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Nele Noppe

When I Became a Mom I Put Away Childish Things | Geek Feminism Blog - 0 views

geekfeminism.org/...mom-i-put-away-childish-things

fans fandom feminism gender fan_fiction cosplay family motherhood children fanficforensics phd

shared by Nele Noppe on 12 Sep 09 - Cached
  • And even as a convergence culture encourages and invited media property holders to create and engage fans, such behavior remains generally perceived as ridiculous, embarrassing, and often hidden–unless it revolves around more masculine exploits such as sports teams, of course. Fantasy football and wearing team colors are acceptable behaviors where fanfic and wearing Hogwarts uniforms are not.
  • Not only are traditionally female fan objects and fan engagements devalued, the very gender identity of the fan thus becomes problematic: reading done in private by women is a selfish and time-wasting activity, and fannish investment is a selfish and time-wasting squandering of emotion. Mothers, however, are meant to focus their activities and emotions on one target only: their family.
  • So what is it then that makes a fannish mom such a threat, such an offense? Fannish practices are a focus away from the children, from a mother’s duty to put her home, husband, and family first rather than to indulge herself, both literally and metaphorically.
  • ...2 more annotations...
  • But that’s not the end of the fannish mom’s depravity: media fandom in particular often engages women’s sexuality with its erotic writings, explicit imagery, and frank discussion of nonstandard desires. As such, it not only juxtaposes the selfless mom identity against the selfish fan identity, but also juxtaposes the sexless madonna against the perverse whore.
  • Within fandom the geek hierarchy is alive and well: who doesn’t like to think of those folks weirder than ourselves–and if noone’s left, we still have the furries! That many fans themselves seem to think of their hobby as the opposite of life is certainly noteworthy, but the insult is often modified into terms of age, becoming “Don’t you have better things to do as a grown up. My parents would never sit and discuss a TV show online.” Likewise, there’s an expectation among many younger fans that they themselves will eventually “grow up” and leave fandom. Adulthood is in this context seen as fandom’s antithesis, and parenthood is often the ultimate marker of adult status.
  • Nele Noppe on 12 Sep 09
     
    And even as a convergence culture encourages and invited media property holders to create and engage fans, such behavior remains generally perceived as ridiculous, embarrassing, and often hidden-unless it revolves around more masculine exploits such as sports teams, of course. Fantasy football and wearing team colors are acceptable behaviors where fanfic and wearing Hogwarts uniforms are not.
Nele Noppe

betweenthebliss: gay in the media, slash, and why trek fandom makes me wibble. - 0 views

betweenthebliss.livejournal.com/3023.html

homosexuality star_trek fanficforensics phd

shared by Nele Noppe on 12 Jun 09 - Cached
  • i said in my comment to cimorene that it kind of boggles my mind to think that in fifty or a hundred years we could actually have a genre movie where the studly captain and his stalwart first officer would be each other's love interests-- that some day we could have movies about two guys or two girls falling in love while also being chased by zombies or flying through space or having duels with magic. that maybe some day we'll have books, movies, tv shows and comics where "omfg, i'm gay!" isn't the issue that takes over the entire story.
  • which brings me to the point, what i love about trek fandom. every fic i've read so far has played right into this amazing assumption, which i haven't seen discussed anywhere but which seems to be one of those understated understood fandom constructs-- that in two hundred years there won't be much to fuss about for gay relationships or same-sex attraction.
Nele Noppe

Death of the Author - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/...Death_of_the_Author

author literature readers fanficforensics phd

shared by Nele Noppe on 22 Feb 10 - Cached
  • he Death of the Author is an essay by the French literary critic Roland Barthes.
  • The essay argues against incorporating the intentions and biographical context of an author in an interpretation of text, and says that writing and creator are unrelated.
  • In this type of criticism, the experiences and biases of the author serve as a definitive "explanation" of the text. For Barthes, this method of reading may be apparently tidy and convenient but is actually sloppy and flawed: "To give a text an Author" and assign a single, corresponding interpretation to it "is to impose a limit on that text."
  • ...1 more annotation...
  • arthes' articulation of the death of the author is a radical and drastic recognition of this severing of authority and authorship. Instead of discovering a "single 'theological' meaning (the 'message' of the Author-God)," readers of text discover that writing, in reality, constitutes "a multi-dimensional space," which cannot be "deciphered," only "disentangled."
Nele Noppe

