UID:
almahu_9949747864602882
Umfang:
1 online resource (348 pages)
Ausgabe:
1st ed.
ISBN:
9781000982459
Serie:
Routledge Studies in Media, Communication, and Politics Series
Inhalt:
This book explores visual political engagement online - how citizens participate in the dynamism of life in society by expressing their opinions and emotions on various issues of democratic life in image-based social media posts, independently of collective actions.
Anmerkung:
Cover -- Half Title -- Series -- Title -- Copyright -- Contents -- List of figures -- List of tables -- Acknowledgements -- Summaries of the chapters -- Introduction: Visual citizenship: communicating political opinions and emotions on social media -- 0.1 Concepts -- 0.2 Methods -- 0.3 Empirical insights -- Part 1 Concepts -- 1 Everyday political expression as a citizenship practice -- 1.1 Broad definitions of citizenship, civic engagement and political participation -- 1.1.1 Dutiful versus self-actualising citizenship -- 1.1.2 Civic engagement -- 1.1.3 Political participation -- 1.2 Idealising political participation over (online) civic engagement -- 1.2.1 Civic engagement as latent participation -- 1.2.2 Three criticisms of the gateway model -- 1.3 Listening as an underestimated activity -- 1.4 Idealising rational deliberation and consensus -- 1.4.1 The anachronistic bourgeois public sphere -- 1.4.2 Ideal rational versus fragmented and messy citizenship practices -- 1.4.3 Deliberation versus agonism, and the conflictual nature of modern pluralism -- 1.5 Idealising a certain kind of citizen -- 1.5.1 Nostalgia for sophisticated literacy in the olden days -- 1.5.2 Undermining power relations and inequalities among citizens -- 2 Citizenship, social media and visual cultures -- 2.1 The visual turn and a new semiotic order -- 2.2 Technical advances and visual platform vernaculars -- 2.3 Citizens' political expression in visual social media posts -- 3 Personalised citizenship -- 3.1 The blurring of private and public spheres -- 3.2 Privatised civic engagement on ubiquitous social media -- 3.3 Political self-expression embedded in personal experiences -- 3.4 Image-based content that personalises political self-expression -- 3.4.1 Political selfies by ordinary people -- 3.4.2 Pictures of eye-witnessed events -- 4 Visual creativity and civic engagement.
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4.1 Popular culture, creativity and citizenship -- 4.2 Heuristic devices in citizens' political social media posts -- 4.2.1 Semiotic familiarity: the power of conventional metaphors -- 4.2.2 Semiotic innovation: the power of play and creative metaphors -- 4.2.2.1 Creative parodies of conventional metaphors -- 4.2.2.2 Creative metaphors -- 4.2.3 The power of play and the danger of cognitive biases -- 5 Affective citizenship -- 5.1 The affective turn in political expression -- 5.1.1 Emotion and affect: two different types of situational entanglement -- 5.1.2 Emotion and reason -- 5.1.3 The cultural practice of emotion -- 5.1.4 The social glue in a political context -- 5.2 Affective economies on social media -- 5.3 Visual content and emotions -- 5.3.1 Cognitive approaches to images and emotions -- 5.3.2 Iconic images and the circulation of emotions -- 5.3.3 Emotions and citizens' visual imagery on social media -- Part 2 Methods -- 6 Challenges to the validity of visual studies -- 6.1 Challenges in content analysis -- 6.1.1 Quantitative and qualitative content analyses -- 6.1.2 Manifest and latent content -- 6.2 Challenges in discourse analysis -- 6.2.1 The analysis of discourse structures and patterns -- 6.2.2 Qualitative discourse analysis -- 6.2.3 Interviews and reverse image searches as complementary methods -- 7 Systemic functional approaches to visual content -- 7.1 The three functions of language -- 7.2 O'Toole's functional framework for paintings -- 7.3 Kress and van Leeuwen's three functions of visual communication -- 7.3.1 The representational function -- 7.3.1.1 Narrative structures -- 7.3.1.2 Conceptual structures -- 7.3.2 The interpersonal function -- 7.3.2.1 Interactivity -- 7.3.2.2 Modality: colour, perspective, background, representation, depth, illumination and brightness -- 7.3.3 The compositional function.
