The tension between the private act of journaling and the public sharing of journal entries via a social network architecture makes LiveJournal a site of performance (Kendall 2007; Lindemann 2005). Busse (2006) observes that women sharing fan fiction with one

While they received a lot of hostility and hate posts, the Brony audience did not respond to the trolls in kind.  As with many internet groups, the Brony audience used catchphrases and memes such as “welcome to the herd” or

By revising contemporary narratives of both book history and fan history, we can reread women’s work in the literary and book trades from the seventeenth and the twenty-first centuries as a function of operating with and subverting patriarchal norms of

Contemporary fan fiction is overwhelmingly digital in both publication and dissemination; it has never been easier to access this subculture of writers and writing. However, fan fiction in print has likewise never been so accessible, as a slew of recent

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

But in the middle of the decade, one manga and its anime not only saved dōjinshi fandom from near extinction but was responsible for its biggest boom yet. Takahashi Yōichi’s Captain Tsubasa (1981–88, Kyaputen tsubasa), about boys competing in the

SwanQueen creates a space where female concerns, even queer distress, are not merely brushed aside but discussed and dealt with—discussions that I and other fans find pleasurable in many ways. Strauch, Sandra. 2017. “Once Upon a Time in Queer Fandom.”

Calling the practice of modding more empowering or resistive than other fannish practices is problematic because, use of technology aside, modding is not significantly different than the writing of fan fiction or the creation of vids. Modding is, essentially, the practice of taking