Man on Man: The New Gay Romance ... written by and for straight women - 0 views

www.laweekly.com/...799568

homosexuality literature women sexual_content psychology fanficforensics phd

shared by Nele Noppe on 13 Jan 10 - Cached
  • As for why a straight woman writes gay romance, Penley suggests, it has to do with body politics. Women’s bodies are a political and social battleground. Women are told how to behave, and whether or not they can abort fetuses. They are held to impossibly high standards of beauty. Maybe they write with men’s bodies, she theorizes, because those bodies aren’t as problematic as their own. Maybe men’s bodies are just easier. Linda Williams, a Berkeley professor who wrote the first serious book about porn film, Hard Core: Power, Pleasure, and the “Frenzy of the Visible,” suggests a similar freedom — specifically, one from worry. When women watch straight pornography, there’s always the problem of who’s on top, or who’s on the bottom. “On the other hand,” Williams says, “if you’re watching two men having sex, you don’t have to worry about a woman being mishandled, or abused or overpowered.”Or it could simply be a fantasy of abundance. “If you presume that these women are heterosexual,” Williams adds, “and their own desire is for men, then you’ve doubled the pleasure.”Another prevailing belief is that the pleasure these women derive from reading erotic romances about two men has less to do with the sex than with the romance. The main pleasure comes from the romantic story, i.e., the plot. And the plots are essentially female. The sex is just the cherry on top.
  • The results for men, Bailey says, were as expected. Their arousal was “category-specific.” Men were turned on, in other words, only by the categories of people they prefer to have sex with. The women, however, had a different, far more surprising pattern of arousal: It didn’t matter whether the women said they were gay or straight, they were turned on by all the films. Bailey concluded that men’s and women’s brains are likely organized differently.As you might guess, Bailey is a controversial figure. That study, published in the journal Psychological Science, as well as his other research concerning the etiology of sexual arousal, has been attacked by everyone from The Washington Times and conservative congressmen to gay activists. (Bailey was also one of the first researchers to suggest that homosexuality is substantially genetic.)But why should a woman be turned on by a variety of stimuli any more so than a man? It may not make sense politically, but one of Bailey’s co-researchers, Meredith Chivers, might have found an answer by pushing the reasoning even further. She speculates that women’s genitals tend to lubricate in the presence of sexual cues as a defense against rape. Ancestral women whose bodies didn’t automatically lubricate during unwanted vaginal penetration might have sustained more serious injuries and would not have survived to pass the trait along to offspring. Becoming physically (if not mentally) aroused by a whiff of sex in the air, in other words, is evolutionarily adaptive for women. Which is not of course the same thing as pleasure. On that score, Bailey’s findings are reinforced by Abramson’s scientific experiments on masturbation from the early ’70s. He showed his subjects films of people masturbating to orgasm. As in the other studies, straight women were aroused equally by both genders. Abramson concluded that women are equally adept at imagining themselves as either the pleasurer or the receiver.
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

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

Mary Sue - FSFwiki - 0 views

wiki.feministsf.net/index.php

feminism fan_fiction fanficforensics phd

shared by Nele Noppe on 02 Feb 10 - Cached
  • What attributes the character may have are variable; what causes annoyance is the introduction of a cuckoo into the canon's nest, some bigger, brighter, louder character who steals the limelight from the characters the reader chose to read about, the intrusion that distorts the text.
  • However, sexism does play a central role in the phenomenon, because the performances towards which fans show loyalty are products of a sexist culture. The typical Mary Sue is female, because of the marginalisation of women in the texts and performances from which most fandom derives. The laws of canon are largely patriarchal, and female fen therefore find their position at odds with their loyalty to the fandom in a way that male fen do not. The backlash against Mary Sues only exacerbates this underlying sexism, because the hatred felt against intruding female characters intersects with and reinforces, to a degree, the misogynist tropes that provoke it.
Nele Noppe

