Hallyu Sociolinguistic Repercussions in Brazil: The Language Uses of Brazilian Virtual Communities through K-Drama Online Groups

Solace in Social Media: Women Unite Under COVID-19

A language is a communication tool used in everyday life, including in social media, without using language, communication will not work properly. The use of language in social media is interesting because it can be observed as related to sentence structure which refers to syntax, morphology, semantics, phonology, and pragmatics. Therefore, the purpose of this research is to find out students' use of language on social media in terms of grammar and language variations. The research conducted is a descriptive analysis that will provide an overview of the phenomena studied with a qualitative approach based on observations of students' use of language on social media. The sample used in this study were 4 students of class X SMA Edu Global School who have accounts on Instagram and WhatsApp social media. The selection of this sample was done randomly. The instruments used were observation sheets for grammatical errors and observation sheets for language variations. The data collected was then analyzed descriptively to show an overview of students' use of grammar and language variations in social media. The results of observations on students' use of language on social media, it can be concluded that there are errors in the use of student grammar on social media, for example, errors in writing words and phrases, errors in the use of punctuation marks such as periods, errors in the concept of repeating words, rarely or never using capitalize the initial letters and use abbreviations for a word or errors in writing/typing. In addition, there are three language variations used by students on social media, namely: language variations between Indonesian and English, local languages, and slang; the use of non-formal language caused by using word abbreviations; and language variations caused by using forms of expression/onomatopoeia.Language is a communication tool used in everyday life, including in social media, without using language, communication will not work properly. The use of language in social media is interesting because it can be observed as related to sentence structure which refers to syntax, morphology, semantics, phonology and pragmatics. Therefore, the purpose of this research is to find out students' use of language on social media in terms of grammar and language variations. The research conducted is a descriptive analysis which will provide an overview of the phenomena studied with a qualitative approach based on observations of students' use of language on social media. The sample used in this study were 4 students of class X SMA Edu Global School who have accounts on Instagram and WhatsApp social media. The selection of this sample was done randomly. The instruments used were observation sheets for grammatical errors and observation sheets for language variations. The data collected was then analyzed descriptively to show an overview of students' use of grammar and language variations in social media. The results of observations on students' use of language on social media, it can be concluded that there are errors in the use of student grammar on social media, for example errors in writing words and phrases, errors in the use of punctuation marks such as periods, errors in the concept of repeating words, rarely or never using capitalize the initial letters and use abbreviations for a word or errors in writing/typing. In addition, there are three language variations used by students on social media, namely: language variations between Indonesian and English, local languages, and slang; the use of non-formal language caused by using word abbreviations; and language variations caused by using forms of expression/onomatopoeia.

Prior research has demonstrated relationships between personality traits of social media users and the language used in their posts. Few studies have examined whether there are relationships between personality traits of users and how they use emojis in their social media posts. Emojis are digital pictographs used to express ideas and emotions. There are thousands of emojis, which depict faces with expressions, objects, animals, and activities. We conducted a study with two samples (n = 76 and n = 245) in which we examined how emoji use on X (formerly Twitter) related to users' personality traits and language use in posts. Personality traits were assessed from participants in an online survey. With participants' consent, we analyzed word usage in posts. Word frequencies were calculated using the Linguistic Inquiry Word Count (LIWC). In both samples, the results showed that those who used the most emojis had the lowest levels of openness to experience. Emoji use was unrelated to the other personality traits. In sample 1, emoji use was also related to use of words related to family, positive emotion, and sadness and less frequent use of articles and words related to insight. In sample 2, more frequent use of emojis in posts was related to more frequent use of you pronouns, I pronouns, and more frequent use of negative function words and words related to time. The results support the view that social media users' characteristics may be gleaned from the content of their social media posts.

