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Nele Noppe

Who's a professional? Who cares? - 0 views

www.jstor.org/...2701494.pdf

academia amateur_professional presentation_cwwc objectivity phd

shared by Nele Noppe on 23 Feb 10 - Cached
  • Nele Noppe on 23 Feb 10
     
    Steps towards professionalization: educational qualifications raised, professional association established, special vocabulary and tradition, code of ethics, legal recognition
  • Nele Noppe on 23 Feb 10
     
    "Most key elements in widely used definitions of professionals turn out not adequately to distinguish them from other groups" "all sorts of hidden arbitrary assumptions are built into the very notion of the professions. Together they suggest that some degree of enhanced social status is the only true common denominator of the varied occupations that are given this label."
Nele Noppe

The Poetics of the Open Work By Umberto Eco - 0 views

74.125.155.132/scholar

umberto_eco open_work fanficforensics phd

shared by Nele Noppe on 10 Jan 10 - Cached
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • ...39 more annotations...
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece,
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece,
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece, w
  • the new musical works referred to above reject the definitive, concluded message and multiply the formal possibilities of the distribution of their elements.
  • initiative of the individual performer
  • As he reacts to the play of stimuli and his own response to their patterning, the individual addressee is bound to supply his own existential credentials, the sense conditioning which is peculiarly his own, a defined culture, a set of tastes, personal inclinations, and prejudices. Thus, his comprehension of the original artifact is always modified by his particular and individual perspective. In fact, the form of the work of art gains its aesthetic validity precisely in proportion to the number of different perspectives from which it can be viewed and understood.
  • A work of art, therefore, is a complete and closed form in its uniqueness as a balanced organic whole, while at the same time constituting an open product on account of its susceptibility to countless different interpretations which do not impinge on its unadulterable specificity.
  • it is obvious that works like those of Berio and Stockhausen are "open" in a far more tangible sense.
  • the poetics of the "open" work tends to encourage “acts of conscious freedom” on the part of the performer and place him at the focal point of a network of limitless interrelations,
  • Instead nowadays it is primarily the artist who is aware of its implications.
  • However, in this type of operation, "openness" is far removed from meaning "indefiniteness" of communication, "infinite" possibilities of form, and complete freedom of reception. What in fact is made available is a range of rigidly preestablished and ordained interpretative solutions,
  • and these never allow the reader to move outside the strict control of the author.
  • It is not that the four solutions of the allegorical passage are quantitatively more limited than the many possible solutions of a contemporary "open" work. As I shall try to show, it is a different vision of the world which lies under these different aesthetic experiences
  • Now if Baroque spirituality is to be seen as the first clear manifestation of modern culture and sensitivity, it is because here, for the first time, man opts out of the canon of authorized responses and finds that he is faced (both in art and in science) by a world in a fluid state which requires corresponding creativity on his part.
  • the new man's inventive role. He is no longer to see the work of art as an object which draws on given links with experience and which demands to be enjoyed; now he sees it as a potential mystery to be solved, a role to fulfill, a stimulus to quicken his imagination.
  • W. Y. Tindall, in his book on the literary symbol, offers an analysis of some of the greatest modern literary works in order to test Valéry's declaration that "il n'y a pas de vrai sens d'un texte" ("there is no true meaning of a text"). Tindall eventually concludes that a work of art is a construct which anyone at all, including its author, can put to any use whatsoever, as he chooses. This type of criticism views the literary work as a continuous potentiality of "openness"-in other words, an indefinite reserve of meanings. This is the scope of the wave of American studies on the structure of metaphor, or of modern work on "types of ambiguity" offered by poetic discourse.
  • Clearly, the work of James Joyce is a major example of an "open" mode, since it deliberately seeks to offer an image of the ontological and existential situation of the contemporary world.
  • Here the work is "open" in the same sense that a debate is "open." A solution is seen as desirable and is actually anticipated, but it must come from the collective enterprise of the audience. In this case the "openness" is converted into an instrument of revolutionary pedagogics.
  • the examples considered in the preceding section propose an "openness" based on the theoretical, mental collaboration of the consumer, who must freely interpret an artistic datum, a product which has already been organized in its structural entirety (even if this structure allows for an indefinite plurality of interpretations). On the other hand, a composition like Scambi, by Pousseur, represents a fresh advance.
