often made fun of the new rules of behaviour and relationship practices, with ordinary objects and guiding characters, such as politicians and stars from the show business realm, that were able to reassure people. Finally, methodological insights regarding the study of memes at the big data & computational methods level are provided.
... Como tal, este producto de la cultura digital exige comprensión y cuidado ya que ni es transparente, ni universalmente comprensible a simple vista y, como construcción cultural que es, requiere de una mirada más atenta como extensión de una forma de concebir y actuar en el mundo. Esta importancia cultural ha abierto una línea de investigación en torno a los diversos usos e impacto de los memes en la sociedad conectada desde diversas perspectivas y disciplinas (Davidson, 2012;Shifman, 2014). ...
Los memes son un producto de la cultura digital popular que no obstante de su viralidad, humor, creatividad y cotidianidad están provistos de una densidad semiótica, por lo tanto, no son neutros, ni inocuos. La complejidad que puede entrañar un meme permite pensar en su potencial uso como instrumento de evaluación del aprendizaje para el estudiantado universitario. En este trabajo se presenta el proceso de construcción de un instrumento de evaluación con enfoque en competencias basado en la creación de memes (constructos meméticos) en el marco de asignatura “Enseñanza y Aprendizaje en la Sociedad Digital” del grado de pedagogía en la Universitat de Barcelona. Como tal, se presentan las fases del diseño de construcción del instrumento para evaluar constructos meméticos, junto con los criterios y los resultados de la evaluación del aprendizaje. En términos generales, la imagen que nos deja esta experiencia es que los memes nos permitirían aprehender aprendizajes complejos gracias a su capacidad multimodal para revelar creencias y opiniones del estudinatado Los memes pueden ser una alternativa para evaluar el aprendizaje con enfoque en competencias que más allá de encargar la evaluación a un software específico se basa en aprovechar la dinámica de la cultura digital. Este empleo, sin embargo, requiere de un diseño pedagógico y, a su vez, de ciertas competencias digitales, tanto del estudiantado, como del profesorado.
... In qualitative interviews with young adults who had engaged in sexual choking, men commonly described first learning about choking from pornography as well as from peers and mainstream media, whereas women described learning about choking from partners, peers, and Internet memes (Herbenick et al., 2022c(Herbenick et al., , 2022d. Internet memes have been described as a "piece of culture, typically a joke, which gains influence through online transmission" (Davidson, 2012), "amateur media artifacts, extensively remixed and recirculated by different participants on social media networks" (Milner, 2012), and as "cultural information that passes along from person to person, yet gradually scales into a shared social phenomenon" (Shifman, 2013, pp. 364-365). ...
Recent research indicates that some young people initially learn about sexual choking through Internet memes. Thus, a qualitative content analysis was performed on 316 visual and textual memes collected from various social media websites and online searches to assess salient categories related to choking during sex. We identified nine main categories: communication, gendered dynamics, choking as dangerous, choking as sexy, sexualization of the nonsexual, shame and worry, romance/rough sex juxtaposition, choking and religious references, instructional/informational. Given that memes, through their humor, can make difficult topics more palatable and minimize potential harm in the phenomenon they depict, more concerted, synergistic effort that integrates media literacy into sexuality education programming on the potential risks that may ensue for those engaging in sexual choking is warranted.
... The recent explosion of multimedia content, in the form of Internet memes (IMs), makes content moderation even more difficult, especially when the context is not taken into account. An Internet meme can be roughly defined as "a piece of culture, typically a joke, which gains influence through online transmission" (Davison 2012). An Internet meme is based on a medium, typically an image representing a well-understood reference to a prototypical situation within a certain community. ...
Warning: this paper contains content that may be offensive or upsetting. In the current context where online platforms have been effectively weaponized in a variety of geo-political events and social issues, Internet memes make fair content moderation at scale even more difficult. Existing work on meme classification and tracking has focused on black-box methods that do not explicitly consider the semantics of the memes or the context of their creation. In this paper, we pursue a modular and explainable architecture for Internet meme understanding. We design and implement multimodal classification methods that perform example- and prototype-based reasoning over training cases, while leveraging both textual and visual SOTA models to represent the individual cases. We study the relevance of our modular and explainable models in detecting harmful memes on two existing tasks: Hate Speech Detection and Misogyny Classification. We compare the performance between example- and prototype-based methods, and between text, vision, and multimodal models, across different categories of harmfulness (e.g., stereotype and objectification). We devise a user-friendly interface that facilitates the comparative analysis of examples retrieved by all of our models for any given meme, informing the community about the strengths and limitations of these explainable methods.
