The Disruptive Power of Memes:: The Carnivalesque and Kevin Spacey's Place in The Weinstein Moment
The Disruptive Power of Memes:: The Carnivalesque and Kevin Spacey's Place in The Weinstein Moment
Touted as the “day it all began,” an October 5, 2017 New York Times exposé unleashed
a torrent of sexual assault and harassment charges, spanning decades, against A-list
Hollywood producer, Harvey Weinstein.1 That moment described as a “long dark crack
in the foundational wall” released a tide of accusations against more than “250 powerful
people – celebrities, politicians, [and] CEOs” that continues to swell with charges filed
against opera legend Placido Domingo, Supreme Court Justice Brett Kavanaugh, and
former NFL star Antonio Brown, in late 2019.2 The “post-Weinstein moment” has
created a new culture of whistleblowing centering around powerful men who are accused
of sexual misconduct.3 In
addition to spawning the
powerful movements #MeToo
and #TimesUp that have
“completely reshaped the way
we think of men, women, sex,
and power,” many people have
come forward reporting men
who abused their positions of
power and sexually harassed,
abused, or assaulted them.
This zeitgeist was reflected
in Time magazine’s person of
the year in 2017: The Silence
Breakers. These were the
women who went public with
stories and accusations of the
men who had engaged in some
form of sexual misconduct.
One of the powerful men
implicated in the Weinstein movement was actor Kevin Spacey. Known for his roles in
films such as The Usual Suspects, American Beauty, Se7en, L.A. Confidential, Glengarry Glen
Ross, and Pay it Forward, as well for his role in the Netflix original series House of Cards,
Spacey is a highly celebrated and Oscar-winning actor. However, he was accused of
making sexual advances toward then 14-year-old actor Anthony Rapp in his apartment.
Spacey responded to the allegation on October 29, 2017 with this Tweet:
I have a lot of respect and admiration for Anthony Rapp as an actor. I'm beyond
horrified to hear his story. I honestly do not remember the encounter; it would
have been over 30 years ago. But if I did behave as he describes, I owe him the
sincerest apology for what would have been deeply inappropriate drunken
behavior, and I am sorry for the feelings he describes having carried with him all
these years. This story has encouraged me to address other things about my life.
I know that there are stories out there about me and that some have been fueled by
the fact that I have been so protective of my privacy.
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As those closest to me know, in my life I have had relationships with both men and
women. I have loved and had romantic encounters with men throughout my life,
and I choose now to live as a gay man. I want to deal with this honestly and openly
and that starts with examining my own behavior.4
Within a week of Rapp’s accusation of Spacey, over a dozen other men accused Spacey
of similar advances and atrocities. Five of those accusers were teens at the time of the
assault.5
Almost immediately, memes began circulating online about Spacey’s allegations and
his Tweet/apology. The response was not unusual; memes are often created as a response
to events in our culture—every major event spawns memes. The fact that memes are a de
facto response to these events have led some media theorists to coin it a “hypermemetic
culture.”6 Memes about Kevin Spacey’s apology have a threefold function: to respond
to the atmosphere of sexual misconduct by men in power, to respond to the accusation
against Kevin Spacey that implicated him in the conversation, and to respond to his
specific defense against those accusations.
In an age where we have so many
channels for communicating and
so many different choices for the
consumption of those messages, why are
memes so frequently used? One reason
is they are easy to make and circulate.
Applications used to create memes, such
as KnowYourMeme, MemeGenerator,
Imgur, Troll.me, Make a Meme, and
Meme Creator, are all readily available
to internet users at no cost. According
to MemeGenerator, the only technical
skills required of users are the ability
to upload an image, to type text, and to
share. Apart from being easy to make,
memes are also incredibly popular.
Semiotics experts argue that most of the
viral memes gain traction because they
“stick to a three-step blueprint.
