Fictional Community Research Articles

Sad and Rabid Puppies: Politicization of the Hugo Award Nomination Procedure

Originally a conservative genre, in the second half of the twentieth century, science fiction (sf) became a discourse whose progressive presentation of virtually all controversial political issues and critical questioning of the political status quo have remained unmatched in the so-called popular culture, among others. There is no other literary convention that so boldly challenges such issues as racism, sexism, social justice, and ecological devastation. However, the progressive stance of many science fiction writers, editors, and readers has been, in recent years, challenged by loose coalitions of groups calling themselves Sad Puppies and Rabid Puppies, who have acted against what they perceive as the repression of more traditional voices in science fiction communities. The paper will seek to explore recent political shifts within the science fiction fandom, with regard to oppression involving gender, class, race, and ethnicity. I will provide an account of the fandom’s political tensions, disentangle some of the convoluted discussions that have taken place across blogs, Twitter accounts, and Facebook pages of those involved in these debates, and specifically address the controversies related to the 2014 and 2015 Hugo Awards. I will also attempt to illuminate the violent conservative backlash that the aforementioned groups launched against the perceived political correctness and repression of certain viewpoints within sf communities.

In the shadow of ‘frontier disloyalty’ at Russia–China–Mongolia border zones

ABSTRACTThe centre orientation and closed character of the Soviet space turned border areas into half-empty places remaining in absolute readiness for confrontation. Frontier forms of socialism were special, not only because of the extremely intense implementation of Soviet methods of modernization, but also because they achieved a particularly high level of political and social sterility of frontier populations. The contradiction between political sterility of border inhabitants and the latter’s emotional inclusion as Cossacks in border defence was dealt with through re-creation of confrontational myths whose performative power was able to combine temporal regimes and cast doubt on the loyalty of the local inhabitants. The paper analyses late Soviet discursive practices concerning the disloyalty of fictional Cossack communities in Inner Asia (Mongolia, China, and Transbaikalia) with their old-fashioned life style and strong anti-Soviet attitudes.

Fanfikcja po rosyjsku – w kręgu polskich inspiracji

The purpose of this article is to present ways of reception of Polish literary classics by an average recipient of Polish culture in the framework of Russian-language fan fiction community. The text shows specific features of the contemporary Russian fan fiction, which is a synthesis of two fan fiction traditions – Western and Russian. In addition, this article is also an attempt to introduce the Russian tradition, which arose independently of the Western one, to a Polish audience.

William Faulkner: La guerra es un negocio

El condado de yoknapatawpha muestra el desarrollo de Estados Unidos desde un sistema tradicional de estructura patriarcal relacionado con el entorno natural y rural, a una sociedad contemporánea desarrollada en el ámbito socio-económico cercana al capitalismo. El contexto histórico y el marco socio-económico son elementos compositivos básicos en la literatura faulkneriana. Los efectos y consecuencias de la Guerra de Secesión y la Primera y la Segunda Guerra Mundial resultan fundamentales para establecer un paralelismo entre la evolución de la comunidad sureña y la nación americana. William Faulkner crea un microcosmos representativo de la historia americana.

Race insanity: intertextual discursive practices challenging race and ethnicity in the digital age

In the global communicative landscape of the digital age, researchers and educators need a more nuanced understanding of identity creation. This paper analysed how fan fiction writers create representations of identity in their personal profiles in the fanfiction.net archive site. Specifically, I assessed whether traditional racial/ethnic categories are relevant and/or applicable in a fan fiction community and examined what we learn from fan fiction writers’ representations of their own identity that could inform and expand how multicultural education considers the diversity of individuals and groups. The study drew on an electronic corpus of 45 user profiles chosen randomly from fanfiction.net and applied a cultural discourse analysis framework (CuDA) to this set of data. The results indicated that rather than fitting into specific racial/ethnic categories, the discursive practices of these fan fiction writers revealed portraits of self that were much more unique, elaborated and meaningful to their personal identities. Consequently, I argue that the real challenge for multicultural education is to develop a more complex understanding of the uniqueness of learners as individuals, welcoming their lives, relationships, memories, fantasies and desires specifically as well as how they connect or are connected to larger sociocultural groups.