... According to Coleman, online memes are "viral images, videos, and catchphrases constantly in flux in response to user input and traveling as fast as the Internet can transport them" (2012: 109). Online communities express themselves through such content (Vickery, 2014;Davison, 2012), taking advantage of platforms of great connectivity and shareability to facilitate rapid consumption and dissemination (García Huerta, 2014;Hernanz & Hernanz, 2012;Knobel & Lanshear, 2007). Hence, along with the idea conveyed, it is also essential that the expression be infectious, whether it is appealing, satirical, humorous, or universal (Huntington, 2013;Chen, 2012;Hansen et al., 2011). ...
Memes are considered a popular source of information dissemination and influence the mindset of their audience in a lighter mode. In its most common form, a meme is a humorous visual piece of content that has been remixed, repeated, and altered to address diverse contexts and meanings but still adheres to the core concept adopted by the cross-cultural audience. However, it also serves underlying purposes. It is known that internet memes serve as a way for people who live in the digital realm to form opinions and become primary sources of information when they begin to analyze the news that comes from the memes made on the internet. This study aimed to investigate the agendas of political memes, their consideration of ethical boundaries, and their role in building public opinion, especially in the context of the contemporary political scenario in Pakistan. For this purpose, ten humorous political memes on the scenario of "No-Confidence motion 2022" have been selected through purposive sampling and analyzed to determine whether they come within ethical boundaries or violate them. Moreover, it also analyzed how these political memes play a role in building public opinion; the framing technique of Agenda setting explains this phenomenon, and content discourse analysis of the memes guides the course of this discussion. The results have shown that political meme creators set certain agendas while creating them and violate ethical boundaries. Most of the memes created during the "No-confidence motion" seemed to criticize the PDM and were framed to prove that PDM is wrong. Hence, most meme creators supported the PTI agenda, and the framing done by PTI's social media and memes were relatable. Most of the memes were based on frames that mimicked and criticized the actions of PDM leaders. Further research can be done to check whether memes can change perceptions regarding political issues and the impact of the memes on the audience.
... Uno de los fenómenos más llamativos del denominado lenguaje digital (Manovich 2005;Aladro, 2017) es el surgimiento y desarrollo de esas piezas de información visual de marcado carácter simbólico, evolutivas y en bricolaje, denominadas memes. Si recurrimos a algunas definiciones, los memes son descritos como piezas culturales, relacionadas con el humor, cuya estructura comunicativa es derivativa, ganando influencia con su transmisión interpersonal online (ésta es la definición de Patrick Davison (2012). ...
Este texto discurre sobre los memes como nuevo lenguaje en el contexto de los medios digitales. Enuncia diversas hipótesis sobre la función alfabetizadora de los memes, y describe los aspectos que relacionan a la pragmática del meme con los lenguajes generativos y transformacionales. Una vez establecida la naturaleza lingüística de los memes, el texto describe estos como sociolecto o antilenguaje asociados a grupos generacionales, subculturas o grupos sociales específicos, que mediante las operaciones características de los sociolectos acceden al sentido de comunidad, generan instancias específicas de sentido y se definen como sistema traductor de las anteriores formas culturales.
... Davison [33] has mentioned the transient nature of memes. They can be easily converted and communicated [34]. ...
On Instagram, we have all seen memes. Honestly, what would you do if you encountered a meme in a museum? The purpose of the study is to evaluate the nexus between posts uploaded by museum visitors and emotions, as well as the popularity of artworks and memes. We gathered N = 4.526 (N = 1.222 for memes and N = 3.304 for museum posts) entire posts using API. We selected the total number of likes, comments, frequency, nwords, and text emotions as indicators for several supervised machine learning tasks. Moreover, we used a ranking algorithm to measure meme and artwork popularity. Our experiments revealed the most prevalent emotions in both the memes dataset and museum posts dataset. The ranking task showed the most popular meme and museum post, respectively, that can influence the aesthetic experience and its popularity. This study provided further insight into the social media sphere that has had a significant effect on the aesthetic experience of museums and artwork’s popularity. As a final point, we anticipate that our outcomes will serve as a springboard for future studies in social media, art, and cultural analytics.