popblog: Sex in Polish Sci-Fi Fan Fiction - Part II - 0 views

popularny.blogspot.com/...h-sci-fi-fan-fiction-part.html

fandom poland science_fiction fan_fiction sexual_content phd

shared by Nele Noppe on 09 Mar 10 - Cached
  • The goal of the study is to determine whether Polish sci-fi fan fiction is promiscuous or puritan. To what extent are fannish creations sexual – do fans write erotica?
  • When considering the topic in more detail one should begin with paying attention to a problem I have mentioned previously - the inability of Polish fans to describe what they created. As I have signaled fan fiction is not labeled in any way and Polish fans are not aware of the existence of specific terminology that would allow them to put their writing in order. Of course because of the specific history of Polish fandom we cannot apply Western rules to Polish fans. It is not my purpose then to compare different regions.
  • Does this indicate that Polish fans are puritan? Although an analysis of terminology is a good starting point it is definitely too soon to establish this. One cannot say anything about sex in fan fiction in Poland only on the basis of terms, especially because a comparison to Western fans is not recommended.
  • ...8 more annotations...
  • 44,6 per cent of respondents have ever encountered erotic stories. This confirms that although in minority sexual sci-fi fan fiction exists.
  • Only 12,5 per cent of fans indicated that sex is the core of fannish fiction.
  • Results from Table 6 confirm this premise. Only 13 fans “strongly agree” or “agree” that fan fiction is highly erotic while 65 “disagree” or “strongly disagree”. 30,5 per cent of fans reject the possibility that fan fiction contains a lot of sex.
  • I have examined 51 stories
  • only few are sexual. One will not find any fan fiction that is solely erotic (“pwp”), which depicts sex without describing action or focusing on character development. Erotic scenes very often are just an extension of main plot. To sum up, in the case of Polish sci-fi fan fiction we are dealing with puritans rather than promiscuous fans. Erotica is rare, and although we can encounter stories that are sexual, they are in minority
  • What about homosexual fan fiction? Does it exist at all? Out of 50 fans that encountered erotic fan fiction, 22 did read Polish fan fiction that described sex between homosexuals (gay or lesbian).
  • Most writers of erotica are between 21 and 25 years of age. In fact there is only one fan who is less than 16. It is not true that erotic fan fiction is written mainly by men (that was a general tendency). 58,4 per cent of erotic fiction writers are females
  • One is obliged to say though that despite being puritans Polish fans are tolerant and open. For example they disagree that only heterosexual sex is accepted. They disagree even though they do not believe sexual content is an important part of fan fiction. It may be the case that they have the potential to become promiscuous. Who knows? Maybe some time from now Polish fans will become more sexual
Nele Noppe

popblog: Sex in Polish Sci-Fi Fan Fiction - Part I - 0 views

popularny.blogspot.com/...sci-fi-fan-fiction-part-i.html

fandom poland science_fiction fan_fiction phd

shared by Nele Noppe on 09 Mar 10 - Cached
  • Polish fans do not use LiveJournal
  • Blogging is not very popular (yet?)
  • Polish fans still use Bulletin Boards, in fact their popularity increases and nothing predicts their demise.
  • ...9 more annotations...
  • Stories are not categorized, they just come in turn, they are not labeled in any way so it is almost impossible to tell what the fiction is about without reading it.
  • promiscuous or puritan
  • One hundred and twelve fans
  • females
  • The most probable explanation might be that fans believe writing fan fiction in order to be a real fan is unnecessary. Non-writers’ experience is not poorer than writers’
  • Fans frequently underlined the need to “expand” the universe, to show scenes producers have not included in official productions, to change something according to their likings, to “be a part of” the universe, to have fun, to intensify the reception and pleasures stemming from it, to improve writing techniques, to build up prestige in fan community, to interest others (non-fans) with the universe they like, to express their worldview or emotions, to show the world their talents, to fulfill their needs of creativity.
  • of a problem that occurs within Polish fandom – the inability to distinguish between different genres of fan fiction and ignorance of terminology used by Western fans.
  • 69 out of 112 respondents confessed that they wrote fan fiction at least once in a lifetime.
  • It is evident that more men than women and that more young people (from 16 to 25) are penchant for creating fan fiction. It is worth noticing that fans’ assumptions about proportions of men and women who write fan fiction do not tally with an actual state.
Nele Noppe

Moe and the Potential of Fantasy in Post-Millenial Japan - 0 views

www.japanesestudies.org.uk/...Bryce.html

academic manga anime moe fans characters romance sexuality games kawaii zoomorphism affect emotion visual_language boys_love dojinshi phd

