Fanfiction Studies

O presente artigo analisa a representação do medo na saga Harry Potter (1997-2007), com foco nos livros Harry Potter e o Prisioneiro de Azkaban (2000) e Harry Potter e a Ordem da Fênix (2003), de J.K. Rowling. A pesquisa investiga como o medo se manifesta por meio da criatura bicho-papão, figura do imaginário folclórico que assume a forma do pior temor de quem o enfrenta. Com base nas teorias dos Estudos do Imaginário, de Gilbert Durand, e nas abordagens da psicologia analítica de Carl Jung e da psicanálise freudiana, o estudo diferencia o medo figurado, ligado a ameaças concretas, do medo abstrato, associado ao desconhecido. A análise destaca como os personagens projetam seus temores no bicho-papão, desde Neville, que teme Snape, até a Sra. Weasley, que se apavora com a morte dos filhos. O caso de Harry é singular, pois seu medo não é uma entidade visível, mas o próprio sentimento de terror, reforçando a noção de que o medo mais intenso pode ser aquele sem forma definida. A pesquisa conclui que a saga Harry Potter não apenas utiliza o medo como elemento narrativo, mas também reflete sobre sua natureza psicológica e simbólica. Dessa forma, a obra de Rowling dialoga com tradições culturais e psicológicas, oferecendo uma abordagem complexa sobre os mecanismos de enfrentamento do medo.

A presente obra é disponibilizada pela equipe Le Livros e seus diversos parceiros, com o objetivo de oferecer conteúdo para uso parcial em pesquisas e estudos acadêmicos, bem como o simples teste da qualidade da obra, com o fim exclusivo de compra futura. É expressamente proibida e totalmente repudiável a venda, aluguel, ou quaisquer uso comercial do presente conteúdo

Within the field of Israeli Cinema Studies, the period of early statehood has been discussed mainly in terms of production, which in turn led to the highlighting of Israeli film's role as a tool for Zionist indoctrination. Israeli spectators-the presumed primary audience for Israeli cinema-were not given as thorough an analysis as the films themselves. Consequently, they emerged in research as not much more than Israeli cinema's textual-ideological effect: the un/willing receptacles of Zionism's powerful nationalist propaganda. This essay aims to counter such a reductive reading by fleshing out the Israeli audience, at least to the degree that it was reflected on the pages of Israel's postwar film magazines-Kolnoa and Olam HaKolnoa. Focusing principally on both magazines' "letters to the editor" section, my analysis reveals readers to be ardent movie fans, fully devoted to the pleasures of a cinema from elsewhere (Hollywood in particular), even as this commitment conflicts with the values of Israeli high nationalism and the requirements of Israeli citizenship.

The concept of hope and its significance in the human psyche is frequently studied by fields of psychology and philosophy alike. Western formulations of hope often root itself in individualistic cognitive capabilities and personal perceptions of the future, while recent studies from Indian philosophy reintroduce the concept in its intimate relation to spirituality. This paper intends to explore the concept of hope in the dimensions of collective survival and individual desires by analysing the Chinese science-fiction film The Wandering Earth (2019). The Wandering Earth (2019) portrays a future where the impending expansion of the sun forces humanity and the planet to go on a 2500-year journey in search of a new home in a different solar system. The movie relays events 17 years into this journey navigated by the quantum computer system MOSS, where the survival of Earth is threatened due to the gravitational pull of Jupiter. This study will critically examine the central motif of 'individual sacrifices for the collective good' to bring out an altruistic sense of hope relying on an imagined future beyond the present suffering. The paper intends to compare this concept with traditional Western apocalyptic narratives highlighting individualistic heroism and honour even amidst stories of collective destruction. Furthermore, the paper will also investigate how similar conceptions of hope and sacrifice work through non-human entities in the movie.

Este artigo tem o objetivo de analisar de que modo a literacia do fã, articulada por Sigiliano e Borges (2024), pode ser observada na fan animation Attack on Titan: Requiem. Centramos o estudo no vídeo e nos comentários dos interagentes no YouTube, partindo de um entendimento sobre a obra original-o animê e mangá Shingeki no Kyojin-e sobre a fanfic AoT no Requiem, na qual a fan animation se baseia. Em meio às controvérsias do final canônico, esses fãs ressignificam o encerramento, oferecendo novos desdobramentos. Para a discussão desta questão, propomos um protocolo teórico-metodológico voltado para a análise da literacia dos fãs de ficção seriada. Conclui-se que os fãs utilizam proficientemente os recursos do YouTube e demonstram conhecimento aprofundado sobre o cânone nos âmbitos narrativo e estético. Além disso, mediante os comentários, é possível observar o olhar crítico dos fãs, que debatem a obra e correlacionam eventos ficcionais a aspectos políticos e sociais da atualidade.

Artikel ini ditulis sebagai upaya menawarkan strategi pembelajaran creative writing melalui penulisan fiksi di media internet. Sebagai media yang menciptakan ruang cyber, ruang maya yang menawarkan anonimitas dan 'kebebasan', media ini memungkinkan siapapun untuk berpartisipasi didalamnya tidak sekedar sebagai konsumen teks, namun sekaligus sebagai produsen aktif. Situs www.fanfiction.net adalah salah satu situs yang marak dengan karya fiksi penulis non profesional yang lazim disebut fanfiction. Dalam situs ini, para penulis fanfiction bebas berkreativitas melalui tulisan mereka tanpa diketahui identitas aslinya. Dalam konteks ini, ruang cyber dan fan ficton dapat dipahami sebagai satu alternatif strategi pembelajaran creative writing yang cukup efektif.

