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

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holding it at a distance, it’s about being awash in it, being affected by it, that’s when that classical music consumption is connected to fandom in a very real way. Fandom is not about Bourdieu’s notion of holding art at a distance, it’s not that high art discourse at all; it’s about having control and mastery over art by pulling it close and integrating it into your sense of self. (Hills 2001) Though there are many similar instances that could be cited, demonstrating fannish notions outside of a fandom context, it is certainly not the purpose of this thesis to argue for a fan-mode of identity in each individual. The fact that some individuals identify as fans, and others do not, is important in and of itself. The risk of forgetting that these selfidentifications and identifications by defining the “other,” imagined as they may be, are lived realities is indeed too dangerous. It is often easy to forget that the texts we have written are but interpretations of fragments of reality, and that the frameworks we use are simple theoretical boxes, utilized to help both our audience and us understand that which is “different.” The purpose of this thesis was multi-leveled; what began as the translation of a fannish identity unfolded into multiple dimensions of space, time, individuality and community, as well as online and offline dimensions, and into the explorations of these dimensions through observing the individual fan. Striving to achieve a personal goal of complexity, I have attempted to discuss all of the dimensions involved in a fan-mode of behaviour, as well as demonstrate my own process of research. In this sense, my hope that this text could be, in return, equally utilized toward multiple purposes prevails. If it can 150
e used toward understanding multiple aspects, such as online locality, general fandom activities, or notions of identity formation, it will have fulfilled its purpose. However, its relevancy to me is dependant on the simple strife toward understanding online fans as not only online fans, but to see their fan-mode of identity as simply that: one mode of identity. It is in contrast and in the interactions with other modes of identity that one can truly appreciate what it means to be a fan, and consequently what it means to the self to understand “fan” as a mode of identity. As Jean-Paul Sartre lectured to a Parisian audience in 1945: To obtain some kind of truth for myself, I must pass by the other. The other is indispensable to my existence, as well as to the knowledge I have of myself […] Thus, we discover immediately a world, which we call intersubjectivity, and it is in this realm that a human decides what she/he is, and what the others are. Moreover, if it is impossible to find in every human a universal essence of human nature, there still exists a universality of the human condition. It is not by chance that the thinkers of today talk more readily about a human’s condition rather than about her/his nature. By ‘condition’ they understand, with more or less clarity, the assembly of those limits a priori which outline her/his fundamental situation in the universe. The historical situations vary […] What does not vary, is the necessity for her/him to be in this world, to be at work here, to be in the middle of others, and to be mortal here. 18 (Sartre 67) Thus, within online fandom, one must not only perceive duplicates of fans, but also mothers, daughters, workers, teachers etc. It is only by humanizing fandom’s context, and by attempting to understand the people, in all their 18 Translated by author of this thesis. 151
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Girls who like Boys who like Boys -
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Table of Contents I. Introduction..
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more stories, and sharing funny tid
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yet understandable enough, to intro
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justifiable, and believable. 1 It i
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well as the act of worship (activel
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This leads Maygra 2 , a prominent f
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the fandoms are well-known. Slash-
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equality and beyond social stereoty
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uses his authorial position to loos
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fandoms, and are 2) people outside
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that writing in and for Anthropolog
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in ethnographic narrative, which ha
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very analytically thereafter. Jenki
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web. In a way the nature of convers
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affected not simply by the object o
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This is emphasized by how they view
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participation: In order to limit se
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order to find an earlier post, one
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academic audience might find such a
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linked, text with the connections o
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consumers: Consumers only passively
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fandoms, and an active member in ot
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proud of her ability to slash every
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accompanying it online, would be to
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Harry Potter fandom, since I find t
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We were talking recently about our
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they had no sense and the plotlines
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the 5 th Harry Potter book. In any
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discussed in the following sections
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These OOC chats in Yuri’s game ar
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nor as an act for the game specific
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discussion of both themes in the ne
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of HP fandom, two significantly. Fi
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will be portrayed as OOC, and a sto
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enough, let's go!” Canon is, with
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use several different ideas of plag
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keeps very busy. Once back at home
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make it have a plot, but it didn’
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just acknowledge that the character
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Though many would answer that “mo
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For both of these fandoms Eiko freq
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and even fewer fans will publish wh
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authors she likes, and then utilize
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who does not participate with other
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of identity as fan, much as an acad
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aggression (and, depending on the d
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found friends through her activitie
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formation. In the same sense that t
Page 99 and 100: meaning, no climax.” What is inte
Page 101 and 102: It’s not something that’s immed
Page 103 and 104: nonetheless. However generally, she
Page 105 and 106: mood” when she will want to read
Page 107 and 108: characters, I was afraid that once
Page 109 and 110: other groups “censoring” or “
Page 111 and 112: III. Exploration A. Psychology and
Page 113 and 114: emotionally speaking, I wavered bet
Page 115 and 116: it at all, but simply as a regular
Page 117 and 118: SY: Like a self-insertion? Red: No
Page 119 and 120: “eeeeuw!” But that was before I
Page 121 and 122: have that initial reaction to slash
Page 123 and 124: which Barb has remarked on in the p
Page 125 and 126: slash fanfic did for Red and me, it
Page 127 and 128: historical members of the shinsengu
Page 129 and 130: Rusty to cease, as these dialogues
Page 131 and 132: connections with others will only s
Page 133 and 134: period as well as engaged in constr
Page 135 and 136: than the real-life connections to o
Page 137 and 138: “not much of a fan” is greatly
Page 139 and 140: egarding this topic) friends. Howev
Page 141 and 142: advanced the point that a fan lurki
Page 143 and 144: and pairings in our shared fandoms
Page 145 and 146: “Internet fandom” is what essen
Page 147 and 148: C. Mindset How can I map out this m
Page 149: IV. Interplay of modes - or conclus
Page 153 and 154: V. Appendices A. Appendix A: Fandom
Page 155 and 156: SG-1 Tokyo Babylon Weiss Kreuz Wolf
Page 157 and 158: ANC angst angstfic anime anime musi
Page 159 and 160: difference between good and bad fic
Page 161 and 162: C&C canon casual fan, casual CBFFAs
Page 163 and 164: criticism constructive feedback con
Page 165 and 166: drabble are based on pre-existing s
Page 167 and 168: activities. Science fiction fandom
Page 169 and 170: or to the actual act of turning a m
Page 171 and 172: GWLBWLB H sugar and spice. We are n
Page 173 and 174: LEO, L.E.O. lemon lemonade lime lis
Page 175 and 176: meta-MST MEverse MFEO, M.F.E.O. mir
Page 177 and 178: Regardless, if a fan calls you a mu
Page 179 and 180: ose OT OT OT3 otaku The filk equiva
Page 181 and 182: Continuum PWP RACC RACMX Ratboy rat
Page 183 and 184: SCA, SCAs schmoop self-infliction s
Page 185 and 186: "degeneration" of smarm into near-s
Page 187 and 188: them all, let alone finish them! Na
Page 189 and 190: al Couple Unnamed Faction Unusual S
Page 191 and 192: VI. Bibliography Works Consulted Pr
Page 193 and 194: 1997 “Culture in the Plural”. M
Page 195: I give permission for public access
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