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They’re cheeky, they’re funny and they’re relatable.”7 In other words, memes appeal to
the widest possible audience because they are easy to understand. Additionally, when
meme viewers grasp the multiple levels of meaning present within a meme, it qualifies
them to participate in a range of communities dedicated to specific meme types and
human connections. This study examines the memetic responses to Kevin Spacey’s
sexual assault on Anthony Rapp in order to better understand the role memes play in
making sense of a complex tragedy through parody.
What is a Meme?
Since the term was coined only a few decades ago, the meme has become one of
the most recognizable elements in online culture. The term “meme” was invented
by scientist Richard Dawkins in his 1976 book The Selfish Gene to refer to a biological
unit that spreads.8 Later, the term started being used to describe information widely
circulated in the media. Recently, memes have been described by media theorist Limor
Shifman as “pieces of cultural information that pass along from person to person, but
gradually scale into a shared social phenomenon.”9 Although digital meme culture can
be dismissed as some sort of elaborate inside joke, memes are becoming a regular part of
public discourse. Because of the amount of time users spend navigating online content,
and the relative lack of barriers for content creation and sharing, memes resonate
among even the most casual of online observers. In fact, memes have been called the
lingua franca (common language) of online culture, dominating online message boards
and social media platforms like Reddit, Tumblr, and Imgur.10 Memes are important to
understand because they are the language of the contemporary online world.
Memes typically need to
have a few characteristics before
they can be called a meme.
They are a type of bottom-up
expression that spreads through
copying, imitation, and remix.11
They are not singular events,
spread among an audience--that
distinction is generally reserved
for viral content.12
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Neither are memes merely pictures with commentary inserted; they are best understood
as families, stock characters, and templates duplicated many times by many different
people, united by similar content and characteristics.13 These templates are still
generally recognizable and available to the audience even as the event is unfolding,
thanks to popular sites like KnowYourMeme and MemeGenerator. Due to their reliance
on remix, memes typically reuse common tropes from popular culture and gaming
culture.14 Still, creators of memes have to constantly negotiate between the familiarity of
those tropes and the novelty of generating new content.15
Every major cultural event spurs numerous memes.16 This means that memes can
often be political in nature. These memes can be used in the service of culture jamming,
a subversive means of presenting cultural commentary by using recontextualized images
originally used for commercial purposes.17 When in the service of creating cultural
commentary, memes can use humor as a rhetorical weapon, either through benign
situational humor or, perhaps, even “biting social commentary.”18 For example, when
U.S. President Donald Trump was impeached by the House of Representatives in late
2019, memes about his impeachment predictably spread “like wildfire” online.19 The
substance of memes—political commentary—was apparent, although it was framed
in an intertextual style that drew its humor from references to popular culture. For
example, some of the memes commented on the impeachment of Trump by referencing
Star Wars, Friends, and Dos Equis beer advertisements.
Online users make memes that use satire to
be funny and/or to call attention to something
noteworthy in contemporary culture. These
political memes “are about making a point—
participating in a normative debate about how
the world should look and the best way to get
there.”20 The destabilizing objective of such
memes parallels the disruptive potential of
parody in a democratic society. According to
rhetorician Robert Hariman, a function of parody
is to uncover troubling issues and put them on
display for public contemplation.21
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Like parody, because of their silliness, snark, and overall comic tone, memes are a
modern version of the carnivalesque. This concept of the carnival was introduced in 1984
by Russian literary critic Mikhail Bakhtin.23 He came up with the term to describe the
lawless pageantry of the carnival custom in many cultures, which aimed to challenge
societal hierarchies.24 In the carnival, Bakhtin stated, there is no division between
performers and spectators; as such, the carnival opposes conventional behaviors.25
The carnivalesque life is lived in opposition to the non-carnival life, combining the
“sacred with the profane, the lofty with the low, the great with the insignificant, the
wise with the stupid.”26 This dualistic aim of the carnival genre may be facilitated by
the carnivalesque category of “profanation,” in which obscenities and blasphemies are
paraded about, thus opposing the traditional expectations for a more refined behavior.
