There have been a number of articles in law reviews and legal publications addressing various fanwork-related issues, beginning with fan fiction and gradually expanding to other fanworks. This is a bibliography, with links to the full articles where available, in chronological order by year, alphabetical by author within the year. The citation format is close to Bluebook. (From the page)
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The American Comparative Literature Association’s annual meeting will take place in Toronto on April 4-7, 2013. The overall conference theme is “Global Positioning Systems” . This CFP is for the panel “Remapping the Path of Narrative in the Age of the Internet: the Impact of Participatory Culture”.
Call for papers: Remapping the Path of Narrative in the Age of the Internet: the Impact of Participatory Culture
In these early years of the twenty-first century, it’s becoming clear that we are living in what Henry Jenkins calls a “participatory culture,” in which consumers of texts are becoming more and more engaged with the texts they are consuming. Producers of films and television shows create real, yet fictional websites for fans to visit and continue interacting with the stories outside of their regular viewing schedule. Authors engage with their fans on Facebook, Twitter, and their own blogs. Fans engage with the texts by creating their own texts (known as fanfiction) that continue or critique the source in a multitude of different ways, and in some cases even publish their own work to commercial acclaim (E.L. James). Is this development a brave new frontier, or a loss of the North Star that leads to the literary ship being lost at sea?
This panel is interested in mapping the ways in which this new literary context has influenced both the production and reception of texts. Papers addressing theoretical as well as practical effects of the rise of participatory culture will be considered.
Submissions are due by November 15, 2012.
Posted by request.
Via Jason Bennett of the FANS (Fandom and Neomedia Studies) Conference:
We are pleased to announce a CFP for articles and reviews for the first edition of our online peer-reviewed journal, The Phoenix Papers. We welcome articles on fandom and media topics as well as reviews of anime, manga, books, movies, video games, TV series, web series, musical albums, performances, and other pop culture media products. We encourage scholars at all levels of achievement, whether affiliated with an institution or independent, to contribute to our journal. We accept submissions throughout the year. However, to be included in our January 2013 edition, you must submit your completed article or review by 15 December 2012. Articles may be on any topic relevant to US or global fandom and/or media studies. In general, reviews should be of items from 2009 onward with precedence given to those from the current year. If you wish to contribute, please go to the Contact Us page. For articles, please include a 200-250 word abstract and institutional affiliation, if any. For reviews, please indicate the item to be reviewed, why it is a significant or interesting work, and what approach you intend to take. Those selected for inclusion will be notified shortly afterward. The first edition of the journal will be published in January 2013 and quarterly after that with the July edition dedicated to our FANS Conference papers.
Somewhat belatedly, we’d like to congratulate the authors and the editorial team of the journal Transformative Works and Cultures on the publication of another excellent issue, TWC No.11. The next deadline for submissions to TWC is March 15, 2013. The press release:
Transformative Works and Cultures has released No. 11, a general issue with essays that focus on a variety of topics, including lipdubbing, fan fiction, early modern romance, pro fiction that includes fans as characters, and author’s notes. The issue comprises six theoretical essays, four Symposium pieces, and two book reviews. Natasha Simonova, in “Fan Fiction and the Author in the Early 17th Century: The Case of Sidney’s Arcadia,” argues for the early modern era as a point of origin for fan fiction with Sir Philip Sidney’s romance, The Countess of Pembroke’s Arcadia. Nicolle Lamerichs’s “The Mediation of Fandom in Karin Giphart’s Maak me blij” looks for fannish tropes and narrative structures in nonfannish fiction, in this case a 2005 Dutch novel that features fans as characters, thus self-reflexively looking at the connections between lesbian fiction and fan fiction. Kyra Hunting’s “Queer as Folk and the Trouble with Slash” addresses the discrepancy between a show that already includes queer and explicit sexualities and its fan fictions by analyzing mpreg stories. Alexandra Elisabeth Herzog’s “`But this is my story and this is how I wanted to write it’: Author’s Notes as a Fannish Claim to Power in Fan Fiction Writing” studies the particular genre of author’s notes to address the power