Formulamos um modelo matemático determinístico baseado no princípio de ação de massas, em analogia aos trabalhos que estudam a dinâmica de doenças infecciosas em Epidemiologia. Analisamos a dinâmica do espalhamento de rumores levando em conta a simetria no número de contatos diretos entre suscetíveis e infectados pelo rumor e estudamos as implicações de uma campanha publicitária educativa na dinâmica do modelo. Posteriormente, propomos uma simplificação do modelo e desconsideramos o contato entre os indivíduos suscetíveis e infectados supostamente mais resistentes às novidades. Discutimos suas implicações no espalhamento do rumor e a conexão com os parâmetros que descrevem o comportamento social. / We have developed a deterministic mathematical model based on the mass-action principle, in analogy to the works that study the dynamics of infectious diseases in Epidemiology. We analyzed the dynamic of rumors spreading, taking into account the symmetry of contacts among susceptible and infectious individuals and studied the implications of an educative broadcasting advertising in the model. Afterwards, we proposed a simplification ot the model excluding the contact among susceptible and infected individuals supposedly more resistant to novelities. Their implications to the spread of rumor and its connection with parameters describing social behavior are discussed.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-11-29T13:15:27Z No. of bitstreams: 1 Lidiane Mallmann_.pdf: 11923133 bytes, checksum: fbfeb1841ad82810774805d4b5a52d86 (MD5) / Made available in DSpace on 2018-11-29T13:15:27Z (GMT). No. of bitstreams: 1 Lidiane Mallmann_.pdf: 11923133 bytes, checksum: fbfeb1841ad82810774805d4b5a52d86 (MD5) Previous issue date: 2018-08-29 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação trata de imagens e multiplicação de sentidos na interface do Instagram. Esta imagem sobre a qual nos debruçamos é atravessada por aparelhos, por softwares de manipulação de imagens e dispositivos disponíveis a usuários de redes sociais online ou não, e que, de alguma forma, tornarem-se manipuladores de imagem multiplicando seus sentidos. O trabalho inclui uma discussão a respeito do universo social e cognitivo pensado nas imagens e suas passagens (PEIXOTO, 1993), passando por uma exploração arqueológica de manipulação de imagens (BENJAMIN, 2012) assim como uma discussão sobre a natureza digital e metamórfica das imagens (MACHADO, 2007; MANOVICH, 2002, 2006). Distinguimos conceitos como imagem meme, imagem memética e processos meméticos para poder teorizar os diversos estágios destas imagens e poder pensa-las como processos audiovisuais. O corpus escolhido é o que chamamos de “caso Garotinho”, onde cartografamos a imagem meme da resistência a ser preso do ex-governador do Rio de Janeiro Anthony Garotinho e algumas das multiplicações de sentidos que resultaram da atualização desta imagem meme. Como metodologias usamos a cartografia (DELEUZE, GUATTARI 1995; KASTRUP, 2015; KILPP, 2010;) e o scanning (FLUSSER, 2011). Destes métodos chegamos a seis coleções de imagens reunidas por afinidades. As coleções (BENJAMIN, 2012) dão a ver algumas dinâmicas fundantes dos processos meméticos e da tecnocultura audiovisual (MONTAÑO, 2015) mediada por software (MANOVICH, 2011). / This dissertation deals with images and the multiplication of meanings on Instagram interface. This image which we are concerned with is affected by devices, image manipulation softwares and available devices for social media users, online or not, whose became, somehow, image manipulators multiplying their mean. The work includes a discussion about the social and cognitive universe thought in the images and their passages (PEIXOTO, 1993), passing for an archeological exploration of image manipulation (BENJAMIN, 2012), as well as a discussion about the digital and metaphoric nature of the images (MACHADO, 2007; MANOVICH, 2002, 2006). We distinguished concepts as meme image, memetic image and memetic processes to might theorize the different stages of those images and might think them as audiovisual processes. The corpus chosen is what we called “caso Garotinho”, where we mapped the meme image of the resistance of Rio de Janeiro ex-governor Anthony Garotinho from his prison and some of the meaning multiplications that resulted from the update of this meme image. As methodological methods we used the cartography (DELEUZE, GUATTARI 1995; KASTRUP, 2015; KILPP, 2010) and the scanning (FLUSSER, 2011). From these methods we reached six collections of images reunited by affinities. The collections (BENJAMIN, 2012) reveal some founding dynamics of memetics processes and audiovisual tecnoculture (MONTAÑO, 2015) mediated by software (MANOVICH, 2011).

