Thesis advisor: Bonnie Jefferon / Kanye West is a musical artist whose shocking public statements often remain in the news for weeks on end. Throughout the past six years of his extremely successful career, at least three of these public acts have received tireless media coverage both for their perceived offensiveness, and for their direct connection to larger societal issues. This project examines three statements: (1) West’s 2005 claim during Hurricane Katrina that “[President] George Bush doesn’t care about Black people;” (2) the moment in 2009 when West stormed the MTV Video Music Awards stage during singer Taylor Swift’s acceptance speech and grabbed her microphone, stating that he would let her finish, “but Beyoncé had one of the best videos of all time;” and (3) West’s 2010 appearance on NBC’s Today Show and the series of angry messages he posted to his Twitter page claiming that the interviewer, Matt Lauer, tried to “force” his answers. These statements are analyzed to determine whether West may have unwittingly employed the rhetorical method Theodore Windt describes as the diatribe. The paper concludes that West’s statements in 2005 and 2010 meet the criteria for the diatribe, using a shocking act or message to catalyze important discussion of major problems existing in society. However, West’s 2009 incident fails to meet the criteria, and cannot be categorized as a diatribe, but instead as simply an offensive act that provided no greater benefit to society. The process of these analyses may serve as a way to examine future celebrity statements to determine whether certain individuals are striving to elevate society or, through their offenses, may be adding to a cultural downfall. / Thesis (BA) — Boston College, 2011. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Communication Honors Program. / Discipline: Communication.

As a popular culture subject, Taylor Swift is an example of a widely circulated image that adheres to the guidelines for “appropriate” girlhood, innocence, and feminine performance. The proliferation of Swift’s identity as a virginal, delicate girl makes Swift the successful pop music figure that can “save” the troubled young girl of today. This thesis grapples with Swift’s image as an artist and addresses the ways that she often stands in as the example for imagined “appropriate” femininity. Swift’s image relies on ideas about innocence and normativity that are directly linked to markers of whiteness without ever having to explicitly name it. Swift’s specific performance of normativity and the success she has achieved because of it is one example of how we can begin to complicate understandings of agency and where it can be located.

People have organized around gender equality in modern America for the last century. However, with the advent of new technology, people largely organize in around social movements in online spaces. This thesis explores the ways in which new media expands a popular understanding of the Feminist movement.

This study explores how knowledge and reality is constructed within an online fandom’s communication, with a focus on LGBTQ+ discourse within Taylor Swift’s fans on Reddit. This is done through a qualitative digital ethnographic method and uses LGBTQ+ symbols and parasocial relationships as tools to analyse 75 posts and 850 comments total. The theoretical framework mainly consists of Berger and Luckmann’s (1966) theory on the social construction of reality and Couldry and Hepp’s (2017) reinterpretation of their work that considers the effects of digitalization and how our construction of reality has changed with it. The analysis showed that the group uses symbols to build a shared collection of facts and continuously follows an us-versus-them narrative to construct their community. Their foundational belief that Swift herself is secretly queer is not to be too closely questioned within the group and they often use the version of Swift that outsiders have built up to discuss hypothetical what-ifs. To participate in the community and be seen as “logical” it appears to require that you to some extent correctly consume the media in a way that aligns with pre- existing facts that the group shares. Meaning that the group has unspoken rules that dictate the knowledge hierarchies within it.

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Fans and fandoms are ever more salient aspects of our everyday lives offline and linked to the Internet's growing influence also online, particularly on social media. While fans have generally been pathologized via mass media but also early academic representations especially prior to the founding of the interdisciplinary Fan Studies in the 1970s/1980s, which sought to actively counter negative fan representations and foreground fans' creative productivity, nowadays, even though many types of fans have been 'mainstreamed' and are generally accepted, specific fan types are still systematically discriminated against - even within Fan Studies - along the lines of socio-demographic variables. These marginalised fans are predominantly female, young, queer and non-white. Moreover, even though Fan Studies define fan identity as one of their focal concerns, linguistic research on fan identity, particularly regarding its narrative and interactive construction, has widely been neglected. However, as narrative interaction and specifically small stories (as propsed within the small story paradigm by Bamberg & Georgakopoulou, 2007/8) have been found to play a very important role in the construction of identity, the investigation of how fan identity is constructed via small stories and - given the centrality of collective fandoms for fans - specifically shared (group) stories can severely contribute to fan (identity) research. Thus, combining decidedly linguistic research on narrative fan identity construction and the inclusion of previously marginalised fan communities, this thesis focuses on the construction of fan identity of Taylor Swift fans (Swifties) - a predominantly female and young fandom that has been ridiculed by mass media and dominant discourses - via shared stories. More specifically this study analyses the construction of Swiftie fan identity via shared stories both online in nicknames on Tumblr and Twitter and face to face in the form of a positioning analysis investigating the interactions of a Zoom focus group made up of five German Swifties. This research finds that within Swiftie nicknames Swiftie fan identity is centrally constructed by means of variously highly condensed, combined and/or personalised references (to shared stories of the overarching Swiftie community). The focus group interactions then reveal various positioning practices that are strongly intertwined with (often) more elaborate shared stories, which are 'shared' by the Swiftie participants both with regards to experiences on the story level and their interactive co-construction on the level of interaction. Despite their diverging local manifestations both within the investigated Swiftie nicknames and focus group interactions shared stories are centrally utilised to construct and communicate Swiftie fan identity as a particularly collectively experienced and defined ingroup identity that confers belonging and further functions as a shield against outgroup discrimination. Further research should then enlarge the present investigative focus to include also other online platforms and fan communicative acts, supplementary and also offline implemented focus groups and field studies, more heterogenous participants with regard to often neglected socio-demographic variables (next to age and gender) as well as other (marginalised) fandoms outside of the Swiftie community.