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This social constructionist program of inquiry begins to explore how psychopathy/the psychopath is constructed beyond the professional domain of forensic psychology. Indeed, while this highly important diagnostic construct is defined and operationalized very precisely by contemporary forensic psychologists, it is believed to be grossly and seriously misunderstood by others. Study 1 examines how Canadian mass newspaper (news) discourse represents psychopathy/the psychopath using ethnographic media analysis. This study rests on the central assumption that mass newspaper discourse provides a key window onto the public construction of reality. Study 2 examines how in-treatment, persistently violent male offenders (individuals with close ‘proximity’ to psychopathy) may conceptualize, experience, and approach (or not) the diagnostic construct, as gleaned through their conversational talk during small-size focus group interviews. The various ways in which these distinct (and contextually-bound) discourses align with and diverge from one another are identified. The various ways in which mass newspaper and offender focus group discourses align with and diverge from the contemporary forensic psychological construction of psychopathy/the psychopath are also discussed. Clinical, practical, and ethical implications of the research findings are also presented and discussed briefly.

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This thesis aims to contribute to recent discussions in media and cultural studies and political communication about reconceptualising the relationships between politics, media and public engagement. It will do so by articulating the context and processes in which private citizens form political publics and the ways in which media genres beyond conventional news and public affairs encourage or enable civic engagement. It explores these issues in the context of the ongoing democratisation of South Korea since 1987, a nation with a particularly dynamic digital culture. The thesis critiques the conventional binaries between the private (emotion/entertainment/fans) and the public (reason/news/publics), and articulates the mediating contexts and processes in which the private shifts to the public. It seeks to situate affect and entertainment (popular culture) as key agents in mobilising and sustaining citizens' political interest and participation. The key research questions are therefore: in what context do media offer a discursive space to connect people's everyday lives to the public world as well as to recruit and sustain political interest?; how does affect play a critical part in making sense of the public world, and mobilising political participation?; and in what ways do private individuals come to shape the public? These questions are examined in the context of ICT-based media environments and in relation to three empirical studies: 1) OhmyNews - a global icon of citizen journalism - in which the ‘feminised' news produced by citizens (re- )contextualised private interests into public concerns, and allowed the public to make a real change in the 2002 Presidential election and the 2010 local elections; 2) online political satire, in which politics is situated in an entertainment mode through citizens' creative reinterpretation, and which helped mobilise citizens' political interest and action during the 2004 Presidential impeachment and general election; and 3) the politicisation of teen fandom, in which music fans were mobilised as political actors in the 2008 anti-US beef protest. The thesis employs a wide range of research methods including participant observation, interpretive textual analysis, and semi-structured and in-depth interviews. In this way the thesis identifies a complex linkage of traditionally separated spheres, such as reason and affect, news and entertainment media, and expert and common knowledge.

