尽力讨好social media
discourse
D r M a r i z a G e o r g a l o u
D i s c o u r s e A n a l y s i s?8t h S e m e s t e r?S p r i n g2016
D e p a r t m e n t o f L a n g u a g e a n d L i n g u i s t i c s,F a c u l t y o f
E n g l i s h L a n g u a g e a n d L i t e r a t u r e
N a t i o n a l a n d K a p o d i s t r i a n U n i v e r s i t y o f A t h e n s
·Discourse analysis
·Social media discourse analysis
–T ext
OVERVIEW –Context
–Actions + interactions –Power
·Why study social media
·Examples from Facebook
DISCOURSE ANALYSIS
Texts: written texts but also conversations (written, spoken), videos, photographs, drawings, paintings, street signs, websites, software interfaces, video games – any aggregate of semiotic elements that can function as a tool for people to take social action. Contexts: social + material situations in which texts are constructed, consumed, exchanged and appropriated. Actions and interactions: what people do with texts + what they do with and to each other. Power and ideology: how people use texts to dominate + control others + to create certain ‘versions of reality’.
(Jones, Chik & Hafner 2015)
SOCIAL MEDIA
Social media are internet-
based sites + services which
promote social interaction between
participants through the exchange
+ sharing of user-produced content.
?wersm
Examples: blogs, microblogging (Twitter), social network sites (Facebook), content-sharing sites (YouTube, Instagram), wikis, podcasting, discussion forums, chatrooms,virtual worlds (World of Warcraft), livecasting(Skype)
H O W D O S O C I A L M E D I A
M A K E U S R E T H I N K (1)T E X T,(2)C O N T E X T,
(3)A C T I O N,
(4)I N T E R A C T I O N&
(5)P O W E R?
1.Q U A L I T I E S O F
D I G I T A L LY M
E D I AT E D
T E X T S
a.T e x t u r e
b.I n t e r t e x t u a l i t y
c.D i a l o g i c c h a r a c t e r
d.M u l t i m o d a l i t y
e.M a t e r i a l i t y
(Jones, Chik& Hafner2015: 1-17)
Texture
property of connectedness
Cohesion
how different parts of text are held together using syntactic + semantic resources
Coherence
how different parts of text are ordered sequentially logical + meaningful
LOOSE
TEXTURE
Connections
between parts are
less explicit,
depending more
on readers’ active
efforts to hold
them together. Data from Flickr(Barton 2015))
TIGHT TEXTURE
·Little choice in how
elements are connected /
sequenced.
·Choices by computer
programmes–
‘algorithmically
imposed’ textures
·Constraints on how to
take action + interact.
·Confusion in reading texts. Data from Withings
Health Mate app
(Jones 2015)
INTERTEXTUALITY ?T races of preceding texts (e.g. alluding, quoting, echoing,
paraphrasing or linking)Digital technology
(M y e r s 2010)?allows hypertextual linking , embedding,
copying-pasting,
combining, curating.?Easier to connect, mix
+ mash texts.
INTER-
TEXTUALITY II
·Purely linguistic
resources
to create Context: Underneath a picture depicting Gabriel
(Greek, 22 years old, student) preparing a seminar
with another friend, two female FB friends started
writing comments relating to hotel rooms during
their pending trip abroad for a conference.
Gabriel
intertextuality
in digitally
mediated texts.
·References to
popular culture Greek ice-cream commercial
Data from Facebook(Georgalou 2014)
DIALOGIC
CHARACTER
·
Reading and writing
like a
conversation
.
·
Readers ‘write back’
Data from 101 Cookbooks
blog (Myers 2010)
to writers and
writers shape their
texts in anticipation
of immediate
response from
readers.
MULTIMODALITY
·Rich combinations
of semiotic modes
(writing, visuals, sound)
Meanings
Data from Instagram
(Zappavigna forthcoming)
·travel across
modes + combinations
of modes in ways that
alter them:
resemiotisation
(Lepp?nen et al. 2014;
Georgakopoulou2015)
Data from Facebook
(Georgalou 2014; forthcoming)
M AT E R I A L I T Y · Web pages different from newspapers textually + physically. · Tablets vs books · Access to texts, contexts, ways we physically manipulate texts (e.g. clicking, tapping, dragging, swiping, pinching).
? GETTY/HPMG, Huffpost
2. CONTEXT
participants
(Page et al. 2014: 33)
? people who take part in the interaction and their relationship to others in the group.
imagined context
? projected contexts created cognitively by participants on the basis of their world knowledge and the cues provided in CMC.
extra-situational context
? participants’ offline social practices, cultural values, demographics (age, gender, ethnic or national identity), values related to their involvement in particular communities (e.g. friendship/educational cohorts, hobby or interest groups, colleagues, fan communities).
2. CONTEXT II
behavioural context
(Page et al. 2014: 33)
? physical situation in which participants interact via social media (e.g. place and time of interaction, devices).
textual context (co-text)
? surrounding interactions (text published in preceding / subsequent posts or comments); semi-automated info (e.g. timestamps), location-based info (e.g. ‘check ins’); screen layout and resources.
generic context
? social media site in which communication takes place, site’s stated purpose, rules and norms for conduct (netiquette).
3. ACTIONS
Affordances:the particular ways social media make certain
Interactivity Synchronicity –asynchronicity Replicability
Storage capacity
kinds of action possible.Persistence of content / durability
Searchability
Mobility
Reach
Social cues (visual, vocal) Private/public nature (boyd 2010; Madianou & Miller 2013)NB: T echnology does
not determine uses.
4. INTERACTIONS
Digital technologies have challenged the ways discourse analysts approach the analysis of interaction. turn-taking, adjacency, topic management
(Jones, Chik & Hafner 2015)
monitoring + contextualisation; new forms of phatic communication (e.g. ‘liking’)
new participation frameworks
WHAT CONSTITUTES AN INTERACTION IN SOCIAL MEDIA?
1.how technologies
interact with
humans
2.how technologies
facilitate human-
to-human
interaction
(Rafaeli& Ariel 2007)
5. IDEOLOGY & POWER
Digital technologies affect
· ·
(Jones, Chik & Hafner 2015)
how people understand the world + treat one another how this affects how social goods (material + symbolic) get distributed
Creating, learning, and self-improvement vs commercial practices + promotion of dominant values of competition and consumption as in ‘old media’. Not so much expressed in texts but in the more subtle ways software + web interfaces channel users into certain (inter)actions (i.e. what kind of info we have access to, what kind of behaviour is rewarded + reinforced, what sort of people are considered normal)
CELEBRITY PROMOTION ·Social media provide
users opportunities
to produce + share
Context: In December 2015, AB Βασιλ?πουλο? supermarket organised the photo competition
#LoveBakeShare. Participants had to bake a Christmas dessert, take a photo of it and post it on Instagram and/or T witter. Five photos would be balloted for