Esta dissertação tem por objetivo compreender a constituição sociodiscursiva de uma cadeia de gêneros no meio digital. O corpus utilizado nesta pesquisa consiste em um recorte da cadeia de gêneros denominado Bela, Recatada e do Lar, constituída por três nós: a reportagem Marcela Temer: Bela, Recatada e do Lar, publicada pela Revista Veja em abril de 2016; a campanha de Memes surgida como resposta à representação de mulher, realizada pela revista; e os tweets-resposta que avaliaram a participação dos homens na campanha. A fundamentação teórica a partir da qual se conduziu a pesquisa foi a Análise Crítica do Discurso de base faircloughiana (1989; 2010; 2011; 2013), somada a diálogos com conceitos do Círculo de Bakhtin (1979, 2003) e com as reflexões teóricas de Shifman (2013), Castells (2015), Saffioti (1987), Wolf (1992), Souza-Júnior (2011), Lévy (2000) e Elias (2014) a respeito das redes sociais, de gênero e de Meme. Em termos do aparato descritivo, cada nó da cadeia requisitou diferentes categorias de análise: para a reportagem, a descrição foi realizada por meio da Referenciação e da Categorização (Koch, 2014) e da transitividade (Halliday, 2004[1985])); para os Memes, recorreu-se à Interação entre o verbal e o visual (Unsworth, 2006); e para os tweets, utilizou-se a Avaliatividade (Martin e White, 2005). Através da descrição da reportagem, observamos uma representação de mulher subalterna às questões públicas e sexuais, que passa a ser ressignificada nos Memes quando mulheres e homens constituem uma campanha; na descrição dos Memes, apontamos relações lógico-semânticas de divergência, quando protagonizados por mulheres, e de concordância, quando protagonizados por homens, e, por fim, na descrição do twites que remetiam à participação de homens na campanha, observamos avaliações negativas majoritariamente, comprovando uma hegemonia discursiva feminista no Twitter. A análise sociodiscursiva, auxiliada pela descrição linguística dos nós da cadeia, comprovou a transformação de um discurso de resistência feminista em uma hegemonia nas redes sociais, verificada pela avaliação da participação de homens na campanha. Além disso, também foi possível promo ver um debate, ainda que inicial, de uma metodologia para pesquisa com gêneros discursivos em cadeia. / This dissertation aims to understand the sociodiscursive constitution of a genre chain in the digital environment. The corpus consists of a clipping of the genre chain named \"Bela, Recatada e do Lar\", constituted by three nodes: the article \"Marcela Temer: Bela, Recatada e do Lar\", published by Veja Magazine in April 2016; the Memes campaign emerged as a response to the women\'s representation in the magazine; and tweets-response that evaluated the participation of men in the campaign. The theoretical basis for this research was the Critical Discourse Analysis by Fairclough (1989; 2010; 2011; 2013), in addition to dialogues with Bakhtin Circle concepts (1979, 2003) and theoretical reflections of Shifman (2013), Castells (2015), Saffioti (1987), Wolf (1992), Souza-Júnior (2011), Lévy (2000) and Elias (2014), regarding social, gender and Meme networks. In terms of the descriptive apparatus, each node of the chain required different categories of analysis: for reportage, the description was based on the Reference and Categorization (Koch, 2014) and the Transitivity (Halliday, 2004 [1985])); for the Memes, the interaction between the verbal and the visual (Unsworth, 2006); and for tweets, the Evaluability (Martin and White, 2005). Through the description of the report, we noted a representation of subalternative woman to the public and sexual questions, that happens to be resignified in Memes, when women and men constitute a campaign; in the description of the Memes, we pointed out logico-semantic relations of divergence, when carried out by women, and agreement, when carried out by men, and, finally, in the description of the tweets that refer to the participation of men in the campaign, we observed negative evaluations mostly, proving a feminist discursive hegemony on Twitter. The sociodiscursive analysis, a ided by the linguistic description of the nodes of the chain, proved the transformation of a discourse of feminist resistance into a hegemony in social networks, verified through the evaluation of the participation of men in the campaign. In addition, it was also possible to promote a debate, even if initial, of a methodology for research with discursive genre chain.