Communities in Fiction by J. Hillis Miller

J. Hillis Miller. Communities in Fiction. Fordham: Fordham UP, 2015. Pp xi, 333. US$30. J. Hillis Miller's Communities in Fiction explores concept of community, elaborated sometimes contradictorily by critics like Raymond Williams, Martin Heidegger, Jean-Luc Nancy, and Jacques Derrida in relation six fictional works. His analysis extends from Victorian community of Anthony Trollope Last Chronicle of Barset) postmodern community of Thomas Pynchon (The Secret Integration), circling back Miguel de Cervantes' Dogs' Colloquy in order examine the ways community or its lack is presented in each work (Miller 308). Among strengths of Miller's book are his familiarity with narrative theory, his detailed rhetorical readings, and his warm conversational prose, which make text eminently lucid and accessible, particularly in its early theoretical chapters. His exploration of Derridean of autoimmunity forms cornerstone of book (17). Real or true communities], Miller argues, are governed by self-destructive (17) and autoimmunitary (il)logic that Derrida describes (308), which is visible in our contemporary world, particularly in United States (17). Throughout book, Miller returns this claim about communities in order argue that what is happening in United States and worldwide ... indicates that this community behavior is not just a fiction (308). These novels of community, or lack thereof, Miller contends, speak of to our globalized political and economic situation today (152): by reading these novels and exploring their representations of communities, readers may see their own [communities] differently, and ... behave differently as a result (153). Miller's general claims about relevance of and literature occasionally detract from his specific claims about nature of particular communities in stories that he examines, largely because he does not spend much time expanding on these claims. Miller draws analogies from novels he examines our contemporary twenty-first-century world, but with limited space for this secondary purpose, his analogies fall short on actual evidence and end up as sweepingly broad statements with some inaccuracies. This is especially evident in his chapter about Joseph Nostromo, which runs just shy of a hundred pages (in a three-hundred page book). In addition explicating depiction of community within novel--which he does in detail--Miller simultaneously draws on contemporary world events as evidence for his claims about Nostromo's (non)community. This leads him argue against global capitalism of an imperialist US, and particularly neo-conservative arguments for bringing democracy Iraq in order secure smooth working of oil industry there (186), which distracts from his compelling argument about text. Miller acknowledges that it would be too long a tale tell whole story here of United States military and economic intervention ... in South America but attempts do so anyway through Nostromo's emblematic fictional example (190). Although he ties his argument about contemporary US interests advanced in novel (186), length and bifurcation of chapter limits his ability sustain an analysis of community in text. The chapter would be much improved as either a shorter piece more focused on nature of community or an in-depth explanation of Conrad's prescience (189) about twenty-first-century American interventions in South America. The book also launches attacks on unspecified humanities professors who have apparently felt compelled in recent years disguise their love of literature ... in masquerade of hard-headed, empirical, politically progressive cultural studies, or feminist studies; or studies in gender, class, and race; or investigations into material bases of culture; or studies based on recent vogue in of cognitive science (150). …

The Sex of Omission: Obscured Feminism in Chinua Achebe’s A Man of the People

This article refutes the common claim that Chinua Achebe does not represent women as active participants in his fictional communities until in his fifth novel, Anthills of the Savannah . Such criticism neglects women’s contestations of male-dominated political and aesthetic representation in A Man of the People . Readings of that novel routinely foreground the political foibles of the unreliable narrator while overlooking how his traumatic encounter with female agency shapes his narrative. By focusing on the protagonist’s repression of women’s agency, I suggest his swerve into a narrative of national politics results from a profound inability to accept women’s demands for multiple forms of recognition. A Man of the People explores obstructions to African feminism and sexual politics. As such, it ought to be read alongside the fiction of Flora Nwapa, Chimamanda Ngozi Adichie, and Tsitsi Dangarembga.

