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Contents contributed and discussions participated by morganaletarg

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morganaletarg

"Xenasubtexttalk": The Impact on the Lesbian Fan Community - 0 views

www.tandfonline.com.proxy.library.vcu.edu/...14680777.2012.754778

lgbt representation community fandom fanworks literacy

shared by morganaletarg on 27 Jun 14 - No Cached
  • morganaletarg on 27 Jun 14
     
    "This article examines how some lesbian fans of the television adventure fantasy series Xena: Warrior Princess (X:WP) (1995-2001) became visible through the development of online fandom and the production of explicit lesbian Internet fan fiction. The self-identity of lesbian fans who are part of the "xenasubtextalk" (XSTT) fan group is explored and celebrated through social networks of lesbian fandom through the "Xenaverse." Lesbian fans have written copious amounts of fan fiction online enabling a form of lesbian political discourse and activism as well as social and cultural discourses shared throughout the platform of the Internet. Many lesbian fans have been supported to create and write Xena lesbian fan fiction by engaging with various lesbian fan writers from the Xenaverse who offer their advice to develop lesbian fan fiction services for free to "newbie" writers. Their explicit lesbian fan fiction narratives are reproduced and distributed as lesbian stories about the two main characters Xena and Gabrielle from the original television series. I interviewed three women from "xenasubtextalk" who gain pleasure exploring their lesbian identities and fandom through the fan group."
morganaletarg

In Defense of Fanfiction - 1 views

web.a.ebscohost.com.proxy.library.vcu.edu/...pdfviewer

fanworks community literacy

shared by morganaletarg on 26 Jun 14 - No Cached
    • morganaletarg
      morganaletarg on 26 Jun 14
       
      "What makes fanfiction valuable and powerful, however, is what it becomes: a large community of readers unconstrained by time, distance, age, or talent."
morganaletarg

Homosexuality at the Online Hogwarts: Harry Potter Slash Fanfiction - 1 views

literature.proquest.com.proxy.library.vcu.edu/searchFulltext.do

lgbt representation fanworks community history

shared by morganaletarg on 26 Jun 14 - No Cached
  • rites observes that the majority of YA novels about gay and lesbian teens "are very Foucaultian in their tendency to privilege the discourse of homosexuality over the physical sexual acts of gay men, defining homosexuality more rhetorically than physically" (102-03).
    • morganaletarg
      morganaletarg on 26 Jun 14
       
      reasons no one has ever actually enjoyed an LGBT YA book
  • Star Trek is widely considered to be the first "modern" fandom, and the majority of studies of participatory media fandom begin their history with Trek fans. However, activities that could be called "fannish" go back much further, and include eighteenthcentury unauthorized sequels of works such as Gulliver's Travels, the aforementioned Sherlock Holmes pastiches, and the entire body of literary and folk "retellings." See Brewer, Pflieger, Derecho, and Stasi.
    • morganaletarg
      morganaletarg on 26 Jun 14
       
      sources on history of fandom
  • According to Francesca Coppa, the Internet enabled "an increasingly customizable fannish experience" (54). As a result, "[a]rguably, this may be fandom's postmodern moment, where the rules are 'there ain't no rules' and traditions are made to be broken" (57).
  • ...6 more annotations...
  • how do depictions of adolescent sexuality in Potter fanfiction differ from those of published literature for adolescents?
  • One avenue that has yet to be explored, with specific regard to adolescent fans, is the potential to encounter and experiment with alternative modes of sexual discourse, particularly queer discourse.
  • "adolescent literature is as often an ideological tool used to curb teenagers' libido as it is some sort of depiction of what adolescents' sexuality actually is"
  • Slash, like other forms of fanfiction in the modern era, initially circulated by way of self-published zines. Because of the controversial nature of the stories, slash was available only to those who knew the right people in order to be put on mailing lists, and who had the financial resources to order zines and attend conventions-in other words, adults.
  • [S]lash is not so much queer in the act as it is queer in the space . . . . Slash is a sandbox where women come to be strange and unusual, or to do strange and unusual things, or to play with strange and unusual sand. The women may be queer or not, strange or not, unusual or not. The many different acts and behaviors of slash may be queer or not, strange or not, unusual or not. The queerness may be sexualized or it may not, and what is sexual for one woman may not be for another. The space is simply that: a space, where women can be strange and unusual and/or do strange and unusual things.8
  • Harry's discovery of his wizard nature is akin to a coming-out narrative-he escapes from a literal closet, and his relatives' horrified reactions bear a striking resemblance to the language of homophobia, especially in the way they hurl about words like "abnormality" (Chamber 2) as weapons. Thus, one can, from the perspective of the Muggle realm, read the entire wizarding world in terms of Julad's "queer space."
  • morganaletarg on 27 Jun 14
     
    representation, history, fanwork does what published works don't
morganaletarg

Access and affiliation: The literacy and composition practices of English-l...: EBSCOhost - 0 views

web.a.ebscohost.com.proxy.library.vcu.edu/...pdfviewer

shared by morganaletarg on 26 Jun 14 - No Cached
    • morganaletarg
      morganaletarg on 26 Jun 14
       
      all on legitimacy of writing & online environment for writing development
morganaletarg