Esta dissertação tem por objetivo compreender a constituição sociodiscursiva de uma cadeia de gêneros no meio digital. O corpus utilizado nesta pesquisa consiste em um recorte da cadeia de gêneros denominado Bela, Recatada e do Lar, constituída por três nós: a reportagem Marcela Temer: Bela, Recatada e do Lar, publicada pela Revista Veja em abril de 2016; a campanha de Memes surgida como resposta à representação de mulher, realizada pela revista; e os tweets-resposta que avaliaram a participação dos homens na campanha. A fundamentação teórica a partir da qual se conduziu a pesquisa foi a Análise Crítica do Discurso de base faircloughiana (1989; 2010; 2011; 2013), somada a diálogos com conceitos do Círculo de Bakhtin (1979, 2003) e com as reflexões teóricas de Shifman (2013), Castells (2015), Saffioti (1987), Wolf (1992), Souza-Júnior (2011), Lévy (2000) e Elias (2014) a respeito das redes sociais, de gênero e de Meme. Em termos do aparato descritivo, cada nó da cadeia requisitou diferentes categorias de análise: para a reportagem, a descrição foi realizada por meio da Referenciação e da Categorização (Koch, 2014) e da transitividade (Halliday, 2004[1985])); para os Memes, recorreu-se à Interação entre o verbal e o visual (Unsworth, 2006); e para os tweets, utilizou-se a Avaliatividade (Martin e White, 2005). Através da descrição da reportagem, observamos uma representação de mulher subalterna às questões públicas e sexuais, que passa a ser ressignificada nos Memes quando mulheres e homens constituem uma campanha; na descrição dos Memes, apontamos relações lógico-semânticas de divergência, quando protagonizados por mulheres, e de concordância, quando protagonizados por homens, e, por fim, na descrição do twites que remetiam à participação de homens na campanha, observamos avaliações negativas majoritariamente, comprovando uma hegemonia discursiva feminista no Twitter. A análise sociodiscursiva, auxiliada pela descrição linguística dos nós da cadeia, comprovou a transformação de um discurso de resistência feminista em uma hegemonia nas redes sociais, verificada pela avaliação da participação de homens na campanha. Além disso, também foi possível promo ver um debate, ainda que inicial, de uma metodologia para pesquisa com gêneros discursivos em cadeia. / This dissertation aims to understand the sociodiscursive constitution of a genre chain in the digital environment. The corpus consists of a clipping of the genre chain named \"Bela, Recatada e do Lar\", constituted by three nodes: the article \"Marcela Temer: Bela, Recatada e do Lar\", published by Veja Magazine in April 2016; the Memes campaign emerged as a response to the women\'s representation in the magazine; and tweets-response that evaluated the participation of men in the campaign. The theoretical basis for this research was the Critical Discourse Analysis by Fairclough (1989; 2010; 2011; 2013), in addition to dialogues with Bakhtin Circle concepts (1979, 2003) and theoretical reflections of Shifman (2013), Castells (2015), Saffioti (1987), Wolf (1992), Souza-Júnior (2011), Lévy (2000) and Elias (2014), regarding social, gender and Meme networks. In terms of the descriptive apparatus, each node of the chain required different categories of analysis: for reportage, the description was based on the Reference and Categorization (Koch, 2014) and the Transitivity (Halliday, 2004 [1985])); for the Memes, the interaction between the verbal and the visual (Unsworth, 2006); and for tweets, the Evaluability (Martin and White, 2005). Through the description of the report, we noted a representation of subalternative woman to the public and sexual questions, that happens to be resignified in Memes, when women and men constitute a campaign; in the description of the Memes, we pointed out logico-semantic relations of divergence, when carried out by women, and agreement, when carried out by men, and, finally, in the description of the tweets that refer to the participation of men in the campaign, we observed negative evaluations mostly, proving a feminist discursive hegemony on Twitter. The sociodiscursive analysis, a ided by the linguistic description of the nodes of the chain, proved the transformation of a discourse of feminist resistance into a hegemony in social networks, verified through the evaluation of the participation of men in the campaign. In addition, it was also possible to promote a debate, even if initial, of a methodology for research with discursive genre chain.

