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

informants may experience actively, or are burdened with subconsciously by
society.
Quite by contrast, Henry Jenkins actively becomes a fan, and is
writing for an academic approval of the value of fandom. His theories are very
fan-oriented: A development in this direction is very clear, when his earlier
work Textual Poachers (1992) is compared to a later text co-written with
Cynthia Jenkins and Shoshanna Green, “Normal Female Interest in Men
Bonking” (Green et al 1998): While he already attempts to give the fans more
voice in the former, Jenkins’ writings are very much bound to an academic
theoretical framework; he is already following a very specific agenda of
justifying fandom to the academic community by over-emphasizing the
creativity and productivity of fans, and of distinguishing “active” fans from
“passive” mass audience. In a passage cited further on in section II.A., Jenkins
emphasizes that there is no line between artists and consumers in fandom, and
that fandom, in fact, provides its members with such encouragement that they
may discover skills they had not noted before. He goes on to say: “Fandom
does not prove that all audiences are active; it does, however, prove that not
all audiences are passive” (Jenkins 1992:287).
In “Normal Female Interest” Jenkins identifies himself as a slash fan,
who does not wish to force his fellow-fans (and thus part of his life) into a
restrictive framework, and uses long unedited statements of slash-fans to
convey reasons for the ever-monumental “why slash?” In doing so, he simply
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