In other words, the carnivalesque is a possible description of how (and why) people use
novelty, shock, and grotesque humor to question the status quo.
Although Bakhtin clearly wasn’t using
the carnivalesque to describe memes, the
meme provides a great example of the
reach of the carnival in online culture.
For this study, we are interested in asking
the following questions: What are the
memetic responses to the communicative
cultural crisis of the Kevin Spacey sexual
misconduct? How do memetic form and
carnivalesque content come together in
the Kevin Spacey memes to create a social
commentary on this event?
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In simply glancing at some of the Kevin Spacey memes online, one can easily discern
that these texts exemplify the silly, snarky, subversive, profane, sexual, and grotesque
elements that represent the notion of the carnival. However, Bakhtin’s descriptors are
too abstract to function as a workable framework for a rhetorical analysis of the content
of these memes and thus we have opted to use the method of grounded theory.27 This
approach allows us to develop more concrete categories for how the memes function
within the unique carnivalesque environment of the Kevin Spacey meme landscape.
When researchers refer to grounded theory, they mean “theory that was derived
from data and systematically gathered and analyzed through the research process.”28
One specific method of grounded theory is constant comparison since it seeks to
inductively develop categories from the ground up. Glaser and Strauss organized the
constant comparative method of analysis into four distinct steps.29 First, the critic
compares each textual excerpt or incident to the previous ones, ensuring that it has
not already been identified. Second, the critic combines the various categories by
organizing them into groups based on their similar properties. Third, the critic reduces
the size of the theory by taking out extraneous categories. Fourth, the critic defines
the categories present in the analytic framework and offers representative examples
from the text to illustrate them. Although the Kevin Spacey memes contained both
visual and written elements, the four-step process was still the same as we attempted
to organize and refine the memes into mutually exclusive categories based on the key
themes identified.
The sample of texts included what
we hope is an exhaustive collection
of the most popular Kevin Spacey
memes. We gathered 147 memes from
the most popular meme websites.
These included Google Images, Imgur,
Reddit, Tumblr, and Twitter. Any new
memes from the time the story broke
(October 30, 2017) to the time when
the Kevin Spacey fervor started to be
supplanted by stories of Louis C.K.’s
sexual misconduct (November 10,
2017) were downloaded and printed
for analysis.
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Although the dates examined are somewhat arbitrary, we feel it represents the “core” time
in which people were actively engaging in discussion about Kevin Spacey through meme
culture.
Several interesting themes emerged from our analysis of the Kevin Spacey memes.
These include: 1) Association with villains; 2) Kevin Spacey movie/TV references; 3) Non-
Kevin Spacey movie/TV references; 4) “I’m gay” deflections; 5) Emphasis on innocence of
victims; and 6) Pointed cultural critique.
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Other memes make reference to the Catholic Church sexual abuse scandal by showing
Spacey dressed as a priest or providing meme text that alludes to the scandal. For
example, one meme foregrounds Spacey standing defiantly in full Catholic priest attire,
including an enormous gold crucifix around
his neck. The image features the background
of a very ornate cathedral (Fig. 3). Another
meme shows a child asking his father “how
he will ever get over what Mr. Spacey did”
and the father responds, “don’t worry,
son. We’ll get you counseling with a nice
priest.” The argument here is that villains
are often insulated from consequences from
their behavior while the innocent are left
picking up the pieces. Other memes associate Spacey with
people accused of sexual assault. For example, the Spacey
scandal is often compared to the Bill Cosby scandal. In one
meme, Kevin Spacey asks Cosby, “Am I doing it right, Mr.
Cosby?” Cosby answers him, “No, you gotta razzle ‘em with
the frazzle dazzle and the roofieees” (Fig. 4). Discounting
drug references, the “frazzle dazzle” alludes to the humorous
way that Cosby would often put words together in his stand-
up routines. In fact, there is a whole line of memes where
Cosby turns phrases like “put the razzle dazzle in the bazzle
flazzle.” The basic argument of this meme, humor aside, is
that Spacey is looking to Cosby for his behavioral cues and
that this is clearly not the best person to model.
