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Translation, interpretation, fan fiction: A continuum of meaning production
Shannon Farley
Transformative Works and Cultures, 2013
By using the arguments of Maria Tymoczko to enlarge the definition of translation and of Rosemary Arrojo to draw a parallel between the struggle between author and translator and creator and fic writer, I argue that translation studies is a fruitful way to theorize fan fiction and other transformative fan works.
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Playing with and Policing Language Use and Textuality in Fan Fiction
Sirpa Leppänen
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Fan fiction as world-building: transformative reception in crossover writing
Natalia Samutina
Continuum, 2016
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Literature Online: The Subversive Practices of Fan Fiction
Dessislava Lilova
Seminar BG, 2013
The article explores the effects of convergence culture (H. Jenkins) on the system of literary production and consumption. The study is focused on fanfiction culture with a special accent on Harry Potter fandom. The analysis investigates several areas where the creative practices of amateur writers challenge and subvert the corporate and state control over literary production: copyright vs. nonprofit literature, transformative work vs. plagiarism, literature vs. visual arts, author vs. audience, writer vs. reader, classical vs. popular literature, canon vs. fanon.
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REMEDIATING FANTASY NARRATIVES FOR PARTICIPATORY FANDOM: TOLKIEN'S STORIES AND THEIR TRANSLATIONS IN FILMS, VIDEO GAMES, MUSIC AND OTHER PRODUCTS OF THE CULTURE INDUSTRIES 1
Eirini Papadaki
Digital Age in Semiotics & Communication, 2022
The phenomenon of fantasy transmediality (Rebora 2016) has been discussed by many researchers and scholars during the last decade. The need for the creation of alluring cultural products in the highly competitive new media environment has led to synergies between many cultural industries and/or cultural producers, such as film, music, literature and videogame industries, etc. Many well-known and fan-developing narratives have been remediated-repackaged and redistributed-through the various media, answering to the contemporary nostalgia of pastness (Williams 2016), the 1 The authors wish to express their gratitude to the reviewers and the editors of this volume for their thoughtful comments, which helped considerably towards the improvement of the paper.
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Remediating fantasy narratives for participatory fandom: Tolkien’s stories and their translations in films, video games, music and other products of the culture industries
Eirini Papadaki
Digital Age in Semiotics & Communication
The phenomenon of fantasy transmediality (Rebora 2016) has been discussed by many researchers and scholars during the last decade. The need for the creation of alluring cultural products in the highly competitive new media environment has led to synergies between many cultural industries and/or cultural producers, such as film, music, literature and videogame industries, etc. Many well-known and fan-developing narratives have been remediated – repackaged and redistributed – through the various media, answering to the contemporary nostalgia of pastness (Williams 2016), the cherishing of the familiar and intimate, as well as the need to further popularize “a pre-conceived merchandising industry” (Ball 2002), create new side-products for a fan community or even offer escapelands, which fantasy narratives succeed in creating. This paper will examine the translation and adaptation of Tolkien’s Lord of the Rings (LOTR) to different media and cultural industries, such as:- Peter Jackson’s ...
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Resounding Words: Fan Fiction and the Pleasure of Adaptation
Larisa Kocic-Zambo
Travelling around Cultures: Collected Essays on Literature and Art, 2016
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Fan (Fiction) Acting on Media and the Politics of Appropriation
Wolfgang Reißmann
Media and Communication, 2017
Fanfiction is the creative appropriation and transformation of existing popular media texts by fans who take stories, worlds and/or characters as starting points and create their own stories based on them. As a cultural field of practice, fanfiction questions prevalent concepts of individual authorship and proprietary of cultural goods. At the same time, fanfiction itself is challenged. Through processes of mediatization, fanfiction grew and became increasingly visible. Third parties, ranging from the media industry (e.g., film studios) and copyright holders to journalism and academia, are interested in fanfiction and are following its development. We regard fanfiction communities and fan acting as fields for experimentation and as discursive arenas which can help understand what appropriating, writing and publishing in a digital culture and the future of writing might look like. In this paper, we outline important debates on the legitimacy and nature of fanfiction and present preli...
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Online Fan Fiction, Global Identities, and Imagination
Rebecca Black
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Fan translation of games, anime and fanfiction
Boris Vazquez-Calvo, Mariona Pascual, Leticia Tian Zhang, Daniel Cassany
Language Learning and Technology, 2019
Fan practices involving translation open up opportunities to explore language learning practices within the fandom (Sauro, 2017). We examine how three fans capitalize on fan translation and language learning. We consider the cases of Selo (an English–Spanish translator of games), Nino (a Japanese–Catalan fansubber of anime, and Alro (an English–Spanish translator of fanfics). A corpus was built consisting of 297 minutes of interviews, 186 screenshots of language learning events from online sites, and 213 minutes of screencast videos of online activity. Drawing upon the conceptual framework of new literacy studies (Barton, 2007), we set four themes to present fans’ literacy practices and language learning: (a) fan translation, (b) understanding the original text, (c) writing and preparing the translation, and (d) tools, resources, and collaborative online practices. Results indicated that the three informants encountered an open space for agency, creativity, and identity building and reinforcement through fan translation. Their translations provided content and represented the generators of the semiotic fabric in their fandoms (Gee, 2005). As fan translators, they learned language in multiple ways, such as peer-to-peer feedback, autodidactism, and creative uses of Google Translate. Future research may attempt to transfer knowledge from digital wilds into formal education.
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