The present research aims to investigate the language changes caused by the integration of social media sites with special reference to the usage of new jargon and emerging language among young social media users. This study employs quantitative questionnaires from 40 participants and qualitative interviews with 10 participants purposively sampled to understand the pattern of language by social media. The survey examined the frequency and the tendencies of such changes as abbreviations, informal structure of the sentence, and use of emojis in communication and identified considerable changes in user’s attitudes to the language. Employing Braun and Clarke’s (2016) thematic analysis, this paper builds upon qualitative materials and elaborates on how social media opens creative possibilities, enables code-switching, and renegotiates linguistic imagination. Consequently, the research suggests that social media fosters language use that embraces variance and innovation more than stagnation and stability in conventional English grammar and punctuation. Participants also claimed that a wide range of unknown vocabulary was also reported due to exposure to the different dialects and trends in the current world usage. As such, this research identifies social media as an active facilitator of linguistic change, which underlines the rate of language development by creating a novel interaction typology that reshapes users’ perceptive of prescriptive norms. These implications are useful for further research into the semiotic aspects of digital communication and for understanding the tendencies of informal language use among youths.

As consumers spend more time within digital environments, social media continues to be a critical tool for marketers. One of the most unique forms of communication specific to digital environments is the emoji. The marketing literature has identified numerous positive outcomes associated with marketers’ use of emojis, including strengthening persuasive appeals for social media influencers, increasing consumers’ feelings of positive affect, and bolstering engagement with branded communications. While brands use of emojis can offer benefits, it is critical to question if emoji usage always leads to favorable outcomes for marketers. Therefore, the goal of this research is to investigate when brand’s use of emojis might harm consumers’ perceptions of brands. We argue that in certain situations, brands use of emojis deviate from consumers anticipated interactions with marketers in social media environments. This violation of expectations then negatively impacts consumers’ attitudes toward brands.

In today’s digital age, social media has revolutionized the way we communicate and interact with one another. This article Explores the fascinating connection between social media and the evolution of language. As more the people engage in online conversations, the impact of social media on our language becomes increasingly evident. From the use of emojis to the creation of new words and abbreviations, social media platforms have significantly influenced how we express ourselves. Today we delve into the various ways in which social media has shaped the evolution of language and explore its implications for communication in the modern world.

Circulating Communities Online: The Case of the Kauhajoki School Shooting

With the rise of the Internet, emojis play an important role in social media applications in our lives. The topic of our study is whether young people between the ages of 15 and 25 use different emojis depending on who they are communicating with. We used quantitative research methods to collect data about the use of social media emojis by this group of young people aged 15-25. In this study, it was found that about 68% of young respondents use different emojis depending on the group of people they are receiving them from, adjusting their use of emojis because older people may not understand emojis, fear of offending, or fear of others misunderstanding them, which suggests that they are aiming to try to match the audience's preferences as closely as possible so that they can more quickly understand what others are trying to convey. Secondly, when using emojis, young people will choose to use funny, cute, and exaggerated emojis with their friends and will prefer more formal and polite emojis with older people or on formal occasions, which shows that young respondents are conscious of choosing appropriate emojis according to who they are chatting with as well as the situation. The most unexpected result of this study was that face-to-face communication is becoming less and less common among young respondents, with digital communication methods dominating their lives. In addition, through the study, it is not difficult to find that emojis occupy an important position in the 15-25 young people's group. It enriches the way people communicate and convey their emotions. The small sample size of this study and the carelessness of individual fillers resulted in individual inaccuracies in the results, which will be strengthened in the future by increasing the sample size and diversifying the sample collection methods.