The graphic nature of the film carries over into the meme, wherein the mysterious
contents in the box are now Kevin Spacey’s genitalia. The Edgar Wright film Baby Driver
contains a scene in which Spacey is impressed with the driving skills of a young man
who he has recruited as a getaway driver for one of his heists. After Spacey’s character is
betrayed by the driver, he explains how he could
have been so careless by saying “I was blinded
by the balls on that kid” (Fig. 6). Meme creators
quickly jumped on the phrase, arguing the line
was prophetic of Spacey’s behavior. One meme
simply shows a screenshot of Spacey in the film
accompanied by the film dialogue and then the
text “You know, I just found out that Kevin
Spacey confessed to his crime in Baby Driver
ahead of time.” This meme shifts the original
meaning of the line from the kid having guts to a
literal admiration of the young man’s private parts.
Other memes referenced Kevin Spacey’s Oscar-
winning performance in the film American Beauty. In
the film, Spacey is disillusioned with his entire life as
he loses his job and his marriage is in turmoil. A young
woman in the film represents his deepest fantasies and
his character is shown constantly lusting after her. One
interesting meme adjusts this desire so that Spacey
is no longer yearning for the girl, but instead a young
boy. The meme contains an image of Spacey holding
his hand up to block an image of a nude girl covered
with strategically placed rose petals in favor of an
image of a smiling elementary school-aged boy (Fig. 7).
The implication here is that Spacey’s real life desires
are twisted
and deviant in
comparison to the fantasies portrayed on screen in
the film—which could themselves be considered
aberrant.
Another American Beauty meme shows a scene in
the film where Spacey’s character is working at the
drive-thru of a fast food restaurant (Fig. 8). In the
image, he’s wearing a typical uniform and holding up
two bags of food for the driver. The text of the meme
reads “Kevin Spacey’s remaining job prospects.”
Again, the meme takes a fictional scenario and
implies that the scene is now representative of his
real life.
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Pointed Cultural Critique
Other memes were more overt in making strong socio-cultural arguments about
the Kevin Spacey scandal. These memes also use humor, pop culture references, and
interesting visuals, however, they seem to make a deeper
argument about the consequences of the behavior and
the public reaction to these behaviors. For example,
some memes expressed a strong disappointment in Kevin
Spacey after being fans of his
work for so long. One meme
in particular shows a picture
of a character from the show
Mad Men saying “And I know
that every artist I like will eventually be a creep” (Fig. 22).
Another meme shows a character from the show Futurama
saying, “I always thought Kevin Spacey was a little too
good at acting creepy. He wasn’t acting all along” (Fig. 23).
Together, these memes express disappointment over the lack
of consistency between Spacey’s on-screen and off-screen behavior.
Other memes seem to offer a suggestion for how to deal
with this type of disappointment. One shows the image
of Dwight Schrute from The Office arguing “You should
appreciate his work, reguardless [sic] of his personal life.
You must have never named a child. You can’t name her
Amee. I dated an Amee and she was a whore” (Fig. 24).
This meme argues that, although we might like to, we
cannot separate Spacey’s performances from his off-screen
indiscretions.
Other memes provide a strong argument about a political and social hypocrisy in how
people have responded to the scandal. One meme shows Kermit the Frog drinking Lipton
tea and saying “So Libtards [liberals] bleat about a phony, decades old charge against
Trump but are silent when Kevin Spacey admits being a child
molester. But that’s none of my business” (Fig. 25). Another
Kermit meme with the same visual
says instead “Spacey didn’t avoid being
lynched because he came out as gay.
It was because the victim isn’t female,
but that’s none of my business” (Fig.
26). Both of these memes address a
hypocrisy in our culture. One accuses
liberals of treating Spacey differently
than Donald Trump and the other
argues that society has a double standard when it comes to
addressing sexual assault against female versus male victims.