Literature Resource Center - Document - 0 views

go.galegroup.com.proxy.library.vcu.edu/ps/retrieve.do?sgHitCountType=None&sort=RELEVANCE&inPS=true&prodId=LitRC&userGroupName=viva_vcu&tabID=T001&searchId=R1&resultListType=RESULT_LIST&contentSegment=&searchType=AdvancedSearchForm&currentPosition=1&contentSet=GALE%7CA242299026&&docId=GALE|A242299026&docType=GALE&role=LitRC

shared by morganaletarg on 26 Jun 14 - No Cached
  • Moving forward to the early 20th century, a group of amateur writers called the 'Baker Street Irregulars', which included such luminaries as F.D. Roosevelt and Isaac Asimov, spent time writing and sharing further adventures for none other than Sir Arthur Conan Doyle's great fictional dweller of 221b; once the official literary canon had stopped, these fans took it into their own hands to continue the detective's narrative.
    • morganaletarg
      morganaletarg on 26 Jun 14
       
      my people
morganaletarg

The Dynamics of Fandom: Exploring Fan Communities in Online Spaces | Myc Wiatrowski - A... - 3 views

www.academia.edu/...n_Communities_in_Online_Spaces

shared by morganaletarg on 24 Jun 14 - No Cached
    • morganaletarg
      morganaletarg on 24 Jun 14
       
      "not unreal" tell my mom that
  • A thoroughknowledge of the community is required to be able to understand the group, as well asunderstand the individual’s place in the whole. This knowledge allows a group to build asocially imagined concept of communal belief. It creates a method for demarcating who is and isnot an insider, and allows the group to come to terms with their shared ‘canonical’ text(s).
    • morganaletarg
      morganaletarg on 24 Jun 14
       
      e.g. "my feels"
  • ...11 more annotations...
  • Often fans are recognized within the American cultural  zeitgeist  in just this way: fanatical, out of control, frantic and frenzied. In point of fact, fangroups are frequently ‘Othered’ by the dominant culture at large as being significantly differentfrom the mainstream norm.
    • morganaletarg
      morganaletarg on 24 Jun 14
       
      perhaps this may be WHY THEY'RE ON THE INTERNET HMMM
  • we can say that fans are a group that consumes a text (or texts) enmasse , that in turn uses that consumption as a basis for creating something new that is tailored totheir specific concerns. In short, a fandom can be defined by its consumption of a text and itssubsequent cultural productions of and about that text.
  • we must turn our attention to the productions of the insider community. That is to say we must recognize that the urtext  , if it can be so described, does notmeet the needs of the group, so new material is produced by the community to fill the void.
    • morganaletarg
      morganaletarg on 24 Jun 14
       
      ~*FANFICTION*~
  • “fans of a popular television series[and/or film] may sample dialogue, summarize episodes, debate subtexts, create original fanfiction, record their own soundtracks, make their own movies – and distribute all of thisworldwide via the internet”
  • In creating new artifacts for the group, thus theoretically fillingthe needs of the cyber-fandom as a whole, the group is further able to fashion both an ideologicaland consumable concept of Browncoat-ness and further contribute to the re-visioning and re-drawing of their community.
  • At a very base level these available narrative strains that existwithin the community function as a group rhetoric that ultimately reflects the fictional“Browncoats” of the program’s universe.
    • morganaletarg
      morganaletarg on 24 Jun 14
       
      are people fans of people like themselves, or do people make their fans want to be more like them?
  • Each party in a struggle over hegemonic power exercises their leverage from time to time, creating an almost ever present struggle in fancommunities between themselves and the producers of their canon.
  • Fans attack and criticize media producers whom they feel threaten their meta-textual interests, but producers also respond to these challenges, protecting their  privilege by defusing and marginalizing fan activism. As fans negotiate positionsof production and consumption, antagonistic corporate discourse toils to managethat discursive power, disciplining productive fandom so it can continue to becultivated as a consumer base.
  • There is a delicate balance between fans and media producers suggested by Johnson. Fansnegotiate their power in virtual spaces, both consuming and producing texts, yet corporate mediaentities struggle to both restrict fan activity, thus allowing them further opportunity to exploitthem capitalistically, while concurrently attempting to cultivate fan production to a degree so asnot to alienate the consumer base all together.
  • Building a complex, onlinecommunity constructed of both a social imaginary and an empirical reality allows the group tonot only form a space wherein they can participate but where they can assert their control over culturally significant texts.
  • n moving to online spaces fandoms remain able to function as traditional communitieswould be expected to. But the mediated interface and its ability to allow communities tocongregate in greater numbers regardless of spatial or temporal limitations, also permits cyber-fandoms to amplify their voice, giving them greater power in space as Foucault would have it.Exercising their power from self-created points in a virtual space allow the community greater    Wiatrowski control over both the texts upon which they’ve created a group and over their imagined sense of the community. In the end, the move to online spaces allows the group to exist both as it oncehad and in ways that are new and more powerful than they had perhaps previously imagined.
morganaletarg

Everyday Fandom: Fan Clubs, Blogging, and the Quotidian Rhythms of the Internet | Thebe... - 1 views

cjc-online.ca/...1810

shared by morganaletarg on 24 Jun 14 - No Cached
  • fan clubs become more than simple, isolated groups of individuals with a particularly strong attachment to an individual celebrity or media text. Indeed, fan clubs as a medium serve specific, though different, functions for both fans and the music industry: they act as a conduit through which the fans' desire for contact with the artist is channelled, at the same time as they serve as a means for the promotion of tours and commercial releases. They can be used both to create a sense of identity and belonging and as a means of direct marketing.
    • morganaletarg
      morganaletarg on 24 Jun 14
       
      "desire for contact" particularly stirring word choice
  • popular culture is, by definition, "of the people," and it works against commodification (1989). In the present context, however, the fan clubs appear to operate in a more complex modality, with fan interests and industry interests feeding off of and reinforcing each other, rather than acting in opposition
    • morganaletarg
      morganaletarg on 24 Jun 14
       
      lol, not in my neck of the woods
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