shared by Nele Noppe on 11 Mar 10 - Cached
  • If kawaii, or the aesthetic of cute, is the longing for the freedom and innocence of youth, manifesting in the junior and high school girl in uniform (Kinsella 1995), then moe is the longing for the purity of characters pre-person, manifesting in androgynous semi and demi human forms. This is called 'jingai,' or outside human, and examples include robots, aliens, dolls and anthropomorphized animals, all stock characters in the moe pantheon. A specific example would be nekomimi, or cat-eared characters. More generally, in order to achieve the desired affect, moe characters are reduced to tiny deformed 'little girl' images with emotive, pupil-less animal eyes
  • I argue fantasy characters offer virtual possibilities and affect
  • Moe is also used by fujoshi, zealous female fans of yaoi, a genre of manga featuring male homosexual romance. However, the word moe indicates a response to fantasy characters, not a specific style, character type or relational pattern. While some things are more likely than others to inspire moe, this paper will focus mainly on the response itself rather than the forms that inspire it.
  • ...43 more annotations...
  • Both otaku and fujoshi
  • The moe character is a 'body without organs' (Deleuze and Guattari 1987), and the response to its virtual potentials is affect.
  • Massumi argues affect is a moment of unformed and unstructured potential (Massumi 2002). The experience, what he calls an 'intensity,' is outside of logical language and conscious control. Moe provides a word to express affect, or to identify a form that resonates and can trigger an intensity.
  • It is for this reason that moe is consistently misunderstood as first and foremost images of young girls instead of a response to virtual potentials
  • In the field interacting with otaku and fujoshi, I was constantly confronted by the concept of moe, and found it necessary to engage it.
  • These are both men and their discourse centers on male otaku, but I will argue from them a more general theory, applied later in the paper to fujoshi structures of desire.
  • Honda, a youth-oriented novelist and self-styled moe critic, defines moe as 'imaginary love'
  • the salient point is his judgment that a relationship with a mediated character or material representations of it is preferable to an interpersonal relationship.
  • the moe man is feminized
  • While recognizing the conservative nature of otaku sexuality, Azuma attempts to account for the schizophrenic presence of perversion in the moe image. For Azuma, otaku are postmodern subjects with multiple personalities engendered by their environment and enthusiastic media consumption
  • To feel moe for all characters in all situations, the narrative connecting characters or moments in time is de-emphasized.
  • cat ears,
  • response is unconnected with 'reality' and thus offers new potentials to construct and express affects.
  • Separating their desire from reality allowed for a new form of affect called moe.
  • Simply stated, moe is about unbounded potential.
  • Moe is affect in response to fantasy forms that emerged from information-consumer culture in Japan in the late stages of capitalism.
  • conditioning of young girls into 'pure consumers'
  • Such a space is disconnected from social and political concerns, and exists for the preservation of the individual.
  • the media and consumption feeding into moe is a specific sort centered on affect.
  • Manga scholar Itou Gou argues that since the end of the 1980s characters in anime, manga and videogames became so appealing that fans desired them even without stories (Itou 2005). Ito dubs such character types 'kyara,' distinct from characters (kyarakutaa) embedded in narratives.
  • Proof of this can be found in the rise of 'parody' doujinshi,
  • The doll-like and semi-human Ayanami became the single most popular and influential character in the history of otaku anime; fans still isolate parts of the character to amplify and rearticulate in fan-produced works to inspire moe.
  • In works featuring these characters, the original work functions as a starting point, and the extended process of producing and consuming moe takes place among fans in online discussions and videos, fan-produced comics (doujinshi), costume roleplay (cosplay) and figures.
  • virtual potentiality
  • That the moe form, the body without organs, is outside personal and social frames is precisely why it triggers affect.
  • 'moe otaku' a superficial fixation on surfaces and accelerated consumption of disposable moe kyara, impetus for him to declare this younger generation culturally 'dead'
  • One man I spoke with said, 'Moe is a wish for compassionate human interaction. Moe is a reaction to characters that are more sincere and pure than human beings are today.' Similarly, another man described moe as 'the ultimate expression of male platonic love.' This, he said, was far more stable and rewarding than 'real' love could ever be. Manga artist Akamatsu Ken stresses that moe is the 'maternal love' (boseiai) latent in men,[xxi] and a 'pure love' (junsui na ai) unrelated to sex, the desire to be calmed when looking at a female infant (biyoujo wo mite nagomitai) (Akamatsu 2005). 'The moe target is dependent on us for security (a child, etc.) or won't betray us (a maid, etc.). Or we are raising it (like a pet)' (Akamatsu 2005). This desire to 'nurture' (ikusei) characters is extremely common among fans. Further, moe is about the moment of affect and resists changes ('betrayal') in the future, or what Akamatsu refers to as a 'moratorium' (moratoriamu). Moe media is approached as something of a sanctuary from society (Okada 2008), and as such is couched in a discourse of purity.
  • I will now demonstrate how it is further possible to reduce people to characters, or to reduce reality to fantasy in pursuit of moe.
  • Association with the two-dimensional world, and lack of depth or access in the three-dimensional world, makes a maid moe.[
  • The appeal of the maid cannot purely be sexual: As many as 35 per cent of customers are women
  • this arose in Japan in the late stages of capitalism as a result of shifts in consumer-information society
  • bias towards male fans of anim
  • aoi erases the female presence because fans say female-male or even female-female couples[xxxvi] are too 'raw' (namanamashii). Put another way, the reality of relationships is removed from yaoi to make the moe response possible.
  • the ambiguous yaoi 'male' is quite literally a body without organs
  • Many other fujoshi I spoke with dated men even as they imagined possibilities of coupling them as characters with other men.[xl] As Saitou points out, the reality of heterosexual relationships and virtual possibilities of homosexual couplings are separate and coexistent (Saitou 2007). Journalist Sugiura Yumiko explains this as the crucial difference between fujoshi and otaku, who approach fantasy as an alternative for things that they actually want but cannot realize in this world (Sugiura 2006).[xli] A fujoshi, for example, would not 'marry' a two-dimensional character the way some otaku advocate;
  • Sugiura is importantly highlighting that fantasy and reality are separate and coexistent, but this is widespread in moe culture and not solely a female quality.[xlii] As much as male otaku boast of their two-dimensional wives, they often do so with levity as a self-conscious performance
  • While it is true that men tend to feel moe for single characters that they can possess while women feel moe for relationships or character couplings, this broad difference is fast disappearing. In truth, the media popular among so-called 'moe otaku' in recent years has come to resemble yaoi aesthetics: multiple girls in a nostalgic or fantastic world with minimal male presence and heightened emphasis on relationships and emotions
  • In all cases, the database (Azuma 2009) is present. The elements that constitute and indicate a certain type of top or bottom, for example glasses or hairstyle or height, are predetermined; any given top or bottom is a construct of defined character traits and behavior.
  • One of the most recognizable features of the moe phenomenon is the anthropomorphization of objects into objects of desire. Otaku turn cats, war machines, household appliances and even men of historical significance into beautiful little girls to trigger moe. Reality is flattened, and from it emerge polymorphous forms of stimulation. Similarly, fujoshi can rearticulate anything into beautiful boys and sexualized yaoi relations. Moe characters can be based on a written description or drawn image, a physical person or even anthropomorphized animals, plants and objects.
  • The erotic fantasy effectively re-mystified their world, adding a layer of potential to the mundane (the very ground under their feet!) and making the familiar queer and exciting. Latent potential so unlocked, the three friends replayed the moe relationship across other potential players such as shampoo and conditioner, knife and spoon, salt and pepper.
  • More startling and subversive is 'moe politics' (seiji moe), where national histories, international relations and imposing world leaders are reduced to moe characters across which yaoi romance can be read.
  • It should be noted that Hetaria was written by a man, and these sorts of stories are becoming increasingly popular among young men known as 'fudanshi' (rotten boys).
  • it precisely because it is pure that it can give birth to such perverse and polymorphous possibilities.
anonymous