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Another meme shows a puffin bird casually walking along the grass with the caption
“Kevin Spacey should be tried by a court of law, not by the news or social media” (Fig.
27). The sentiment here is clear that as a society, we
should reserve judgment on Spacey’s guilt or innocence
until after legal proceedings have occurred.
Another meme seeks to capitalize on the scandal by
using it as an impetus for advertising. In this meme,
Rooney Retail, an online shopping site, uses the
Spacey assault as a way to promote its Thanksgiving
merchandise. In the meme/ad, they show two cartoon
figures of turkeys holding food and an indication of
20% off for Thanksgiving. The more interesting part
of the meme is where the creators add the caption, “Kevin Spacey will expose himself
to you, but Rooney Retail will only expose
great discounts like this at rooneyretail.
com” (Fig. 28). This meme provides some
pointed social commentary that buying items
at discounted prices serves as a desirable
alternative to the negative celebrity antics
in the news. Moreover, the meme points to
the caustic incongruity of human behavior in
attempting to fix deeply internal problems
(e.g., unlawful thoughts about and/or behavior
toward children) with external solutions (e.g.
purchasing items), much like the consumer
who purchases diet pills in lieu of changing
dietary attitudes and behaviors.
As evidenced by the findings in this study, memes have a function beyond merely
entertaining the online-savvy public. We argue that the memes that circulated after the
Spacey mess used carnivalesque tactics as a means of questioning cultural attitudes about
celebrity, entertainment, sexuality, and impropriety. In his compelling argument about
the role of parody, Robert Hariman suggests that parodies function to create a decided
“third space” where issues that would be difficult to discuss are comfortably brought
into the open because of their nature as humorous commentary.30 This protected comical
arena provides a venue to discuss, even debate, issues without a direct fear of backlash –
after all, it is a parody. Such an environment allows for safe, yet meaningful discussion of
public dilemmas like the impact and consequences for respected entertainers (e.g., Kevin
Spacey) who fall from grace.
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Likewise, parody within the carnival provides the mechanism to hold such actions up
for critical inspection by calling into question existing hierarchies within our society.31
At their root, the Spacey memes are a potent reminder that personal expectations for
celebrities as public figures,
even if they are actors,
are hitched to a set of
idealized standards because
they represent a physical,
financial, social, and
emotional investment from
the public. Movies and other
entertainment draw from
life’s precious resources of
leisure time and disposable
income, thus, when an actor
wastes these resources
people are naturally, yet
semi-consciously, outraged.
At times perhaps, not
even fully grasping the
reasons behind various
indiscretions, the public is naturally led to ask the troubling question: “Can you believe
what Kevin Spacey did?” Such a question serves as a deeper reminder of the reliance
on and emotional investment in, the “down time” the public seeks out to both enjoy and
cope with their lives. More importantly, actors like Spacey who take people away from
life’s pressures through the escape movies and other entertainment mediums offer (even
if only temporary) become pinnacle moments of seeing the world the way they would
want it to be – tragic at times, but rewarding in the end.
The Spacey memes also represent a violation of the public trust. A celebrity label
inherently possesses a mantle of leadership and a unique level of responsibility to
maintain a genuine image standing above the fray of a less glamorous life. When
despicable behavior surfaces, it is an assault on the contemporary public zeitgeist. In the
Spacey case, there is something noticeably amiss concerning the way that villains are
allowed to persist in their behavior. Consequently, memes and meme culture become
more than a community of like-minded individuals, memes represent a platform for
social change by pulling back the comedic, parodic layers the memes describe, while
authentically labeling bad behavior as an abhorrent act of commission, rather than
dismissing it as unfortunate or unavoidable. Similarly, the carnivalesque nature of
those memes reveal disturbing and grotesque responses to an act that was likewise
condemned as disturbing and grotesque.