This article explores the legal and cultural complexities of AI-generated fanart, a form of creative expression that merges algorithmic image generation with participatory fan practices. Building upon prior research in fan studies, copyright law, and the philosophy of authorship, the paper interrogates how existing intellectual property frameworks accommodate—or fail to accommodate—non-human and hybrid forms of authorship. Through an integrated analysis of doctrinal law, comparative jurisdictional perspectives, and cultural theory, the article examines whether prompt engineering constitutes meaningful authorship, how AI-generated outputs fit within derivative works doctrine, and what implications such works hold for moral rights, fair use, and cultural appropriation. The study argues that while generative AI poses unprecedented challenges, it is best understood as part of a historical continuum of technological innovation rather than a legal rupture. It concludes with targeted recommendations for refining copyright doctrine and platform governance to support ethical, culturally sensitive, and legally coherent responses to AI-assisted creativity.

Harry Potter is a seven-book saga, originally published between 1998 and 2008 by British author J.K. Rowling. Despite being over 3.200 pages long, the saga has never ceased to be popular, especially among children and teenagers. Because of this, many researchers have dedicated their articles, theses and dissertations to studying the messages that are conveyed throughout the narrative, not only in the field of literary studies but also in education, history, communication, and psychology. This work is a master’s degree dissertation in Literature, which aims to analyze the presence of the archetypes of the Double and the Shadow in Rowling’s work, represented by Lord Voldemort, the antagonist of Harry Potter, thus seeking to understand some of the symbolic motifs implicit in the imagery present throughout the narrative. The research is carried out through a bibliographical review, using mainly the concepts of archetype, shadow, and double, from Carl Gustav Jung’s theories of Analytical Psychology and the theoretical framework of Imaginary Studies, from the French school, with a focus on Gilbert Durand’s Anthropological Studies of the Imaginary. Based on these sketches, the aim is to carry out a detailed study of archetypes in order to understand how these imagetic contents reverberate in the relation between the two characters in the books, so as to see them as two sides of a double and, furthermore, the antagonist representing aspects of the protagonist's shadow. These relations are present throughout all the books in the saga and are exposed both in the parallelism of the process of individualization of the two characters and in projections, dreams, and imagery symbols. It is on the basis of these analyses that we can point to the presence of the double and the shadow in the narrative.

Em um cenario no qual pairam incertezas sobre a pesquisa no Pais, pensar sobre o modus operandi das investigacoes em literatura leva a ponderacoes sobre os beneficios sociais da tarefa. Ha, na jornada dessas reflexoes, a propria natureza do objeto de pesquisa: o texto literario. Manifestacao humana, liga-se a cultura e revela faces subjetivas, se nao do ato da escrita, do ato interpretativo da leitura. Assim, este escrito se propoe a problematizar a metodologia da pesquisa e ensino de literatura, apresentando instrumento para geracao de hipoteses de leitura para Capitaes da Areia. Trata-se de mostrar, na qualidade de resultados parciais, como estao construidos os raciocinios interpretativos da obra, no contexto da pesquisa sobre a representacao da violencia na interface discurso-personagem dessa narrativa de Jorge Amado. Para tanto, busca-se no pensamento de Platao, nos pontos em que desconstroi a relevância da literatura, a reconstrucao do fazer metodologico cientifico aplicado ao ...