struggle between readers and writers used to generate meaning. Mark C. Lashley’s “Lip Dubbing on YouTube: Participatory Culture and Cultural Globalization” reads lip dubbers as transnational creators as they appropriate and alter popular songs, thus resituating them within their own cultural contexts and performing them with their own, often non-Western, bodies. Finally, Heather Osborne looks at virtual performances in online gaming, in particular gender expressions within the games, in “Performing Self, Performing Character: Exploring Gender Performativity in Online Role-Playing Games,” and analyzes data from an online survey that addresses gamers’ gender and sexualities as well as their respective representations. TWC’s Symposium section features shorter, often personal essays that address particularly fannish connections. D. Wilson’s highly personal meditation on “Queer Bandom: A Research Journey in Eight Parts” merges the author’s personal journeys of following several bands around the country with meditations on queer space and time in the shifting discourses of online band fandom. Sharon Wheeler, in “From Secret Police to Gay Utopia: How a Professionals Slash Writer Disrupts Readers’ Expectations” focuses on The Professionals (1977–1983) and provides a close reading of an alternate universe fan fiction series. Paul Mason looks toward the beginnings of tabletop role-playing games in “RPG Transformations: Fan or Pro?” Mason offers an important historical overview of the early years of Dungeons & Dragons and its fans. Finally, Staci Stutsman also addresses the unclear boundaries of authorship in “Blogging and Blooks: Communal Authorship in a Contemporary Context,” in which she studies popular blogs and the tendency to turn blog posts, including selected comments, into publications. Two reviews appear in this issue. Francesca Coppa reviews Paul Booth’s Digital Fandom (Peter Lang, 2010), focusing on the use of fan cultures, and in particular multimedia digital fan works, to address the general tenets of media studies. Michael Z. Newman and Elana Levine look at the shifting demands of media studies in the convergence age in their book Legitimating Television (Routledge, 2011), reviewed by Melanie E. S. Kohnen. The next two issues of TWC, Nos. 12 and 13, will appear in spring 2013 as guest-edited special issues: Kazumi Nagaike and Katsuhiko Suganuma coedit the special issue on Transnational Boys’ Love, and Matthew Costello’s special issue focuses on transformation and comics. TWC No. 14 will be an open, unthemed issue, and we welcome general submissions. We particularly encourage fans to submit Symposium essays. We encourage all potential authors to read the submission guidelines (journal.transformativeworks.org/index.php/twc/about/submissions#onlineSubmissions ). The close date for receipt of copy for No. 14 is March 15, 2013.
Frequently when academic journal articles are written about timely research topics, the authors are unable to update their audience regarding more recent developments. In the current issue of Transformative Works and Cultures, guest edited by Henry Jenkins and Sangita Shresthova, Alex Leavitt and I wrote about the Metropolitan Tokyo Youth Ordinance (also known as Bill 156), (“Even a monkey can understand fan activism: Political speech, artistic expression, and a public for the Japanese dôjin community”). The bill could potentially curtail artistic expression in the name of keeping fictional characters under the age of consent (hence the bill’s popular nickname, the “Nonexistent Crimes Bill”) out of “harmful situations.”
In our article we looked at fan activism against the bill, which passed at the end of 2010 and went into effect in summer 2011, after our article had gone to press. Developments since then have been somewhat mixed.
Although creators feared that the highly ambiguous language of the bill would allow government censors virtual impunity, a recent high-profile ruling found that a scene depicting incest between two young characters did not violate the bill’s provisions, because it was subject to previous standards rather than to those introduced by Bill 156. Although this was hailed as a victory, there have also been reports of publishers self-censoring manga content even before the bill’s provisions went into effect, and that manga series have been cancelled outright in response to it. Still, some publishers, like Kadokawa Shoten, have spoken out against Ishihara’s remarks.
From here on, it’s unclear what path fannish activism will and should take. Although 80% of Tokyo residents were reported in early 2011 to oppose the bill soon after its passage, an anticipated boycott of the Tokyo International Anime Fair by manga publishers and the ensuing publicity largely fizzled after the 2011 Tokyo Anime Fest was cancelled due to the March 2011 earthquake. At roughly the same time, a suit alleging that Bill 156 was unconstitutional was denied by the Japanese courts, a decision that has been appealed.
