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Abstract

This article explores the daily activity of the cyberfeminist communities in Spain from the study of social media as spaces for identity formation and repertoires of political action. Starting from the analytical framework of social movements, cyberfeminism and its relationship with technologies, the article tries to understand the use of digital spaces for collective action. From the foundations of virtual ethnography, four reference communities on Facebook are analyzed (according to institutionality and existence of offline base) to assess how discourses against gender violence are articulated, as well as the participation and groupings that coexist in these platforms. As a result, six different effects are identified in the communication of these digital groups, concluding that their deliberative dimension regarding gender violence is scarce and insufficient in the era of Web 2.0.
Athenea Digital - 19(1): e2058 (marzo 2019) -ARTÍCULOS- ISSN: 1578-8946
LAS REDES SOCIALES DEL CIBERFEMINISMO EN ESPAÑA: IDENTIDAD Y
REPERTORIOS DE ACCIÓN
THE SOCIAL NETWORKS OF CYBERFEMINISM IN SPAIN: IDENTITY AN D ACTION REPERTOIRES
Igor Sádaba*; Alejandro Barranquero**
* Universidad Complutense de Madrid; **Universidad Carlos III de Madrid;
igor.sadaba@gmail.com; abarranq@hum.uc3m.es
Historia editorial Resumen



 
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&#2/3$'4(
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&2   #1
56''
Palabras clave
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8
Abstract
Keywords
4&$
7!3#3&
9:
8&
;/3&&$3&$9
$3&$$&$$
'9#$3&$<,$(&
$3<33#(3
3 $ # $ ' + 3$ $ 
3#3&($$+,&*-#
&/$=03<##
(<3##3/
3$'(/>>53
$3##(#33#
##?3$6''
9@(8#AB2(C-0'D$!%&
'(-0( '3EFF'#F'  FF3' 
El ciberfeminismo como objeto de investigación
D##@$2
*&##
3#1!%'9
#12#-30C
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Las redes sociales del ciberfeminismo en España: identidad y repertorios de acción
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Igor Sádaba; Alejandro Barranquero
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Las redes sociales del ciberfeminismo en España: identidad y repertorios de acción
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&#1@#
(2((C@
'#3
(#(&
3*2&@'
Las redes sociales españolas como lugar de observación
de las identidades ciberfeministas
)$#(
##&@23
&"@$'!
"23  ((
W&2#&#(#5
#-B&&!(0':@@5
O2#O("
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Igor Sádaba; Alejandro Barranquero
C&2#
#I#J
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G(0'
!.%(/3
@#'!3
F#F
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&F'!"($
&&2(
#2  #   & '! 
1"(5#-!02
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D"!3
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2CK#
("K&&#-&&GC
C(0'D2
3&$
'!2C3
/C#&
#-$(((
('0$(5@W&
#(&@%
"-XE(0,#-&(0'
!(/$#/&
###5#1
(#($#'!
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#$-#( (($(
0(
3$2(/8
(&$"-Q.%*(KQ.%*(+@*
Las redes sociales del ciberfeminismo en España: identidad y repertorios de acción
&( 0'!@*(#
&3/$-+(0(2
(&/-(
@#<((&('0(
'
D$&$#$-C'
%&'( (%&( )*(')+,
-.('03(#(/&
$"(2&
33
#&-Q.%*'( 0'!(
C(D&P#@:8#
7G1(2*M#($(
#':@@2#
(
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$-&#0
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&*.(&
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$J23"-+(('0'!@
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&&23
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2#'
Igor Sádaba; Alejandro Barranquero
R*I$ #J-L1&B
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C&#"#
I#"@J-L1&:E( 0'!
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/-((
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(KQ.%*&+@*(0'
Metodología y Etnografía Virtual
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#*36'O(( ('O(
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Las redes sociales del ciberfeminismo en España: identidad y repertorios de acción
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Igor Sádaba; Alejandro Barranquero
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Muestreo y selección de los Grupos
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IJ-N#(M0*
      2  3         -(
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.#2&2
Las redes sociales del ciberfeminismo en España: identidad y repertorios de acción
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M& '!#$"(
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$2#$"@(IJ(22(
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*#((&(
&((*3'
Estudios de caso
9#55
2
$(@&$
#"33#'!"
2$#.
'Q(
(32"$'!#(
#"  -#$
/0((##
2"&'T((#
(##@5*
-5(##*.0&#@
&-@0')(
#@$$(2/
L#5'
Institucional No institucional
Con base oline (grupo o
movimiento previo)

