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I denna uppsats undersöks hur deltagarkulturen ser ut på gräsrotsnivå, hos de som skriver och läser fan fiction. Utifrån två fan fic-berättelser undersöks interaktionen mellan författare och läsare. Eftersom forskningen inom fan fiction och deltagarkulturer belyser möjligheten till lärande undersöks hur och om konsumenternas produktion på denna nivå främjar lärandet i skapandet av fan fiction. En intressant aspekt när det gäller deltagarkulturen är hur gränsen mellan producent och konsument blir diffus. Kan man, utifrån undersökningen utläsa om gränsen mellan dessa, producent och konsument – författare och läsare – upplöses? Frågeställningar för undersökningen är: Hur interagerar läsarna och författarna med varandra? På vilka sätt engagerar sig läsarna i berättelsen och dess utveckling? Hur förhåller de sig till författarens tolkning och hur ser de/använder de sin roll som läsare? På vilka/vilket sätt uppmanar och/eller uppmuntrar författarna kommentarer och respons från sina läsare? Hur hanterar de kommentarerna? I vilken utsträckning framträder en informell lärmiljö på communityt? Hur ser den ut och kännetecknas den av deltagarkulturen?

Summary: The aim of this thesis was to classify the intertextual relationship entered by fan fictions. A fan fiction is a modern literary form, which developed mainly in the second half of the 20th century and has been experiencing real boom since the beginning of the Internet era. Intertextuality is a basic condition for the existence of fan fictions, as these are derivatives of other texts (usually certain popular culture products). Fan fiction is created in fandom as a product of fan activity. These texts are unauthorized, they don't bring profit to their creators and can have a subversive character. Besides the basic intertextual relation to canon, fan fictions enter into a variety of other intertextual relationships. Among these are relationships to the cultural canon similar to those formed by traditional literature. Fan fiction borrows motives and plotlines from fairytales, myths, the Bible, poetry and songs, fiction and movies. On the other hand, fan fiction also enters into such intertextual relationships that are specific for this literary genre. These are so-called crossovers - mixing of several fictional worlds, and relationships to other works of fan fiction - parodies, continuing other authors' stories, replies to so-called challenges and prompts (ideas for stories).

Building on the questions of gender and sexuality proposed by the ethnographic analyses of first wave fanfiction criticism, I identify the ways in which fanfiction may function as a feminist response to the mainstream patriarchal culture of two media texts: the Star Wars films and the television series Supernatural. To frame this argument, I question the problematic associations of Henry Jenkins’s massively influential metaphor of fan writers as “poachers,” which implicitly supports Theodore Adorno and Max Horkheimer’s vision of the lack of critical engagement engendered by popular culture. In my discussion of this metaphor and the prevalent resistance/incorporation paradigm of fan/producer interaction, I expand critical and theoretical notions of dialogue and intertextuality in terms of fanfiction works, and propose a shift in terminology for my own and future examinations of fan culture.

Thesis (M.A.)--Auburn University, 2008. / Abstract. Vita. Includes bibliographical references (p. 53-54).

This essay aims to examine how fan fiction texts and the digital non-profit platform Archive of Our Own can provide queer separatist spaces for reorienting cis- and heteronormativity as well as how that is manifest in the published stories. It does so through an analysis of the platform’s design and accessibility and through a reading of two short stories from the collection QUEER CONVERSATIONS by the pen name heliosole. Results include that the platform makes space for non-normative stories by being free of use, its equality between moderators, writers, and users, its tradition of education and resistance, by making writing accessible and collaborative, using famous characters’ voices for speaking comforting truths and by challenging norms regarding sexuality and temporality.

Det huvudsakliga syftet med min uppsats var att utifrån originalverket Emma (1815) avJane Austen kunna bedöma vad två verk som inspirerats av romanen bör klassificeras som.De två verken var romanen Amanda (2006) av författaren Debra White Smith ochspelfilmen Clueless (1995) av regissören Amy Heckerling. Till min hjälp har jag lästaktuell forskning inom de två termerna adaption och fanfiction och utifrån detta gjort enjämförande analys på verken. Resultatet blev oväntat vagt, det visade sig att begreppen lågnärmre varandra än vad jag trott från början. Båda verken kan till viss del ses som enadaption på originalverket, på samma sätt som de även kan ses som fanfiction. Slutsatsenär dock att de båda verken passar bäst in under termen profic, som är en underkategoriinom fanfiction där författaren/regissören tjänar pengar på sin modifikation och intepublicerat verket i exempelvis ett obetalt nätforum som hobbyaktivitet.

