scholarly journals Female-centered fan fiction as homoaffection in fan communities

2017 ◽  
Vol 24 ◽  
Author(s):  
Ria Narai
Keyword(s):  
Star Trek ◽  
Fan Studies ◽  
Close Reading ◽  
Fan Fiction ◽  
Female Characters ◽  
Television Series ◽  
Male Characters ◽  
Fan Communities ◽  
The World ◽  
The Way

In the scholarship of fan studies, a lot has been said about why female fan communities enjoy writing about male characters and relationships in fan fiction. In contrast, there has been a dearth of research into female fan communities that are centered around female characters and their relationships with each other. Here I examine the heretofore unnamed female-centered fan fiction genre of homoaffection fic through a close reading of examples chosen from the Star Trek fandom. I show how this fan fictional genre reworks the masculine narratives of the television series and movies in order to define female experience and demonstrate the way in which this in turn creates female communities in both the world of the fic and our own world.

scholarly journals Fan fiction as feminist citation: Lesbian (para)textuality in chainofclovers's "Done with the Compass, Done with the Chart" (2017)

2019 ◽  
Vol 30 ◽  
Author(s):  
Alice Margaret Kelly
Keyword(s):  
Critical Discourse ◽  
Fan Studies ◽  
Close Reading ◽  
Fan Fiction ◽  
Female Characters ◽  
Female Desire ◽  
Compulsory Heterosexuality

A close reading of an exemplar femslash fan fic, chainofclover's "Done with the Compass, Done with the Chart" (2017), demonstrates that the language of desire it narrates for canonically heterosexual female characters is anchored by a lesbian (para)textuality. Chainofclovers takes a line from Emily Dickinson’s poem "Wild nights—Wild nights!" for the title of her fan fic for the Grace and Frankie (2015–) TV series. The author enters literary critical discourse and demonstrates feminist models of citation. The use of Dickinson, paired with similar references to the Mojave lesbian poet Natalie Diaz in the chapter epigraphs, provides a new map for the characters to follow, allowing them to travel beyond the canonical confines of compulsory heterosexuality. Just as the canonical characters Grace and Frankie refuse the requirement to cite the men in their lives, instead choosing to cite each other, chainofclovers cites lesbian poetry to imagine a narrative of female desire that is not defined by men. The story thus reflects the feminist citational model that both fan fiction and fan studies can enact, challenging traditional networks of property and ownership by producing a work founded on sustenance and gratitude.

scholarly journals When the Author Owns the World

2014 ◽  
Vol 1 (4) ◽  
pp. 959-978
Author(s):  
Steven D. Jamar ◽  
Christen B’anca Glenn
Keyword(s):  
Pop Culture ◽  
Fan Fiction ◽  
Television Series ◽  
The World ◽  
Original Works

Fan fiction is amateur writing that imaginatively reinvents a work in pop culture while maintaining the identifiable aspects of the preexisting work. Fans of various books, films, and television series write their own versions of the stories and post them online in fan fiction communities. Fan fiction as practiced today is a way for fans to creatively express themselves and become integrated into the story and world they love. The stories range from highly derivative works, where relatively few plot points are changed, to entirely new plot lines using the same world and characters of the original, underlying work. Some provide backstories about existing characters, and some are more in the nature of sequels. Some are quite original works more in the nature of “inspired by” than “derived from.”

scholarly journals The ex-fan's place in fan studies

2018 ◽  
Vol 28 ◽  
Author(s):  
Bridget Kies
Keyword(s):  
Fan Studies ◽  
Television Series ◽  
Fan Communities

In an examination of how fans end their relationships with the objects of their fandom and related fan communities, I use my own experiences with the television series Supernatural (WB/CW, 2005–) to demonstrate how breaking up with a fandom is emotionally and technologically complicated. Becoming an ex-fan is different from antifandom and is worthy of greater investigation in fan studies.

“Indeed, the King has a Cunt! What a Wonder!”: Sex, Eroticism and Language in One Thousand and One Nights

2019 ◽  
Author(s):  
Md Abu Shahid Abdullah ◽  
Keyword(s):  
Arabic Literature ◽  
Female Characters ◽  
Male Characters ◽  
Patriarchal Society ◽  
The World ◽  
Female Bodies ◽  
Sexual Promiscuity

