abstract: ABSTRACT The purpose of this study is to explore how LDS (Mormon) fans of Stephenie Meyer's Twilight saga make meanings from the text in the blogging community known as the Bloggernacle. It investigates how fans recognize, reflect, reinterpret, and resist meanings surrounding multiple Big "D" Discourses (Gee, 1999/2010; 2011) in and around the text. It examines the ways in which LDS fans (Church of Jesus Christ of Latter-day Saints) of the Twilight saga use language in order to signify membership in a particular Discourse. In addition, it seeks to understand how LDS fans use language to perform various identities and position themselves and others within the digital space. This dissertation study analyzes the threads of five blogs and three discussion forums using the combined methods of critical ethnography (Carspecken, 1996) and Gee's (1999, 2010;2011) discourse analysis. It concludes, that, while multiple Discourses are present within the conversational threads, mainstream Mormon Discourse remains dominant and normalized within the space, which both informs and limits the interpretations available to Mormon fans. In addition, identity performance is negotiated in the blogs, and members form specific sub-communities within the Bloggernacle so as to create a space for those with distinct ways of believing, valuing, knowing, and identifying. / Dissertation/Thesis / Doctoral Dissertation Curriculum and Instruction 2015

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With the use of a discourse psychology approach, this study has intended to highlight and analyze the nature of the Swedish digitalized football fan culture on Instagram, which previously hasn't been studied within the field of research in Sweden. The collection of data has been gathered through a non-participatory netnographic approach, from which comments of hate speech are expressed on Instagram, regarding the first 6 rounds of the 2024 season of Allsvenskan. The three discourses (1) to discriminate, (2) fans authenticity, and (3) masculinity, has been the base of the analysis. The results demonstrate that the terms stooge, hobo, and bastard, are the three characteristics that are particularly important regards to maintaining and reinforce the use of hate speech, as well as the use of GIFs and likes. Football fans' utilization of superiority, subordination, and the othering of opposing fans, have proven to permeate the comments, especially in protecting one's fandom and team. Moreover, the results indicate Instagram as a platform which furthers online hate speech opportunities. Lastly, the study's theoretical framework has been proven to be of relevance for the results. / Studien har nyttjat ett diskurspsykologiskt angreppsätt i syfte att belysa och analysera den digitaliserade svenska fotbollssupporterkulturen på Instagram, något som inte tidigare gjorts inom det svenska forskningsfältet. Studiens datainsamlingsmetod består av en icke- deltagande netnografisk ansats, där kommentarer som gett uttryck för hat på Instagram, rörande Allsvenskans första sex omgångar under säsongen 2024, har inhämtats för en diskurs-psykologisk analys. Analysen har utgått ifrån de tre diskurserna (1) att diskriminera, (2) supportrars äkthet, och (3) maskulinitet. Resultaten visar på att de tre benämningarna dräng, luffare och horunge är synnerligen utmärkande för upprätthållandet och förstärkande av studiens hatuttryck, likaså brukandet av GIFs och gilla-markeringar. Supportrars markerande av över- och underordningar liksom andrafiering av motståndssupportrar har påvisat vara genomsyrande i kommentarerna, i synnerhet i termer av att skydda sitt supporterskap och tillhörande fotbollslag. Därtill indikerar även resultaten på att Instagram som plattform främjar tillfällen för hatuttryck online. Slutligen har de teoretiska utgångspunkterna konstaterats ha en betydande förklaringskraft för resultaten.

<p>Drawing from the theoretical foundations of the “critical theory” of the Frankfurt School and the media ethnographic “cultural studies” approach of the british Birmingham School, this study attempts to sketch out a media theoretical overview of the contemporary state of media culture. Using the term convergence culture as the foundation, this study offers a theoretical background to the two contemporary streams that are the significant and distinct tendencies of convergence culture: intermedial convergence, its contemporary state and historical tendencies that can be traced back using the past media theoretical approach of the Frankfurt School, and cultural convergence, its contemporary state and historical tendencies, which lineage in a media theoretical context can be traced back to the british ethographic “cultural studies” field. Using contemporary drama serials to identify and pinpoint these two stream, this study shows how intermedial convergence expresses itself today through media conglomeration in terms of branding, product placement and marketing as the result of the “completed” convergence between screen culture and popular music as the current defining state of commodity culture. Using the contemporary british drama serial Doctor Who I examine the processes of meaning making among members of the television series fan culture on the popular video content page youtube.com as expressions of cultural convergence.</p><p>This study argues how the skills and talents developed in the interaction with popular culture and in a process of interaction between fans and participants (collective intelligence and participatory culture), will have an impact on the institutionalized knowledge “from above” and in a collective process will seep over to other fields of expertise. The study also argues, as a consequence of convergence culture, that in the contemporary state of online practices, social networking and in our interactions with digital media content, a mandatory “presence” has been created where we today are defined more through our online selves and these practices, than the ones that used to define us in our “physical” lives: “The medium is no longer just the message, we are living in a state where there is only messages”.</p>

