Creative Writing in English (CWE) has not been extensively researched in Brazil. There are few courses about CWE in Brazilian Languages and Literature universities, and even fewer available publications in this area as well (Myers, 2006; Morley, 2007; Blythe and Sweet, 2008; Healey, 2009; Oberholzer, 2014). According to Brazilian Educational Bases and Guideline Law, creativity should be comprehended as one of the main foundations of the Brazilian education, from the primary schooling to the tertiary level. For higher education, this law established the importance of stimulating cultural creation, creative thinking broadening, creative skills honing and cognitive capacities. Nevertheless, very few Brazilian institutions have provided their Languages and Literature undergraduate students with CWE disciplines and/or extracurricular courses focusing on the development of their students\' creative writing The University of São Paulo (USP) is one of these few institutions. For these reasons, a Fanfictional Creative Writing in English (FCW) course was designed and taught at USP by the end of 2016. This course had 5 participants who were all Languages and Literature undergraduate students from USP. The aims of the FCW course and this research were to identify the students\' concepts about creativity, fanfictions and creative writing courses. Along with these identifications, the other aims have been the investigation of the students broadening of these concepts and the development of their fanfictional creative writing. The methodology of this research involved the organization and teaching of the extracurricular Fanfictional Creative Writing in English course. In order to achieve the aims of this research, the extracurricular course was based on the Vygotskian sociocultural theory (Vygotsky, 2004; 2007). The data collected indicated that the Fanfictional Creative Writing in English students developed their creativity, self-expression, imagination (Vygotsky, 2004; 2007), conceptual thinking (Lantolf, 2015), self-regulation as well as agency (Wertsch, 1998). / A Escrita Criativa em Inglês (ECI) não tem sido extensivamente pesquisada no Brasil. Há poucos cursos sobre ECI em universidades brasileiras de Letras, e ainda menos publicações disponíveis nesta área (Myers, 2006; Morley, 2007; Blythe e Sweet, 2008; Healey, 2009; Oberholzer, 2014). De acordo com a Lei de Diretrizes e Bases Educacionais do Brasil (LDB), a criatividade deve ser compreendida como uma das habilidades fundamentais para se desenvolver a educação brasileira, do ensino fundamental ao superior. Referente ao ensino superior, a LDB estabeleceu a importância de estimular a criação cultural, a ampliação do pensamento criativo, o aprimoramento das habilidades criativas e as capacidades cognitivas. No entanto, pouquíssimas instituições brasileiras forneceram aos seus alunos de graduação disciplinas de ECI e/ou cursos extracurriculares com foco no desenvolvimento da escrita criativa de seus alunos. A Universidade de São Paulo (USP) é uma dessas poucas instituições. Por essas razões, um curso de Escrita Criativa Fanfictional em Inglês (ECFI) foi desenvolvido e ministrado na USP no final de 2016. Este curso teve 5 participantes, todos estudantes de graduação em Letras da USP. Os objetivos do curso de ECFI e, também, desta pesquisa foram identificar os conceitos desses alunos sobre criatividade, fanfictions e cursos de escrita criativa. Juntamente com essas identificações, os outros objetivos foram a investigação da ampliação desses conceitos pelos alunos de ECFI e o desenvolvimento de suas escritas criativas fanfictionais. A metodologia desta pesquisa envolveu a organização e o ensino da Escrita Criativa Fanfictional em inglês em um curso extracurricular na USP. Para alcançar os objetivos desta pesquisa, a organização deste curso foi baseada na teoria sociocultural vygotskiana (Vygotsky, 2004; 2007). Os dados coletados indicaram que os estudantes da ECFI desenvolveram a criatividade, a autoexpressão, a imaginação (Vygotsky, 2004; 2007), o pensamento conceitual (Lantolf, 2015), a autorregulação e a agência (Wertsch, 1998).