“I HAVE SEEN THE FUTURE AND I WON'T GO”: The Comic Vision of Craig Strete's Science Fiction Stories

"I HAVE SEEN THE FUTURE AND I WON'T GO"The Comic Vision of Craig Strete's Science Fiction Stories Kristina Baudemann (bio) I HAVE SEEN THE FUTURE AND I WON'T GO. (popular folksong from 2074.) (Crazy Horse, his dying words, 1876.) —Craig Strete, "A Horse of a Different Technicolor" Indigenous science fiction (SF) is not a new genre. In the 1970s and early 1980s, Indigenous speculative voices presented an Indigenous-centered take on time travel, apocalypse, and other worlds with publications such as Gerald Vizenor's "Custer on the Slipstream" (1978) and Darkness in Saint Louis: Bearheart (1978), and Craig Kee Strete's The Bleeding Man and Other Science Fiction Stories (1977) and If All Else Fails. … (1980).1 As Anishinaabe scholar Grace Dillon has pointed out, "Indigenous sf [science fiction] is not so new—just overlooked" (2). With her 2012 anthology Walking the Clouds, Dillon has introduced the term Indigenous futurisms for Indigenous-centered SF: spanning almost three decades of Indigenous speculative writing, from 1978 (Vizenor) to 2006 (Andrea Hairston's Mindscape), the collection exhibits how Indigenous writers reimagine SF tropes and alter their audience's perception of "what 'serious' Native authors are supposed to write" (3). Notably absent from Dillon's canon, however, is Cherokee writer Craig Strete—arguably the first Indigenous author widely recognized within the science fiction community. Strete's fiction was three times shortlisted for the Nebula Award and drew the attention and praise of renowned writers such as Jorge Luis Borges and Virginia Hamilton, who provided forewords to Strete's short story collections.2 Strete's fanzine Red Planet Earth (1974) was the first SF magazine dedicated to Indigenous-authored speculative fiction. Since [End Page 76] the early 1980s, however, Strete has been largely forgotten: his collections are out of print, and mentions of his work in academic publications on SF throughout the 1980s, 1990s, and 2000s are rare. Strete's identity is hard to pinpoint, and not only because his fame as a writer ebbed away three decades ago. He has also admitted to using multiple pseudonyms ("Strete, Craig"), and the attempt to verify facts about his personality and works has proven to be difficult at best: his most successful book, Burn Down the Night (1982), in which Strete depicts a wild party night with the Doors frontman Jim Morrison, is either autobiographical or entirely made up; his biographical statement in If All Else Fails … indicates that Strete has been nominated for a Hugo Award, but Strete's name is not on the shortlists for any year; the introduction for Strete's short story collection Death Chants (1988) is attributed to Salvador Dalí, but whether this means that the poem was written by the legendary painter for Strete personally or whether "Salvador Dalí" is in this case one of Strete's pseudonyms remains unclear. Strete has been praised as brilliant and denounced as a fraud (Manzarek and Moddemann), which should make scholars cautious regarding the egregious issues of ethnic fraud currently under discussion within the Indigenous North American literature and arts communities. However, when attempting to unearth facts about Strete's Indigenous heritage one comes up equally empty-handed: Strete positioned himself as a Cherokee author during the 1970s but does not seem to be affiliated with one of the Cherokee tribes; his claims to an Indigenous ancestry have, to this day, been neither confirmed nor refuted. Strete's fiction was received as Indigenous-authored SF and was a source of inspiration to Indigenous scholars and writers of the 1980s and 1990s. The enigmatic identity of this author notwithstanding, I believe that his works and their reception require revisiting in light of the present turn within Indigenous literary studies toward Indigenous speculative fictions. This article collects critical voices on Strete's SF and explores reasons for the academic silence that followed in the track of his acclaim as an aspiring SF author of the 1970s. Approaching Strete's fiction with the help of paradigms for Indigenous literature, most notably, Lawrence Gross's comic vision, Vizenor's trickster discourse and survivance, Dillon's Indigenous futurism, and Gross's, Daniel Heath Justice's, and Sidner Larson's Native apocalypse, I will explore what...