Aos meus pais, Dona Norma e Euclides "Kidi Guerreiro", por terem me dado todo o suporte durante a graduação. Por permitirem e acreditarem que meus sonhos poderiam sim ser realizados. Por terem aguentado dias de saudades porque eu estava escrevendo este trabalho. E, principalmente, por terem me amado acima de qualquer coisa que existe neste mundo. Eu amo vocês. À minha irmã, Evanise, por ter se preocupado comigo e com o meu bem-estar durante os dias mais difíceis. Obrigado por me ver como um filho mais novo, e querer me ver sempre bem, onde quer que eu esteja. À minha irmã, Patrícia, por pensar muito em mim mesmo estando tão longe nos momentos mais difíceis. Obrigado por ser o ombro que precisei nos momentos mais esgotantes da minha vida. À minha querida orientadora, Anamaria, por ter me guiado tão bem e carinhosamente no decorrer da minha vida acadêmica. Obrigado por ter toda a paciência do mundo por causa das minhas "peripécias de TCC". A professora que tu és hoje é o professor que serei amanhã. Ao Thomas, por ter sido o melhor parceiro de estágio -e da vida -, que encontrei na Letras. Sem ti, meu amigo, eu jamais teria percebido o quanto ser professor é gratificante. Todo o projeto deste trabalho só existiu graças ao teu apoio. Planejar aulas na madrugada nunca foi tão divertido. E sinceramente espero que possamos trabalhar juntos durante muito tempo de nossas vidas. A tua amizade é fundamental para o meu ser. Lembra sempre disso. À Marcella, por ter sido a pessoa que acreditou em mim, mesmo quando as circunstâncias não eram favoráveis. Tu és a pessoa que me mostra, todos os dias, que sempre existe um jeito de atingirmos nossos objetivo quando lutamos por eles com amor. Por tua causa, sou uma pessoa melhor hoje. Por tua causa, sou mais feliz hoje. Porque foi de volta à rua por onde começamos que chegamos até aqui. À Caroline, pelas pizzas nos finais de semana, e por me dar colo sempre que me sentia perdido nos rumos que tinha de tomar. As risadas, os sushis, e nossas crenças por um mundo melhor certamente contribuíram para que este trabalho fosse possível. Ao Maicon, por ter me apoiado ao longo da minha trajetória com os diálogos mais impossíveis do universo. Teu apoio e admiração pelo meu trabalho me fazem seguir em frente, pode acreditar. Ao Paulo, amigo, colega de profissão, por acreditar nas minhas ideias e por dialogar sobre uma melhor educação para o nosso país. Espero um dia sermos colegas a escola em que trabalharmos. Faremos muito barulho. Ao Carlos e à Pâmela, por serem os amigos que me deram muitos abraços reconfortantes quando o mundo parecia desmoronar. Ter pessoas como vocês por perto me faz seguir em frente na batalha pelos meus sonhos. Ao Pedro, por ter me feito rir quando a tristeza tomava conta de mim. Teu senso de amizade me faz perceber que é bom ter pessoas como tu por perto. E, lembre-se, eu sempre vou tecer comentários relevantes sobre as tuas fotos. Sempre. À Gabrielle, por ser uma amiga da vida, da Linguística Aplicada, e do choro de TCC. Sempre vou lembrar dos nossos estudos via Skype com todo o amor do mundo. Lembra sempre que tu tens um amigo para comer sushi e dar risadas de coisas alheias. À Letícia, por ter me ouvido quando tinha suas dúvidas. O carinho que tu criaste por mim é o mesmo que criei por ti. Obrigado por ser tão doce e querida nos momentos em que nada parecia ter fim. Agora, para de conversar e lê o meu trabalho. Ao Murilo, por ter me apoiado nas minhas aventuras pelo curso de Letras. Muitas das conversas incentivadoras que tivemos ao longo de nossa amizade me fizeram continuar na área que amo. Rir contigo é sempre rir de uma maneira extasiante. À Daniela, por ser um "amorzinho" de pessoa durante o curso de Letras inteiro. Trocar saberes contigo foi muito importante para minha vida como professor. Não importa o quanto Cachoeirinha seja longe, seremos sempre bons amiguinhos. À Natália, pelos momentos de reflexão sobre a vida. Nós, agora, colegas de Linguística Aplicada, iremos juntos adiante na nossa jornada. Obrigado por ter me dado apoio em vários momentos importantes. Ao Giovani, por ter sido o parceiro dos jogos de videogame que eu encontrei na Letras. Obrigado pela tua amizade na minha vida, porque tu fez boa parte desses cinco anos de curso, correndo por aí comigo para finalizar o que tinha de ser feito. À Mariana, pelas conversas sobre a educação linguística nas viagens de volta para Viamão. Nossos sonhos para melhorar a educação da nossa cidade sempre me guiaram bastante para criar este projeto. Aos meus alunos queridos, por terem mostrado para mim que ser professor é algo para além de recompensador. A cada sorriso, a cada "ahhhh, entendi", a cada posicionamento crítico bem construído, vocês me fazem perceber que estou no lugar certo. E, aos demais amigos, obrigado por me fazerem sorrir todos os dias. "It's not the net worth of one's life that's important. It is the day to day concerns, the personal victories, and the celebration of life... and love!" TERRA BRANFORD, from FINAL FANTASY VI RESUMO O presente trabalho de conclusão de curso tem por objetivo propor um projeto para ser aplicado na disciplina de Língua Portuguesa que traga a cultura pop como eixo temático central. Focado para estudantes de sétimo ano de uma escola da rede pública do estado do Rio Grande do Sul, localizada em Viamão, o projeto envolve a discussão sobre mídias audiovisuais e a leitura e produção de fanfics. O embasamento teórico utilizado para a elaboração do projeto foi a perspectiva educativa de projetos de trabalho (PEPT) (HERNÁNDEZ, 2004; 2014), além das diretrizes de ensino encontradas nos Referenciais Curriculares do Estado do Rio Grande do Sul. Este trabalho apresenta a proposta do projeto e suas aulas, além das sequências didáticas desenvolvidas para estruturá-lo. Visa também ser um recurso para professores que buscam trabalhar com projetos que possibilitem a reflexão, autoria e o desenvolvimento da autonomia.

Austen é uma das autoras que possuem grande prestígio no cenário literário da atualidade, sendo lida e apropriada nas mais diversas mídias. O objetivo deste artigo será o de estudar essa apropriação, pelo viés das fanfictions, levantando a perspectiva acerca das noções de autoria e do se fazer literatura nos dias em que a tecnologia tem um papel fundamental tanto na disseminação quanto na elaboração de textos pela internet. A página escolhida em questão, para tal reflexão atende pelo nome de janeaustenfanfics.com.br.

