The Fanfiction Reader

Coppa, Francesca

doi:10.3998/mpub.9479376

Cited by 39 publications

(8 citation statements)

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“…This emergent meme has qualities of a Jurassic Park fan work and of a meme. Notably, fan works and memes have significant overlap: both are transformative in some way and inherently intertextual, both are meant to be shared, and both are situated within a community or cultural context [Coppa, 2017;H. Jenkins in Harmon, 1997;Shifman, 2014].…”

Section: Science Fans and Jurassic Parkmentioning

confidence: 99%

“…Jenkins in Harmon, 1997;Shifman, 2014]. Fan works and memes are also best understood not as individual works, but as a collection of texts [Coppa, 2017;Shifman, 2014].…”

Section: Science Fans and Jurassic Parkmentioning

confidence: 99%

“…Scholarly study of fan works and Internet memes are both emerging fields. Both fields have much in common: fan works and memes are often dismissed as trivial artifacts of popular culture, but both have been described as a kind of modern (or postmodern) folklore, and as such, a reflection of social and cultural structures and values [Coppa, 2017;Shifman, 2014]. In this essay, I hope to bring together elements of cultural studies in science communication with the study of transformative works which are endemic to online communities and digital cultures, particularly fan works and Internet interpretive storylines and common points of reference which are culturally informed.…”

Section: Introductionmentioning

confidence: 99%

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CLADISTICS ruined my life: intersections of fandom, internet memes, and public engagement with science

Gartley¹

2022

JCOM

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In an increasingly mediated culture, social institutions such as science, public health, and civic engagement exist within the same modes of discourse as popular media. As a human endeavor, science is also a cultural phenomenon, and there are webs of multidirectional and layered communication that occur between formal science communication, pop science, and, indeed, popular media. For public participants, engagement with science and entertainment may be one in the same. This essay draws from research of transformative works, fan studies, and memetics to examine how the public engages with science and popular media within digital cultures.

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Section: Science Fans and Jurassic Parkmentioning

confidence: 99%

“…Jenkins in Harmon, 1997;Shifman, 2014]. Fan works and memes are also best understood not as individual works, but as a collection of texts [Coppa, 2017;Shifman, 2014].…”

Section: Science Fans and Jurassic Parkmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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CLADISTICS ruined my life: intersections of fandom, internet memes, and public engagement with science

Gartley¹

2022

JCOM

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“…Pugh (2005), as "writing, whether official or unofficial, paid or unpaid, which makes use of an accepted canon of characters, settings and plots generated by another writer or writers" (Pugh 2005, p. 25). Francesca Coppa in her book The Fanfiction Reader describes fanfiction as "creative material featuring characters [from] works whose copyright is held by others" (Coppa, 2017).…”

Section: Literature Reviewmentioning

confidence: 99%

Characters’ Pilgrimage from the Canon to Fanfiction: A Gestalt Approach

Morozova¹,

Pozharytska²

2021

ijl

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Most academic circles treat fanfiction as “paraliterature” (Krauss, 1980) created by fans of a certain literary work. Fanfiction (also abbreviated to fan fic, fanfic, or fic) presents a new field of analysis not only for literature, but also for linguistic studies. The current paper aims at combining the research practices of both of them in order to disclose the literary and lingual essence of fanfics within J. K. Rowling’s Harry Potter universe. For this purpose, we have made an attempt to apply the cognitive theory of Gestalt (introduced into the research world by the well-known psychologist Max Wertheimer) to the lingual analysis of fanfiction. We shall argue that in the three fanfics studied, the virtual images of Harry Potter, Hermione and Ron are preserved on the level of their individual speech Gestalts. We shall also argue that the fanfic author’s personal sympathies may change at least one of the characters’ profiles within a fanfic, while leaving the rest of them mostly unchanged so as to serve as an easily recognized background for the favorite personage. In other words, the author’s angle of vision structures not only a fanfic’s narrative, but it may also re-build the artistic and speech image(s) of one or more characters, though preserving the others’ images as given in the canon text.

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“…En el presente, los fans continúan administrando esas páginas en Facebook, LiveJournal, Tumblr y Twitter como una forma de vivir plenamente sus mundos ficcionales favoritos y de continuar la narrativa. Este juego de roles es un modo de no sólo entrar en este mundo, sino también en una comunidad de fans vinculada a él (Coppa 2006;Wood & Baughman, 2012;McClellan 2013;Bore & Hickman 2013;y Lookadoo & Dickinson 2015). Las personas que están detrás de estas páginas extraoficiales (o de estos perfiles) interactúan entre ellas, o con otros fans del mismo mundo de una manera que es consistente con la psicología del personaje cuya presencia ellos desean simular en Internet.…”

Section: Personajes De Ficción En Las Redes Socialesunclassified

Inmersión, redes sociales y narrativa transmedia: la modalidad de recepción inclusiva

Gauthier

2018

Comunicación y Medios

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En el presente artículo, sostengo que las redes sociales se convierten en el sitio principal de un nuevo conjunto de relaciones entre la ficción y la realidad en la narración transmedia al permitir la interacción entre los personajes (en el mundo ficticio) y los interactores (en el mundo real). Estas relaciones subyacen a un nuevo modo de recepción, que propongo llamar el modo de recepción inclusivo. A diferencia del modo de recepción “inmersivo”, cuyo objetivo final es sustituir una realidad por otra alterando la realidad del interactor y sumergiéndolos en un mundo ficticio completamente diferente, el objetivo principal del modo de recepción “inclusivo” es posibilitar el coexistencia simultánea de dos mundos (los de la realidad cotidiana del interactor y del mundo ficticio que consumen) y conectarlos utilizando las redes sociales como interfaz.

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The Fanfiction Reader

Cited by 39 publications

References 0 publications

CLADISTICS ruined my life: intersections of fandom, internet memes, and public engagement with science

CLADISTICS ruined my life: intersections of fandom, internet memes, and public engagement with science

Characters’ Pilgrimage from the Canon to Fanfiction: A Gestalt Approach

Inmersión, redes sociales y narrativa transmedia: la modalidad de recepción inclusiva

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