Beyond Persuasion: Margaret Atwood's Speculative Politics

With the exception of The Penelopiad (2005) and Stone Mattress (2014), Margaret Atwood's major work of the last thirteen years has consisted entirely of fiction. Why? One way to understand her commitment to the genre is to see that she is redefining and expanding its possibilities. Beginning with a 2008 New Scientist interview and extending into her 2011 essay collection In Other Worlds: SF and the Human Imagination, she has consistently campaigned for greater attention to fiction's realism. In her contrarian account of the genre, fiction is firmly grounded in present realities and extrapolates into the near-future using only the logic of plausibility. In Other Worlds, a text in which Atwood reflects on genre, distinguishes between and science fictions by aligning fiction with realism and science fiction with romance and fantasy. This distinction has understandably elicited ire from those in the science fiction community who maintain that science fiction is itself empirically rigorous and plausible. Putting aside arguments over genre boundaries, Atwood's commitment to fiction (over science fiction) reveals how she conceives of her work over the last twelve years. What she defends as most crucial about fiction is its closeness to real speculation--that is, the economic and political speculation that we understand as nonfictional, speculation that produces legitimate and actionable information about possible futures for the stock market and national security agencies, among many other institutions. In this essay, I argue that Atwood's fiction, specifically Oryx and Crake (2003) and the last chapter of Payback: Debt and the Shadow Side of Wealth (2008), can be seen to echo political and economic narratives that were being produced around the same time. In particular, I compare Oryx and Crake and Payback to scenario plans published by the influential environmental agency the Global Scenario Group (GSG), the CIA and National Intelligence Council (NIC), and Shell Oil, in order to show the remarkable similarities in form and content between these narratives. These scenario plans, along with other political and economic speculations, are categorized as scientific reports. While each scenario report includes a disclaimer in its preface that states that scenarios should not be construed as in the strictest sense (much like corporations, whose forward-looking statement disclaimers serve to limit liability in press releases), these forecasters nevertheless expect their scenarios to be treated as if they contained what political theorist Louise Amoore calls speculative knowledge--a of possibilities (9). This expectation is implicitly signaled when forecasters cite and celebrate institutions' and organizations' use of their narratives to shape policy and other important decisions, a routine occurrence. (1) Since I argue that for these narrative forecasters their predictions are conjecture in name only, I will use the term knowledge when describing what scenario plans offer readers and decision-makers. Pragmatically, scenario plans are treated as if they offer about a future that has simply not yet come to pass. Oryx and Crake and Payback should be read as appropriations of modern forecasting narratives that also strive to produce legitimate--that is, authoritative and even scientific--knowledge about the future. In addition, Atwood's use of the tropes of political and economic forecasting serves as a way to occupy this particular narrative mode. Political and corporate agents who use scenario plans imagine that these narratives work to actually produce, and not just describe, the future. Adopting this narrative mode for her own political purposes, Atwood embraces the idea that narratives are performative but imagines that she can use them to produce a different kind of future. …

Community in Julio Cortázar’s Libro de Manuel

Libro de Manuel ( A Manual for Manuel ), Julio Cortázar’s 1973 novel, revolves around a small revolutionary group of South-American expatriates based in Paris named la Joda and its quest to raise the consciousness of the public about social injustice as well as to free some political prisoners. This article focuses on various theoretical concepts of community, and how these relate to the fictional community of la Joda . La Joda is a diverse community made up of members who all contribute their part in mini-revolutions and it represents for its members a quest for freedom at an individual and a collective level. La Joda also has a sense of belonging, tolerance and trust among its members. Cortázar succeeds in creating a fictional intellectual and revolutionary community with some real-world characteristics, that embarks on a quixotic mission to change the world. Keywords: Social Justice, Community, Revolution, Conciousness

Emotional landscapes of reading: fan fiction in the context of contemporary reading practices