IntroductionThe popularity of social networking sites (SNSs) bears witness to thriving movement protests worldwide. The development of new hardware technologies such as mobile devices and digital cameras, in particular, has fast enhanced visual communications among users that help document and broadcast contemporary social movements. Using social media with these technologies thus presents new opportunities for grassroots social movement organisations (SMOs) and activist groups to become narrators of their activist lives, and to promote solidarity and recognition for advancing varied civic and political agendas. With the case of a student activist group that led and organised a 10-day occupation protest in Hong Kong, this article examines the idea of new media-savvy SMOs as political curators that employ SNS platforms to (co-)create digital narratives at large-scale movement protests. Invoking the concepts of curation and choreography, it highlights how these processes can work together to encourage contentious engagement and collaboration in contemporary social movements.The New Media-Savvy SMO as Political CuratorWhereas traditional social movement studies stressed the importance of pre-existing social networks and organisational structures for collective action, developments in new information and communication technologies (ICTs) challenge the common theories of how people are drawn into and participate in social movements. In recent years, a spate of research has particularly emphasised the ability of individuals and small groups to self-organise on the Internet (e.g. Rheingold). Lately, observing the use of SNSs such as Facebook and Twitter in contemporary social movements, work in this area has focused on how SNSs enable movement diffusion through personal networks and individuals’ online activities even without either the aid or the oversight of an organisation (e.g. Shirky).However, horizontal activism self-organised by atomised new media users seems insufficient as an explanation of how many recent protest movements achieved their high tides. While the flourishing literature shows writers have correctly centred their study on the changing dynamics in control over information and the growing importance of individual users’ contributions, it fails to account for the crucial role that SMOs continue to play. In fact, recent studies consistently observe the continuing importance of SMOs in mobilising and coordinating collective actions in online environments (Bimber, Flanagin, and Stohl, Collective). Whereas new ICTs have provided activist groups with the instrument to deal with their contentious activities with less cueing and leadership from conventional institutionalised structures, SMOs have created their own new media resources. Nowadays, a significant percentage of protest participants have received their information from online platforms that are run by or affiliated with these organisations. The critical questions remain about the kinds of communication methods they utilise to activate and integrate independent activists’ networks and participation, especially in emerging social media environments.Unfortunately, existing research tends to overlook the discursive potentials and cultural dimensions in online activism while emphasising the cost-effectiveness and organisational function of new ICTs. In particular, social movement and new media scholars merely attended to the ways in which digital media enable widescale, relatively un-coordinated contributions to repositories of resources for networks of activists and interest groups, as SNS applications stress the importance of user participation, openness, and network effects in the processes of content production and sharing. However, the mere existence or even “surplus” (Shirky 27) of “second-order communal goods” (Bimber, Flanagin, and Stohl, “Reconceptualizing” 372)—a collection of resources created collectively but without a bounded community, through video-posting, tagging, and circulation practices engaged in by individuals—does not accidentally result in critical publics that come to take part in political activism. Rather, social movements are, above all, the space for manifesting ideas, choices, and a collective will, in which people produce their own history through their cultural creations and social struggles (Touraine). As such, the alteration of meaning, the struggle to define the situation, and the discursive practices carried out within a social movement are all major aspects of social movements and change (Melucci).Indeed, SMOs and marginalised communities worldwide have increasingly learnt the ability to become narrators of their activist and community lives, and to express solidarity and recognition afforded through technology adoption. The recent proliferation of social media applications and mobile digital technologies has allowed activist groups to create and distribute their own stories regarding concrete actions, ongoing campaigns, and thematic issues of protest movements on more multimedia platforms. In order to advance political ideas and collective action frames, they may bring together a variety of online content in such a way that the collated materials offer a commentary on a subject area by articulating and negotiating new media artefacts, while also inviting responses. Therefore, not only are the new media channels for activist communication comparatively inexpensive, but they also provide for a richer array of content and the possibility of greater control by SMOs over its (re-)creation, maintenance, and distribution for potential digital narrating. To understand how digital narrating takes place in contemporary protest movements with SNSs, we now turn to two analytic concepts—curation and choreography.Social Media Content Curation and Choreography Curation, as a new media practice, involves finding, categorising, and organising relevant online content on specific issues. For instance, museums and libraries may have curators to select and feature digital items for collection and display, improving the types of information accessible to a public audience. In protest movements, SMOs and political actors may also curate peer-produced content on SNS platforms so as to filter and amplify useful information for mobilising collective action. In fact, this process by SMOs and political actors is particularly important, as it helps sort and draw timely attention to these information sources, especially at times when users are faced with a large amount of noise created by millions of producers (Bennett, Segerberg, and Walker). More importantly, not only does content curating entail the selection and preservation of online materials that may facilitate collective action, but it may also involve the (re-)presentation of selected content by telling stories not being told or by telling existing stories in a different way (Fotopoulou and Couldry). In contrast to professional collecting, it is a much more deliberate process, one which clearly articulates and puts forwards (opportunities for) new meanings or new understanding of a subject (Franks). For example, when new media content is re-posted or shared in its original form but in a new context, digital narrating occurs as it may result in a new or additional layer of meaning (Baym and Shah). Therefore, more than merely expending information resources available to activists, the power of curation can be understood primarily as discursive, as users may pick up particular versions of reality in interpreting social issues and protest movements (Bekkers, Moody, and Edwards).Moreover, nowadays, social media curating is not restricted to text but also includes image and video streaming, as the development of mobile devices and digital cameras has facilitated and enhanced instant communication and information retrieval almost regardless of location. The practice of content curating with SNSs may also involve the process of choreographing with various social media modules, such as posting a series of edited pictures under an overarching schema and organising user-generated photos into an album that suggests a particular theme. Rather than simply using a single visual item designed to tell a story, the idea of choreographing is thus concerned with how curated items are seen and experienced from the users’ perspectives as it “allows curators not just to expose elements of a story but to tell a structured tale with the traditional elements of beginning, middle and end” (Franks 288).In practice, the implementation of choreography can be envisioned to bring together the practice of content curating and that of enhancing and connecting contentious engagement at protest movements. For example, when SMOs make use of images and video to help frame an issue in a more advanced way by sharing a picture with a comment added on Facebook, they may at once, whether consciously or unconsciously, suggest possible endorsement to the selected content and/or the source—may it be that of an individual user or a formal organisation—while drawing attention to the image and circulating it beyond the original network for which it was posted (Bennett, Segerberg, and Walker). As such, by posting pictures with captions and sharing user-generated photos that do not belong to the SMO but are produced by other users, curating and choreographing with social media content can create a temporary space for practicing mutual recognition and extending the relationship between the SMO and the larger public. Combined, they may therefore “entail the creation of norms and boundaries in particular user communities and their platforms” (Bennett, Segerberg, and Walker 239).This article examines the ways in which a new media-savvy SMO employed SNS platforms to (co-)create digital narratives, with the case of the 2012 Anti-National Education Movement in Hong Kong. By highlighting how social media content curating and choreogr