A meme is a caption image that consists of an image and a witty message which reflects worldwide current incidents. Since the outbreak, Covid19 has received its own share of memes by fueling a pile – on excuses to promote racism on Asian's and particularly the Chinese community as being the major cause of the pandemic. The present study aims to investigate racial memes of (24) English memes and (10) Arabic memes. To achieve this, a pragmatic multimodal approach has been adopted to find answers to the following questions:1- To what category does the speech act “racialize” belong to?2- Are racial intentions expressed equally in English and Arabic memes?3- Is there any difference in the frequency of racial humor in English and Arabic memes?4- Which category of text – image combination is more frequently used in English and Arabic memes?The findings of the study, show that the speech act of racialize belongs to expressive illocutionary acts since it expresses a negative psychological state of mind and has down face since it is not accepted by everyone. Although, Covid19 memes in English and Arabic sometimes share the same caption and image but the racial intention in English memes are reflected through dark humor unlike Arabic memes which are mostly humorous.
The aim of this volume is to give an overview of some of the most significant and exciting philosophical controversies concerning ethics and the arts. The aim is not to be complete; even a volume as long as this one cannot possibly hope to cover everything. Instead, this volume aims to be comprehensive in the older meaning of that term: that of offering an extensive grasp of a subject matter. Each section samples a mix of topics that have been widely discussed alongside those that have been less noticed by philosophers. What emerges is a sense of the great variety of different problems and approaches as well as some recurring and overlapping themes. A deliberate effort has been made to stretch beyond some of the debates and problems most familiar to Anglophone philosophers. Familiar topics and positions have been placed side by side with new and neglected ones, sometimes suggesting surprising connections and conflicts. The volume is divided into four sections: Historical Perspectives, Theoretical Approaches, Individual Arts, and Problems. The forty-five chapters in this volume cover a lot of ground. Whether taking on old problems or new ones, well-known art forms with centuries of philosophical scholarship or still-evolving new forms, there is more to these moral questions than it seems at first. Collectively, the authors of these chapters issue an invitation to think and argue about these problems carefully and deeply.
The intense contact between Guarani and Spanish in the Argentine province of Corrientes has produced a wide array of mutual contact effects, the most visible being widespread borrowing in both directions. This article examines a previously unreported feature of Argentine Guarani loans in Correntino Spanish: the social value they have acquired. Building on the growing body of work in sociolinguistics on internet memes, which are sites of phenomena rich in sociolinguistic value, an analysis is provided of Argentine Guarani loans in Correntino Spanish using an original corpus of memes collected from Correntino Instagram pages. Such memes, whose intended audience is monolingual, are a valuable source of Correntino Spanish features, which are used for humorous, ironic, or nostalgic effect. Via analysis of the relationship between these loans and the kinds of memes they appear in, I show that these loans have undergone enregisterment, i.e., they have taken on additional social meaning that allows them to index a complex variety of ideological stances toward Correntino social phenomena and character types. The results of this process evidence the fact that language contact, as an engine of variation, creates fertile ground for the emergence of social meaning and that memes are a productive and promising window into the (re)creation and evolution of such meaning.
Resumo: Introdução: A pedagogia freiriana aponta a educação como uma prática social consoante a uma realidade em transformação e direcionada às demandas de seu público. Na educação médica, aplica-se tal concepção quando o ato pedagógico é um modelo de cuidado para os discentes. Nesse sentido, estratégias que promovem a expressão de sentimentos de forma livre, lúdica e criativa são práticas que promovem o cuidado e contribuem para uma formação humanista e reflexiva, como preconizado nas DCN para o curso de graduação em Medicina. O objetivo deste relato de experiência é compartilhar uma experiência bem-sucedida da utilização de memes em uma atividade de feedback do componente curricular de Saúde Coletiva de um curso de Medicina de uma universidade federal brasileira. Relato de experiência: No último encontro do semestre, os estudantes, reunidos em pequenas equipes, foram orientados a criar memes que refletissem suas principais percepções acerca do módulo, ou seja, que destacassem os momentos mais marcantes e os aprendizados compartilhados ao longo do semestre. Em seguida, a turma toda se reuniu por videochamada, e um representante de cada equipe fez o feedback apreciativo do semestre utilizando o meme criado, além de compartilhar o “momento a-há” elegido pelo grupo, ou seja, o mais marcante e transformador do módulo. Discussão: Percebe-se que a utilização de memes e outros recursos lúdicos na educação médica é importante e recomendada, pois, além de tornar o processo de aprendizagem mais ativo e efetivo, o que está de acordo com os princípios das DCN, é uma forma de cuidado em saúde com os discentes. Além disso, essa dinâmica permite uma maior interação entre os alunos e estimula o senso de pertencimento. Ademais, a realização de feedbacks na graduação de Medicina é fundamental para o processo de aprendizado e também para o aprimoramento de habilidades necessárias à prática profissional, e essa atividade se mostrou facilitada e efetiva quando feita por meio do uso de memes. Conclusão: A utilização de memes na sessão de feedback se mostrou benéfica, criativa e salutogênica, além de ser uma estratégia que preza o cuidado e a expressão de sentimentos dos alunos, e, por isso, deve ser encorajada.