Recomended citation: Benites-Aquino, J.; Gifreu-Castells, A.; Sayan-Casquino, Y. (2024). The Representation of Autistic Characters in the Fanfictions of "The Owl House". En P.C. López-López et al. (eds.), Proceedings of the International Conference on Communication and Applied Technologies 2024 (ICOMTA2024), Atlantis Highlights in Social Sciences, Education and Humanities 28, 199-208. https://doi.org/10.2991/978-94-6463-596-6_18


----- ABSTRACT: Autistic characters in current TV series and films are not a realistic representation of autism. Thus, autistic people seek to see themselves reflected in alternative media, such as fanfiction. Hence, the main objective of this research is to analyze the representation of autistic characters in fanfiction. The technique of content analysis was used in 14 fanfictions of The Owl House on the Archive of Our Own platform. The categories of analysis are the representation of autism, fanfiction as an alternative space of representation and character development. The results show that the analyzed fanfic-tions include realistic representations of autism as most of their authors are autistic people and draw inspiration from their experiences. Realistic representations of autism are necessary to understand the autistic experience in fiction and to empathize with autistic people in real life.

Over the past three decades, there has been a significant increase in interest in the intersection of Fan Studies and Medieval Studies, particularly regarding the relationship between medieval literary culture and fan fiction. This growing interest underscores the invaluable expertise of scholars well-versed in premodern literary traditions. Many scholars in Fan Studies view fan fiction as a continuation of this legacy, wherein authors adapt, rework, reinterpret, or engage with existing literary works. They often reference examples such as the Aeneid's reinterpretation of Homer, romances from the Alexander and Arthurian traditions, and specific texts like Robert Henryson's "Testament of Cresseid" as forms of "early fanfiction." These scholars contend that the medieval "active reader," who expressed creativity through glosses, commentaries, and exegesis, is part of the lineage that connects contemporary fan fiction writers. While some medievalists critique the inaccuracies in how Fan Studies scholars portray medieval literary culture, many others acknowledge that the analogy between fan communities and medieval literary practices raises valuable and thought-provoking questions that enrich their research and teaching. For instance, works such as "The Book of John Mandeville" and Chinese fan subtitles of Disney's "Mulan" exemplify how fan fiction can reshape our understanding of medieval readership, reading communities, emotional responses, and modern medievalism. The critical challenge is using "fan fiction" productively and accurately when discussing medieval practices and texts. This paper aims to create a framework for understanding medieval textual practices and knowledge for contemporary audiences. The methodology employed involved documentary analysis using a qualitative approach, with a central question focused on how the features of fan fiction serve as assets for medieval textual literature.

У тезах розглянуто особливості спільнотності у практиці фанфікшену на основі теорії спільнот практики (Community of Practices) Джин Лаве і Етьєна Венґера, а зокрема: види навчання та розповсюдження ноу-хау про практику, моделі участі та шляхи формування ідентичості.

At a convention you see the efforts of hundreds to thousands of people who re-create characters from a wide variety of fan culture with a cultish approach to imitation and detail. These efforts display a wide range of artistic skills that are not necessarily accredited as such. ART CON GUELPH (ACG) is an investigation of how the participatory model of fan conventions and their creative interactions can be pushed beyond the boundaries of fandom and be used as a site of interaction, original expression and artistic practices. The goal of ACG is to see how this potential model can be employed to encourage youth to initiate their own artistic practices through original self expression. This essay focuses on the discussion of integrating both the theoretical and practical foundations of ACG in order to build a new framework of art practice which focuses on the public as the fulcrum of the work.

The practice of alternating between languages in a single conversation or text has long been
a feature in multilingual communities. In fanfiction, this phenomenon can also be seen in
the creative use of different languages and translations by twenty-first-century fans of King
Alfred as a fictionalised character. In this paper, I will explore the ways in which three
examples of fanfiction are following in Alfred's footsteps by playing with language as an
artistic and intellectual expression in their fanworks. From Latin secret code languages to
modern-day translations and interpretations, this article seeks to demonstrate how
multilingualism adds depth and complexity to the world of Alfredian fanfiction.

The practice of alternating between languages in a single conversation or text has long been a feature in multilingual communities. In fanfiction, this phenomenon can also be seen in the creative use of different languages and translations by twenty-first-century fans of King Alfred as a fictionalised character. In this paper, I will explore the ways in which three examples of fanfiction are following in Alfred's footsteps by playing with language as an artistic and intellectual expression in their fanworks. From Latin secret code languages to modern-day translations and interpretations, this article seeks to demonstrate how multilingualism adds depth and complexity to the world of Alfredian fanfiction. According to Google Trends, which shows the popularity of a search term over a certain period, there has been a relatively steady level of interest in King Alfred over the past decade. Combining the search term "King Alfred," and the period from January 3, 2010, to January 3, 2023, it is revealed that the popularity of the search term peaked in January 2015, and since then, it has gradually declined but has remained relatively stable. 1 The countries with the highest search interest in "King Alfred" are the United Kingdom, the United States, Canada, Australia, and South Africa. The regions with the highest interest are the English-speaking regions of the world, including England, Wales, Scotland, and Ireland. As also indicated by the "Related Queries" of the search term -king alfred last kingdom, last kingdom, king alfred the last kingdom, king alfred uhtred, uhtred -it is likely that the

The second season of the Netflix show Warrior Nun included the development and confirmation of the romance between its two lead female characters: Ava Silva and Sister Beatrice. 4 weeks later it became another victim of the "Cancel Your Gays" trend. Fans responded by launching a "Save Our Show" campaign, calling for Netflix or another streaming service to provide a third season and creating WARRIOR NUN Global, one of the main organizing forces behind the campaign. WARRIOR NUN Global offers a look at how queer women's fandoms are responding to the "Cancel Your Gays" trend. Because of its unique context, WARRIOR NUN Global differed from previous organizing against the "Bury Your Gays" trope and other "Save Our Show" campaigns by embracing the cast and crew, concentrating their anger on media companies, focusing on saving the show and raising awareness about the "Cancel Your Gays" trend, and fostering a transnational community.

