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

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There are many ways for fans in general and slash fans in particular to live out their fandoms; what for one is fandom is not necessarily so for the other. Some fans write fanfiction, some correct and edit others’ fanfiction; some fans roleplay on a one-on-one chat basis, in a multiple-character chat or on an online journal that allows for comments to each entry (such as LiveJournal or GreatestJournal). Some fans will write essays on slash or specific media (this book or that TV-show) that they are fans of; others will indulge predominately in highly analytical discussions of either text, sub-text or fandom in general (so called “meta”). Some fans will go to conventions; others may never step beyond the online locations. Some fans are active, if “active” means something such as “giving external signals of their existence,” others are passive, they are online “lurkers” who do not involve themselves in online discussions, do not make online connections nor form friendships, or do simply nothing but consume others’ fanfiction or fanart. Often a distinction between “fan” and “consumer” will be made by stating that a fan will consume actively and productively. In other words, a consumer experiences passively, whereas a fan will have either an actively external reaction (writing, art) and/or an internal (reflection, daydreaming). It is difficult to draw a line between “fan” and “consumer,” as their definitions are anything but rigid categorizations, and there is no way to prove that a “consumer” is simply just that on a general basis: the only way one could realize this, as their fannish activity may have no external action 48
accompanying it online, would be to talk with each individual to determine whether they simply consume the media in question or are a fan of it. An interesting question that accompanies the work with online fandom is that of the “lurker”: as they rarely give an external signal of their activities, they are often excluded from fandom studies, similarly to the way a consumer is considered something completely different from a fan. Unless one has acquaintance with lurkers offline, one cannot possibly account for her/his fannish activities or fannish connections with others. Another complication is given by the fact that, similarly to the fact that a person can be a fan of one thing and a consumer of another, one may lurk in some locations, but be quite active in others. And of course a complete lurker online, may be quite an active fan offline (which does not in any way discount their online fan-life – it is equal to their offline fan-life, if maybe not as dialectic). Fandom is wanting to know more about a story, a character, a situation, whatever. It's something that pulls you in and intrigues you and causes your imagination to fire more than usual. Depending on how that imagination comes out, it may or may not require a community. Ka is neither a slash nor a yaoi fan, but she has been a fan of Japanese- and Western-based media from an early age on. As can be glimpsed from her definition of fandom above, she is a fan who enjoys the subtleties, facts and details of the source text. However, Ka’s fandom is centered around the source text to such a degree, that she will not break out of the boundaries of the specific universe given in a show. In other words, she does not move out 49
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 and 42: linked, text with the connections o
Page 43 and 44: consumers: Consumers only passively
Page 45 and 46: fandoms, and an active member in ot
Page 47: proud of her ability to slash every
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
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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
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than the real-life connections to o
Page 137 and 138:
“not much of a fan” is greatly
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egarding this topic) friends. Howev
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advanced the point that a fan lurki
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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
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e used toward understanding multipl
Page 153 and 154:
V. Appendices A. Appendix A: Fandom
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SG-1 Tokyo Babylon Weiss Kreuz Wolf
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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
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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
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ose OT OT OT3 otaku The filk equiva
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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
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them all, let alone finish them! Na
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al Couple Unnamed Faction Unusual S
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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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