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As a collective text, the Spacey memes clearly demonstrate the real depth of the hurt
these crimes have caused: private shame, relationship distrust, feelings of powerlessness,
and the disturbing quid pro quo requirements for professional success. In fact, these
memes even go so far as suggesting judgments that ought to be rendered against him.
An ironically disturbing finding from this analysis uncovers the cultural discomfort
with what it means to be labeled or self-label as gay. These memes tug at the dialectical
arguments between identity creation/management versus the axiomatic excuses/
protections individuals
both use for their own
purposes as well as a tool
for eliminating that same
protection for others.
For example, the Spacey
memes attack those who
identify as gay, making
their personal lives seem
like a convenient way
to protect themselves
publicly, suggesting that
no matter what happens
you always have a free pass
with no behavioral limits.
In part, this indictment
is due to changes to the
law as well as to potential
litigious threats of
professional or financial
harm for those who dare challenge the ideological meaning of this label. Simultaneously,
and conveniently, opponents can point to such “cheap” maneuvers to evade responsibility
by using a phrase (e.g., I’m gay) that has legitimate meaning in the gay community’s
feelings of historical persecution in the pursuit of equality. Instead of being respected,
the “I’m gay” deflection renders a new interpretation for acts of linguistic discrimination
suggesting they should function as little more than nonsensical protection against any
choice that is considered immoral or illegal. Such a characterization denies the reality of
inequality. Stepping back then, the memes become a moral compass for society showing
that certain behaviors are inexcusable and should not be devoid of punishment despite
attempts to joke them away by using forcible phrases like “I’m gay.”
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Finally, the Spacey memes showcase the public desire for role models and
consistency, even inside the medium of entertainment. On screen portrayals depicting
a person trying to make the right decision are expected to be constant regardless of
context and by portraying the role, the
actor must be as good as the character (in
the case of a hero like Spacey’s role as the
teacher in the film, Pay it Forward) or the
literal antithesis of the character (e.g., as
the serial killer in the film se7en). From
this perspective, memes show the irony
of public discourse and our distracted
focus away from those deeply disturbing
behaviors and the climate that causes
them. The means-end thinking dupes the
public into a belief that good actors are
always good people and therefore they
exist largely unchecked. In Burkean terms,
while it is easy to place the blame on the
“agent,” the public has a responsibility
to manage the “scene,” because the
environment cultivates a misshapen view
of celebrity agency. Memes remind the
public of their responsibility to change
the cultural milieu to cast light into the
shadows so repugnant behaviors cannot
persist consequence free.
Conclusion
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1
Jodi Kantor and Megan Twohey. “Harvey Weinstein paid off sexual harassment accusers for decades.” New
York Times, October 15, 2017. Accessed from https://www.nytimes.com/2017/10/05/us/harvey-weinstein-
harassment-allegations.lhtml?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=a-
led-package-region®ion=top-news&WT.nav=top-news
2
Anna North, Constance Grady, Laura McGann, and Aja Romano. “The list keeps getting longer.” Vox. January
9, 2019. Accessed from https://www.vox.com/a/sexual-harassment-assault-allegations-list/frankie-shaw;
Elena Nicolau. “A #MeToo timeline to show how far we’ve come—and how far we need to go.” Yahoo Finance.
Accessed from https://finance.yahoo.com/new/metoo-timeline-show-far-ve-165500251.html
3
Naomi Alderman. “The deep confusion of the post-Weinstein moment.” New York Times. November 6, 2017.
Accessed from https://www.nytimes.com/2017/11/06/opinion/fallon-resign-weinstein-harassment.html
4
Christopher Hooton. “Kevin Spacey statement in full: Actor reveals homosexuality while apologizing for
‘deeply inappropriate’ behavior,” The Independent, October 30, 2017. Accessed from https://www.independent.
co.uk/arts-entertainment/films/news/kevin-spacey-statement-in-full-twitter-anthony-rapp-sexual-advances-
gay-homosexuality-14-year-old-a8026821.html
5
Maria Puente. “Kevin Spacey scandal: A complete list of 15 accusers,” USA Today, November 7, 2017.