G1 +9
Sin Base oline (sin grupo
o movimiento previo)
)Q7
G1 4'
Tabla 1.:@$#
+,

Igor Sádaba; Alejandro Barranquero
!    #  *  $     Cenicientas 3.0 -4(
 0(2*&2(
  #* * - 2   0("
-3EFF<<<''0&'  $3
M'!(5&
#1($(#&#"7
-3EFF<<<'#'$0(&$$
3C&$#
@#'!52&
#&2&
("(
@&(.($#-3EFF<<<''0'
D#(##(
$$&-0&
')3*
((3(*&
55'(#
  .(2(
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'8#( /  #1 2 
&2(2#.'L
WC   2    
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%  $("
3(C&
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/&1&@#'
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(&2"#')23"$&2/#1&
1W&&'LC(
(((4''J-4( 0'
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Las redes sociales del ciberfeminismo en España: identidad y repertorios de acción
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/(2#1&@
2(&(2
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!##*&Dile No a la Violencia de Género
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#'Q(#**-(('0
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" /"' D
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$%3(
@#<-9( 0'D2
"2($3%(##
&"M#(@$$#1 M$
&(2&#&
( 3 & 3    & ' 9
"$(
&.&(3
#1'9"2@
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"')33(&(#
$(23&3#
("#&'!
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@'
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Las redes sociales del ciberfeminismo en España: identidad y repertorios de acción
( &($&
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+(#Adolescentes SIN Violencia de género(#
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2*@47
#1CM')33(#*@#<
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#(@C2/(
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Tabla 2. Comparativa de indicadores comunicativos en los grupos de Facebook
3M#1
&3O2(*(
"#1- 
0O$#
-"0'(
. - (M 0& F-(
(0'9#(@(
C" (& C  F
-(4(()Q 7G1( (
+9&(97G10'L
2#@
#2CF $
'
!/[2
##(I#J(2
'9
2C2#@#
Las redes sociales del ciberfeminismo en España: identidad y repertorios de acción
'!.  -2
0&2
$32@
-B&9#*(0'
D@2*@C$2*
(2@#
'2$@##
(#23#1
C&&
'@#/(2*@
#3#"(#25
33@
W/'
Resultados comparados de las etnografías virtuales
"**5
2# *(
#*'*("
C#2
$*(2(##(

Monólogo:2/&(
@#C2@
# /  #    'Q (
&&&C
$(2(*(#&
&'D@#
*335'
Espectacularidad: D@*
(2&
(#.C.(#
('9#("&(
(#1@
(#'

Igor Sádaba; Alejandro Barranquero
Unidireccionalidad)2 &"#* (
$"2'
'(/"
#2F#$
&2$
&'!(#2/
(2#C-FF
F#0('
Victimización#1'!C*(
#1C
""2C
#-2$0
-3!F"FC0'!(
&#2*
C&$
"-G@*+(G*Q&:
(0(3(#(#"
2I1J5'
Autorreferencialidad&"&
/#(#<#
'#(&/&
$@*@
(2.&(
3@3&'
Dispersión: 23@#*
*#1(/
@(2      
@#'!$
2&5&#("(#(
#'
Discusión y Conclusiones
!#(#-$
*$#10
$&$*&2
$'!(