Formulamos um modelo matemático determinístico baseado no princípio de ação de massas, em analogia aos trabalhos que estudam a dinâmica de doenças infecciosas em Epidemiologia. Analisamos a dinâmica do espalhamento de rumores levando em conta a simetria no número de contatos diretos entre suscetíveis e infectados pelo rumor e estudamos as implicações de uma campanha publicitária educativa na dinâmica do modelo. Posteriormente, propomos uma simplificação do modelo e desconsideramos o contato entre os indivíduos suscetíveis e infectados supostamente mais resistentes às novidades. Discutimos suas implicações no espalhamento do rumor e a conexão com os parâmetros que descrevem o comportamento social. / We have developed a deterministic mathematical model based on the mass-action principle, in analogy to the works that study the dynamics of infectious diseases in Epidemiology. We analyzed the dynamic of rumors spreading, taking into account the symmetry of contacts among susceptible and infectious individuals and studied the implications of an educative broadcasting advertising in the model. Afterwards, we proposed a simplification ot the model excluding the contact among susceptible and infected individuals supposedly more resistant to novelities. Their implications to the spread of rumor and its connection with parameters describing social behavior are discussed.

Web2.0的時代來臨，「使用者創作內容（UGC）」概念開始提出。照片分享服務Instagram出現，大量照片上傳至此。因此，本研究希望探討以下三個研究問題：社群媒體上的熱門影像風格是如何建立的？社群媒體上meme是如何保持和變化的？Meme是否會有一個特定的影像風格？本研究通過資料探勘和內容分析的方法建立了一個以圖片為主的研究方法。本研究選擇了現在在Instagram上熱門的“follow me to”的背面牽手照為例來進行分析。 通過比較分析原攝影師Murad Osmann“follow me to”照片和其仿拍者的照片，得出了熱門影像有以下幾個特點：1） 與社群媒體的平台特性做結合。2) 容易模仿。3) 注重服装和影像的敘事性。4) 有充裕的經濟資本找到全球的風景作為背景。5) 有高藝術美感和技術操弄的精細度。仿拍型meme在構圖和內容的部分上有較高一致。不同之處有以下幾點：1) 在景別、內容上相似但更豐富。2) 不注重影像的敘事性表達，只呈現景色和人。3) 個人仿拍者的場景變化度小。4) 不注重攝影技巧的模仿。總之，仿拍型Meme的不穩定性強，較難形成特定的風格，但有部分仿拍者有自己的特點。 / In the age of web 2.0, the concept of ‘the User Generated Content (UGC)’ is put forward. Now millions of images posted on the photo sharing service such as Instagram. We want to explore the following three questions: How is the style of hot images on the social media set up? How are memes on social media to maintain and change? Do memes have a specific image style? We performed the image-based method of data mining and content analysis to study the three research questions. We choose ‘follow me to’—the hot photos on Instagram— as an example for analysis. Though the comparative analysis of the ‘follow me to’ photos of photographer Murad Osmann and the imitators. The hot images on social media have characteristics: 1) They combine with social media platforms’ characteristics. 2) It’s easy to imitate photo’s composition and view. 3) Pay attention to model’s clothing and image narrative. 4) Have enough fund to take pictures around world. 5) Have arts beauty and skilled photography. The photos of imitators and photographer Murad Osmann have the same composition and contents. There also have some differences: 1) Richer in shooting scale and contents. 2) Not pay attention to image narrative. 3) Not have enough fund to take pictures around world. 4) Not have enough arts beauty and skilled photography. In conclusion, compare to hot photos, most of imitators’ don’t have their own characteristics. But some imitators have some characteristics.