This article focuses on fan fiction as a literary experience and especially on fan fiction readers’ receptive strategies. Methodologically, its approach is at the intersection of literary theory, theory of popular culture, and qualitative research into practices of communication within online communities. It characterizes fan fiction as a type of contemporary reading and writing. Taking as an example the Russian Harry Potter fan fiction community, the article poses a set of questions about the meanings and contexts of immersive reading and affective reading. The emotional reading of fan fiction communities is put into historical and theoretical context, with reference to researchers who analysed and criticized the dichotomy of rational and affective reading, or ‘enchantment’, in literary culture as one of the symptoms of modernity. The metaphor of ‘emotional landscapes of reading’ is used to theorize the reading strategies of fan fiction readers, and discussed through parallels with phenomenological theories of landscape. Among the ‘assemblage points of reading’ of fan fiction, specific elements are described, such as ‘selective reading’, ‘kink reading’, ‘first encounter with fan fiction texts’ and ‘unpredictability’.

Digital rolling role across global classrooms: a geodramatic framework

This article focuses on the Sydney case study within the 2013 international Water Reckoning Project (www.water-reckoning.net) – a project which repurposed Dorothy Heathcote’s rolling role curriculum model with digital technologies to connect students and teachers around the world in a common drama, considering the ‘what if’ context of a fictional community, called ‘Ardus Unda’, which was on the brink of an imagined environmental disaster. The article proposes a new geodramatic inquiry framework that draws upon place pedagogy and social ecology to examine the positioning of learners as the drama opened up new ways for them to consider their collective and personal responses to local and global environmental issues. In this project experiences were curated by teacher/researchers and student’s dramatic content was uploaded online for a range of audiences. In analysing the role-based exchanges between students and teachers, as well as focus group data, the writers offer a new framework for researching drama. This geodramatic analysis examines the dynamic interplay of place, time and relationships within a digital rolling role project. Researchers of the Sydney case study also consider the tensions and possibilities of situatedness in a global drama and the implications for applying this digital pedagogical model.

Reading (Deconstructing) J. Hillis Miller: Humanist and Pluralist

Reading (Deconstructing) J. Hillis Miller:Humanist and Pluralist Daniel R. Schwarz Miller, J. Hillis. Communities in Fiction. New York: Fordham UP, 2015. Pp. xvi+ 313. In his day, J. Hillis Miller, now in his eighty-eighth year, was one of the most influential of literary scholars, among the leaders in introducing phenomenology and, later, deconstruction to an Anglo-American audience. His early books The Disappearance of God (1963), Poets of Reality (1965), and The Form of Victorian Fiction (1968) were greatly influenced by Georges Poulet and the Geneva school. Fiction and Repetition (1982) was written under the umbrella of Derridean Deconstruction. All four were required reading for a generation of graduate students. I wrote a full chapter on what we might now call Miller’s early work and what was certainly his most influential period in my The Humanistic Heritage: Theories of the English Novel from James to Hillis Miller; here I discussed his relationship to the Anglo-American tradition. I cannot say that I have kept up with all of his more than thirty books. In 2005, Stanford University Press thought he had enough of a following to publish The J. Hillis Miller Reader, bringing together examples of his work with commentary by others on his work. With some regret, I wonder if a major press would do such a volume in 2015 or whether his place in the firmament has somewhat faded. I saw Miller on occasion when I still went to MLA and at times when he still lived on the East Coast, and found him a generous colleague, which meant a great deal to me as young aspiring scholar working my way through the ranks. The first time I gave a plenary talk at a conference, he was one of the other speakers, and he made me feel welcome. Indeed, he contributed a fine essay on The Secret Sharer to the Bedford Case Studies in Contemporary Criticism edition of that work, which I edited in the [End Page 303] later 90s. What attracted me to his criticism was his strong and lucid close readings of canonical novels; these readings showed an attention to the subtleties of language without losing empathy for what authors were trying to do. In his early books, he maintained a nice balance between the macrocosmic view and microcosmic view, what I have truncated in my own work to “Always historicize; always the text.” Later, as he belonged to theoretical communities that sometimes had a problematic relationship to primary texts and would zero in on a handful of passages in a novel, he did not lose the sense of the evolving novel. The volume under review consists mostly of revisions of published essays and talks. On the whole, the volume does not cover new ground, but Miller’s nuanced arguments are a pleasure to read and his panoramic view of the theoretical mind-scape that still drives literary studies for some is impressive. Reflecting the breadth and depth of a man of prodigious learning, Communities in Fiction takes us on a tour of some of the stopping points that have been marked on the theoretical map these past fifty years. In his opening chapter, “Theories of Community,” Miller reviews various definitions of community, but to me this seems a somewhat tangential introduction to what follows. Rather than present a compelling argument, he asks whether the novels he discusses represent “a true community” (17). His unremarkable conclusion is: “[A] ssumptions about the nature of individuality and intersubjectivity largely determine one’s idea about community” (17). The nominal subjects of the second through fifth of six chapters are mostly Victorian and early twentieth-century novels: Trollope’s The Last Chronicle of Barset, Hardy’s The Return of the Native, Conrad’s Nostromo (by far the longest and perhaps the best, running nearly 100 pages, although it could have been somewhat shorter without losing its main points) and Woolf’s The Waves (perhaps the most rigorous chapter in terms of taut argument). Miller has always stressed that his focus is on “how does meaning arise from the reader’s encounter with just these words on the page?” (Fiction and Repetition 3). While Miller draws...