Fan fiction, the most popular creative outlet for fans, allows the amateur writer an opportunity to be published and receive immediate feedback from peers. As educators, we can learn from the fan communities as they participate in online activities, especially fan fiction. Students are more likely to embrace entertaining and creative assignments. And since much of the world is linked to the Internet in one way or another, we can allow students an opportunity to not only improve their writing skills, but also enhance their knowledge of the Internet and its capabilities. My study included online interviews with fan fiction writers and readers as well as the examination of fan fiction texts and websites. By exploring this relatively unknown genre of writing and reading, I believe teachers of composition can use fan fiction to their advantage by encouraging students to write creatively using subject matter that interests them in some way.

Lucie Cupalová - Master's Thesis The Slash Factor: Characteristics and Varieties of Slash Fan Fiction Abstract The aim of the thesis is to discuss specific characteristics of slash fan fiction, both as a subgenre of fan fiction and as a literary and social phenomenon. These characteristics are summarised as the "slash factor" of "slash texts". The beginning of the theoretical part focuses on the history and development of (slash) fan fiction, its various definitions and its role as a specific genre in literature. It summarises the basic premises and principles of fan fiction and explains them on slash fan fiction in particular. Sedgwick's homosocial - homosexual continuum in society is discussed, as well as its understanding and application on same-sex interactions, and several reasons for the reading and writing of slash fan fiction and its appeal are suggested. The main part of the thesis analyses actual slash fan fiction in three different fandoms: Harry Potter, Sherlock (Holmes), and Nightrunners. Each of them offers a different set of characters and slash tropes. Similarities and differences are sought in the stories written in different fandoms. Moreover, the Nightrunner series is analysed as an example of professionally published "slash text" which already features a gay couple as the main...

Orientador: Luciane de Paula / Banca: Luciane de Paula / Banca: Maria da Penha Casado Alves / Banca: Sandra Eli Sartoreto de Oliveira Martins / Resumo: Partindo da premissa de que os jovens se tornam cada vez mais virtuais e cada vez mais leem e escrevem no ciberespaço, essa dissertação pensa a respeito de práticas que busquem colaborar para que o ensino não fique alheio à diversidade de linguagens e culturas do mundo tecnológico, e que se direcione para pensar os gêneros como práticas sociais dentro desse universo jovem e digital. Aliado a isso, acreditamos que uma proposta de ensino alicerçada na dialogia precisa, necessariamente, considerar as vozes dos alunos, já que são sujeitos e se constituem de identidades e preferências. Para isso, nossa proposta se centra no gênero discursivo fanfiction (escrita de fã), construída a partir de uma série televisiva escolhida pelos alunos. Ao inserir o gênero como proposta de trabalho com a escrita, no 9º ano de uma escola municipal de Praia Grande, intencionamos colaborar para que os alunos desenvolvam habilidades linguísticas e discursivas e que desenvolvam, como consequência, uma postura crítica e analítica diante dessa diversidade de textos que a internet oferece. Além disso, é nosso objetivo refletir sobre a construção do gênero no ciberespaço - tomado como fenômeno cultural massivo transmidiático ao considerar sua produção e recepção - bem como o envolvimento dos jovens nesse novo cenário da literatura e produção textual. A partir da produção das fanfictions, também analisamos de que maneira os discursos dos alunos foram arquitetados em seus enunciados, no que se refere ao conte... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Starting from the premise that young people become more and more virtual and increasingly read and write in cyberspace, this dissertation thinks about practices that seek to collaborate so that teaching is not alien to the diversity of languages and cultures of the technological world, and that is directed to think the genres as social practices within this young and digital universe. Allied to this, we believe that a proposal of education based on the dialogism needs, necessarily, to consider the voices of the students, since they are subjects and are constituted of identities and preferences. For this, our proposal focuses on the discursive genre fanfiction (fan writing), constructed from a television series chosen by the students. When inserting the genre as a work proposal with writing, in the 9th grade of a municipal school in Praia Grande, we intend to collaborate so that the students develop linguistic and discursive skills and that, as a consequence, develop a critical and analytical posture in face of this diversity of texts that the Internet offers. In addition, it is our goal to reflect on the construction of the genre in cyberspace - taken as a massive transmissive cultural phenomenon when considering its production and reception - as well as the involvement of young people in this new scenario of literature and textual production. From the production of fanfictions, we also analyze how the students' discourses were architected in their statements, in terms of thematic content, compositional form or style. We base our analysis on the studies of Bakhtin's circle, from the dialectical-dialogical perspective of discourse analysis, in comparison and alterity, chronotope and exotopia. We discuss the conceptions of dialogue, ideology, subject, social voice and discursive genres, not only to think about Portuguese public teaching... (Complete abstract click electronic access below) / Mestre