Zagadnienie popularności autorów, dzieł i ich poszczególnych wydań stanowi temat ważny, interesujący dla badaczy reprezentujących różnorodne dziedziny nauki. Jak wskazywała już na przełomie lat 70. i 80. ubiegłego wieku Anna Żbikowska-Migoń 1 , temat popularności pisarzy i literatury może być ujmowany w bardzo różnorodny sposób, z punktu widzenia wielu dziedzin nauki. W ich poczet wchodzi przede wszystkim literaturoznawstwo, a także między innymi socjologia, historia, psychologia, a nawet ekonomia. Badanie popularności dzieł literackich, ich autorów oraz recepcji tychże na różnych poziomach stanowić może również temat opracowań bibliologicznych. Jednym z pól badawczych, jakie mogą być zarysowane przez bibliologów w ramach tej problematyki, jest obecność określonej twórczości w repertuarze firm wydawniczych działających na danym terytorium w danym czasie. Uzyskane w toku tego rodzaju badań dane o obecności danego autora i jego dzieł na rynku wydawniczym oraz o rozwoju tej obecności stanowią doskonałe źródło informacji nie tylko o badanych podmiotach, lecz także o gatunkach twórczości, jakie one reprezentują, oraz o literaturze w ogóle. Badania bibliologiczne recepcji wydawniczej autorów i ich dzieł dotyczyć mogą pisa-

The reimagining of historical figures in modern literature and fanfiction has become a growing phenomenon, with authors taking creative liberties to reconstruct and recontextualise both history and myth. One such figure that has sparked considerable interest in fanfiction communities is Alfred the Great, the ninth-century King of Wessex. Fanfiction surrounding Alfred often infuses Celtic mythology and symbols, despite the fact that during Alfred's reign, Celtic culture was already in decline in southern Britain. Among these Celtic elements, ogham-a type of early medieval script associated with Ireland and parts of Britain-features prominently in fanfiction as a symbol of mysticism and magic. This article explores how Celtic motifs, particularly ogham, are employed in Alfred-centric fanfiction, reflecting a unique intersection of history, mythology, and literary reinterpretation.

Rozumienie pojęć autor czy autorstwo wydaje się na pierwszy rzut oka intuicyjne. Wystarczy przecież spojrzeć na stronę tytułową danej książki czy górną część pierwszej strony jakiegoś artykułu, aby poznać nazwisko osoby, której przypisuje się odpowiedzialność za stworzenie dzieła i jego wartość. Jednak takie postawienie sprawy, choć wygodne i użyteczne z rynkowego punktu widzenia, de facto upraszcza rozumienie procesu twórczego, wyklucza wielu jego uczestników, a w konsekwencji staje się krzywdzące i nieprawdziwe. Próbę rewindykacji tego stanu rzeczy podejmuje Aldona Kobus w pozornie rekonstrukcyjnej, ale w rzeczywistości ważnej monografii Autorstwo. Urynkowienie literatury i fantazmat podmiotu autorskiego, wydanej w serii "Monografie Fundacji na rzecz Nauki Polskiej". O kierunku refleksji podjętym w pracy świadczy widoczna już w tytule rezygnacja z pojęcia autora na rzecz kategorii autorstwa, znamionującej odejście od spojrzenia osobowego (choć-jak podkreśla autorka-bez popadania w ryzyko dehumanizacji) na rzecz analizy konceptu kulturowego, określanego mianem fantazmatu. W tej koncepcji autor przybiera rozmaite kulturowe funkcje-gwaranta integralności tekstu, ale także marki, bronionej przez prawo autorskie, lecz i wykorzystywanej jako instrument

The Supernatural TV series, spanning 2005 – 2020, has attracted a loyal and dedicated fanbase affectionately termed the SPN Family. Fandom scholars consider the SPN Family “a fandom like no other” (Zubernis, 2021), characterized by close communal bonds, convention attendance, and direct engagement in the production of fan art and fanfiction. As the Supernatural series draws heavily upon mythology and folklore from various cultures, fan engagement with episodes inspired by Classical Antiquity can be examined as meaningful instances of Classical Reception. By considering fanfiction as a specific form of cultural artefact derived from fannish engagement, scholars can employ a reception theory approach to examine these works as rewritings of Classical material, which shed light on how individuals receive and use pre-existing literature and ideas (Willis, 2018). This presentation examines fanfiction responding to the Supernatural episode ‘Slice Girls’ (2012), considering how fan narratives generate new meaning by challenging the established plot of the episode, particularly in relation to the depiction of Amazons.
The plot of ‘Slice Girls’ revolves around Dean’s unwitting role in propagating the Amazon tribe – he is seduced by the Amazon Lydia, who gives birth to Emma, Dean’s biological daughter. As a young Amazon, Emma is told she must kill her father to complete her initiation into adulthood, putting Dean’s life in direct danger. When Emma is defeated, Dean expresses no sympathy for his deceased daughter, referring to her as a “crazy man-killing monster”. This response elicited criticism from the fans of the show, who expected that the heavy emphasis on family throughout the series would prompt Dean to be more sympathetic, especially as Emma acts under coercion and lacks agency. Fans’ interest in Emma’s character can be seen in the 88 works in Archive of Our Own (AO3) under the pairing Emma & Dean Winchester. This paper examines key trends that emerge across these fan narratives, highlighting the tendency to portray Emma as a sympathetic victim of circumstance and/or a conventional awkward adolescent daughter. In presenting Emma in this manner, these narratives subvert the show’s portrayal of Amazons as hostile antagonists, instead reclaiming the positive portrayals of aspirational Amazon characters (such as Wonder Woman) in contemporary media.