Drawing from the theoretical foundations of the “critical theory” of the Frankfurt School and the media ethnographic “cultural studies” approach of the british Birmingham School, this study attempts to sketch out a media theoretical overview of the contemporary state of media culture. Using the term convergence culture as the foundation, this study offers a theoretical background to the two contemporary streams that are the significant and distinct tendencies of convergence culture: intermedial convergence, its contemporary state and historical tendencies that can be traced back using the past media theoretical approach of the Frankfurt School, and cultural convergence, its contemporary state and historical tendencies, which lineage in a media theoretical context can be traced back to the british ethographic “cultural studies” field. Using contemporary drama serials to identify and pinpoint these two stream, this study shows how intermedial convergence expresses itself today through media conglomeration in terms of branding, product placement and marketing as the result of the “completed” convergence between screen culture and popular music as the current defining state of commodity culture. Using the contemporary british drama serial Doctor Who I examine the processes of meaning making among members of the television series fan culture on the popular video content page youtube.com as expressions of cultural convergence. This study argues how the skills and talents developed in the interaction with popular culture and in a process of interaction between fans and participants (collective intelligence and participatory culture), will have an impact on the institutionalized knowledge “from above” and in a collective process will seep over to other fields of expertise. The study also argues, as a consequence of convergence culture, that in the contemporary state of online practices, social networking and in our interactions with digital media content, a mandatory “presence” has been created where we today are defined more through our online selves and these practices, than the ones that used to define us in our “physical” lives: “The medium is no longer just the message, we are living in a state where there is only messages”.

[pt] O presente trabalho tem como objetivo estudar a cultura de fãs no Rio de Janeiro, suas formas de comunicação e de interação com a cidade. Este estudo também se concentra em entender de que maneira os fãs percebem seus ídolos, uma vez que estes se apresentam perante a sociedade e a mídia, muitas vezes, como seres superiores e/ou indefectíveis. O ato de ser fã é um fenômeno já bastante investigado por alguns teóricos e, por outro lado, carrega significados, por vezes, pejorativos, quando tratado pelo senso comum e por alguns contextos midiáticos. Utilizando a abordagem dos estudos subculturais em uma etnografia foi possível constatar que o impacto das divas do pop estudadas, Lady Gaga e Beyoncé, em suas respectivas fandoms, Little Monsters e Beyhive, dá-se em âmbitos não só de entretenimento, mas, acima de tudo, subjetivos. A cultura de fãs atua como criadora de grupos sociais altamente organizados no mundo digital e no mundo real, capazes de promoverem bem-estar e debates políticos e ideológicos de forma a estimular a reflexão sobre as minorias às quais pertencem e a luta contra os mais diversos tipos de discriminação sofridos pelos participantes das fandoms. / [en] This work aims to study the culture of fans in Rio de Janeiro, its forms of communication and interaction with the city. This study also focuses on understanding how fans perceive their idols, once they present themselves to society and the media, often as superior or indefectible beings. The act of being a fan is already investigated by researchers and on the other hand carries some meanings that sometimes are pejoratives while handled by the common sense and also by some mediatic contexts. By using the subculture studies approach in an etnography it was possible to verify that the impact of the studied pop divas, Lady Gaga and Beyoncé, on their respective fandoms, Little Monsters and Beyhive, takes place not only in the entertainment area, but also in a very subjective way. The fan cultures acts as the creator of highly organized social groups both in the digital and in the real world, promoting not only their well-being, but also political and ideological debates, in order to stimulate reflection on the minorities to which they belong to, and the fight against the most diverse types of discrimination suffered by participants of the fandoms.