Antwerp, the fictional home of Nello & Patrasche from A Dog of Flanders (1872) written by Marie Louise de la Ramée, attracts thousands of tourists every year to see the city and get close to the fictional text. European children’s literature such as this inspires dedicated fans who long to make more real the imagined spaces described by authors. The city and associated monuments and markers become sites of secular pilgrimage; people traveling to them experience children’s literary culture as localheritage. Traveling across borders, visiting these European spaces of children’s literature, taking official and unofficial tours, and listening to the stories which people share while physically present help to secure a place in which international fans can play with notions of local identity and culturalheritage. Or, as Yi-Fu Tuan argues, “When space feels thoroughly familiar to us, it has become place.” This case study seeks to interrogate the importance of place in the transcultural fan community of A Dog of Flanders. I analyse the touristic pilgrimage to Antwerp and the social/communal rituals associated with what John Urry calls the “mediatised gaze” as fans inhabit spaces typically reserved for city locals. This paper also considers the importance of place in the transcultural fan community of European children’s literature, discussing how glocalization allows texts to travel across international borders and encourage transcultural appropriation.
Previous studies of music fan culture have largely centered on the diverse range of subcultures devoted to particular genres, groups, and stars. Where studies have moved beyond the actual music and examined the fashion, concerts, and collecting ephemera such as vinyl records and posters, they have tended to remain closely allied to notions of subcultural distinction, emphasizing hierarchies of taste. This paper shifts the focus in music fan studies beyond the appreciation of the music and discusses the popular fan practice of collecting souvenir pins produced and sold by the Hard Rock Café (HRC) within a framework of fan tourism. Traveling to and collecting unique pins from locations across the globe creates a fan dialogue that centers on tourism and the collecting practices associated with souvenir consumption. Collectors engage in practices such as blogging, travel writing, and administration that become important indicators of their particular expression of fandom: pin collecting. Membership requires both time and money; recording visits around the world and collecting unique pins from every café builds fans' cultural capital. This indicates an internationalization of popular fandom, with the Internet acting as a connective virtual space between local and national, personal and public physical space. The study of HRC pin collecting and its fan community suggests that HRC enthusiasts are not so because they enjoy rock music or follow any particular artist but due to the physical ephemera that they collect and the places and spaces they visit.
The Star Trek mission, to go where no one has gone before, has returned us to our own inner spaces. One could see the latest question raised by explorations in terms of how to respond when confronted by an awareness of irreducible difference concerning that which bounds and blinds individuals however they are conceived of and wherever they are. (Blair 1997, 88)
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