Fanfiction is a transformative practice based on diverse cultural products such as books, films, anime, manga, comics, and other source materials. This article problematizes Real Person Slash (RPS), established not by the rewriting of a particular story, but by the fictionalization of life and (hypothetical) homoaffective relationships between artists, in which bandoms access celebrities as media artifacts through fragments of information at textual and extratextual levels (interviews, videos, performances, photos, news, and gossip magazines). One fanfic about members of the girl band Fifth Harmony was selected in this study. During the analysis, it was noticed that RPS producers manipulate the public figure (persona), transforming it into a character for which a fictional private self (person) is created, in search of identification and representativeness. It was concluded that RPS, as a literary repertoire, is based on pretending acts, as proposed by Wolfgang Iser (1999) in his observations about the fictive and the imaginary.

This research aims at investigating how the linguistic repertoires of English students are expanded in media production in consonance with Participatory Culture (Jenkins, 2009) and at investigating which affordances (Gibson, 2015; Paiva, 2010; Van Lier, 2000) are provided through a didactic sequence built in the light of the Pedagogy of Multiliteracies (Rojo, 2012/2013; GNL, 1996/2021) that culminates in the production of fanfiction texts (Sachs, 2019; Rojo, 2012; Jenkins, 2006/2009). In this way, the study focuses on the investigative aspect of the themes raised by young people in the ninth grade of middle school in their fictional media narratives and published on a fanfiction dissemination platform. The analysis of the texts produced by the students will be based on the thematic contents aligned with the perspective of Socio-discursive Interactionism (Bronckart, J.; Bronckart, E., 2017, Guimarães, 2007; Bronckart, J. 2006/2008). We hope to contribute, with this study, to a greater understanding of learning through the Pedagogy of Multiliteracies in agreement with Participatory Culture and in school-media production, as well as for the understanding of the resources that are offered in the English classes with the use of the proposed didactic unit, in the production of fanfictions by students, and in the accountability of the teaching-learning process.

Este artigo estuda a tecno-arte-poesia, ou poesia digital, que estabelece negociações semióticas com as artes, o design e as tecnologias, sob o ponto de vista da inter e hipertextualidade, hiper e transmidialidade, com base em amostra internacional de exemplos.

HAL is a multidisciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers.

Polskie aplikacje książkowe dla dzieci Wstęp Zagadnienie aplikacji książkowych, jak dotąd, było dość rzadko opisywane przez polskich badaczy. Ograniczone zainteresowanie omawianą tematyką uwidacznia się nie tylko w nieznacznej liczbie rodzimych publikacji poświęconych tej problematyce, lecz także w stosunkowo niewielkiej liczbie cyfrowych książek obrazkowych, które ukazały się w naszym kraju. Niemniej jednak niektórzy badacze, między innymi Ghada Al-Yaqout i Maria Nikolajeva, zauważają, że niejednokrotnie do pierwszego spotkania młodego czytelnika z literaturą dochodzi właśnie za pośrednictwem technologii 1. Warto zatem sprawdzić, czy aplikacje książkowe cieszą się popularnością w Polsce oraz czy dostępna oferta jest bogata i odpowiada wymogom wskazywanym przez badaczy. Mimo iż ten typ publikacji obecny jest już na rynkach wydawniczych na całym świecie od kilku lat, nie została jeszcze wypracowana jednolita terminologia, którą można byłoby się posługiwać. Zdecydowana większość badaczy używa określeń "aplikacja książkowa" (picturebook app) 2 lub "cyfrowa książka obrazkowa" (digital picture book / digital picturebook) 3. Przegląd literatury przedmiotu skłania do wyłonienia najważniejszych cech aplikacji książkowych i podkreślenia, że jest to rodzaj oprogramowania stanowiącego niezależny program komputerowy, który charakteryzuje się interaktywnością. Analiza definicji zaproponowanych przez Michała Zająca 4 , Małgorzatę Cac

Atentando para a dimensão que estas novas formas de interação podem estimular a leitura e a produção de textos, esta pesquisa vai procurar analisar Fanfictions e Aus para entender o processo partilhado de criação. Levando em consideração que a obra é construída em conjunto, autor com leitor e on-line.

This article discusses the theoretical borders that separate adaptations of literary texts (by professional writers) and the activities of fans, especially fanfictions of The Phantom of the Opera. The theoretical approach brings the notion of “transcreation” and authors from the field of fan studies. The results include the recognition of fanfictions as a type of literary adaptation, and the notion of The Phantom of the Opera as an archive or as “archontic literature”.