Individual creators, however, have continued to engage in various forms of protest. Akamatsu Ken, the creator of such well-known manga as Negima! and Love Hina and more recently founded of manga download website J-Comi, is now offering the infamously banned-under-Bill-156 comedy manga Oku-sama wa shôgakusei (My wife is an elementary school student) on the premium section of the comic site.
Official concerns about the potentially socially destabilizing power of manga were also evident in the minutes of a meeting of Miyazaki prefecture’s Youth Healthy Development Council last fall, in which members characterized boys’ love and womens’ comics as “dangerous,” saying that “if there are more depictions where women lead [in sexual encounters], it will encourage the tendency toward homosexuality.” These manga would not normally fall under the provisions of Bill 156 in Tokyo, but the idea that fiction can provide a space to explore alternatives–and that imagining alternatives to the status quo are a powerful part of what motivates activism–certainly lies at the heart of the potential of fannish activism, as Jenkins and Shreshthova acknowledge in their introduction. Fandom is fundamentally participatory, and politics increasingly (though it always had) hinges on participation. As Melissa M. Brough and Sangita Shresthova argue in this issue, there is much more work to be done in analyzing these networks and connections; as several articles acknowledge, that participation does not necessarily guarantee success.
Overall, the contents of the Transformative Works and Fan Activism issue tell a story that is broadly similar to the story of Bill 156 and the efforts against it: mixed but hopeful, and suggestive. Regarding fandom’s activist potential, I always think about what Gandalf says about the Ents: when they wake up, they will find that they are strong. What separates devoted fans from those who just casually enjoy something is action, and activism means taking that next step, from consumer engagement with media to civic engagement around it.
–with Alex Leavitt
The new issue of Transformative Works and Cultures almost here, and I can’t wait to check out the content on transformative works and fan activism. It’s such an important topic, and one that’s bound to generate some energy from readers moved by direct action. However, while we wait for June 15th, I thought I’d share how valuable I’ve found the Fan/Remix Video issue, and how much I want to encourage readers to check it out. In fact, I can’t imagine a better place to start for a reader who’s new to academic writing than the editorial introduction to the issue, by Julie Levin Russo and Francesca Coppa, which, above all, showcases the pleasures of incorporating embedded video and images into academic writing. I’d recommend that any skeptical reader start by watching one of the videos that first draws her attention, and then locate what else on the page might contextualize that experience. The issue is really an art museum. At an art museum, one quickly realizes that he can’t read every description of every piece and experience them all as well, at least not within the short time he’s got to spend there. Personally, I always prefer to follow my instincts and find what moves me, even if it means I end up confused about whether the one with all the dark shadows was supposed to be about religion or not. I’m much more comfortable revealing this non-linear preference now than I would have been when I started graduate school in 2006. What changed me was teaching, and specifically, teaching in classrooms with excellent technological capabilities, which have enabled me to incorporate streaming video into almost every class I have taught. Streaming video has undoubtedly been the most helpful pedagogical aid I have found over the past five years. I started teaching in 2007, and the first thing I learned as I got to know my students was that it’s important to present information in as many different ways as possible. Everybody learns differently, and, while some do respond strongly to written texts, a lot of people do not. I had thought of my writing class as “an English class,” which, like the English classes I’d taken in college, would consist mostly of reading (literary) texts, analyzing them, and then writing papers about them. I had never really thought to question what a paper was, because it seemed to me that it was “between four and five pages,” primarily. Although my private approach to art, literature, and, of course, online fandom, was one of searching, skimming, and skipping, I’d been in school long enough to understand that my writing should disguise this fact. When I wrote about a quotation from a novel, for example, I should not reveal that I was drawn to it because it revealed the author’s secret attitude toward women, or that I had found it because I’d been looking for a new quotation for my AOL Instant Messenger profile. Instead, I was expected to claim that the quotation was clearly central to the novel, and that it would reveal itself as such to any careful reader. When I transitioned from student to teacher, I realized that I would have to find a way to explain to my students what was expected of them, in terms of reading and writing, without being hypocritical. So at first, I assigned text