Las redes sociales del ciberfeminismo en España: identidad y repertorios de acción
&@"#
$2/&&3'D1
#@5#
&$2/
@&'
9#((
2##*
/C(2@#2
@2(#
(*C(%&.
'!(&#
$  # #  2  $   
((#.@
&1*'!(5(
*#2G-03
I##J(2%#"$2C#
&2
(3*&@#2@ :&
-o(P&('0'
!##(@
*(&2 #1. 
#(/&2
-C'& 0 #
C&3-C'$C(%('0'(5#
C(
&-".&
!01C(
":"H.G@*+-0C
I1J'Q(
#-C30(
-/#@ &&F C"F#0&
C$'
!#(&@@&(
52#$2(
(@&C'9#.
*(#"
&(@&$')

Igor Sádaba; Alejandro Barranquero
@$#"@-L1&:E( 0("52
#2&#@1/&
2$.@
(2((1
'
.(" (
#"/#-#@
*.&"0(
#&
& -L1&B2( 0'
(&(##2$
&52#
&1&"/3
##1'
Referencias
9- 0'1'
3EFF'*'F#&FF#`$F
2(AG(3-0'8#<(
$3#(&3+,'23/)
4*5607(89:;( '
3EFF'#F'F M M`
(H-0'44D#
D'!HNAY,N*-!'0('%
7<2-'M0'D6&B,<'
B&(QA:,3(E-0'8:,#3
3p##'!EQ':,3AQ&Y'B&-!'0($
/<3-'//0'D9#'
B<(!-0';3#<38
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Las redes sociales del ciberfeminismo en España: identidad y repertorios de acción
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Igor Sádaba; Alejandro Barranquero
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Las redes sociales del ciberfeminismo en España: identidad y repertorios de acción
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03-'0'B8'
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Igor Sádaba; Alejandro Barranquero
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Las redes sociales del ciberfeminismo en España: identidad y repertorios de acción
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Atribución: R1((
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&23'
'A0
... Pero queda pendiente aún profundizar en el estudio de las lógicas del comportamiento del racismo -del discurso racista-de una forma sistemática y profunda desde un enfoque de investigación interpretativo, para conocer y dimensionar sus particularidades en los espacios digitales(Martín-Godoy, 2018;.Por su parte, la investigación sobre nuevas formas de participación sociopolítica, concomitantes a la expansión y generalización del uso de los medios y redes sociales digitales, está consolidándose desde 2011 y es un campo de estudio que continúa en expansión. En este sentido, la investigación se está realizando especialmente desde la sociología y las ciencias de la comunicación, especialmente interesada sobre cómo la ciudadanía participa de los debates políticos en periodos electorales (Alonso-Muñoz & Casero-Ripollés, 2018); sobre los movimientos ciudadanos acaecidos en todo el mundo a partir de las movilizaciones de 2011 -15M, Occupy Wall Street, 20F, YoSoy132, etcétera-y su vinculación con las redes sociales digitales(Castells, 2012); y, de forma particular, sobre cómo los feminismos/ciberfeminismos(Sádaba & Barranquero, 2019) o -incipientementeel movimiento Black Lives Matters (Tillery, 2019) funcionan, actúan y se expanden a través de las redes.En este trabajo se asumen estos procesos como nuevas formas de contestación, pero además se incluyen aquellas interacciones comunicacionales que no se definen a sí mismas como "activistas", que no se sitúan bajo el paraguas de un movimiento social predefinido, pero que no por ello dejan de suponer una forma más de participación social/civil y de ejercicio de democracia digital(Dader, 2001;Hague & Loader, 1999), que expande -y no limita-las formas de participación ciudadanas tradicionales. En esta dirección, Dader hablaba hace tiempo de la existencia de "cibernavegantes dispersos, pero temáticamente sensibilizados"(Dader, 2001, p. 40), que actúan como "activistas sociales" en tanto que son coprotagonistas de un proceso de transformación de las formas comunicativas de las sociedades democráticas en sí mismas. ...
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... A trAdItIonAlly nIche FemInIst cAuse Is mAde AccessIble to A lArger AudIence: understAndIng thAt #itisnotabuseitisrape And tweetIng About rApe culture A recent analysis of cyberactivist actions against sexual violence in Spain (including Facebook, Websites, Twitter) revealed that digital communication has become a successful ethical and political arena for interventions to fight against sexual violence and rape culture (Sádaba & Barranquero, 2019). In this context, not only cyberactivists, but also social media users, who had until then never been involved in the niche debate on gender justice, participated in the Twitter debate about rape culture and the debate on differences between rape and abuse. ...