With The Daily Show’s popularity for late-night televised political satire, the infotainment genre has progressively turned into a major venue for mass-mediated political discourse in the US. Arguably, the show employs creative political memes in tandem with a plethora of multimodal strategies that all function in collegiality in revival of a journalism of critical inquiry showcasing how political dissent is negotiated and mitigated. Set against this backdrop, this paper argues for a new conceptualization of “digital memes” to incorporate the visuals integrated in talk show monologues. These visuals have undergone a shift from being merely “aesthetic-expressive” graphics to share many of the internet meme’s features and hence make them mount to be a sub-genre of memes. More specifically, the study extends scholarship on political memes proposing a more nuanced methodological and analytical framework premised on meme-inherent news values and host-specific converging communication accommodation strategies. The paper is an attempt to introduce an inclusive approach that draws on various perspectives that can do better justice to the rich complexity inherent to memes. For the purpose, a corpus of 235 meme instances from January 2016 to December 2019 in The Daily Show with Trevor Noah’s entertainment-based, ideologically-driven political commentary was examined. This is to capture how the intervention of memetic aesthetics in the topical monologue of the show as far as Trump’s administration is concerned can alter the trajectory of political satire. Findings showcase that the emerging memes in the late-night show, particularly image macro memes, have superseded late-night television as the leading edge of political satire.
Internet memes are recognised for their role in creating community through shared humour or in-group cultural knowledge. One category of meme uses historical art pieces, coupled with short texts or dialogue, as a form of social commentary on both past and present. These memes often rely on a (mis)reading of the emotions of those represented in such artwork for humorous purposes. As such, they provide an important example of transhistorical engagement between contemporary society and past artifacts centred on the nature of emotion. This Element explores the historical art meme as a key cultural form that offers insight into contemporary online emotional cultures and the ways that historical emotions enable and inform the practices of such culture. It particularly attends to humour as a mode which helps to mediate the disjuncture between past and present emotion and which enables historical emotion to 'do' political and community-building work amongst meme users.
This paper explores the use of memes as a memorization technique in education. The study aims to define the concept of using memes as a memorization tool and to investigate its effectiveness in enhancing student learning outcomes. A review of literature is conducted to gather information on the current state of research in this area and to identify the key factors that contribute to the success of using memes as a memorization technique. The results of the study suggest that using memes as a memorization tool can be an effective way to promote student engagement and improve learning outcomes, particularly in subjects that are difficult to learn. Overall, this paper provides a comprehensive overview of the definition, benefits, and challenges of using memes as a memorization technique in education.KeywordsMemesMemorization techniqueEducationStudent learning outcomes
Dieser Beitrag hat zum Ziel, Image Macros, einen speziellen Typ von Internet�Memes, als Ressource für die Erforschung sprachlicher Verstärkungsprozesse
zu erschließen. Sprachliche Verstärkungsprozesse sind nach Harnisch (2010a,
b) Reanalyseprozesse, bei denen sprachliche Elemente semantisch aufgeladen
und/oder konstruktionell aufgewertet werden. Dabei wird ein engerer Begriff
von Reanalyse zugrunde gelegt: Dieser ist „seiner formalen Seite nach als
Resegmentierung, seiner damit verbundenen semantischen Seite nach als
Remotivierung“ (Harnisch 2010a: 19) aufzufassen.
This contribution seeks to demonstrate how studying memes as a collection depends on the website or platform where they are sourced. To do so, we compare how memes, specifically internet memes, are conceived in the well – known meme repository (Know Your Meme) with those from a meme host and generator (Imgur), an imageboard (4chan), a short-form video hosting site (TikTok) as well as a marketing data dashboard (CrowdTangle). Building on insights from software studies and our observational analysis, we demonstrate how each site constructs and arranges meme collections in a distinctive manner, thus affecting the conceptualisation of memes by each of these sites. In all, the piece develops the concept of the meme as a technical collection of content, discussing how each collection’s distinctiveness has implications for meme research.