after text. A poem about the experience of being away from home, that’ll strike a universal chord! It did not, at least not universally. An essay about learning curves, which will inspire self-reflection on learning styles. Yes! No. The texts did inspire discussion, of course. Students are kind-hearted people who take pity on their graduate student teachers, and also, a good portion of them have the background and natural curiosity in the humanities to succeed in most contexts. But I could tell that some students simply did not feel spoken to by the material, and I knew that it was not simply a lack of interest in academic success on their part. I needed to introduce something new, and fortunately, because this was 2007, and I had a computer in my classroom, I settled on YouTube. After all, the way I bonded with my friends much of the time was by sharing a 3-5 minute video about an issue that moved us, and then discussing it, or responding with a video on a related topic. Why not try to bring that dynamic to the classroom? To be clear, I’m writing this under the assumption that the practice is much more common in composition and other kinds of classrooms now, so don’t take my rhetorical questions as though they represent actual expert advice. For that, see Table 1 in Russo and Coppa’s article, which offers a selective overview of whole university courses devoted to remix and related practices. These courses undoubtedly represent a much more sophisticated approach to teaching with digital media, as compared with my “have you guys heard about this?” approach. Even so, I maintain that there was value to my approach even when it was best described under the latter category, before I understood how important it was to keep my desire to tell people about everything interesting, contained. And that is how simple my argument in this post is. The Fan/Remix Video issue of TWC is simply inviting in a way that not every issue of an academic journal proves to be. There are much worse ways to spend an afternoon than watching every video discussed in Elisa Kreisinger’s piece, “Queer video remix and LGBTQ online communities.” I’d be amazed if anyone did this and was not moved to read the author’s notes and analysis, because these videos demand further engagement, and the article acts as an instant interlocutor. Web video, especially remix video, is as powerful for many of us as poetry is for, well, fewer of us, and this issue offers a great array of examples and reasons why. I take Andrea Horbinski’s intervention into the issue’s place within fan studies seriously, and I think that, for those of us who are committed to the central issues she raises, her post should be required reading. At the same time, I think that, for a reader wondering what academic writing might look like if it spoke about her life on the internet in the 21st Century, she might be pleasantly taken in by it. Since 2007, my goal in teaching has changed from “give them the same things I was given, because then they will follow the same path of inspiration” to “give them as much good stuff as possible, in as many different ways as possible, in hopes that something excites their intellect or desire.” Similarly, my take on this issue is, “I’d never seen that one before! People are amazing.”
Guest post by Tom Phillips and Lucy Bennett
As young researchers, we are frequently told to place an emphasis on networking. It is certainly true that making connections with others can help boost your career, whether in terms of finding a co-author for a research project, or simply knowing someone at an institution that will let you know of any vacancies.
In addition to the more traditional mode of meeting others at conferences, networking websites such as Academia.edu have also proved useful, giving an overview of scholars’ academic profiles.
However, what we felt was lacking in terms of having a relatively informal space in which to bounce around ideas. The “traditional” mailing lists are useful in terms of disseminating information, but creating a dialogue via these formats is often not welcomed – mailboxes can become full of conversations about subject matters considered irrelevant by some.
In creating the Fan Studies Network, we wanted to cultivate a space in which scholars of fandom could easily find others with the same research interests, and could also converse in a non-judgemental way. To this end, we are encouraging all those who sign up to the mailing list to introduce themselves and their research. This should have the effect of allowing a sense of community – all other subscribers know that only interested parties will be seeing their messages. It also allows people to talk about their research, and in the process hopefully make new contacts.
We welcome scholars to join the network by signing up to our Jiscmail mailing list: FanStudies@jiscmail.ac.uk. You can also visit our website, which features CFPs and events of interest at
fanstudies.wordpress.com, and our Twitter account @FanStudies.
With the assistance of the team members who help us run FSN – Bethan Jones (Cardiff University), Richard McCulloch (UEA), and Rebecca Williams (University of Glamorgan) – we aim to host an event within the next year.
As a project in its infancy, we would welcome any feedback or suggestions from blog readers.