I Like to Solve Problems like an Adult — Global Storylines As a Way of Global Education

Drama techniques such as role playing or structured drama are widespread and frequently used methods of supporting the activity and participation of students in learning. Less known method which combines elements of drama education with global social issues is a Scottish method called Global Storylines. Within a three-year partnership project entitled "Expanding Participatory Teaching of Global Issues in the Primary Schools by Global Storylines Method" in whichthe Centre for Global Education NaZemi and the Institute for Research in Inclusive Education of Faculty of Education of Masaryk University participated, with the support of the Ministry of Foreign Affairs,three principal research goals were followed: Global Storylines effect on the participation of students in education; Global Storylines supportive role in teaching global issues, and inclusive potential of Global Storylines method. In the first cycle of the method implementation the research sample consisted of 6 teachers from two elementary schools and one kindergarten, in the second cycle of 16 teachers from seven elementary schools and one kindergarten. To fulfill the research project the following qualitative research methods were used: repeated direct observation in classes (3–4 observations in each class), individual and group interviews with teachers and students, analysis of written teacher’s reflections of the story episodes and the analysis of other outcomes such as students’ works and photographs taken by teachers. The survey showed a high motivational influence on the activity level of students and their participation in education. Building a fictional community, which is the basis of work with the story, positively contributed to the development of imagination of students, strengthening their cooperation, self-esteem and interpersonal relationships. A linking has been detected between the level of participation and the inclusive potential of the method. Creating a new identity allows students and teachers to secede from existing social roles and gain a whole new perspective of each other. Students appreciated the privileges associated with adulthood, especially decision-making power and respect, while teachers welcomed the opportunity to leave the role of authority and become part of a community of learners.

Linguistic Capital and Development Capital in a Network of Cultural Producers: Mutually Valuing Peer Groups in the ‘Interactive Fiction’ Retrogaming Scene

This article reports on a mixed-methods study of the cultural valuing of ‘interactive fiction’ or ‘text adventure games’: a formerly commercial videogame genre sometimes associated with electronic literature but here argued to be best understood in context of the under-researched phenomenon of ‘retrogaming’ or ‘old school gaming’. It is argued that a model for the study of retrogaming scenes is provided in Lena and Peterson’s account of ‘traditionalist’ musical genres, and that these in turn exhibit similarities with Bourdieu’s ‘field of restricted production’. On the basis of qualitative analysis of interviews and documents and quantitative analysis of valuing behaviour on a website used by the interactive fiction community, it is proposed that entrance into the mutually-valuing peer group of interactive fiction developers is facilitated by possession of two intangible resources: linguistic capital (in the form of proficiency in Standard English) and development capital (in the form of expertise with programming languages specific to the production of interactive fiction), where development capital is a new concept that may be extensible to other technically-oriented digital cultures (for example, the working cultures of professional software developers and the communities that form around open source projects). Expressions of value in the form of star ratings were collected procedurally through data scraping, and represented as a directed graph. Seidman’s k-core was innovatively used as an instrument for detecting mutually-valuing peer groups within that graph. It is argued that this methodology has general application for the study of cultural value and its production within social networks (both online and off), including networks associated with more established cultural fields such as art and literature.

