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

Recommendations

Info

II. Fandom and Fans A. Introduction In order to attempt a translation or ethnography of what it means to be a slash fan, it is crucial, as has been stated previously, to understand that slash fans are, essentially, fans. It is necessary then to return to the concepts of “fandom” and “fan.” In the following sections, I will discuss fandom in general and slash/yaoi fandoms in particular. Fans are people who attend to a text more closely than other types of audience members. Texts provide a focal point through which fans can identify to which community they belong. They might even adopt ideas, beliefs, and values (or ideology depending on how you look at it) that they feel the text valorizes. [...] Some fans choose to congregate and share their interests either by talking, writing, painting, or singing about them. Others are "lurkers," either unable or unwilling to actively participate in a community of fans. Some are fans of a star, some are fans of a fictive universe, some are both simultaneously; the type of affiliation depends on the text in question. This instability stems from the fan in question. (MacDonald 136) In Uncertain Utopia Andrea MacDonald discusses fandom through computer-mediated communication by focusing specifically on a fan USENET newsgroup for the TV-show Quantum Leap (1998). The passage cited above, gives MacDonald’s definition of a “fan.” The process of defining “fan” by juxtaposing it to other types of audience members is very popular in theoretical works as well as often used by fans. A good friend, Kira, mentioned that she had heard of a fandom theory which identified fans versus 42
consumers: Consumers only passively read/watch/passively partake of a series, whereas fans are productive. Productivity in this case is any activity in a spectrum of multiple possibilities: writing analyses/fanfiction or simply fantasizing about the characters. Kira liked this theory as it spoke to her in the way she personally defines the difference of what she is a fan of versus what she simply reads or enjoys. Giving a specific example, she mentioned that she “might watch X-Files whenever its on, but that's about it,” whereas on the other hand Kira has produced quite distinctive fanfiction for various manga (Japanese comic) fandoms, as well as essays. These theories of fandom and production may very well stem indirectly from the various fandom studies texts written by Henry Jenkins. Following De Certeau’s motif of a poached, nomadic culture, Jenkins underlines the level of productivity within fandom, perhaps, as mentioned, in order to emphasize positive aspects of fandom to his (unconvinced) academic audience. In Textual Poachers, he argues that: Fandom recognizes no clear-cut line between artists and consumers; all fans are potential writers whose talents need to be discovered, nurtured, and promoted and who may be able to make a contribution, however modest, to the cultural wealth of the larger community. In researching this book, I spoke to women who had discovered skills and abilities that they had not recognized before entering fandom; they received there the encouragement they had found lacking from their interactions with other institutions. (Jenkins 1992:280) Ultimately, he concludes for his academic audience that fandom does not prove that all media audiences are active, but does prove that that not all 43
Page 1 and 2: Girls who like Boys who like Boys -
Page 3 and 4: Table of Contents I. Introduction..
Page 5 and 6: more stories, and sharing funny tid
Page 7 and 8: yet understandable enough, to intro
Page 9 and 10: justifiable, and believable. 1 It i
Page 11 and 12: well as the act of worship (activel
Page 13 and 14: This leads Maygra 2 , a prominent f
Page 15 and 16: the fandoms are well-known. Slash-
Page 17 and 18: equality and beyond social stereoty
Page 19 and 20: uses his authorial position to loos
Page 21 and 22: fandoms, and are 2) people outside
Page 23 and 24: that writing in and for Anthropolog
Page 25 and 26: in ethnographic narrative, which ha
Page 27 and 28: very analytically thereafter. Jenki
Page 29 and 30: web. In a way the nature of convers
Page 31 and 32: affected not simply by the object o
Page 33 and 34: This is emphasized by how they view
Page 35 and 36: participation: In order to limit se
Page 37 and 38: order to find an earlier post, one
Page 39 and 40: academic audience might find such a
Page 41: linked, text with the connections o
Page 45 and 46: fandoms, and an active member in ot
Page 47 and 48: proud of her ability to slash every
Page 49 and 50: accompanying it online, would be to
Page 51 and 52: Harry Potter fandom, since I find t
Page 53 and 54: We were talking recently about our
Page 55 and 56: they had no sense and the plotlines
Page 57 and 58: the 5 th Harry Potter book. In any
Page 59 and 60: discussed in the following sections
Page 61 and 62: These OOC chats in Yuri’s game ar
Page 63 and 64: nor as an act for the game specific
Page 65 and 66: discussion of both themes in the ne
Page 67 and 68: of HP fandom, two significantly. Fi
Page 69 and 70: will be portrayed as OOC, and a sto
Page 71 and 72: enough, let's go!” Canon is, with
Page 73 and 74: use several different ideas of plag
Page 75 and 76: keeps very busy. Once back at home
Page 77 and 78: make it have a plot, but it didn’
Page 79 and 80: just acknowledge that the character
Page 81 and 82: Though many would answer that “mo
Page 83 and 84: For both of these fandoms Eiko freq
Page 85 and 86: and even fewer fans will publish wh
Page 87 and 88: authors she likes, and then utilize
Page 89 and 90: who does not participate with other
Page 91 and 92: of identity as fan, much as an acad
Page 93 and 94:
aggression (and, depending on the d
Page 95 and 96:
found friends through her activitie
Page 97 and 98:
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 and 150:
IV. Interplay of modes - or conclus
Page 151 and 152:
e used toward understanding multipl
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
show all

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?