Alfred the Great, the ninth-century King of Wessex, has been a popular subject of media representations, including scenes focused on his childhood. These representations, from paintings to contemporary Netflix series and fanfiction, have created an imagined past for Alfred that has contributed to his legendary status. This article seeks to explore the media representations of Alfred as a child, and the stories, themes, and messages conveyed in different mediums, with a special focus on 21st century online fan cultures. Within the realm of popular culture, historical figures often undergo transformative reinterpretations, shaping our collective understanding and challenging traditional notions of their personas. Among these figures, Alfred the Great, the esteemed King of the Anglo-Saxon kingdom of Wessex, has embarked on a fascinating journey of representation. While in most well known portraits-such as the statues in Southwark, Pewsey, Wantage and Winchester-Alfred is portrayed as a mature ruler with a distinguished beard, recent online depictions have daringly ventured into uncharted territory, presenting Alfred as a child-but this is not as much a departure from historically held perceptions as it may seem. While Victorian-era images did often portray Alfred as a child, such representations have been relatively scarce in the 21st century. Instead, contemporary media, particularly fanfiction, has predominantly focused on exploring Alfred's relationships with adult characters, often delving into romantic and/or sexual narratives. If there was any mention of Alfred's childhood, it was most likely to be found in a shared memory between the two main characters. Last year, however, three examples of fanfiction featuring Alfred the Great as a kid began to circulate in fannish spheres: 'Ink of Resilience' (2023) by ChaosChaosWriting, 'Alfred y Abigail: Dos secretos' by corasketches, and 'Die Entdeckung der Worte' (2023) by Sophie F. Triggered by this new development, this paper endeavours to shed light on the multifaceted nature of media representations of Alfred the Great as a child and youngster. In merging historical research, cultural analysis, and media studies, it hopes to invite

This paper uses MythFic Metadata, a collection of metadata for a fanfiction corpus about ancient Greek mythology, to explore the relation between types of romantic relationships and violent interactions in fanfiction. We ask: In fanfiction about Greek mythology, are heterosexual relationships more frequently violent than others? We define fanfiction as stories written by and for fans, inspired by existing stories, and published online for free. Violence, especially sexual violence, frequently occurs in ancient mythology, where "many young women (…) suffer sexual violence at the hands of gods" (Deacy et. al. 2002). Stories about gendered violence give visibility to cultural ideas about male strength overpowering female vulnerability and male dominance enforcing female subordination. Research shows that fanfiction can let fans transform culturally dominant narratives (Tosenberger 2014). However, fanfiction can also affirm and perpetuate gender stereotypes (Wills 2013). Thus, fanfiction is potentially transformative: it can either question or reinforce ideas about identity categories and the power dynamics between them. This begs the question: does violent fanfiction perpetuate the cultural narrative that casts men as perpetrators and women as victims, or does it subvert this dynamic? This paper presents first steps in the research project Achoring and Innovating Classical Motifs in Fanfiction, which analyzes how contemporary online fanfiction represents and transforms Greco-Roman Antiquity. This is important since recent scholarship has identified a tendency in online spaces, like alt-right communities, to "[read] themselves into Classical Antiquity (...) as a site for discursive negotiation of their place in the history of white male culture" (Zuckerberg 2018). Hardwick (2003) similarly notes "the capacity of classical texts to operate in supposedly deserted artistic and political spaces" which "has enabled social and political critique". Thus, interpretations of Antiquity are becoming a political battleground where Classical texts are used to legitimize varying perspectives on politics and power, including ideas about gender equality. Digital humanities scholarship (Underwood et. al. 2018; Kraicer & Piper, 2019; Smeets 2021) shows that data-driven analysis can assess representations of gender in fiction. This paper build on such studies, proposing a method to analyze gendered dynamics in fanfiction through metadata.

Relationships form the core of connected learning. In this study, we apply and extend social network analysis methods to uncover the layered network structure of relationships among Fanfiction.net authors and reviewers. Fanfiction.net, one of the world's largest fanfiction communities, is a space where millions of young people engage with written media, connect over shared interests, and receive support and mentoring from a distributed audience. Does an affinity space such as Fanfiction.net have the same structure as social networks Facebook and Twitter? We applied k-means clustering on millions of relationships to determine that Fanfiction.net has 2 to 3 layers, in contrast with the 4-layer structure of Facebook and 5-layer structure of Twitter. In addition, we conducted a large-scale machine classification of Fanfiction.net reviews to reveal the types of mentoring exchanged in each layer. Our findings show that the relationships where reviews are exchanged most frequently are most likely to contain substantive reviews. We discuss implications of these findings for the theory of distributed mentoring as well as the design of online affinity networks.

O desenvolvimento da tecnologia modificou as relações com o acesso ao conhecimento. As comunidades virtuais, possíveis de existir graças às plataformas tecnológicas, modificaram as formas de circulação e apropriação da informação, inclusive aquela relativa aos livros e à leitura. Nesse sentido, procura-se analisar as práticas de leitura e de mediação da informação através do estudo em uma comunidade virtual para leitores, o site www.anobii.com. Como método de pesquisa, utiliza-se a “netnografia” para avaliar a funcionalidade do site e a relação que os leitores estabelecem com as suas páginas, explorando o entrelaçamento que se constitui entre o suporte tecnológico, o qual permite formas específicas de “interação” na produção da informação sobre livros, e os perfis de leitura. Evidencia-se, assim, a importância do Anobii enquanto mediador da informação, tendo como base os princípios da Estética da Recepção.