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7.3.3.1 Information value: left-right, top-bottom and centre-margin -- 7.3.3.2 Salience -- 7.3.3.3 Framing -- 7.4 Two challenges in analysing visual resources -- 7.4.1 Social semiotics and the "grammar" of visual content -- 7.4.2 Units of analysis in visual content -- 8 Methodological standards for quantitative content analysis of social media posts -- 8.1 A rich variety of existing research designs -- 8.2 Data collection and selection -- 8.3 Data contextualisation -- 8.4 The size of a valid sample -- 8.5 Intercoder and intracoder reliability and the size of the testing sample -- 9 Categories for visual content analysis -- 9.1 Representational variables: connection with the research question, standard and specific topics, frames -- 9.1.1 Preliminary variable: the connection with the research question -- 9.1.2 Standard variables: standard topics -- 9.1.3 Contextualised variables: specific genres and topics -- 9.1.4 Latent variables: frames based on manifest or latent content -- 9.2 Interpersonal variables -- 9.3 Compositional variables -- 10 Appraisal in text-image social media content -- 10.1 Emotion, opinion and the issue of observability -- 10.2 Thematised emotions and opinions in text and image -- 10.2.1 Thematised attitude: affect, judgement and appreciation -- 10.2.2 Literal and figurative thematised emotions: major sets versus basic emotions -- 10.2.3 Literal and figurative opinions: inscribed or evoked judgement -- 10.3 Signal-like emotions and opinions in text -- 10.4 Supported emotions and opinions in text and image -- 10.4.1 Content patterns and related methodological questions -- 10.4.2 Text-image rhetoric: attitude in visual arguments -- 10.4.3 Specific emotions in supported attitude -- Part 3 Empirical insights -- 11 The Brexit vote and its aftermath: quantitative results -- 11.1 The connection with Brexit and tagging practices.
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11.2 A threefold concentration of topics -- 11.3 An unexpected variety of visual genres -- 11.4 Self-expression as the main social relation -- 11.5 Stance and the issue of polarisation -- 12 Opinions and emotions in text-image relations -- 12.1 Ten patterns of attitude in multimodal social media posts -- 12.2 Five types of appraisers in the verbal elements -- 12.3 Eight types of verbal attitude in multimodal social media posts -- 12.3.1 Attitude in common-sense sayings, statements or proverbs -- 12.3.2 Indirect speech and endorsement of external voices -- 12.3.3 Anchorage of the visual content -- 12.3.3.1 Attitude through anchorage, no attitude in the visual content -- 12.3.3.2 No attitude through anchorage, attitude in the visual content -- 12.3.3.3 Attitude through both anchorage and in the visual content -- 12.3.3.4 No attitude neither through anchorage nor in the visual content -- 12.3.4 Diegetic relay of attitude -- 12.3.5 Verbal alignment and disalignment with attitudinal visual content -- 12.3.5.1 Verbal alignment or disalignment with thematised emotions in the visual content -- 12.3.5.2 Verbal alignment or disalignment with thematised judgements in the visual content -- 12.3.5.3 Verbal alignment or disalignment with supported attitude in the visual content -- 12.3.6 Minimal attitudinal lexis -- 12.3.6.1 Minimal affect lexis -- 12.3.6.2 Minimal judgement lexis -- 12.3.6.3 Minimal lexis of supported attitude -- 12.3.7 Attitude in general statements -- 12.3.7.1 Emotion-related general statements -- 12.3.7.2 Judgement-related general statements -- 12.3.7.3 General statements of supported attitude -- 12.3.8 Attitude in personal narratives -- 12.3.8.1 Thematised emotions in personal narratives -- 12.3.8.2 Thematised judgements in personal narratives -- 12.3.8.3 Supported attitude in personal narratives.
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12.4 Multimodal patterns and attitude in visual content -- 12.4.1 Convergence or divergence in the types of attitude -- 12.4.2 Literal or figurative nature of the verbal and visual content -- 12.4.3 Attitude and types of visual participants and processes -- 12.5 Contracting and expanding alternative voices: two patterns of engagement -- 13 Metaphoric judgement and creativity in the Brexit context -- 13.1 Inferring multimodal metaphors -- 13.2 Emotion-related metaphors -- 13.3 Judgement-related metaphors in multimodal content -- 13.3.1 Quantitative findings: the prevalence of four metaphors -- 13.3.2 Scenarios and moral foundations in metaphors -- 13.3.2.1 Judgement-related metaphors without markers of moral foundations -- 13.3.2.2 Judgement-related metaphors with markers of moral foundations -- 13.4 Metaphoric creativity in image-based social media posts -- 13.4.1 Level zero: no metaphoric creativity at the conceptual, image or formulation level -- 13.4.2 Level one: non-metaphoric creativity at the formulation level -- 13.4.3 Level two: metaphoric creativity at the formulation level -- 13.4.4 Level three: double metaphoric creativity at the formulation level -- 13.4.5 Level four: metaphoric creativity at the conceptual level and image-schema creativity -- 13.5 Creativity in mundane experiences -- Index.
Weitere Ausg.:
Print version: Bouko, Catherine Visual Citizenship Oxford : Taylor & Francis Group,c2023 ISBN 9781032505060
Sprache:
Englisch
Schlagwort(e):
Electronic books.
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