One Thousand and One Nights, which can be traced back to as early as the 9th century, is probably the greatest introduction to Arabic culture through literature. This colossal and diverse book has drawn the attention of scholars, researchers and students to classic Arabic literature as well as influenced many prominent authors and filmmakers. It is not just a book of careless and unconnected stories but rather a piece of esteemed literature which has been read and analysed in many countries all over the world. However, it is also true that this book has been criticised for its sexual promiscuity and degraded portrayal of women. The aim of the presentation is to prove that underneath the clumsy and seemingly funny structures of One Thousand and One Nights, there is a description of overflowing sexuality. Through the sexualised or erotic description of female bodies, the book gives agency to women but at the same time depicts them derogatively, and thus fulfils the naked desire of the then patriarchal society. The presentation will highlight how sexual promiscuity or fathomless female sexual craving is portrayed through figurative and grammatical language, which objectifies the female characters but at the same time enables them to be playful with the male characters, and thus motivates them to become more powerful than the males. Finally. the presentation will focus on language or narrative as an act of survival from the perspectives of the female characters, which is most evident in the case of Scheherazade who saved not only her life but also lives of countless maidens by her mesmerizing storytelling talent.

scholarly journals It's not all about the music: Online fan communities and collecting Hard Rock Café pins

2013 ◽  
Vol 16 ◽  
Author(s):  
Lincoln Geraghty
Keyword(s):  
Cultural Capital ◽  
Rock Music ◽  
Hard Rock ◽  
Physical Space ◽  
Virtual Space ◽  
Fan Studies ◽  
Fan Culture ◽  
Diverse Range ◽  
Fan Communities ◽  
The World

Previous studies of music fan culture have largely centered on the diverse range of subcultures devoted to particular genres, groups, and stars. Where studies have moved beyond the actual music and examined the fashion, concerts, and collecting ephemera such as vinyl records and posters, they have tended to remain closely allied to notions of subcultural distinction, emphasizing hierarchies of taste. This paper shifts the focus in music fan studies beyond the appreciation of the music and discusses the popular fan practice of collecting souvenir pins produced and sold by the Hard Rock Café (HRC) within a framework of fan tourism. Traveling to and collecting unique pins from locations across the globe creates a fan dialogue that centers on tourism and the collecting practices associated with souvenir consumption. Collectors engage in practices such as blogging, travel writing, and administration that become important indicators of their particular expression of fandom: pin collecting. Membership requires both time and money; recording visits around the world and collecting unique pins from every café builds fans' cultural capital. This indicates an internationalization of popular fandom, with the Internet acting as a connective virtual space between local and national, personal and public physical space. The study of HRC pin collecting and its fan community suggests that HRC enthusiasts are not so because they enjoy rock music or follow any particular artist but due to the physical ephemera that they collect and the places and spaces they visit.

scholarly journals Life According to Popular Children's Films

2021 ◽  
Vol 8 (6) ◽  
pp. 10-21
Author(s):  
Sara Hare ◽  
Mariah Benham
Keyword(s):  
Family Relationship ◽  
Self Esteem ◽  
Female Characters ◽  
Children's Media ◽  
American Theater ◽  
Male Characters ◽  
Animated Films ◽  
The World ◽  
The Impact ◽  
Children's Films

This content analysis uses data gathered from the 150 top-grossing children’s animated films from 1990 to 2020 (based on North American theater sales) to examine the gender disparities and stereotypes in children’s media. The study shows that female characters are underrepresented in lead roles (14%), main gangs (28.1%), and speaking roles (27.2%). The central female characters are portrayed stereotypically. When female characters appear, they are more likely to be portrayed in a romantic and family relationship than male characters. However, films with a greater percentage of women writers are correlated with more speaking roles for female characters. The impact of media on children’s development is indisputable due to the way technology has become ingrained in day-to-day life. The lack of representation of female characters reinforces the stereotypical portrayals that negatively affect the self-esteem of girls and train boys to expect an androcentric world. The skewed and stereotypical portrayal of female characters fails to accurately represent the diversity of other parts of the world. While many of these films are produced in the West, they are widely distributed and consumed all over the world.

Evolution of men and women images in the character system in science fiction works of the Strugatsky brothers

Neophilology ◽  
2020 ◽  
pp. 557-565
Author(s):  
Ilya V. Kozlov
Keyword(s):  
Science Fiction ◽  
Internal Conflict ◽  
Female Characters ◽  
Men And Women ◽  
Male Characters ◽  
Character System ◽  
The World ◽  
Feminist Theories ◽  
Traditional Roles ◽  
Over Time

The science fiction works of the Strugatsky brothers are considered as a common artistic world undergoing a certain evolution over time. One indicator of this change is the correlation of male and female characters in character systems of works. A similar change is traced (starting from the early works – “The Way to Amalthea”, “From Beyond” – to the later ones – “Beetle in the Anthill”, “Snail on the Slope”). At first, it can be seen in the quantitative transformation (the appearance of female images in character systems), and then in the influence they have on the plot, narration (including the “author's”digressions), in general – on the image of the world in the works of the Strugatsky. At the same time, an attempt is made to distract from the correlation of the Strugatskys’ work with political and feminist theories, the conclusions are formulated on the basis of an analytical consideration of the artistic form of literary works themselves. Heroines appear in their traditional roles. But then they from “helpers” become opponents in the character system, acquiring traits hostile to male characters. Such a change, in turn, affects the plots of the works, transforming the adventurous plot (now not just a plot-study, but conquest and transformation) and deepening the internal conflict of the Strugatsky brothers’ artistic world.

