The Perfect Political Storm? The Tea Party Movement, the Redefinition of the Digital Political Mediascape, and the Birth of Online Politicking 3.0.
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This doctoral dissertation examines the growing impact of the two converging dynamics that are responsible for the reconfiguration of the online and, to some extent, real-world political communication, mobilization and organizing dynamic in the United States in recent years. These two converging dynamics, which constitute the core of the online politicking 3.0 model, are the grassroots-intensive uncontrolled decentralization and hyper-fragmentation of digital politicking. It is argued in this dissertation that the Tea Party movement is one of the first large scale manifestations of online politicking 3.0 in the United States. In order to illustrate this point, this dissertation offers an extensive quantitative content analysis of slightly more than 1.7 million tweets with at least one #teaparty hashtag that were posted on Twitter’s public timeline between December 9, 2009 and March 19, 2011, a time period roughly coinciding with the 2010 Midterm U.S. election cycle. A heuristic review of some facets of #teaparty tweets is also conducted in order to contextualize some of the quantitative data. This dissertation concludes that the the communication, organizing and organizing impact of the Tea Party is likely to be felt in the future. It is expected to have deep transformational effects on the structure of the political mediascape and, to a broader extent, on participatory engagement patterns in the United States and many other national contexts over the next decade.
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Copyright © 2014 the author(s). Theses may be used for non-commercial research, educational, or related academic purposes only. Such uses include personal study, research, scholarship, and teaching. Theses may only be shared by linking to Carleton University Institutional Repository and no part may be used without proper attribution to the author. No part may be used for commercial purposes directly or indirectly via a for-profit platform; no adaptation or derivative works are permitted without consent from the copyright owner.
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- 2014
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