‘Gerçeklik’, özellikle konvansiyonel medya pratikleri açısından önem atfedilen ve enformasyonun üzerine inşa edilmesinin beklendiği bir olgudur. Ne var ki, dijitalleşmeyle birlikte günümüzde toplumsal yapıların uğradığı dönüşüm, gerçeklik olgusuna verilen önem konusunda kırılmalara yol açmıştır. Bu durum, her ne kadar yeni iletişim teknolojileri ile ilişkili olarak, özellikle sosyal medyanın yaygın kullanımının bir sonucu şeklinde değerlendirilse de, söz konusu kırılmalara hazır bir toplumun var olması da bu durumun ortaya çıkmasını hızlandıran önemli bir unsur olarak belirmektedir. Algısal düzlemde gerçekliğin giderek önemsizleştiği ve malumat elde etmede aranılan bir özellik olmaktan çıktığı bu dönem literatürde ‘post-truth’ olarak tanımlanmıştır. Rasyonel olanın yerini alan duyguların bireysel ve toplumsal hafızada ‘gerçek’ olarak algılanması ile ortaya çıkan bu kavram, günümüz toplumlarında bilimin giderek gücünü yitirmesini; çıkar ve sonuç elde etme bağlamında yeniden düzenlenen iletişim ve ilişki süreçlerinin önemli/önemsiz fark etmeksizin herhangi bir konu üzerinde toplumsal uzlaşı sağlamayı güçleştirmesini de beraberinde getirmiştir. Yönetmenliğini Adam McKay’in yapmış olduğu 2021 yapımı Don’t Look Up filmi, dünyaya çarpmak üzere olan bir kuyruklu yıldızdan yola çıkarak bilimsel gerçekliği olan bir enformasyonun günümüz post-truth toplumlarında nasıl önemsizleştirildiğini siyaset, medya ve birey arasındaki görünmeyen ilişkileri de açığa çıkararak betimlemekte ve toplumu savunmasız hale getiren post-truth dinamiklerinin görünenden çok daha tehlikeli sonuçlar doğurabileceğini iddia etmektedir. Bu çalışmada, betimsel analiz yöntemiyle incelenen film, post-truth kavramını diğer bilgi kirliliği türlerinden ayıran dokuz nitelik çerçevesinde değerlendirilmiştir.
The declining informal collaboration corresponds to less civic engagement, political equity, solidarity, trust, and tolerance as well as associational life. In 2020, a case study of two NPOs revealed that one was adopting a strong entrepreneurial orientation, while the other integrated the traditional community orientation with more professionalization, confirming to partial marketization tendencies. The NGO-ization of society, visible in the increasing number of nongovernmental organizations (NGOs) at the national and transnational level, tend to somewhat contradict Putnam’s thesis. On the other hand, the number of NGOs is not per se revealing of the quality of citizen participation in those organizations. The terms NGOS and nonprofit can be applied to the same organizational forms – some authors tend to consider the former as a type of nonprofit. Interestingly enough, in the diversity of approaches, and even definitions of this object, there is a common use of the excluding element to classify it: nongovernmental and nonprofit.
Memefying Crises in Romania and Japan: A Global Phenomenon Bearing Local Value. When faced with unexpected, traumatic events, such as crises, which can trigger fear and anxiety, people react differently. Depending on the type of crisis and on how affected they are by it, people can run in fear (flight), become numb, irresponsive (freeze), please other people (fawn), or stay put and deal with it one way or another (fight). In such cases, humour, irony and sarcasm appear to be a good strategy. As such, Internet memes are an example of a fight reaction that people have to crises, in which they resort to humorous, ironic, sarcastic texts / videos to deal with such unpredictable events that affect the world that they are familiar with, which become highly contagious (transmissible) on the Internet. By carrying out a qualitative analysis of a corpus of Internet memes from Japan and Romania retrieved from Twitter, Instagram, and Facebook, which appeared in the first year of the COVID-19 pandemic, and by looking at Geert Hofstede’s and Edward T. Hall’s cultural dimensions, the purpose of this article is to prove that Internet memes—though they are seen as a global phenomenon—bear some local value and transmit ideas, feelings, and beliefs specific to a culture.
