Cupcakes, Pinterest, and Ladyporn: Feminized Popular Culture in the Early Twenty-First Century. Edited by Elana Levine. Urbana: University of Illinois Press, 2015.Producing Women: The Internet, Traditional Femininity, Queerness, and Creativity. By Michele White. London: Routledge, 2015.Postfeminist Digital Cultures: Femininity, Social Media, and Self-Representation. By Amy Shields Dobson. London: Palgrave Macmillan, 2015.

Signs ◽  
2017 ◽  
Vol 43 (1) ◽  
pp. 229-235
Author(s):  
Sarah Johnson ◽  
Andrea L. Press
Keyword(s):  
Social Media ◽  
Popular Culture ◽  
First Century ◽  
The Internet ◽  
University Of Illinois ◽  
Early Twenty ◽  
Twenty First Century ◽  
Traditional Femininity ◽  
Digital Cultures

scholarly journals VIRAL MUSICKING: AESTHETICS AND ITERATIONS IN ONLINE CONTAGION

2020 ◽  
Author(s):  
Paula Clare Harper
Keyword(s):  
Social Media ◽  
Science Fiction ◽  
First Century ◽  
The Internet ◽  
Digital Devices ◽  
Early Twenty ◽  
Social Media Platforms ◽  
Late Twentieth ◽  
Twenty First Century ◽  
Late Twentieth Century

Cats at keyboards. Dancing hamsters. A photo of a dress, and videos set to “Harlem Shake.”  The above are recognizable as “viral” phenomena—artifacts of the early twenty-first century whose production and dissemination were facilitated by the internet, proliferating social media platforms, and ubiquitous digital devices. In this paper, I argue that participation in such phenomena (producing, consuming, circulating, or “sharing” them) constitutes a significant site of twenty-first-century musical practice: viral musicking, to borrow and adapt Christopher Small’s foundational 1998 coinage. In this paper I analyze instances of viral musicking from the 2000s through the 2010s, tracking viral circulation as heterogeneous, capacious, and contradictory—a dynamic, relational assemblage of both “new” and “old” media and practices. The notion of virus as a metaphor for cultural spread is often credited to computer science and science fiction, with subsequent co-option into marketing and media; such formulations run adjacent to the popularization of "virus" in philosophical models for globalization and pervasive capitalism across the late twentieth century, from Derrida to Baudrillard and Deleuze. In this paper, I seek to braid these lineages with the work of scholars reading cultural contagion through lenses of alterity and difference, situating music as a particularly felicitous vector for viral contagion, exceeding and preceding Internet circulation. Ultimately, I argue that viral musicking activates utopian promises of digital advocates, through the cooperative social operation of “sharing,” even as it resonates through histories and presents of racialization, miscegenation, appropriation, and the realities of porous, breachable borders, cultures, and bodies.

Epilogue and Conclusion

2021 ◽  
pp. 189-198
Author(s):  
David Thackeray ◽  
Richard Toye
Keyword(s):  
Social Media ◽  
Twentieth Century ◽  
First Century ◽  
The Internet ◽  
Election Manifestos ◽  
Early Twenty ◽  
Twenty First Century ◽  
Acute Crisis ◽  
The Way ◽  
Internet And Social Media

We explore the ongoing importance of election promises since 1997. Even if the way that promises are disseminated has changed with the growing importance of the internet and social media in campaigning, expectations surrounding manifestos remain roughly those that were set during the twentieth century. And yet the Brexit controversy has arguably created an acute crisis in trust in politicians’ promises and uncertainty about the authority of election manifestos. In the aftermath of the Brexit vote, manifestos enjoyed a more central role in the 2017 and 2019 elections than they had achieved at other elections during the early twenty-first century, not least because of the ambiguities of the mandate provided by the referendum.

History Has Its Eyes on You

2018 ◽  
Author(s):  
Laurence Maslon
Keyword(s):  
Popular Culture ◽  
Pop Culture ◽  
Technological Advance ◽  
First Century ◽  
The Internet ◽  
Generational Change ◽  
Personal Preference ◽  
Broadway Musical ◽  
Twenty First Century ◽  
Consumer Habits

A generational change at the beginning of the twenty-first century intersected with the technological advance of the Internet to provide a renaissance of Broadway music in popular culture. Downloading playlists allowed the home listener to become, in essence, his/her own record producer; length, narrative, performer were now all in the hands of the consumer’s personal preference. Following in the footsteps of Rent (as a favorite of a younger demographic), Lin-Manuel Miranda’s Hamilton emerged as the greatest pop culture/Broadway musical phenomenon of the twenty-first century; its cast album and cover recording shot up near the top of music’s pop charts. A rediscovery of the power of Broadway’s music to transform listening and consumer habits seems imminent with the addition of Hamilton and Dear Evan Hansen to a devoted fan base—and beyond.