Digital storytelling as one of the innovations in the disruptive era that strengthens the culture transfer. The using of technology as a medium for sharing stories is one of the right choices. As a powerful distribution tool, it can reach various groups in all corners of the world. There are differences among western and eastern countries so, storytelling does not only share the richness of tales but also culture. Wattpad is one of the most widely accessed digital storytelling platforms in Indonesia. Moreover, as a technology that comes from western countries, Wattpad also contains western cultures in it, one of them is the LGBT movement. Usually, for some eastern countries, this culture is taboo, especially in Indonesia. However, on this platform appears the different interactions emerge about LGBT. Indonesian Wattpad users read and produce these taboo stories. There is also a virtual conversation among users about this content that can be accessed publicly through the comment's column. This research attempts to describe the cyberculture of Indonesian users on Wattpad by using virtual ethnography methods. The findings of this study are descriptions of taboo cultural phenomena on Wattpad's platform through four levels of Cybermedia Analysis those are Media Space, Media Archive, Media Object, and Experiential Stories.

In this work we analyse the evolution of fanfictions related to four of the most popular current fandom series: Harry Potter, Twilight, The Hunger Games and Divergent. This is a descriptive investigation wherein the temporal evolution of fanfic production is studied. The research focuses mainly on the relationship between the periods of greatest creative fanfiction activity and the publishing of the different books of the respective series, their transmedia expansion and film adaptations, among others. The study has allowed us to observe that these fan communities are generally ephemeral, although strongly united by ties of affinity, as well as being creative and active. The results obtained suggest that these vernacular literary practices are the source not only of motivation, but also of a formative process of reading and writing that can be planned and developed in formal learning contexts

Looking back at Volume 7 of the Journal of Popular Romance Studies, I am struck not only by how capacious the field of popular romance studies can be, but by how much work still needs to be done. On the one hand, this issue includes three essays introducing new, largely unexplored areas related to popular romance fiction, each of which could serve as an invitation to future work. Layla Abdullah-Poulos's Francis-Award-winning essay "The Stable Muslim Love Triangle-Triangular Desire in African American Muslim Romance Fiction" is the first essay anywhere, to my knowledge, to explore this growing corpus, much of which is independently published, and it lays the groundwork for future comparative research on Muslim popular romance from a transnational and / or multicultural perspective, and on Muslim popular romance alongside Christian inspirational and other religiously-inflected subgenres. In "Rewriting the Romance: Emotion Work and Consent in Arranged Marriage Fanfiction," Milena Popova uses conceptual models from popular romance fiction scholarship and the sociological paradigm of "emotion work" to explore another independently published archive-arranged-marriage Loki / Thor slash fanfiction housed at Archive of Our Own-as a textual space in which cultural norms surrounding marriage and sexual consent can be investigated and revised. This piece suggests that there are many possibilities for cross-fertilization between fan studies (and fanfic studies) and popular romance studies: the archive of primary texts not only exists, but is so vast that it could produce fresh scholarship for many years to come. Finally, we have Kecia Ali's report from the Romance Writers of America's archives at Bowling Green State University: another vast, largely untapped resource which includes correspondence, RWA internal communication (newsletters, board meeting minutes, etc.), conference programs, and recordings of conference sessions from 1980-2008. I hope that readers of JPRS will follow Ali's lead in seeking out and analyzing this material, and I know that the research library staff at BGSU are eager to see us put it to use. Volume 7 of JPRS did not, however, focus exclusively on written texts. In a pair of firsts for the journal, we have published a bilingual special issue-its essays in English and French-devoted to love and popular music. This "Love and Rock" issue attends to music

Contemporary texts have been re-signified by the development of online technology so that such texts favor collaboration and interaction between authors and readers thus reconfiguring their roles. The current paper aims at revisiting the place of reading and the reader position by discussing the place occupied by the canon and the fanon (neologism to fan texts) in scholar literacies at the present days.

Facebook, YouTube, blogs, tweets, and other social media are part of a growing network that reflects shifting conceptions of autobiographical construction and biographical consumption. Promoted as a "social utility" (Facebook), "short bursts" of one hundred forty characters or less (Twitter), and a way to "broadcast yourself" (YouTube)-"friending," following, and otherwise projecting oneself onto the screen further destabilize the line between self-creation and the reception or involvement of others in that process. The uses of social media stretch the limits of traditional autobiography and biography to reflect a fundamental shift in the construction of narrative identities and the multiple ways we infuse, interact, and mediate our relationships through these simulated selves. This complex narrative interplay also reflects broader changes in the contemporary context in which images and information are both more accessible and more provisional than in the past. While social media may be used by writers to promote their work and reshape their images and (auto)biographies, they also provide entry points by which readers ("friends," "fans," "followers") may access writers' published entries regarding their lives and revise these stories. These sites become media through which readers also project themselves as characters onto the page and into purportedly dialogic relationships among the page's participants. As writers try to market themselves and expand their fan base by letting their readership in on their "personal" pages, readers use these forums to "privatize" the experience of something in the public domain. Social media become a means for readers to participate in the writer's universe and evolving narrative; writers may also manipulate this desire by HIOL ♦ Hispanic Issues On Line ♦ Spring 2012 RADEMACHER ♦ 98