  • it is clear that a composition such as Scambi poses a completely new problem. It invites us to identify inside the category of "open" works a further, more restricted classification of works which can be defined as "works in movement," because they characteristically consist of unplanned or physically incomplete structural units
  • If we turn to literary production to try to isolate an example of a work in movement," we are immediately obliged to take into consideration Mallarmé's Livre, a colossal and far- reaching work, the quintessence of the poet's production. He conceived it as the work which would constitute not only the goal of his activities but also the end goal of the world:
  • However, Mallarmé's immense enterprise was utopian:
  • In every century, the way that artistic forms are structured reflects the way in which science or contemporary culture views reality.
  • Hence, it is not overambitious to detect in the poetics of the "open" work – and even less so in the "work in movement” – more or less specific overtones of trends in contemporary scientific thought.
  • The notion of "possibility" is a philosophical canon which reflects a widespread tendency in contemporary science; the discarding of a static, syllogistic view of order, and a corresponding devolution of intellectual authority to personal decision, choice, and social context.
  • The two-value truth logic which follows the classical aut-aut, the disjunctive dilemma between true and false, a fact and its contradictory, is no longer the only instrument of philosophical experiment. Multi-value logics are now gaining currency, and these are quite capable of incorporating indeterminacy as a valid stepping-stone in the cognitive process. In this general intellectual atmosphere, the poetics of the open work is peculiarly relevant: it posits the work of art stripped of necessary and foreseeable conclusions, works in which the performer's freedom functions as part of the discontinuity which contemporary physics recognizes, not as an element of disorientation, but as an essential stage in all scientific verification procedures and also as the verifiable pattern of events in the subatomic world.
  • Here are no privileged points of view, and all available perspectives are equally valid and rich in potential.
  • This is not the place to pass judgment on the scientific validity of the metaphysical construct implied by Einstein's system. But there is a striking analogy between his universe and the universe of the work in movement
  • Therefore, to sum up, we can say that the "work in movement" is the possibility of numerous different personal interventions, but it is not an amorphous invitation to indiscriminate participation. The invitation offers the performer the opportunity for an oriented insertion into something which always remains the world intended by the author.
  • All these examples of "open" works and "works in movement" have this latent characteristic, which guarantees that they will al- ways be seen as "works" and not just as a conglomeration of random components ready to emerge from the chaos in which they previously stood and permitted to assume any form whatsoever.
  • Now, a dictionary clearly presents us with thousands upon thou- sands of words which we could freely use to compose poetry, essays on physics, anonymous letters, or grocery lists. In this sense the dictionary is clearly open to the reconstitution of its raw material in any way that the manipulator wishes. But this does not make it a "work." The "openness" and dynamism of an artistic work consist in factors which make it susceptible to a whole range of integrations. They provide it with organic complements which they graft into the structural vitality which the work already possesses, even if it is incomplete. This structural vitality is still seen as a positive property of the work, even though it admits of all kinds of different conclusions and solutions for it
  • We have, therefore, seen that (1) "open" works, insofar as they are in movement, are characterized by the invitation to make the work together with the author and that (2) on a wider level (as a subgenus in the species "work in movement") there exist works which, though organically completed, are "open" to a continuous generation of internal relations which the addressee must uncover and select in his act of perceiving the totality of incoming stimuli. (3) Every work of art, even though it is produced by following an explicit or implicit poetics of necessity, is effectively open to a virtually unlimited range
  • of possible readings, each of which causes the work to acquire new vitality in terms of one particular taste, or perspective, or personal performance
  • The poetic theory or practice of the "work in movement" senses this possibility as a specific vocation. It allies itself openly and selfconsciously to current trends in scientific method and puts into action and tangible form the very trend which aesthetics has
  • already acknowledged as the general background to performance. These poetic systems recognize "openness" as the fundamental possibility of the contemporary artist or consumer.
  • The poetics of the "work in movement" (and partly that of the "open" work) sets in motion a new cycle of relations between the artist and his audience, a new mechanics of aesthetic perception, a different status for the artistic product in contemporary society. It opens a new page in sociology and in pedagogy, as well as a new chapter in the history of art. It poses new practical problems by organizing new communicative situations. In short, it installs a new relationship between the contemplation and the utilization of a work of art.
Nele Noppe