scholarly journals Affirmational canons and transformative literature: Notes on teaching with fandom

2021 ◽  
Vol 35 ◽  
Author(s):  
Linda Zygutis
Keyword(s):  
Popular Culture ◽  
Fan Studies ◽  
Close Reading ◽  
Critical Approach ◽  
Fan Practices ◽  
Mainstream Culture ◽  
Authorial Voice ◽  
The Way

Instructors who use fan studies in the classroom are likely to make use of transformative works and theories. The remix classroom offers a way to read against popular interpretations of mainstream texts. In the process, teaching with fandom—not to mention fandom itself—is often presented specifically as a salve to prescriptive readings of texts. Yet fan practices are often imagined by mainstream culture as being uniquely affirmational—a particularly enthusiastic form of close reading that emphasizes and rewards deference to an authorial voice. In this sense, the way media and popular culture understand fandom is as an extension of how students are often taught to read texts: via a formalistic, New Critical approach that centers authoritative criticism. Students who interact with fan texts but do not see themselves as fans feel this way, just as students often fail to recognize themselves as critical readers because expertise has been made into a form of gatekeeping.

scholarly journals The mediation of fandom in Karin Giphart's Maak me blij

2012 ◽  
Vol 11 ◽  
Author(s):  
Nicolle Lamerichs
Keyword(s):  
Science Fiction ◽  
Terminally Ill ◽  
Star Trek ◽  
Original Fiction ◽  
Fan Fiction ◽  
The Novel ◽  
Personal View ◽  
Fan Communities ◽  
Different Types

The plot of the Dutch novel Maak me blij (Make me happy) (2005) by Karin Giphart draws from the culture of online fan communities. It describes the life of a lesbian in her late 20s, Ziggy, who has a terminally ill mother. Ziggy is an active fan who writes and reads femmeslash fan fiction—that is, lesbian interpretations of characters from mainstream series such as Star Trek: Voyager (1995–2001). By providing through Ziggy a personal view of fan communities and the genres that flourish there, Maak me blij connects the romantic motives of original lesbian fiction with its underground sister, fan fiction. The novel draws from various source texts and illustrates how fans interpret texts within a wider literary landscape. I use the concept of intermediality to analyze how Maak me blij mediates different types of original fiction (lesbian romances, science fiction) and fan fiction (femmeslash, Star Trek fan fiction) to establish new views on fandom and its construction of gender and intimacy. These motives are not only apparent within the text itself but also within the character of Ziggy as a fan writer with her own original alien characters.

scholarly journals "Between two worlds become much like each other": Liminal spaces in the poetry of David Jones and T.S. Eliot

2021 ◽  
Author(s):  
◽  
Cara Cordelia Chimirri
Keyword(s):  
Close Reading ◽  
New Approach ◽  
The Waste Land ◽  
Four Quartets ◽  
Liminal Spaces ◽  
Waste Land ◽  
Michel De Certeau ◽  
The World ◽  
In Parenthesis ◽  
The Way

<p>T. S Eliot remains a literary giant close to fifty years after his death while David Jones, in contrast, is undeniably a marginal figure in the world of poetry but one who is slowly gaining a larger profile. Jones has from the very beginning been aligned with Eliot by virtue of Eliot’s own comments and by a succession of critics who cast him as Eliot’s disciple. The time has come, however, for the side notes to Eliot, which have become almost a convention of Jonesian criticism, to be expanded into a detailed comparative study between his and Eliot’s work. Eliot scholars appear to show no interest in pursuing comparisons to Jones, as he is hardly mentioned, even in passing, in discussions of Eliot’s work. This too, is something that deserves to be reassessed. Undertaking a new approach to Jones-Eliot comparisons develops Jones criticism and opens up a new branch of Eliot studies. This thesis repositions Jones and Eliot from the way they have, thus far, been critically related to one another by focusing on liminal space in both poets’ major texts: The Anathemata, In Parenthesis, The Waste Land, and Four Quartets. This threshold space can be found in their landscapes and in the way they adapt poetic techniques, such as imagery and juxtapositions of irreconcilable opposites. The between-space of transition manifested in their texts reflects the wider environment of flux and transition Jones and Eliot experienced in the first half of the twentieth century. Using the work of a range of literary critics, historians, philosophers, and geographers, including Arnold van Gennep, Victor Turner, Michel Foucault, Edward W. Soja, Michel de Certeau, Andrew Thacker, Thomas Dilworth, David Harvey, and Stephen Kern, establishes a spatially focused model of liminality which facilitates a close reading of these spaces in Jones’s and Eliot’s work.</p>

Sign in / Sign up

Export Citation Format

Share Document