abstract: Internet memes have become a widespread tool used by people for interacting and exchanging ideas over social media, blogs, and open messengers. Internet memes most commonly take the form of an image which is a combination of image, text, and humor, making them a powerful tool to deliver information. Image memes are used in viral marketing and mass advertising to propagate any ideas ranging from simple commercials to those that can cause changes and development in the social structures like countering hate speech. This work proposes to treat automatic image meme generation as a translation process, and further present an end to end neural and probabilistic approach to generate an image-based meme for any given sentence using an encoder-decoder architecture. For a given input sentence, a meme is generated by combining a meme template image and a text caption where the meme template image is selected from a set of popular candidates using a selection module and the meme caption is generated by an encoder-decoder model. An encoder is used to map the selected meme template and the input sentence into a meme embedding space and then a decoder is used to decode the meme caption from the meme embedding space. The generated natural language caption is conditioned on the input sentence and the selected meme template. The model learns the dependencies between the meme captions and the meme template images and generates new memes using the learned dependencies. The quality of the generated captions and the generated memes is evaluated through both automated metrics and human evaluation. An experiment is designed to score how well the generated memes can represent popular tweets from Twitter conversations. Experiments on Twitter data show the efficacy of the model in generating memes capable of representing a sentence in online social interaction. / Dissertation/Thesis / Masters Thesis Computer Science 2020

Hate Speech in den sozialen Medien ist heute ein stark diskutiertes und akutes Thema. Im Jahr 2016 wurde von der EU-Kommission der Verhaltenskodex zur Bekämpfung illegaler Hassreden im Internet eingeführt und 2017 in Deutschland das Netzwerkdurchsetzungsgesetz (NetzDG) gegen Hate Speech im Internet beschlossen. Im russisch-ukrainischen Konflikt (seit 2014) ist Hate Speech zu einer der grundlegenden Komponenten geworden. Diese Tatsache hat die ohnehin angespannte Situation weiter verschärft. Internet Memes lassen sich dabei als eine neue Form der Konfliktkommunikation und der Visualisierung von Hate Speech feststellen. Mit Hilfe dieses jungen multimodalen Phänomens werden Beleidigungen gegen eine soziale Gruppe oder sogar ein ganzes Volk verbreitet. Trotz der Tatsache, dass Wissenschaftler:innen in letzter Zeit der Internet-Meme-Forschung viel Beachtung schenken und dieses Phänomen sich im schnellen Entwicklungstrend befindet, sind die Rolle, Funktionen und verbal-visuellen Merkmale von multimodalen Internet-Memes im russisch-ukrainischen Konflikt bisher nicht umfassend untersucht worden. Die vorliegende Arbeit analysiert und systematisiert die bestehende Forschung im Bereich der Internet-Memes und Hate Speech und zeigt am Beispiel des Konflikts zwischen der Ukraine und Russland, wie Internet-Memes nicht nur Hate Speech visualisieren, sondern auch eine Weltanschauung formen, neue Konzepte und neue Stereotype bilden und die Alten widerspiegeln. Diese Dissertation ist zum einen als Beitrag zur methodischen Ausdifferenzierung der Hate-Speech-Memes zu verstehen, was das linguistische und interdisziplinäre Forschungsfeld weiter