The Future of Epic in Cinema

2018 ◽  
pp. 119-132
Author(s):  
Pantelis Michelakis
Keyword(s):  
Popular Culture ◽  
Science Fiction ◽  
Biological Evolution ◽  
First Century ◽  
Genre Criticism ◽  
Early Twenty ◽  
The Future ◽  
Twenty First Century

This chapter explores the ways in which the generic label of ‘epic’ might be deemed relevant for Ridley Scott’s film Prometheus (2012), and more broadly for the ways in which a discussion about the meanings of epic in early twenty-first-century cinema might be undertaken outside the genre of ‘historical epic’. It argues for the need to explore how ‘epic science fiction’ operates in Scott’s Prometheus in ways that both relate and transcend common definitions of the term ‘epic’ in contemporary popular culture. It also focuses on the unorthodox models of biological evolution of the film’s narrative, suggesting ways in which they can help with genre criticism. When it comes to cinematic intertextuality, a discussion about generic taxonomies and transformations cannot be conducted at the beginning of the twenty-first century without reflecting on the tropes that cinema animates and the fears it enacts at the heart of our genetic imaginary.

scholarly journals In hoeverre houden geëmigreerde Nederlanders en Vlamingen in de eenentwintigste eeuw vast aan de Nederlandse taal en cultuur?

2020 ◽  
Vol 58 (1) ◽  
pp. 5-21
Author(s):  
Nicoline van der Sijs
Keyword(s):  
Social Media ◽  
Mother Tongue ◽  
Online News ◽  
First Century ◽  
The Internet ◽  
Language And Culture ◽  
The Family ◽  
Dutch Language ◽  
Twenty First Century ◽  
News Services

Abstract Research among twentieth-century Dutch and Flemish emigrants has shown that they usually gave up their mother tongue quickly, within two or three generations, after emigration. In the twenty-first century the situation of emigrants has changed drastically: due to the internet and social media it is much easier to keep in touch with the homelands. Does this have consequences for the preservation of the Dutch language and culture among emigrants? How much do emigrants value the Dutch language, culture and identity? These questions have been investigated in the pilot research ‘Vertrokken Nederlands ‐ Emigrated Dutch’, conducted by the Dutch Language Union and the Meertens Institute and led by the author of this article. The research has been conducted using a new methodology, employing social media and citizen scientists. This article describes the results of this first worldwide study of Dutch language, culture and identity among Dutch and Flemish emigrants. The main conclusion of the research is that for the vast majority of emigrants in the twenty-first century, the Dutch language and culture still play an important role in daily life, and the Dutch language is still widely used in the country of residence, especially within the family, in social media and in online news services.

scholarly journals DIGITAL DIPLOMACY APPROACHED AS A SUBTYPE OF PUBLIC DIPLOMACY

2021 ◽  
Vol 17 (1) ◽  
pp. 251-257
Author(s):  
Andreia - Mariana POP
Keyword(s):  
Social Media ◽  
Public Diplomacy ◽  
Communication Technologies ◽  
First Century ◽  
The Internet ◽  
Diplomatic Relations ◽  
Standard Practice ◽  
New Public ◽  
Twenty First Century ◽  
Digital Diplomacy

As a subtype of new Public Diplomacy, Digital Diplomacy is considered one of the major trends of the twenty-first century in diplomatic communication and during the Covid-19 pandemic this aspect was reiterated. The importance of Digital Diplomacy is based on the usage of communication technologies, the internet and social media, which at the same time represent its base, for the strengthening of the diplomatic relations. Covid-19 has disrupted almost every aspect of life and diplomacy is no exception. Today, Digital Diplomacy has become a standard practice and we have to mention that it doesn`t replace the traditional diplomacy, but complements it. In the context of the Covid-19 pandemic, for international actors was clear how important the exploitation of Digital Diplomacy benefits is.  

Introduction

2017 ◽  
Author(s):  
Elana Levine
Keyword(s):  
Popular Culture ◽  
First Century ◽  
Cultural Products ◽  
Feminine Identity ◽  
Scholarly Literature ◽  
Early Twenty ◽  
The Social ◽  
Economic Forces ◽  
Twenty First Century

This introductory chapter briefly tackles the broad scope of scholarly literature on feminized popular culture, and also provides an overview of this area in the twenty-first century. Its focus is on forms of early-twenty-first-century popular culture that are strongly associated with femininity—the social and economic forces that create such culture, the ways these cultural products speak to and about feminine identity, and the ways that audiences, readers, and users engage with and experience this culture. In addition, the chapter details in brief the influences, both current and historic, which inform the central themes of this volume, as well as the aims and specific lines of inquiry that this volume seeks to pursue.

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