Please use this identifier to cite or link to this item: http://hdl.handle.net/1893/30308
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dc.contributor.advisorHaynes, Richard-
dc.contributor.advisorSingh, Greg-
dc.contributor.authorEsteves, Victoria Emma Dantas-
dc.date.accessioned2019-10-22T09:39:54Z-
dc.date.available2019-10-22T09:39:54Z-
dc.date.issued2018-09-
dc.identifier.urihttp://hdl.handle.net/1893/30308-
dc.description.abstractInternet memes have become ubiquitous in our everyday experiences, both online and offline, permeating a variety of fields; not only are they prevalent in our communications among friends and strangers, they are also present in our political, commercial and cultural experiences. Memes are collective exercises in meaning making and creativity made both inter-personally and globally through sharing, which is built into the craft-like ethos of internet philosophy. Alternative 20th century strategies (e.g. collage, détournement, culture jamming) underlie much of current online interaction, embodying collaborative cultural practices - currently enabled by the accessibility to remix technology - that echo previous movements (e.g. punk, craft, Situationists International). Online memes are the intersection between participatory culture, remixing and intercreativity. Whilst literacy of formal aspects might lead to exclusivity, the low level of literacy required to engage with memes makes global access possible. However, this democratic potential might be threatened by the recuperation process that inhibits memes’ ability to perform counter-cultural roles, as wide circulation of memes has led to re-appropriations by politicians and commercial advertising. This thesis maps out meme use in a multitude of arenas including: politics (online debate and in protests), commerce (merchandise, use in advertising), and other cultural spaces (from LOLcat art to Lolita subculture). Additionally it follows the unfolding of the Doge meme closely across these spheres, providing insight into phenomena such as Dogecoin tipping and mass charitable actions performed under this meme. Ultimately, memes are successfully used across various groups and types of relationships (although at times met with some resistance), as their elasticity is able to accommodate the incarnations that place value upon spreadable meaning on a global scale.en_GB
dc.language.isoenen_GB
dc.publisherUniversity of Stirlingen_GB
dc.subjectonline memesen_GB
dc.subjectinterneten_GB
dc.subjectpoliticsen_GB
dc.subjectcraftivismen_GB
dc.subjectcommercialisationen_GB
dc.subjectcommunicationen_GB
dc.subjectremixen_GB
dc.subjectparticipatory cultureen_GB
dc.subjectLOLcatsen_GB
dc.subjectDogeen_GB
dc.subjectnetworksen_GB
dc.subjectcreativityen_GB
dc.subject.lcshMemesen_GB
dc.subject.lcshMemeticsen_GB
dc.subject.lcshSocial mediaen_GB
dc.subject.lcshCulture diffusionen_GB
dc.subject.lcshInterneten_GB
dc.subject.lcshInternet memes Political aspects.en_GB
dc.title'Mah LOLthesis let me show u it': The (re)making and circulation of participatory culture: memes, creativity and networksen_GB
dc.typeThesis or Dissertationen_GB
dc.type.qualificationlevelDoctoralen_GB
dc.type.qualificationnameDoctor of Philosophyen_GB
dc.contributor.funderUniversity of Stirling School of Arts and Humanities PhD scholarshipen_GB
dc.author.emailvictoria.emma@gmail.comen_GB
Appears in Collections:Communications, Media and Culture eTheses

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