Communities in fiction

Communities in fiction

Scrivere da altri per altri: l'autorialità illegittima della fanfiction online

As a work of fiction written by fans for other fans taking a source text as a point of departure, fan fiction seems to question some of the most important cornerstones of modern literary writing such as original creativity and intellectual property. This peculiar kind of writing therefore raises problems of both legal and artistic nature. Is it legal to write using someone else’s story and characters without his permission? Where is the boundary between the rights of the author and the rights of the reader? Can a transformative writing aspire to authorship?All those controversial subjects were almost invisible as long as fan fiction was a private practice published in fanzines and read during conventions. But nowadays, on the Internet the invisible – so to speak – has become visible and fan fiction has to cope with new challenges (censorship, criticism, external rules) as well as old habits (ethical constraints, open discussions, self-imposed rules). This article examines the complex nature of online fan fiction both on the legal and on the authorial side and shows how a fan fiction community works and organizes itself through the analysis of the largest Italian community, Efpfanfic.net.

Emotional Landscapes of Reading

This paper focuses on fan fiction as a literary experience and especially on fan fiction readers’ receptive strategies. Methodologically, its approach is at the intersection of literary theory, theory of popular culture, and qualitative research into practices of communication within online communities. It presents a general characterization of fan fiction as a type of contemporary and writing, drawing upon the influential works by H. Jenkins, A. Dericho, K. Tosenberger, and others. Taking as an example the Russian Harry Potter fan fiction community, the paper poses a set of questions about meanings and contexts of immersive and affective highly present among the strategies of this fan fiction community. The of fan fiction communities is put into historical and theoretical context, with references to the works by researchers who analyzed and criticized the dichotomy of rational and affective or enchantment, in literary culture as one of the symptoms of modernity (M. Millner, M. Saler, R. Felski). The metaphor of emotional landscapes of reading is used in the paper for theorization of the strategies of fan fiction readers, and discussed through parallels with phenomenological theories of landscape. Among the assemblage points of reading of fan fiction, such specific elements are described as selective reading, kink reading, first encounter with fan fiction texts and unpredictability.

GEDUNG KOMUNITAS SASTRA FIKSI KREATIF DI MAKASSAR DENGAN PENDEKATAN ARSITEKTUR KUBISME

These planning and designing are aimed to the creative literary fiction community building in Makassar with Cubism architecture approach, this design is limited to a few problems such as the problem of architectural, location and footprint, the prospect physical design of the building, the need for space (layout), structure, materials, and equipment building so that, it can indicate the identity of what its contain, while the methods are literature studies, comparative studies, (Form obtained by comparing studies on similar projects or who have in common with creative literary fiction community building). The results of the design is creation of infrastructures to facilitate the public to channel their talents and interests in the field of literature, especially literary function and also facilitates and encourages reading by providing the quality of reading source which are cheap and reachable by all people.

“Bandom Ate My Face”: The Collapse of the Fourth Wall in Online Fan Fiction

Studies of real-person fan fiction (RPF) often focus on how RPF exploits the flexibility of celebrity identity. Yet social media have introduced an unprecedented level of proximity between fan fiction communities and their subjects. This article focuses on “bandom,” a fan fiction genre focused on American rock bands like My Chemical Romance. Bandom thrived on the constant contact of social media, but some participants became troubled by their subjects' behavior, particularly some musicians' acts of theatrical homoeroticism termed “stage gay.” Such controversies, coupled with the constant online presence of bandom's subjects, threatened to overwhelm the flexibility that RPF often requires.