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The analysis of digital activism has so far been dominated by a techno-determinist approach which views the content of various forms of activism supported by digital communication, as directly reflecting the properties of the technologies utilised by activists and the historical evolution of such technologies. This line of interpretation has been manifested in the popularity acquired by notions as “Twitter protest” or “revolution 2.0” in the news media and in academic discourse in reference to recent protests. Moving beyond this reductionist trend, this article proposes an ideological approach to the study of digital activism and its historical transformation, which may better account for the combination of political, cultural and social factors involved in shaping it. I identity two main waves of digital activism, which correspond not only to two phases of technological development of the Internet (the so-called web 1.0 and web 2.0), but also to two different protest waves, the anti-globalisation movement, and the movement of the squares that began in 2011, each with its own dominant ideology. I argue that reflecting the seismic shift in perceptions and attitudes produced by the 2008 financial crash, and the connected shifts in social movement ideology, digital activism has moved from the margins to the centre of the political arena, from a countercultural posture to a counterhegemonic ambition. I describe this turn as a transition from cyber-autonomism to cyber-populism as the two defining techno-political orientations of the first and second wave of digital activism. Reflecting the influence of neo-anarchism and autonomism in the anti-globalisation movement cyber-autonomism viewed the Internet as an autonomous space where to construct a countercultural politics outside the mainstream. To the contrary, informed by the populist turn taken by 2011 and post-2011 movements cyber-populism approaches the Internet as a “popular space”, a generic space which is populated by ordinary citizens, and mostly dedicated to non-political activities, such as gossip, celebrity culture, or interpersonal communication, but which can nevertheless be politicised, and turned towards the purpose of popular mobilisation against the neoliberal elites responsible for economic and social disarray. This shift which substantially modifies the way in which activists conceives of and utilise digital media goes a long way towards explaining the differences in digital activism practices, and their contrasting views of the Internet as a tool and site of struggle. © 2017, Unified Theory of Information Research Group. All rights reserved.
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Qualitative researchers and social scientists are increasingly using the internet as a site for social research and observation. However, due to unique spatial arrangements online and new modes of social interaction, the internet brings with it a number of complex methodological issues. This paper draws on a case study titled Fan Fiction Online: Celebration or Appropriation? - a qualitative study conducted by the author in 2007 - and seeks to identify significant methodological issues which were encountered in the case study, and by other researchers attempting work of a similar nature. The methodological issues discussed in this paper are related to the following broad themes: the nature of the sample, modes of communication online, the blurring of public and private spaces, and confidentiality, consent and deception. This paper also finds that the discourse surrounding the relationship between online and offline realities may have significant implications for the role of Institutional Review Boards (IRB's) and the consideration of renewed methodological guidelines online. It is suggested that renewed methodological guidelines be developed which address the unique research issues associated with the internet, while considering its relationship with the physical world. © International Journal of Emerging Technologies and Society 2008.
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Recent protest movements such as Occupy Wall Street in the US, the indignados/15M movement in Spain, and UK Uncut have witnessed the rise of social media teams, small activist groups responsible for managing high-visibility and collective activist social media accounts. Going against dominant assertions about the leaderless character of contemporary digital movements, the article conceptualises social media teams as ‘digital vanguards’, collective and informal leadership structures that perform a role of direction of collective action through the use of digital communication. Various aspects of the internal functioning of vanguards are discussed: (a) their formation and composition; (b) processes of internal coordination; (c) struggles over the control of social media accounts. The article reveals the profound contradiction between the leadership role exercised by social media teams and the adherence of digital activists to techno-libertarian values of openness, horizontality, and leaderlessness. The espousal of these principles has run against the persistence of power and leadership dynamics leading to bitter conflicts within these teams that have hastened the decline of the movements they served. These problems call for a new conceptual framework to better render the nature of leadership in digital movements and for new political practices to better regulate the management of social media assets.