vorantreiben kann. Zum anderen ermöglicht sie, die Beziehungen zwischen der Ukraine und Russland sowie die Ursachen des Konflikts zu begreifen. Die in dieser Arbeit beschriebenen und analysierten verbal-visuellen Merkmale der Internet-Memes des Konflikts bilden ein Instrumentarium für die weitere Erforschung dieses relativ jungen Phänomens sowie der russisch-ukrainischen Konfrontation.:Vorwort 3 1 Einleitung 8 1.1 Problemstellung und Zielsetzung 8 1.2 Struktur der Arbeit 11 1.3 Methodik und Korpus 12 1.4 Anmerkung zu Datenschutz, Transliteration und Übersetzungen 13 2 Theoretisch-historische Hintergründe 15 2.1 Hate-Speech des Konflikts als Forschungsobjekt 15 2.1.1 Der Begriff Hate Speech 15 2.1.1.1 Linguistischer Aspekt 15 2.1.1.2 Gesetzlicher Aspekt 19 2.1.2 Hate Speech und Medien 20 2.1.3 Hate Speech und Internet 22 2.1.4 Rechtvorschriften der Ukraine und Russlands in Bezug auf Hate Speech 23 2.1.5 Klassifikation von Hate Speech 24 2.1.6 Visualisierung von Hate Speech 26 2.2 Internet-Memes als Untersuchungsgegenstand 27 2.2.1 Von Memen zu Internet-Memes 27 2.2.2 Internet-Memes 29 2.2.3 Internet-Memes-Definition 31 2.2.3.1 Kultur- und kommunikationswissenschaftliche Perspektive 31 2.2.3.2 Linguistische Perspektive 32 2.2.4 Internet-Memes als multimodale Form: Definitionsschwierigkeit 33 2.2.4.1 Internet-Memes als Sprache-Bild-Texte 34 2.2.4.2 Internet-Memes als kreolisierte Texte 35 2.2.4.3 Arbeitsdefinition für Internet-Memes 35 2.2.4.4 Merkmale von multimodalen Internet-Memes 37 2.2.5 Funktionen von Internet-Memes 39 2.2.6 Typen von Internet-Memes 41 2.2.6.1 Image-Macros 43 2.2.6.2 Demotivatoren 45 2.2.7 Internet-Memes und andere multimodale Formen: Plakat, Karikatur 46 2.2.7.1 Internet-Memes und politische Karikatur 46 2.2.7.2 Internet-Memes und politisches Plakat 47 3 Visualisierung von Hate Speech im russisch-ukrainischen Konflikt 48 3.1 Konflikt vs. Krieg 48 3.2 Internet-Memes und Kulturwissenschaftliche Linguistik 55 3.3 Identität-Sprache-Stereotyp 56 3.4 Historischer Exkurs: Auseinandersetzung der Ukraine und Russland 62 3.4.1 Sprachenpolitik und Identitätsbildung in der Ukraine nach 1990 62 3.4.2 Zerfall der Sowjetunion und Russische Identitätsbildung 68 3.4.3 Geschichtsinterpretation von verschiedenen Perioden in der Ukraine und Russland 71 3.4.4 „Euromajdan“ als Wendepunkt 81 3.5 Stereotype als Basis für Hate Speech 86 3.5.1 Ethnostereotype 88 3.5.2 Ethnostereotype von Ukrainern 89 3.5.3 Ethnostereotype von Russen 96 3.6 Hate Speech des russisch-ukrainischen Konflikts 100 3.6.1 Neologismen nach dem „Majdan“ 101 3.6.2 Arten der Bildung von Neologismen 104 3.7 Hate-Speech-Memes 106 3.7.1 Stand der Forschung 106 3.7.2 Internet-Memes als aggressive multimodale Argumentation 111 3.7.3 Internet-Memes als Propagandamittel 112 4 Empirische Untersuchungen 117 4.1 Das Korpus der Internet-Memes 117 4.2 Hate-Speech-Liste 120 4.3 Intoleranzgrad der Internet-Memes 121 4.4 Erste Untersuchung: Textextraktion 123 4.5 Zweite Untersuchung: Internet-Memes-Analyse 128 4.5.1 Klassifikation von Internet-Memes des Konflikts 131 4.5.1.1 Historische Internet-Memes 132 4.5.1.1.1 Banderovсy (бандеровцы) 132 4.5.1.1.2 Rašyzm (рашизм) 145 4.5.1.2 Ethnostereotypische Internet-Memes 153 4.5.1.2.1 Chochol (хохол) 153 4.5.1.2.2 Kacap (кацап) 164 4.5.1.2.3 Moskal᾽ (москаль) 169 4.5.1.3 Neugebildete Internet-Memes 180 4.5.1.3.1 Vatnik(i) (ватник) 180 4.5.1.3.2 Vyšivatnik(i) (вышиватник) 186 4.5.1.3.3 Kolorad(y) (колорад) 191 4.5.1.3.4 Ukrop(y) (укроп) 199 4.5.1.3.5 Ukr(y) (укр) 205 4.5.1.3.6 Majdaun(y) (майдаун) 215 4.5.1.3.7 Daunbas (даунбас) 219 4.5.1.3.8 Lugandon (лугандон) 224 4.5.1.3.9 Federast(y) (федeраст) 230 4.6 Verbal-visuelle Besonderheiten der Hate-Speech-Memes des Konflikts 235 5 Schlussbetrachtungen und Ausblick 279 Literatur 283 Abbildungsverzeichnis 320 Tabellenverzeichnis 325 Akürzungsverzeichnis 326 Analysierte Internet-Memes (Beschreibung und Quelle) 327 Analysierte Internet-Memes (Bilder) 349