Guest Post by Mark McHarry and Dru Pagliassotti: Dru Pagliassotti and I have launched a blog, Yaoi Research: www.yaoiresearch.com. Formal work about yaoi and boys’ love is finally beginning to appear but we saw a need for a central place to publish more informal content than that in a journal or book. If you study, create, and/or enjoy yaoi, BL, and/or male/male romance and would like to contribute well-informed descriptive or analytical writing to our blog, please contact us: firstname.lastname@example.org. We’re hoping for posts about ongoing work, observations and opinions, reviews, commentary, analyses, and research notes and queries. Discussions of fanfic, artwork, original stories and novels, including slash and gay comics and fiction, are welcome, as are posts about context, creation, or consumption across historical periods, regions, and cultures. Graduate students, professors, independent scholars, publishers, and published mangaka, dōjinshika, and novelists are especially encouraged to contribute. If you do, please take a look at our submission guidelines. You don’t need to present original research or in-depth analysis, just interesting ideas that may stimulate thought. Although we request that posts be in English, if it is not your first language we will help you copyedit your contribution should you wish. Best Wishes for the New Year / あけましておめでとう.
One of the organizing concepts of the Symposium Blog is the intersection of academic and fannish modes of analysis. Sometimes, these converge in a single acafan (an identification I myself am perfectly comfortable with, as I spend equal portions of my time on my academic and fannish work), and other times, they refer rather to the possible terrain of an argument, a feeling of accountability to the very different, but equally intellectually exciting “rules of engagement” in the academic sphere and in fandom. The term “acafan” is controversial because, like “queer,” it is in flux, and has different meanings within and outside the academy, as well as within and outside fandom.
This summer, Henry Jenkins is hosting a series of conversations called “Acafandom and Beyond,” which bring together some of the “people from Game Studies, Critical Race Theory, Performance Studies, Queer Studies, and Gender Studies, who are confronting similar issues surrounding the role of subjectivity and cultural criticism,” which are at the heart of the acafan debates.
Now that fandom has finally gotten a momentary fair shake from the mainstream, I’d say that it’s high time to return to the complex questions that self-reflexive fans are so good at asking, like: the role of passion in serious debate, the importance of complex media engagement, and the intersections of various forms of privilege and taste. It is certainly not the case that one needs to be a practicing academic to engage, either. However, academics who form part of the critical sphere created by the media landscape, especially those who also value fannish as well as institutionalized methodologies, are uniquely equipped to have conversations that fascinate me.
Check it out! And feel free to join the conversation on the blog, or on the Dreamwidth mirror site.
Yesterday a story by Lev Grossman appeared on the Time Magazine website, titled “The Boy Who Lived Forever” (soon to be available in print). The occasion of the story, of course, is the imminent conclusion of the Harry Potter saga, at least in movie form. However, the article is really all about fanfiction. Grossman is amazingly thorough. In his five pages he covers the various genres of fanfiction – including some of the ones that aren’t always mentioned in articles sympathetic to fanfic, like hurt/comfort, noncon, mpreg and incest – the breadth of fanfiction, the legal status of fanfiction, and even the occasional rants from published authors who feel offended or violated by the existence of fanfiction. He also touches on the aspects of fanfiction that express diverse sexualities and obsessions, and he manages it with wit and aplomb. It is obvious that Grossman did his homework and I really must commend him for it. Best of all, Grossman touches on the fundamental issue raised by fan fiction: What does it mean to be creative? He is aware (perhaps coached by some fannish informants, hmm?) that many more accepted and prestigious forms of literature resemble fanfiction in their taking up of previously existing characters and worlds to create a new work. I was very pleased to see him mentioning the fact that until the era of Romanticism in the 19th century, the prevalent cultural definition of “originality” had nothing to do with the creation of something completely new. In other words, the idea that valid artistic expression must aspire to complete originality is one of recent coinage – at least in the western context. Reading Grossman’s piece recalled the satisfaction I felt when reading a certain essay by Thomas Sobchack; how enlightening it was to learn that, before the Romantics, it was not only permitted but expected that a writer would work within previously formulas, structures, storyworlds, myths and histories! The artist’s goal