Girls who like Boys who like Boys – Ethnography of ... - Yuuyami.com

IV.
Interplay of modes – or conclusion
As I discussed possible conclusions to this text with Kira over the
phone, she would have had me stop here. It would be easy to expand the
previous section into a conclusion, to draw all points together and re-affirm
once again the existence of a fan-mode of identity and the process through
which this fan-mode is acquired and perpetuated. Kira would have me
generalize by demonstrating, that all fans are different and individual, but they
self-designate as fans nonetheless and thus share in a common reality and
identity. She advised me to draw the obvious conclusion that everyone in
some sense is a fan. Glancing back across this text, it seems to be an easy
conclusion to draw; after all, the very first quote in section I.B already points
us in that direction. But all such a proclamation would incite would be a
philosophical discussion, and is by no means what I have set out with. Not
only would it skew the focus of this text, but it would also distort the images I
have painted with the lens I used.
Certainly fannish behaviours and emotions are mirrored in a non-fan’s
everyday life, most specifically in terms of an affective transformation.
Arguing against Bourdieu’s notion of aesthetic distance and its direct
connection to high art, Jenkins reaffirms a very real connection between high
art and fandom, certainly not in genre or expression, but rather in emotional
affect:
[…] when you see that look of sublime pleasure on the face
of someone listening to classical music, which is not about
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