Minotaur's Sex Tips for Slash Writers - Core - 0 views

www.squidge.org/...eroc.html

sex slash writing fandom:general phd

shared by anonymous on 01 May 10 - Cached
  • anonymous on 01 May 10
     
    Sometimes newer slash writers need to read this before they write any more sex scenes.
Nele Noppe

Titus Hjelm - From Demonic to Genetic: The Rise and Fall of Religion in Vampire Film - 0 views

www.theofantastique.com/...ll-of-religion-in-vampire-film

zoomorphism horror supernatural vampires religion phd

shared by Nele Noppe on 20 Apr 10 - Cached
  • Basically my thesis is that in recent vampire fiction (both film and books) the vampire has undergone a change from a religious figure into a scientifically defined villain. In other words, whereas the crucifix used to be the best weapon against Bela Lugosi and Christopher Lee, the likes of Wesley Snipes and Kate Beckinsale are more concerned about biological weapons used against them. These are what I call the ‘old paradigm’ and ‘new paradigm’ celluloid vampires, respectively. 
  • In contrast, the modern vampires are represented explicitly as an outcome of a gene mutation. Their main motivation is not to spread ‘evil’ in itself, but to survive, and for some, to rule humans. Therefore, it is not a question of satanic vampires vs. good Christians, but a question of racial supremacy. Finally, as I mentioned above, the new films often employ metafiction in reference to religious symbolism, saying that unlike popular culture teaches us, ‘crosses don’t do squat.’ 
  • I think the first rule of cultural analysis is not to read too much meaning into the text itself, so answering that question is notoriously difficult. One plausible thesis would be that religious symbols have lost at least some of the common resonance ground they once had, therefore making the religious, ‘old paradigm’ vampire somewhat obsolete in contemporary culture. On the other hand, the need for ‘enchantment’ has not disappeared, now we’re just enchanted by the possibilities of science gone awry rather than religious evil. 
Nele Noppe

Cryptocurrency is here to stay. The case for an alternative taxing system » O... - 4 views

owni.eu/...-for-flat-tax-and-basic-income

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shared by Nele Noppe on 31 May 11 - No Cached
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