was an original restatement, not a discrete new world. I’m pretty sure that if you look it up in the dictionary, the definition of creativity is “original recombination”. Sure, Grossman acknowledges the deep emotional connection an author may have with his/her characters. He can understand and appreciate the perspectives of the Anne Rices and Robin Hobbses and Orson Scott Cards out there – and so can many fanfiction authors. As someone who has written an original character now and then, I can also appreciate that rather irrational feeling of ownership. But as Grossman perceptively points out, if an author is like a parent to their characters, it is the wise parent who realizes that their children are going to go forth into the world to have lives, connections, even identities apart from them. In our current age convergence and participatory culture, this is not just a possibility – it’s a guarantee. “There may be hurt in that,” Grossman concludes, “but there is a great deal of comfort as well.” And it is a comfort to know that our stories go on and on (neverending, maybe?) – that Harry Potter will live and live forever, as will Frodo and Luke Skywalker and Buffy and the Winchesters and so many others. Note: Thanks to Baranduin for bringing this article to my attention
It’s at moments like this that I realize how much I have to learn about fandom, its far-reaching impact on global popular culture forms, and its awesome and endless variety. With that in mind, I heartily encourage fans, fan scholars, and acafans with the relevant expertise to think seriously about submitting a piece of writing to this upcoming special issue of the academic journal Transformative Works and Cultures. The editors have put together a welcoming and intellectually exciting set of questions to inspire contributions from a range of disciplinary and fannish perspectives. I can’t wait to see how the issue takes shape. But enough about me, onto the editors’ CFP: Transnational Boys’ Love Fan Studies Edited by Kazumi Nagaike and Katsuhiko Suganuma, Oita University ‘BL’ (Boys’ Love), a genre of male homosexual narratives (consisting of graphic manga, novels, animations, games, films, and so forth) written by and for women, has recently been acknowledged, by Japanese and non-Japanese scholars alike, as a significant component of Japanese popular culture. The aesthetic and style of Japanese BL have also been taken up, deployed and transformed by female fans transnationally. The current thrust of transnational BL practices certainly raises a number of important issues relating to socio/cultural constructs of BL localization and globalization. A historiographic approach to Japanese BL studies clearly shows that Japanese BL originally developed through fans’ amateur aniparo (anime-parody) writing, in which the male characters in popular animations (as well as manga and other genres) are recast in homosexual pairings. From the outset, then, BL was a fan-oriented activity, established on the basis of a fervent, female-oriented fan community which has produced, circulated, and consumed dōjinshi (amateur coterie magazines) and other materials in this genre. The Tokyo Comic Market, the biggest fan-dōjinshi event in Japan, is held twice a year and attracts more than half a million participants in each event. A large portion of these Comic Market participants consists of BL fans, who have become a dominant force in the development of such dōjinshi activities. As well, Japanese female BL fans have recently received a great deal of public attention in relation to the popularized concept of fujoshi, which literally means rotten women and connotes the presumed “perversions” of women who fantasize about male-male eroticism. A specialized body of academic analysis concerns the formation of Japanese BL fujoshi, detailing their consumptive and productive activities, both as individual fans and as members of specific fan communities. Such scholarly endeavors would certainly be enriched by further research concerning the activities of transnational BL fans. This research would examine BL fans, fan communities, fandom, and fan fiction in each of the regions where BL (or BL-like) activities have originated and developed. For example, several critics (e.g. Antonia Levi 2010) have previously described the arrival of BL in the West, but this is surely premised on the existence of local fan communities and practices. Further, Matthew Thorn (2005) has investigated the similarities between Japanese BL fans and North American female slash fans and found, in both cases, that these fans “come out” only among fellow fans, showing that women’s pleasure in such “unhealthy” materials still possesses some degree of public stigma. On the other hand, Ting Liu (2009) has examined the development of BL fan communities in China and Hong Kong, along with the gradually shifting cultural perceptions which surround them, demonstrating the ways in which BL fan activity problematizes established gender formations in these regions. Thus, transnational BL fan studies can and should also be incorporated into the broader socio/political critical frameworks offered by