Open-work: Dining at the Interstices - 0 views

www.heelstone.com/...haylesfr.htm

open_work literature internet copyright phd phd_unfinished

shared by Nele Noppe on 31 Jan 10 - Cached
  • In the New Millennium, the tradition that Judy Chicago pioneered of recognizing and celebrating women’s contributions continues in the vibrant new medium of the Web. Talan Memmott has suggested the term "Rich Lit" for the cornucopia of delights that this new "Dinner Party" offers.
  • The protest of the literati may be misguided, but it has enough nanograms of truth to prompt me to suggest a complementary term to Talan’s rich lit: open-work.
  • As a term, open-work calls attention to the fact that the craftwork of making has again become a recognized and important component of textual production. During the last several hundred years, the commodification of book production drove a wedge between authorial process and the hands-on labor of producing the book as a physical object. The complex history behind this separation has been documented by Mark Rose in Authors and Owners: The Invention of Copyright, among others. Suffice it to say here that a constellation of economic, political and class forces was successful in promulgating the idea that what the author produced was an immaterial concept separated from and untainted by the commercial networks that brought the actual book into being.
  • ...9 more annotations...
  • "work"--associated with the same male-centered world view that so enraged July Chicago-
  • The intelligence, knowledge, and creativity it takes to write and/or implement software for artistic purposes can no longer be separated from the work,
  • The open-work is open in the sense that it serves as a fluid space in which artistic intent commingles with technical expertise. At many levels and in many ways, the material basis for the production of the open-work interpenetrates the work as concept and cannot be separated from it.
  • rt itse
  • Especially illuminating in this regard are open-works that foreground the importance of craftwork by "treating" traditional texts so their concepts become literalized or materialized in new ways, thus opening spaces within the traditional texts where the fluid and hybrid nature of the open-work can asse
  • appropriation
  • Another aspect of the openness of the open-work is expressed in its fusion of text and image. With digital technology
  • The encoding of text into binary code allows fragmentation and recombination to operate in ways unthinkable with alphabetic language.
  • Finally, the open-work is open in the sense that it radiates out to a physically dispersed community, uniting together in collaborative projects women from different regions and countries, as well as bringing into existence an international Web community who can access and benefit from each other’s works.
Nele Noppe

Interview with Umberto Eco (Coppock) - 0 views

carbon.ucdenver.edu/...eco.html

internet literature umberto_eco games fanficforensics phd

shared by Nele Noppe on 15 Jan 10 - Cached
  • "Do you think this might lead to new forms of literature?" I have been using a fantastic hypertext for the last 30 years. It is called Scrabble. Isn't it true that with Scrabble you can compose every possible cross link, every combination of sentences. It's a nice game, it can have educational purposes. Sometimes my wife who is German learned part of her English lexicon by playing Scrabble. Sometimes we play Scrabble in English, or in French. OK, but if you are a poet you have your mental Scrabble. You don't need the board to do it. It is the same I think for all those kinds of games. They can be very nice to play. So, I repeat: they can be used for training people in inventing and composing, but they have nothing to do, according to me, with the future of literature.
  • At the present state of the art, if I had to bet all the money I have in my pocket, I would bet more on hyper-systems more than on hypertext.
  • Then, when you read a serious book on Cremonini, first you discover that Cremonini was a great mind of this time, even though he was not an innovator like Gallileo, and that it isn't true that he refused to look into the binocular. He just said: "At the present state of technology, those lenses are very rudimentary, so I don't think that they can really help me to see something more." It was an objection to the present primitive state of the art. So what I am making now is probably a statement that we are still at a primitive state of the art. I have not been interested up to now to try virtual reality. Because until it is possible to make love to Marilyn Monroe; until the moment that her clothes start floating away - well, then at that moment I will try! But as long as it is just a sketch of Marilyn Monroe, and I can have the real sensation elsewhere, then the state of the art is so primitive that I prefer to wait, that's all! If you offer me this possibility soon, or better still, if you offer me this possibility when I am 80, I will be enthusiastic about the innovation, and I will become a fanatic supporter!
  • ...1 more annotation...
  • But that's why I say that at this point I have the impression that it is most interesting for educational and training purposes, rather than for providing real new aesthetic experiences.
Nele Noppe