Esta dissertação trata da fanfiction ou fanfic (a príncípio, ficções escritas pelos fãs de determinado objeto cultural filme, seriado de televisão, livro, história em quadrinhos, animação, jogo), com atenção aos conflitos entre escritores de fanfiction quanto às formas de escrita nesse espaço de comunicação. Defende-se que a prática de escrita das fanfictions constitua um campo estruturado no qual seus agentes lutam por capital simbólico, segundo a noção de campo de Pierre Bourdieu. Analisam-se as forças de conservação e de mudança no universo das fanfictions, presentes em um corpus contendo textos escritos pelos fãs discussões, manifestos e fanfic. Nesses textos, os fãs debatem sobre problemas existentes em seu meio (conflito entre autores que buscam a popularidade e os que buscam qualidade, preconceitos com determinadas categorias nesse meio e com aqueles que possuem dificuldade de escrita). Também se analisa a maneira como os fãs e escritores de fanfictions se relacionam com os objetos culturais nos quais se baseiam, com o mercado de entretenimento e com a literatura. Da mesma forma como existem preconceitos entre os fãs, também existem forças que buscam um espaço democrático e livre para escritores e leitores de fanfiction, no qual é possível a escrita de fanfics com temas geralmente rejeitados pelos produtores culturais e pela sociedade, como narrativas envolvendo protagonistas femininas, relacionamentos homossexuais, sexo explícito etc. Assim, a fanfiction é também uma possibilidade para a expressão de grupos minoritários. / This dissertation focuses on fanfictions, or fanfics fictional pieces of writing from fans of a specific cultural object movies, series, books, comic strips, animations, games, etc,) with special attention to the conflicts among the ficwriters which arose from the types of writing in this environment. It is stated that the fanfiction writing practice constitutes a structured field in which its agents fight for symbolic capital, according to the concept created by Pierre Bourdieu. The forces of preservation and change in the fanfiction universe are analyzed in the context of a corpus of written texts created by fans forum discussions, manifests and fanfic. In these texts, fans debate the existing problems in the environment disagreement between authors in search of popularity and those seeking quality, prejudice against certain categories in the field and against authors with difficulties in writing. It also analyses the way fans and fanfiction writers relate with cultural objects on which they base their production, with the entertainment market and with Literature. In the same way there is a great deal of prejudice among fans, there are also forces in search of a democratic space, a free zone for fanfiction writers and readers, where it is possible to produce fanfics whose themes are generally rejected by mainstream media producers and society alike. These themes comprehend narratives with female main characters, homosexual relationships, explicit sex, etc. Therefore, the fanfiction is also an opportunity of free speech for minority groups.

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-05-30T21:32:14Z No. of bitstreams: 1 DISS_2014_Elizabeth Conceição de Almeida Alves.pdf: 4321932 bytes, checksum: a18953400ed51ee31b2d46a77655795d (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-06-02T17:50:50Z (GMT) No. of bitstreams: 1 DISS_2014_Elizabeth Conceição de Almeida Alves.pdf: 4321932 bytes, checksum: a18953400ed51ee31b2d46a77655795d (MD5) / Made available in DSpace on 2017-06-02T17:50:50Z (GMT). No. of bitstreams: 1 DISS_2014_Elizabeth Conceição de Almeida Alves.pdf: 4321932 bytes, checksum: a18953400ed51ee31b2d46a77655795d (MD5) Previous issue date: 2014-05-22 / Nós vivemos, atualmente, em um mundo virtualizado em que os meios de comunicação e as mídias digitais têm feito parte da vivência de jovens e adolescentes. Esses usuários têm utilizado a internet para jogar, participar de bate-papo em chatse para criar histórias. Considerando esse cenário, este trabalho tem como finalidade investigar como adolescentes constituem a escrita no ambiente digital participando de comunidades on-linecomo o Fanfiction. A pesquisa obteve suporte teórico nos estudos de letramento (STREET, 1984, COPE; KALANTZIS, 2000, LANKSHEAR; KNOBEL, 2005, MENEZES DE SOUSA; MONTE MÓR, 2006, SOARES, 2006, TAKAKI, 2012), novos letramentos (LANKSHEAR; KNOBEL, 2007, LOPES, 2010), e multiletramentos (ROJO, 2012, 2013). Sobre o conceito de cultura de participação (CHARTIER, 2009; JENKINS, 2009; SANTAELLA, 2007). No que tange àfanfiction (JENKINS, 2009; VARGAS, 2005).Estas questões de pesquisa que conduziram este trabalho: 1) Que sentidos os adolescentes dão em relação à escrita no contexto digital? 2) De que forma se desenrola o processo de escrever na fanfiction? A abordagem interpretativista foi a metodologia de pesquisa adotada com análise de diálogos gerados por meio de entrevistas com as participantes (BORTONI-RICARDO, 2009, FLICK, 2009). A partir dos temas recorrentes e categorias analisadas, os resultados podem sinalizar que o processo de escrita no ambiente digital se constitui de forma dinâmica, colaborativa permeada por valores afetivos e mediado pela tela. / We live currently in a virtualized world where media and digital media have been part of the experience of young people and adolescents. These users have used the internet to play games, participate in chat chats and to create stories. Considering this scenario, this paper aims to investigate how adolescents are writing in the digital environment by participating in on-line communities, such as Fanfiction. Researches are based in theoretical studies of literacy (STREET, 1984, COPE; KALANTZIS, 2000, LANKSHEAR; KNOBEL, 2005, MENEZES DE SOUSA; MONTE MÓR, 2006, SOARES, 2006, TAKAKI, 2012), new literacies (LANKSHEAR; KNOBEL, 2007, LOPES, 2010), and multiliteracies (ROJO, 2012, 2013). On the concept of participatory culture(CHARTIER, 2009; JENKINS, 2009; SANTAELLA, 2007). Regarding the fanfiction (JENKINS, 2009; VARGAS, 2005). This research questions that drove this study: 1) What meanings do teens give in relation to the writing in digital context? 2) How unfolds in the process of writing fanfiction? The interpretive approach was adopted research methodology with analysis of dialogues generated through interviews with the participants (BORTONI-RICARDO, 2009, FLICK, 2009). From the recurring themes and categories analyzed, the results could signal that the process of writing in the digital environment is composed of, collaborative dynamically permeated by affective and mediated screen values.