studies concerning economy, gender/sexuality, race/class, and others. In order to develop transnational BL fan studies further, we are therefore seeking contributors working in this field, in particular those engaged in the exploration of non-Japanese and non-North American contexts (e.g. Europe, the Asia-Pacific region, Africa, and others). We welcome submissions dealing with, but not limited to, the following topics: Case-studies and ethnographic examinations of BL fans, specifically examining fans’ sex/gender, age, occupation, class, race/ethnicity, et cetera. Local ethnographies relating to BL fans’ production, distribution, and use of these materials. Discussions concerning the ways in which broadly framed socio/political issues or forms of consciousness (e.g. gender/sexuality formations, authorities’ interference, censorship, and so forth) impact fans’ BL activities. Media and social responses to fans’ involvement in BL activities. Commercial aspects of BL and fans’ contribution to the development of BL economics. The integration of research on BL fans into a wider discussion of social theory, differing cultural discourses, and globalization. Discussions concerning the ways in which BL fans’ forms of production, distribution, and consumption might challenge traditional notions of Author, Reader, and Text. Theoretical overviews reflecting traditional/contemporary ideas of fandom, fans, fan communities, and fans’ means of communications, demonstrating how these ideas specifically relate to BL fans. Explorations of the ways in which BL participants are motivated to become involved in other fan-oriented activities (e.g. cosplay; female fans’ cross-dressing as male BL characters). Submission guidelines TWC accommodates academic articles of varying scope as well as other forms that embrace the technical possibilities of the Web and test the limits of the genre of academic writing. Contributors are encouraged to include embedded links, images, and videos in their articles or to propose submissions in alternative formats that might comprise interviews, collaborations, or video/multimedia works. We are also seeking reviews of relevant books, events, courses, platforms, or projects. Theory: Often interdisciplinary essays with a conceptual focus and a theoretical frame that offer expansive interventions in the field. Peer review. Length: 5,000–8,000 words plus a 100–250-word abstract. Praxis: Analyses of particular cases that may apply a specific theory or framework to an artifact; explicate fan practice or formations; or perform a detailed reading of a text. Peer review. Length: 4,000–7,000 words plus a 100–250-word abstract. Symposium: Short pieces that provide insight into current developments and debates. Editorial review. Length: 1,500–2,500 words. Submissions are accepted online only. Please visit TWC’s Web Site) for complete submission guidelines, or e-mail the TWC Editor (editor AT transformativeworks.org). Contact We strongly encourage potential contributors to contact the guest editors with any inquiries or proposals: Kazumi Nagaike, nagaike AT oita-u.ac.jp Katsuhiko Suganuma, suganuma AT oita-u.ac.jp Due dates Contributions for blind peer review (Theory and Praxis essays) are due by March 1, 2012. Contributions that undergo editorial review (Symposium, Interview, Review) are due by April 1, 2012.
The new issue, No. 5, of Transformative Works and Cultures, the academic journal with which we’re affiliated, was published this week, and I haven’t had time to do more than skim the editorial, which in an academic journal such as this sums up and gives an overview of the issue, and read one article which immediately leaped out at me.
The editorial finds the theme of “the embodied fan” to be running through many of the works in this issue. There’s a great summary of what you can find in all the articles on the OTW’s own blog; if you didn’t know about it I strongly recommend following it as well as this one. I believe Francesca Coppa does most of the posts there, and that blog for the umbrella organization does links roundups and points out a lot of cool stuff that I certainly miss.
Given that my main interest in media fandom is fan fiction, and that I primarily approach media fandom as a writer and a reader, I of course immediately gravitated to the interview the editors of the journal did with three women who have experience writing fan fiction, tie-in novels for TV shows, and their own original fantasy and science fiction.
The interview, with Jo Graham, Martha Wells and Melissa Scott, was fascinating to me.
I was particularly struck by the distance that these authors maintain from the fannish community compared to authors who write primarily fan fiction, and was also intrigued and found much to think about in their examination of the much wider and more eclectic audience they see for tie-in novels for TV shows compared to the audience for slash or other types of fan fiction.
A fascinating look at how writers have navigated all three of these types of writing — how they are different and how they are the same.
I’m looking forward to reading more of the issue and I hope you are too!