Vegetal and mineral memory: The future of books - 0 views

weekly.ahram.org.eg/...bo3.htm

umberto_eco literature internet open_work phd phd_unfinished

shared by Nele Noppe on 15 Jan 10 - Cached
  • The WWW is the Great Mother of All Hypertexts, a world-wide library where you can, or you will in short time, pick up all the books you wish. The Web is the general system of all existing hypertexts. Such a difference between text and system is enormously important,
  • Today there are new hypertextual poetics according to which even a book-to-read, even a poem, can be transformed to hypertext. At this point we are shifting to question two, since the problem is no longer, or not only, a physical one, but rather one that concerns the very nature of creative activity, of the reading process, and in order to unravel this skein of questions we have first of all to decide what we mean by a hypertextual link.
  • Notice that if the question concerned the possibility of infinite, or indefinite, interpretations on the part of the reader, it would have very little to do with the problem under discussion.
  • ...28 more annotations...
  • No: what are presently under consideration are cases in which the infinity, or at least the indefinite abundance of interpretations, are due not only to the initiative of the reader, but also to the physical mobility of the text itself, which is produced just in order to be re-written. In order to understand how texts of this genre can work we should decide whether the textual universe we are discussing is limited and finite, limited but virtually infinite, infinite but limited, or unlimited and infinite.
  • First of all, we should make a distinction between systems and texts. A system, for instance a linguistic system, is the whole of the possibilities displayed by a given natural language.
  • If you are able to use an English dictionary well you could write Hamlet, and it is by mere chance that somebody did it before you. Give the same textual system to Shakespeare and to a schoolboy, and they have the same odds of producing Romeo and Juliet.
  • Grammars, dictionaries and encyclopaedias are systems: by using them you can produce all the texts you like. But a text itself is not a linguistic or an encyclopaedic system. A given text reduces the infinite or indefinite possibilities of a system to make up a closed universe.
  • A text castrates the infinite possibilities of a system.
  • Finnegans Wake is certainly open to many interpretations, but it is certain that it will never provide you with a demonstration of Fermat's last theorem, or with the complete bibliography of Woody Allen. This seems trivial, but the radical mistake of many deconstructionists was to believe that you can do anything you want with a text. This is blatantly false.
  • How can hypertextual strategies be used to "open" up a finite and limited text?
  • The first possibility is to make the text physically unlimited, in the sense that a story can be enriched by the successive contributions of different authors and in a double sense, let us say either two-dimensionally or three-dimensionally. By this I mean that given, for instance, Little Red Riding Hood, the first author proposes a starting situation (the girl enters the wood) and different contributors can then develop the story one after the other, for example, by having the girl meet not the wolf but Ali Baba, by having both enter an enchanted castle, having a confrontation with a magic crocodile, and so on, so that the story can continue for years. But the text can also be infinite in the sense that at every narrative disjunction, for instance, when the girl enters the wood, many authors can make many different choices. For one author, the girl may meet Pinocchio, for another she may be transformed into a swan, or enter the Pyramids and discover the treasury of the son of Tutankhamen. This is today possible, and you can find on the Net some interesting examples of such literary games.
  • AT THIS POINT one can raise a question about the survival of the very notion of authorship and of the work of art, as an organic whole. And I want simply to inform my audience that this has already happened in the past without disturbing either authorship or organic wholes.
  • Yet, there is a difference between implementing the activity of producing infinite and unlimited texts and the existence of already produced texts, which can perhaps be interpreted in infinite ways but are physically limited. In our same contemporary culture we accept and evaluate, according to different standards, both a new performance of Beethoven's Fifth and a new Jam Session on the Basin Street theme. In this sense, I do not see how the fascinating game of producing collective, infinite stories through the Net can deprive us of authorial literature and art in general. Rather, we are marching towards a more liberated society in which free creativity will coexist with the interpretation of already written texts. I like this. But we cannot say that we have substituted an old thing with a new one. We have both.