Aim. This study explores the impact of social media on modern language, focusing on vocabulary, grammar, language complexity, and communication patterns. Language complexity is understood as a multifaceted concept that includes syntax, semantics, pragmatics, phonetics, phonology, and morphology. As language continually evolves alongside cultural and technological shifts, social media platforms such as Twitter, Instagram, Facebook, and TikTok have become influential spaces where language adapts and changes. This research examines how digital communication promotes the use of slang, abbreviations, emojis, and informal expressions, reshaping how users interact and express ideas online. Employing a mixed-methods approach, combining qualitative and quantitative analyses, the study analyzes language use on these platforms and identifies significant trends. Methodology. This study adopts a mixed-methods approach to explore the dynamic relationship between language and digital communication across social media platforms. Guided by an applied linguistics orientation, the research prioritizes real-world language use, with a focus on discourse features, code-switching, pragmatic functions, orthographic variation, and textual abbreviation patterns. These elements are examined through both qualitative and quantitative lenses to generate a nuanced understanding of linguistic behavior in online settings. Results. Results show that social media is especially popular among younger users’ particularly teenage females with lower secondary education and that informal language dominates digital communication. However, users often adjust their language style depending on the platform, audience, and purpose, balancing clarity with creativity. Formal language remains reserved for professional and specific contexts. The findings suggest that social media fosters linguistic flexibility and cognitive efficiency by encouraging users to adapt their language to different contexts and audiences. This environment supports language creativity and innovation but also challenges traditional norms of grammar and communication clarity. Overall, the study highlights the dual role of social media as both a catalyst for linguistic change and a space where language complexity is negotiated and redefined.

The research aims to examine interaction within virtual neighborhood communities and investigate its contribution to district identity. To achieve these objectives, two research questions were formulated. The first question (Q1) is "How is interaction revealed in virtual neighborhood communities on social media?" The second question (Q2) is "How do communication and interaction within virtual communities on social media contribute to the sharing of neighborhood identity?" To address these questions, a dataset comprising N: 11.167 comments and shares on Feriköy Platformu virtual communities between May 30, 2022, and December 30, 2022, was collected. The district of virtual community is one of the center districts in Istanbul. As one of the central districts of Istanbul, it has undergone a historical process parallel to the changing structure of the city. At this juncture, it may be fruitful to reach generalizing results. The data were analyzed using Van Dijk's critical discourse analysis, leading to several conclusions. According to the results, it was seen that the residents of the district intensely conveyed their loyalty to their district through the virtual community. Accordingly, there is an intensity of self-presentation.

