The first space [bad bromance] offers is in the transgressive sexual performance of the writing itself. If the act of writing utopian, egalitarian slash resists heteronormativity (either because of its queer content or because women are writing sexually explicit fantasies

I cannot speak of dub-con’s audiences like some collective entity which approaches and accesses the genre in the same way for the same reasons. However, I argue that dub-con represents as much of a move as the wider genre of

However, not everything is easily conducive to the positivist critique of homonationalism and ablenationalism. Normative aspects of neoliberal dictates are also often replicated within the domain of fan fiction. Fan narratives often result in the reproduction of the normative family

Asexual slash fiction is still about sex. In some, the main characters have sex. In others, they don’t. In some, they have cake. The difference between the works where the characters are both [allo]sexual and those where one or both

Beginning with a general overview of the historical roots of slash fan fiction and its theoretical interest to feminist and gender studies scholars, we posit three waves in the relationship between slash and queer culture: 1. Initial woman-centric slash that

Slash – even more so than gay romance – is the ultimate fictional expression of erotic faith. The romance heroes in these stories fall so in love with their male friend or partner, so embrace the religion of erotic faith,

And let’s not pride ourselves on the monogamy, either; this is another patriarchal imposition which women have sexualized – in fact I believe it can be seen in the K/S [Kirk/Spock] material (as in the romances) as a metaphor for

Lamb, P. F., & Veith, D. L. (1986). Romantic myth, transcendence, and Star Trek zines. Erotic universe: Sexuality and fantastic literature, 235-55. One of the earliest pieces of research published about fan fiction, Lamb and Veith’s essay is a first