  • I have tried desperately to find an instance of unlimited and finite textual situations, but I have been unable to do so. In fact, if you have an infinite number of elements to play with why limit yourself to the production of a finite universe? It's a theological matter, a sort of cosmic sport, in which one, or The One, could implement every possible performance but prescribes itself a rule, that is, limits, and generates a very small and simple universe.
  • A hypertext can give the illusion of opening up even a closed text: a detective story can be structured in such a way that its readers can select their own solution, deciding at the end if the guilty one should be the butler, the bishop, the detective, the narrator, the author or the reader. They can thus build up their own personal story. Such an idea is not a new one.
  • All these physically moveable texts give an impression of absolute freedom on the part of the reader, but this is only an impression, an illusion of freedom.
  • n contrast, a stimulus-text that provides us not with letters, or words, but with pre-established sequences of words, or of pages, does not set us free to invent anything we want. We are only free to move pre-established textual chunks in a reasonably high number of ways.
  • At the last borderline of free textuality there can be a text that starts as a closed one, let us say, Little Red Riding Hood or The Arabian Nights, and that I, the reader, can modify according to my inclinations, thus elaborating a second text, which is no longer the same as the original one, whose author is myself, even though the affirmation of my authorship is a weapon against the concept of definite authorship. The Net is open to such experiments, and most of them can be beautiful and rewarding. Nothing forbids one writing a story where Little Red Riding Hood devours the wolf. Nothing forbids us from putting together different stories in a sort of narrative patchwork. But this has nothing to do with the real function and with the profound charms of books.
  • A BOOK OFFERS US A TEXT which, while being open to multiple interpretations, tells us something that cannot be modified.
  • Alas, with an already written book, whose fate is determined by repressive, authorial decision, we cannot do this. We are obliged to accept fate and to realise that we are unable to change destiny. A hypertextual and interactive novel allows us to practice freedom and creativity, and I hope that such inventive activity will be implemented in the schools of the future. But the already and definitely written novel War and Peace does not confront us with the unlimited possibilities of our imagination, but with the severe laws governing life and death.
  • That is what every great book tells us, that God passed there, and He passed for the believer as well as for the sceptic. There are books that we cannot re-write because their function is to teach us about necessity, and only if they are respected such as they are can they provide us with such wisdom. Their repressive lesson is indispensable for reaching a higher state of intellectual and moral freedom.
  • Its model is not so much a straight line as a real galaxy where everybody can draw unexpected connections between different stars to form new celestial images at any new navigation point.
  • Even after the invention of printing, books were never the only instrument for acquiring information. There were also paintings, popular printed images, oral teaching, and so on. Simply, books have proved to be the most suitable instrument for transmitting information.
  • Hypertexts will certainly render encyclopaedias and handbooks obsolete.
  • Then they are books to be consulted, like handbooks and encyclopaedias.
  • There are two sorts of book: those to be read and those to be consulted.
  • Yet, can a hypertextual disk or the WWW replace books to be read? Once again we have to decide whether the question concerns books as physical or as virtual objects. Once again let us consider the physical problem first.
  • Books belong to those kinds of instruments that, once invented, have not been further improved because they are already alright, such as the hammer, the knife, spoon or scissors.
  • TWO NEW INVENTIONS, however, are on the verge of being industrially exploited. One is printing on demand: after scanning the catalogues of many libraries or publishing houses a reader can select the book he needs, and the operator will push a button, and the machine will print and bind a single copy using the font the reader likes. This will certainly change the whole publishing market.
  • Simply put: every book will be tailored according to the desires of the buyer, as happened with old manuscripts.
  • Alas, if by chance one hoped that computers, and especially word processors, would contribute to saving trees, then that was wishful thinking. Instead, computers encourage the production of printed material. The computer creates new modes of production and diffusion of printed documents.
Nele Noppe

