At the intersection of digital identities and new language and social practice online is the concept of searchable talk (ST). ST describes the process of tagging discourse in a social networking service (SNS) with a hashtag (#), allowing it to be searchable by others. Although originating in Twitter, ST has expanded into other SNS, and is used therein not only to mark language-based posts, but also multimodal posts and images. While scholars have elucidated the structure and function of ST, their studies have primarily examined ST within language-based posts; few have researched ST with respect to images and other types of multimodal environments. In addition, ST has primarily been explored in its SNS of origin, Twitter. This project directly addresses these gaps by adopting a social semiotic approach to ST in three SNS with very different technological affordances, Twitter, Tumblr, and Pinterest. Through a multimodal discourse analysis (Kress, 2009) combining both linguistic and other visual methods, I ask how visual and linguistic choices operate semiotically across SNS environments with different affordances and constraints. Specifically, I uncover the multiple meanings of Beyoncé across a data set of 300 tweets, posts, and pins composed from entering #Beyoncé in the search engine of each SNS. I argue that 13 meaning-based identity categories emerge for Beyoncé, and link these meanings to their visual and linguistic expressions. I then compare these findings across modes and across platforms. Ultimately, I assert that this cross-platform approach elucidates Beyoncé as a cultural object subject to reinterpretation where #Beyoncé means much more than just “Beyoncé.” That is, when considering its multiple roles and meanings, #Beyoncé becomes a site of visual and linguistic indexicality in a process of entextualization. In this process, it is SNS users’ reinterpretations – linguistically and visually – that realize racist, sexist, and hegemonic Discourses, as well as those of emancipation and resistance.

This thesis examines the role of online platforms in relation to anti-progressive counterpublic dynamics. Counterpublicsare understood as alternative discursive arenas that form in response to exclusion from the wider public sphere. The relevance of counterpublics derives both from their ability to influence mainstream political discourse and from how anti-progressive counterpublics have been found to contribute to real-life violence. As the internet becomes an increasingly important venue for political discussion and contestation, the public sphere is extended online. This study explores how platforms can be seen as enabling (or constraining) the dual function of online counterpublics, i.e. as both inward and outward-oriented in relation to opposing publics, by examining the anti-feminist online community known as “Men Going Their Own Way” (MGTOW). The role of platforms is understood in terms of platform affordances, and netnographic methods were used to study these in relation to two online platforms. The results show that the two platforms presented different opportunities for the MGTOW counterpublic to some extent, suggesting that this counterpublic is able to utilise platforms for different purposes. Twitter was found to be particularly suitable for the outward-oriented function, i.e. for interacting with and opposing other publics, while mgtow.com was shown to be fertile ground for the inward-oriented function, and in that sense enabled contact between members in a way that contributed to the development of anti-progressive counterdiscourse.

This thesis studies online fan communities, using the recent popularity of chess on live streamingplatform Twitch.tv as a case study to examine audience and cultural convergence between high and popular culture in a digital community setting. Bourdieu’s theoretical concepts field and capital are utilised in order to investigate changing structures and norms within this converging chess field. Affordances of the Twitch platform, too, are considered as key role players in the transformation ofchess culture online. Through participant observation in a live stream channel and through content analysis of online forum materials discussing the Twitch-hosted amateur chess "PogChamps"tournament, the study’s findings suggest that the introduction of a new platform like Twitch into a fieldlike the chess field can fundamentally restructure the community. This can occur because of platform affordances that offer new means for community members to accumulate valuable capital by setting new terms for what constitutes valuable capital and what it means to be "in the know" in the field. Additionally, by bringing new audiences to the chess community, Twitch is a key influencer indeveloping what can be seen as a new form of fan community centred around chess that emphasises spectacle and entertainment above game proficiency. These findings, the thesis concludes, can beapplied in similar community contexts in order to further understand the dynamic nature of online communities.

In conjunction with the rise of populism all over the globe, social media has been acknowledged as an important arena for populist actors to disseminate their political ideas. This thesis aims to examine the relationship between social media and right-wing populism by exploring how an online platform mediates right-wing populist discourses. In contrast to the existing literature on this relationship, the social media platform TikTok is studied in this thesis. This study examines how online activists that are campaigning for the Sweden Democrats utilize the possibilities provided by TikTok’s material functions in relation to the social context in which they are used. Participant observation was conducted to study these dynamics, understood as platform affordances. The results show that the activists disseminate right-wing populist ideas on TikTok by utilizing functions for self-publication (of video). In terms of the proliferation of these videos, populist communication styles appear to be favored on this platform. A mapping of the social composition and available resources of these activists shows that their usage of the platform to conduct activism is affected by these factors, demonstrating different pathways to becoming an influential activist on TikTok.