Accessed from https://www.usatoday.com/story/life/2017/11/07/kevin-spacey-scandal-complete-list-13-
accusers/835739001/
6
Limor Shifman. “Memes in a digital world: Reconciling with a conceptual troublemaker,” Journal of
Computer-Mediated Communication 18 (2013): 362-377.
7
Lola Mosanya. “Why Kermit the Frog memes are so popular, according to science,” BBC, November 23, 2016.
Accessed from http://www.bbc.co.uk/newsbeat/article/38051653/why-kermit-the-frog-memes-are-so-popular-
according-to-science
8
Richard Dawkins. The selfish gene. New York: Oxford University Press, 2016.
9
Limor Shifman. Memes in digital culture. Cambridge, MA: MIT Press, 2014; Ibid, 18.
10
Ryan Milner. World made meme: Public conversations and participatory media. Cambridge, MA: MIT Press,
2018.
11
Karen Nahon and Jeff Hemsley. Going viral. Malden, MA: Polity Press, 2014; Shifman, 2014; Henry Jenkins,
Sam Ford, and Joshua Green. Spreadable media: Creating value and meaning in a networked culture. New York:
New York University Press, 2013.
12
Nahon and Hemsley, 2014.
13
Elad Segev, Asaf Nissenbaum, Nathan Stolero, and Limor Shifman. “Families and networks of internet
memes: The relationship between cohesiveness, uniqueness, and quiddity concreteness.” Journal of Computer-
Mediated Communication 20 (2015): 417-433.
14
Asaf Nissenbaum and Limor Shifman. “Internet memes as contested cultural capital: The case of 4chan’s /b/
board. New Media & Society 19 (2015): 483-501.
15
Milner, 2018
16
Shifman, 2014
17
Nissenbaum and Shifman, 2015, 485; Christine Harold. OurSpace: Resisting the corporate control of culture.
Minneapolis, MN: University of Minnesota Press, 2007.
18
Michele Knobel and Colin Lanksheer, “Online memes, affinities, & cultural production,” in A New Literacies
Sampler, eds. Michele Knobel and Colin Lanksheer (New York: Peter Lang Publishing, 2007), 199-239.
19
Jason Murdock, “Impeachment memes are spreading like wildfire after historic House vote.” Newsweek,
December 19, 2019. Accessed from https://www.newsweek.com/president-donald-trump-impeachment-
memes-
twitter-reactions-house-representatives-1478182
20
Shifman, 2013, 120.
21
Robert Hariman, “Political parody and public culture.” Quarterly Journal of Speech 94 (2008), 247-272.
22
Ibid, 256.
20
Relevant Rhetoric, Vol. 11 (2020): The Disruptive Power of Memes
23
Mikhail Bakhtin, “Carnival and the carnivalesque,” in Cultural theory and popular culture: A reader (2nd ed.),
ed. John Storey (Athens, GA: The University of Georgia Press, 1998), 250-259.
24
Ibid, 107
25
Ibid, 250-251
26
Ibid, 251
27
Mikhail Bakhtin, Problems of Dostoevsky’s poetics (Ed and trans. By C. Emerson). Minneapolis, MN:
University of Minnesota Press, 1994.
28
Anselm Strauss and Juliet Corbin, Basics of qualitative research: Techniques and procedures for developing
grounded theory. Thousand Oaks, CA: Sage Publishing, 1998.
29
Barney Glaser and Anselm Strauss, The discovery of grounded theory: Strategies for qualitative research.
Chicago: Aldine Publishing, 1967.
30
Hariman, 2008
31
Bakhtin, 1998.
32
Milner, 2016
33
Shifman, 2013
34
Marshall McLuhan and Quentin Fiore, The medium is the massage: An inventory of effects. Berkeley, CA:
Gingko Press, 2001.
21