In the last couple of decades, the internet's usage has become increasingly diverse. People use numerous internet platforms to connect, develop relationships and have fun. Individuals are able to explore, implement and share information and their ideas through virtual communities. Since modern inventions have enabled a diverse range of contact as well as the gathering of individuals had adopted various channels for particular purposes, digital communities and social medium has developed considerably. Corona Virus, popularly called Covid-19, is a terrible and contagious virus that has had a significant effect on the world economy. Virtual Community has given building and sustaining during the pandemic. Online wellness communities can also be helpful because they allow people to interact with those who recognize their illness and provide more help and guidance, including assistance with coping with sickness. This disaster has indeed affected the education sector, and so this panic seems to continue to infect throughout the world's system of education. According to the experts, it's indeed unlikely that regular learning will resume very shortly. The major outbreak of the Corona Virus pandemic provides yet another reason for virtual learning that can be used as a remedy during times of hardship. Another region where Covid19 had affected is the Research sector where researchers cannot step out of their homes for data collection and analyzing the information gathered. This paper discusses about the conceptual framework of advancement in Virtual Community (VC) in a few sectors like Virtual Wellness Community (VWC), Virtual Learning Community (VLC), and Virtual Research Community (VRC) due to the impact of Covid-19.

Social media have changed the way individuals interact with each other, with corporations and with brands; and thus, the context for brand management. Recognizing the potential of social media to reach massive audiences, brands have become more “social” and embraced the new media; however, many are still struggling to effectively harness their potential. Research has aimed to offer some insights into the emerging social media challenges and have established some differentiated streams of research that serve as a general framework for these dissertation manuscripts. Specifically, we identify WOM communications, online reviews, media channels comparisons, online community influence, and co-creation as research areas within the social media literature. The two manuscripts in this dissertation investigate distinct aspects of social media and contribute to the emerging literature in the field. Manuscript I contributes to the evolving “Media channel comparisons” stream of research by investigating the diagnosticity of traditional and social media channels. Manuscript II expands the current social media research framework to the visual communication context. Specifically, it investigates how visuals characteristics and the responses they generate (i.e. ‘shares’) influence brand interpretation. A current challenge is to understand how media channel influences consumer’s judgments about brands. The first manuscript addresses this research gap and explores the diagnosticty of traditional media versus social media as a function of corporate message type. In two studies, we show that social media are more diagnostic than traditional media in forming attitudes and intentions towards corporate brands, independently of corporate message type. Media credibility is identified as the driver of these results. On the other hand, we find that social and traditional media are not distinctively diagnostic in forming beliefs about corporate brands. Changes in brand beliefs are dependent on the content of a message but independent from the communication channel. Another challenge is to understand how users interpret images in social media and make judgments about brands. In three studies in the second manuscript, we show that social media users integrate associations from multiple images when making sense of a brand. The weight given to each image when integrating multiple visual stimuli varies as a function of the online community opinion. That is, the interpretation of a brand is anchored on the most popular image in the social media profile.

This paper investigates the impact of social media use and virtual communities on world Englishes. The term world Englishes refers to the different varieties of how English is communicated worldwide. Kachru (1985) described the language’s spread in terms of three concentric circles: the inner circle, the outer circle, and the expanding circle. The inner circle comprises traditional bases of English where it serves as speakers’ first language, such as in the United Kingdom, the United States, and Australia. The outer circle refers to countries where English is an official second language, such as India and Kenya. The expanding circle includes countries where English is spoken as a foreign language or lingua franca, such as countries in Europe and the Middle East, as well as Japan. By exploring the varieties of English on social media, in this paper, the researcher examined how social media and digital communication affect these circles of world Englishes and how users position and use English. The researcher qualitatively analysed 15 X Spaces (former Twitter) following Mesthrie and Bhatt’s (2008) method of analysing syntactic and morphological structures and then examining the pragmatics features and discourse. This included the following components: (a) the noun phrase (b) the verb phrase and (c) other function words. The results show that people are using new Englishes in virtual communities. There are many variations in language use in the structural features of the participants’ language morphology, phrasal syntax, and pragmatics. The participants invented and used new language structures and understood them among each other. Based on this finding, in future studies, researchers could examine new Englishes in other virtual communities and their effects on people’s identities and languages.

PA/LTC Goes Around the World in Online Communities