Cats at keyboards. Dancing hamsters. Giggling babies and dancing flashmobs. A bi-colored dress. Psy’s “Gangnam Style” music video. Over the final decade of the twentieth century and the first decades of the twenty-first, these and countless other examples of digital audiovisual phenomena have been collectively adjectivally described through a biological metaphor that suggests the speed and ubiquity of their circulation—“viral.” This circulation has been facilitated by the internet, and has often been understood as a product of the web’s celebrated capacities for democratic amateur creation, its facilitation of unmediated connection and sharing practices. In this dissertation, I suggest that participation in such phenomena—the production, watching, listening to, circulation, or “sharing” of such objects—has constituted a significant site of twenty-first-century musical practice. Borrowing and adapting Christopher Small’s influential 1998 coinage, I theorize these strands of practice as viral musicking. While scholarship on viral media has tended to center on visual parameters, rendering such phenomena silent, the term “viral musicking” seeks to draw media theory metaphors of voice and listening into dialogue with musicology, precisely at the intersection of audiovisual objects which are played, heard, listened to. The project’s methodology comprises a sonically attuned media archeology, grounded in close readings of internet artifacts and practices; this sonic attunement is afforded through musicological methods, including analyses of genre, aesthetics, and style, discourse analysis, and twenty-first-century reception (micro)histories across a dynamic media assemblage. By analyzing particular ecosystems of platforms, behavior, and devices across the first decades of the twenty-first century, I chart a trajectory in which unpredictable virtual landscapes were tamed into entrenched channels and pathways, enabling a capacious “virality” comprising disparate phenomena from simple looping animations to the surprise release of Beyoncé’s 2013 album. Alongside this narrative, I challenge utopian claims of Web 2.0’s digital democratization by explicating the iterative processes through which material, work, and labor were co-opted from amateur content creators and leveraged for the profit of established media and corporate entities. “Unmute This” articulates two main arguments. First, that virality reified as a concept and set of dynamic-but-predictable processes over the course of the first decades of the twenty-first century; this dissertation charts a cartography of chaos to control, a heterogeneous digital landscape funneled into predictable channels and pathways etched ever more firmly and deeply across the 2010s. Second, that analyzing the musicality of viral objects, attending to the musical and sonic parameters of virally-circulating phenomena, and thinking of viral participation as an extension of musical behavior provide a productive framework for understanding the affective, generic, and social aspects of twenty-first-century virality. The five chapters of the dissertation present analyses of a series of viral objects, arranged roughly chronologically from the turn of the twenty-first century to the middle of the 2010s. The first chapter examines the loops of animated phenomena from The Dancing Baby to Hampster Dance and the Badgers animation; the second moves from loops to musicalization, considering remixing approaches to the so-called “Bus Uncle” and “Bed Intruder” videos. The third chapter also deals with viral remixing, centering around Rebecca Black’s “Friday” video, while the fourth chapter analyzes “unmute this” video posts in the context of the mid-2010s social media platform assemblage. The final chapter presents the 2013 surprise release of Beyoncé’s self-titled visual album as an apotheosis to the viral narratives that precede it—a claim that is briefly interrogated in the dissertation’s epilogue.

University of Technology, Sydney. Faculty of Humanities and Social Sciences. / As with most non-traditional PhD dissertations, this work comprises two parts: a professional creative component, in this case of literary journalism; and an exegetical research component. Part one, Speaking Secrets, is a non-fiction manuscript which explores voicelessness and the media. It focuses on sexuality secrets and explores what happens when these secrets become public property. Each chapter is written in a literary journalistic style. The genre is used here to intimately explore stories which have – for various reasons – fallen below the radar of mainstream journalism, despite some prior media exposure. The manuscript sets out to re-tell the subjects’ stories, and in that re-telling, determines to give each a voice. Taken together, these stories – written in the literary journalism genre, in accord with the subjects – amount to a form of advocacy journalism. As such, the manuscript also considers what motivates each subject to speak, and the costs associated with telling their secrets. Part two of this dissertation, The Literary Journalist and Degrees of Detachment – an ethical investigation, investigates the complexities of the relationship between the writer and the subject. It also does so in the context of the literary journalism genre, examining the role and influence of the narrator in the telling of a subject’s story. Further, it considers the various methods of maintaining differing degrees of detachment within the writer/subject relationship and against other factors such as ethical journalistic practice and the journalist’s role in upholding notions such as public interest and the public’s right to know. Within this investigation of ethical imperatives, the notion of ‘objectivity’ as it pertains to literary journalism, is examined. This dissertation argues that aiming for accuracy, balance and fairness, in the name of public interest and the public’s right to know, is a credo all journalists should aspire to. To position these terms within the umbrella meaning of the word ‘objectivity’ must not be regarded as antithetical to journalism practice, but something worth practising and teaching. This dissertation argues that rigid adherence to the literal meaning of the word ‘objectivity’ is the downfall of the practice. It is argued that there must be a loosening of the semantics surrounding the debate. The dissertation considers three texts/case studies to demonstrate the spectrum of degrees of detachment writers can maintain. Each text clearly falls at differing points along this spectrum, as do the stories in the manuscript Speaking Secrets. Empathy of the journalist plays a crucial role in the collecting and telling of these stories. Empathy as a notion is almost regarded as anathema to the journalistic industry. This dissertation argues, and exhibits through the execution of the text Speaking Secrets, that empathy is an effective and valid tool of the trade. Indeed, in some instances, it makes for better, more thorough and honest journalism.