The gay frog has taken on a surprisingly prominent role in contemporary environmental culture. Primarily associated with American shock jock Alex Jones and the so-called alt-right, fears of frogs being turned gay by hormones in water have nevertheless entered the mainstream, while gay frog memes are shared online by users from across the political spectrum. This article offers a genealogy of the gay frog, situating this recent moment in the longer history of “sex panics” over gay animals described by queer ecologists, and in the context of an ongoing backlash against feminism and trans liberation. It argues that the potency of the gay frog as alt-right symbol derives from the capacity of the frog to instantiate racialized and sexualized anxieties about border crossings. By examining the role of humor in gay frog clips and memes, this article shows how liberal mockery of Jones has inadvertently mainstreamed far-right beliefs and served to consolidate alt-right notions of victimhood. In spite of this, it argues that the comic potential of the gay frog holds promise for queer ecologists seeking to think differently about sex and nature.
Seit der Einführung des dualen Rundfunksystems ist die zunehmende Unterhaltungsorientierung in den Medien auch in der politischen Kommunikationsforschung ein Thema geworden. Dabei konzentriert sich die Forschung vorwiegend auf das Fernsehen. Die Vermischung von Politik und Unterhaltung wird unter dem Begriff Politainment diskutiert. Die Erscheinungsformen von Politainment reichen von Talkshows über Satire bis zu fiktionaler Unterhaltung. Daneben finden sich exklusiv für das Internet produzierte Formate wie YouTube-Kanäle, Web-Serien und Memes. Dieser Beitrag liefert eine Bestandsaufnahme der verstreuten Forschungsaktivitäten.
The mass student protest for road safety in Bangladesh started in the capital city Dhaka after the death of two students by a road accident. Focusing on the event during 2018, this paper analyses the comments and memes of selected Facebook pages to find out the reactions by netizens towards the protest. Although there are several studies based on protest and social media in different nations, in Bangladesh it remains an under-researched field. Data were collected from four selected public Facebook pages using the thematic analysis method. Through the analysis of the data, it became clear that netizens wanted to express their feelings and thoughts freely in this open space as new media offers them an almost censor-free platform. The findings contribute to understanding how social media plays a role in providing an open platform of freedom of expression.
В цифровом мире меняются способы конструирования исторической памяти, интернет-пользователи при помощи социальных сетей имеют возможность демонстрировать в медиасреде собственные представления о прошлом. “Умные толпы” создают свою версию истории, используя доступные им инструменты, один из которых – интернет-мем. Цель исследования заключается в рассмотрении процесса визуализации образов прошлого при помощи интернет-мемов, которые формируют исторические представления, сочетая их с массовыми культурными стереотипами. Исторический интернет-мем представляет собой вариацию политического мема, содержащего отсылку к прошлому либо репрезентацию исторического факта. Обращение к проблеме конструирования исторической памяти в интернет-мемах позволяет преодолеть методологический разрыв в исследованиях memory studies между изучением политики памяти, проводимой акторами (политиками, учеными, лидерами общественного мнения, крупными СМИ), и тем, как она отражается в массовом сегменте общественного сознания. Интернет-мемы на историческую тематику воспроизводят яркие идеи политик памяти, но могут влиять на отношение пользователей к символической политике власти путем конструирования фейковых представлений о прошлом, которые воспринимаются как достоверные. Формат интернет-мема позволяет давать произвольную интерпретацию прошлого, кардинально изменяя образ исторического события либо героя, а бесконечные его вариации и вирусное распространение способствуют восприятию фейка массовой аудиторией. Интернет-мемы представляют собой удобный и простой инструмент создания и внедрения политического мифа, так как в их смысловую структуру закладываются мифоэлементы, узнаваемые большинством интернет-пользователей. Историческая память формируется различными общественными и политическими силами, использующими широкий набор инструментов, и интернет-мемы играют в этом процессе не последнюю роль.
This handbook brings together multidisciplinary and internationally diverse contributors to provide an overview of theory, research, and practice in the nonprofit and nongovernmental organization (NGO) communication field. It is structured in four main parts: the first introduces metatheoretical and multidisciplinary approaches to the nonprofit sector; the second offers distinctive structural approaches to communication and their models of reputation, marketing, and communication management; the third focuses on nonprofit organizations' strategic communications, strategies, and discourses; and the fourth assembles campaigns and case studies of different areas of practice, causes, and geographies. The handbook is essential reading for scholars, educators, and advanced students in nonprofit and NGO communication within public relations and strategic communication, organizational communication, sociology, management, economics, marketing, and political science, as well as a useful reference for leaders and communication professionals in the nonprofit sector.
ResearchGate has not been able to resolve any references for this publication.