Esta dissertação trata da fanfiction ou fanfic (a príncípio, ficções escritas pelos fãs de determinado objeto cultural filme, seriado de televisão, livro, história em quadrinhos, animação, jogo), com atenção aos conflitos entre escritores de fanfiction quanto às formas de escrita nesse espaço de comunicação. Defende-se que a prática de escrita das fanfictions constitua um campo estruturado no qual seus agentes lutam por capital simbólico, segundo a noção de campo de Pierre Bourdieu. Analisam-se as forças de conservação e de mudança no universo das fanfictions, presentes em um corpus contendo textos escritos pelos fãs discussões, manifestos e fanfic. Nesses textos, os fãs debatem sobre problemas existentes em seu meio (conflito entre autores que buscam a popularidade e os que buscam qualidade, preconceitos com determinadas categorias nesse meio e com aqueles que possuem dificuldade de escrita). Também se analisa a maneira como os fãs e escritores de fanfictions se relacionam com os objetos culturais nos quais se baseiam, com o mercado de entretenimento e com a literatura. Da mesma forma como existem preconceitos entre os fãs, também existem forças que buscam um espaço democrático e livre para escritores e leitores de fanfiction, no qual é possível a escrita de fanfics com temas geralmente rejeitados pelos produtores culturais e pela sociedade, como narrativas envolvendo protagonistas femininas, relacionamentos homossexuais, sexo explícito etc. Assim, a fanfiction é também uma possibilidade para a expressão de grupos minoritários. / This dissertation focuses on fanfictions, or fanfics fictional pieces of writing from fans of a specific cultural object movies, series, books, comic strips, animations, games, etc,) with special attention to the conflicts among the ficwriters which arose from the types of writing in this environment. It is stated that the fanfiction writing practice constitutes a structured field in which its agents fight for symbolic capital, according to the concept created by Pierre Bourdieu. The forces of preservation and change in the fanfiction universe are analyzed in the context of a corpus of written texts created by fans forum discussions, manifests and fanfic. In these texts, fans debate the existing problems in the environment disagreement between authors in search of popularity and those seeking quality, prejudice against certain categories in the field and against authors with difficulties in writing. It also analyses the way fans and fanfiction writers relate with cultural objects on which they base their production, with the entertainment market and with Literature. In the same way there is a great deal of prejudice among fans, there are also forces in search of a democratic space, a free zone for fanfiction writers and readers, where it is possible to produce fanfics whose themes are generally rejected by mainstream media producers and society alike. These themes comprehend narratives with female main characters, homosexual relationships, explicit sex, etc. Therefore, the fanfiction is also an opportunity of free speech for minority groups.