The mediatization of society has gradually led to an increasingly prominent presence of music in our daily lives, a process which Tobias Pontara and Ulrik Volgsten refer to as musicalization. One media platform that has experienced rapid growth in recent years is TikTok, which, with its one billion users, has become a hub for music discovery and distribution. TikTok's interface fosters a participatory culture, where users actively engage in musical challenges and memes. In this paper, I examine musical memes as a phenomenon and explore their influence on society's musicalization process. By examining TikTok's user interface and its self-promotion strategies, it becomes apparent that the platform aims to establish itself as a contemporary music medium. The app's features actively encourage users to utilize music and dances as a tool for storytelling and community-building. TikTok's rise in the media landscape has led to a mediatization process where other media adapt to TikTok's logic, and due to music being such a central part of the platform, it contributes to an increased presence of music in our day-to-day lives.

O presente trabalho tem como objetivo essencial identificar e caracterizar o fenômeno emergente da expressão cômica gráfica na conversação natural e cotidiana em redes sociais virtuais, especialmente através de mensagens em linguagem híbrida. Nelas, imagens fixas e texto se combinam criativamente por meio de habilidades comunicativas, antes pouco exploradas por parte do usuário comum, como as habilidades de design associadas à expressão do humor, para difundir \"piadas\" sobre assuntos da atualidade entre círculos de amigos e seguidores. As unidades comunicativas, corpus deste trabalho, assumem o comportamento de memes visuais e sua tipificação sob os pontos de vista da sintaxe, semântica e pragmática, conforme proposto por Morris (1985), colaboram no esclarecimento da relação entre seus elementos constitutivos. A popularização de mensagens com tais características indica seu potencial de influência significativa tanto na manutenção e amplificação do \"capital social\" do usuário criador quanto nos novos traços culturais de uma emergente cultura gráfica amadora / The present work has main goal to identify and characterize the emerging phenomenon of graphic comic expression in natural and everyday conversation in virtual social networks, especially through messages in a hybrid language. These still images and text combine creatively through communication skills, previously little explored by the average user, and skills associated with the expression of mood design, to spread \"jokes\" on current affairs among circles of friends and followers. Communicative units, corpus of this work, assume the behavior of visual memes and their classification under the points of view of syntax, semantics and pragmatics, as proposed by Morris (1985), assist in clarifying the relationship between its constituent elements. The popularization of messages with such features indicates its potential to significantly influence on both the maintenance and amplification of \"social capital\" user as creator in the new cultural traits of an emerging culture amateur graphic.