Dan Cohen's Digital Humanities Blog » Blog Archive » Digital Ephemera and the... - 0 views

www.dancohen.org/...and-the-calculus-of-importance

twitter archiving libraries phd

shared by Nele Noppe on 19 May 10 - Cached
  • How important are small written ephemera such as notes, especially now that we create an almost incalculable number of them on digital services such as Twitter? Ever since the Library of Congress surprised many with its announcement that it would accession the billions of public tweets since 2006, the subject has been one of significant debate. Critics lamented what they felt was a lowering of standards by the library—a trendy, presentist diversion from its national mission of saving historically valuable knowledge. In their minds, Twitter is a mass of worthless and mundane musings by the unimportant, and thus obviously unworthy of an archivist’s attention.
  • As any practicing historian knows, some of the most critical collections of primary sources are ephemera that someone luckily saved for the future.
  • But let me set aside for a moment my optimistic disposition about the Twitter archive and instead meet the critics halfway. Suppose that we really don’t know if the archive will be useful or not—or worse, perhaps we are relatively sure it will be utterly worthless. Does that necessarily mean that the Library or Congress should not have accessioned it?
  • ...1 more annotation...
  • What does this mean for the archiving of digital emphemera such as status updates—those little, seemingly worthless online notes? It means we should continue to expend the majority of resources on those documents and people of most likely future interest, but not to the exclusion of objects and figures that currently seem unimportant. In other words, if you believe that the notebooks of a known writer are likely to be 100 times more important to future historians and researchers than the blog of a nobody, you should spend 10, not 100, times the resources in preserving those notebooks over the blog. It’s still a considerable gap, but much less than the traditional (authoritarian) model would suggest. The calculus of importance thus implies that libraries and archives should consciously pursue contents such as those in the Cambridge University Library tower, even if they feel it runs counter to common sense.
Nele Noppe

Full-frontal nudity: Taboo for men - 0 views

www.msnbc.msn.com/4235583

gender visual_language fanficforensics phd

shared by Nele Noppe on 15 Apr 09 - No Cached
  • Elayne Rapping, a professor of women’s studies and media studies at the State University of New York, Buffalo, said it’s such as it ever was: You can look back to classic paintings of the 17th and 18th centuries and see fully clothed men with nude women.“That’s been a constant of Western culture for centuries in representational art — that women have been presented as objects for what in film theory is called ‘the male gaze.’ The assumed viewer is male, and the woman is to be looked at for male pleasure,” she said.
Nele Noppe

Reading Harry Potter: A personal and collective experience - 0 views

www.participations.org/...5_02_olivier.htm

harry_potter france readers fanficforensics phd

shared by Nele Noppe on 29 May 09 - Cached
  • reception of the Harry Potter novels in France.
  • “media talk” has shaped an image of the Harry Potter readership and ascribed meanings to the novels.
  • Harry Potter readership seems to be very diverse, blurring some traditional age, gender or social distinctions related to reading preferences.
  • ...11 more annotations...
  • Our research interest was to investigate how these very heterogeneous readers made sense of the books and organized their Harry Potter “reading career.”
  • We have tried to avoid the intellectualist bias of the academic discourse privileging the most analytic and erudite forms of reception, or the most articulate and literary forms of newspaper reviews (Barker, 2004). As Elizabeth Long pointed out, “the traditional imagery of the solitary reader” has privileged “a certain kind of reading: erudite, analytic” (Long, 2003, p. 2-3), and it “legitimat[es] only certain kinds of literary values and certain modes of reading” (p. 11).
  • The Harry Potter books are characterized by their serial publication over ten years, their dispersion on different media and tie-ins, and their symbolic status as best-sellers and objects of public attention: all these elements have shaped reading experiences.
  • Martin Barker emphasized the importance of the secondary, ancillary, or satellite texts that shape in advance the conditions under which interpretations of novels are formed: marketing campaigns, articles, reviews and debates in the media, and fan productions (Barker, 2004).
  • All these public discourses constitute discursive frames around the novels. They tend to ascribe meanings and effects to the Harry Potter books and to spread a homogeneous and sometimes simplistic image of Harry Potter readers.
  • Although the Harry Potter readership is much wider, the readers who were mostly described were teenagers. Assumptions about teenagers’ emotional instability, vulnerability, and identity crises have influenced many of the categories used in media discourse to talk about Harry Potter.
  • Reading Harry Potter was supposed to contribute to the harmonious maturation of the readers, as the characters themselves were growing up. The mechanism of this readers’ transformation was supposed to be “identification”:
  • layed an important role in turning Harry Potter into a part of legitimate and safe culture.
  • These ancillary discourses targeting teenagers were thus clearly gendered, and the labels applied to the movies and the novels can help to define a diversity of reading expectations. But do actual readers conform to these solicitations? How do they appropriate the novels? How do their reading experiences relate to their movie experiences with Harry Potter?
  • The Harry Potter novels, by their wide and diverse readership, lent themselves very well to an investigation of the diversity of “appropriation” and levels of engagement.
  • Cultures of feelings and ethical perceptions: 2.a: a preference for adult or “bad” characters: the appeal of psychological complexity
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