La autora de esta publicación explica, mediante un minucioso estudio semiótico, el fenómeno fanfiction como una forma para construir versiones paralelas o alternativas de la historia original. La primera parte del libro se centra en la base teórica y contextual para comprender la interacción de los participantes que generan fanfictions. La segunda parte explica el análisis de la interacción a través de la recopilación de casos de intercambios en la plataforma fanfiction.net / The publication’s author explore, by a thorough semiotic study, the communicative phenomenon named fanfiction which is a way to build alternatives stories of the original plot. The first part of the book focusses on the theoretical and contextual basis to comprehend the participant’s interaction with fanfictions. The second part explains the analysis of the participant’s interaction through the collection of cases in the fanfiction.net web site.

Uppsatsens huvudsakliga syfte är att undersöka de erfarenhetersom medlemmar i fangemenskaper fått genom sitt deltagande i dessagrupper, med ett specifikt fokus på fanfiction. Den underliggande avsiktenär att dra lärdom av dessa upplevelser, och att utifrån dem utforma ettantal riktlinjer som biblioteken kan använda i den läsfrämjandeverksamheten. Metoden som använts är netnografi, ett etnografiskttillvägagångssätt som används på internet. Det empiriska materialet somanvänts i studien kommer från diskussioner i forum och från blogginlägg. Materialet har därefter analyserats med hjälp av kvalitativ textanalys.Resultatet visar att gemenskap, deltagande, engagemang ochfördjupning är viktiga aspekter, men även att det förekommer mångafördomar kring fangemenskaper och fanfiction

The subject of inquiry for my thesis is slash fiction, a subset of fanfiction which creates queer identity, romance, relationships, sex, or desire where it was not ostensibly present in the proto-text. I divide my thinking into a non-linear model of five nodes in order to open up multiple in-roads towards examining the queer work of slash without crystalizing into a comprehensive theory that would efface its nuance and particularities. These nodes figure under notions of failure, embodiment, archives, temporality, and hybrid body erotics. The current, motion, and energy running through all of these nodes is what I call critical queer imagination. Critical queer imagination is not an overarching theory that explains slash (or queer creative works in general), but rather a gesture towards the impulse behind queer activism as well as a signal towards queer futurity. It is ultimately this queer critical imagination that allows me to argue for slash fiction as part of a larger queer project that is necessarily engaged with queer potential and political imagination. / text

Today, literature is published in a wide variety of formats, it can be published digitally or in the more traditional paper format or as an audiobook. This thesis aims to take a closer look at fan fiction readers’ reading habits and motivations for reading, as group accustomed to using different kinds of formats for their reading. It does so by analyzing fifteen responses to an online survey using only open-ended questions. The survey was posted online on fan fiction sites and could be answered anonymously. The responses to the survey were analyzed using the four different reading motivations factors found by Nicola Schutte and John M. Malouff in a previous study. The answers to the online survey showed that most of the readers read daily and the most common format was the traditional paper book, though there were some readers who used other formats as well. The four motivations factors formulated by Schutte and Malouff were not easily found in the answers to the online survey. The result instead showed that most of the readers read to escape their daily life and to get news, information and to learn new things. / Program: Bibliotekarie

Uppsatsen syfte är att göra ett skrivmoment i en högstadieklass där eleverna ska skriva en berättelse baserat på fanfiction och deras personliga intressen. Texten innehåller teoretiska utgångspunkter såsom skrivprocessteori, receptionsteorier och didaktiska teorier och perspektiv som jag ska kunna använda till mitt undervisningsmoment. Den innehåller även tre stora undersökningar från tre olika verk. Två av de tre undersökningarna ingår i avhandlingar där alla är peer reviewed, alltså godkända av någon sorts handledare. Den tredje är en bok, Författande fans, som på många sätt är central för min uppsats eftersom den behandlar begreppet fanfiction. Jag har inte själv gjort någon undersökning i uppsatsen eftersom tiden inte skulle ha räckt till det – jag skulle i så fall fått genomföra mitt undervisningsmoment i praktiken. Därför har jag använt mig av undersökningarna från de två avhandlingarna samt Författande fans när jag motiverat mitt undervisningsmoment i slutet av uppsatsen, som på sätt och vis är mitt resultat. I den sista diskussionsdelen diskuterar jag forskningsbakgrund, undersökningar och resultat och försöker att se på fanfiction och min skrivuppgift utifrån olika perspektiv.

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.