[stracciatella]

В общем в тумбе наткнулась на исследование по фанфикшену и буду вам выкладывать куски оттуда. Автор исследует феномен фанфикшена как творчества, в первую очередь основанного на определенном эмоциональном отношении фанатов к источнику, что отличает фанфикшен от других работ, существовавших на протяжении всей истории и по своей сути тоже являющихся transformative.
Источник: journal.transformativeworks.org/index.php/twc/a...

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To define fan fiction only by its transformative relationship to other texts runs the risk of missing the fan in fan fiction—the loving reader to whom fan fiction seeks to give pleasure. Fan fiction is an example of affective reception. While classical reception designates the content being received, affective reception designates the kind of reading and transformation that is taking place. It is a form of reception that is organized around feeling.
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In recent discussions of the role of emotions in literature, theorists have distinguished between affect (the physical and mental responses that comprise feelings), and emotions (the cultural and social forms into which feelings are organized). Focusing on affect—the physical and mental manifestations of feeling such as tears or arousal—helps to avoid reducing or conscribing the complex affective engagement with texts to specific and culturally-inscribed emotions such as happiness, although of course it is often difficult to draw a hard line between affect and emotion in practice. This distinction also follows usage in fandom, where feels are celebrated and indulged above specific emotions. Feels, in fact, are the shaping force behind fan fiction as a genre. Moreover, as affective reception, fan fiction is a form of literary response where literary allusions evoke not only a shared intellectual community in the audience but also a shared affective community.
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Theorists of fan fiction often speak of fan fiction as filling the gaps in a source text, a phrase with its own sexual undertones that also describes fan fiction's self-assumed role as interlinear glossing of a source text. Silences and absences in the source text act as barriers to intimacy, and fan fiction writers fill these silences with their imaginative activity, enabling their own deeper understanding of the world and characters of the source text.
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For example, in The Book of Margery Kempe, the biography of a late-14th-century English Christian mystic, Kempe visualizes herself speaking with the Virgin Mary after the death of Jesus and offering her a hot drink to comfort her. Other examples from late medieval meditation guides and the biographies of women mystics suggest that this imaginative meditation practice bears a resemblance to the Mary Sue genre of fan fiction, in which the author writes a wish fulfillment fantasy in which she literally finds intimate connection with the fictional characters
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Classical and medieval pedagogy encouraged affective investment in characters from history and poetry (such as Dido) as a mnemonic device to improve Latin language learning and oratorical skills.
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Karl Morrison (1988) identifies a common trope in some premodern Christian literature that encourages the reader to identify with Christ by imagining how he feels during the events of the New Testament Gospels in order to better cultivate Christlike characteristics in themselves and to gain knowledge of Christ. Morrison calls this a "hermeneutics of empathy."
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This is a mode of historical enquiry which stands in opposition to theoretical positions emphasizing objectivity, distance, and the neutral interpretation of evidence.
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Affective hermeneutics direct focus toward moments of high emotion in a text that stimulate equally strong feelings in the reader; these heighten a sense of empathy, connection, or intimacy between the reader and the characters in the text. Affective hermeneutics also seek to fill the gaps in canon through attention to the emotional lives of texts themselves.
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Fan fiction's primary focus on the emotional life of texts has structured the way in which the genre has developed in almost every respect; this is particularly obvious on examining the apparatuses that structure both online fan fiction archives and the most common literary forms and subgenres within fan fiction. Online archives categorize fan fiction according to conventions that have grown up within the community over time, often originating in early zines; stories are rarely categorized according to the genres that are conventional in book publishing (such as romance, science fiction, or crime) but are instead categorized first by fandom, then by the type of emotional or romantic relationships in the story—gen, het, and slash—and then by the characters in the story. Many other genre classification conventions that have emerged within fandom also serve to classify the kind of emotional experience the story offers; PWP (porn without plot), hurt/comfort, deathfic, mpreg, and Mary Sue stories are all good examples. So too are episode tag stories, which often seek to close an emotional arc that has been unsatisfactorily dealt with in canon, and pastfic, or fan fiction which imagines a backstory for characters that contextualizes their emotional reactions in canon. These genre classifications enable fans to seek out time with the worlds and characters that they love and to seek out certain kinds of emotional experiences with texts.
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This affective hermeneutics is substantially different from the critical reading conventionally taught in the university classroom, which values a stance of critical objectivity, even suspicion, toward the text.
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Eve Sedgwick is a founding thinker on affect in the study of literature. She identifies the paranoid impulse (that is, a suspicious, defensive attitude toward the text) behind most forms of critical reading. Sedgwick proposes the cultivation of reparative reading that is loving, nurturing, and productive.
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In his essay "Uncritical Reading," Warner (2004) questions the naturalization of critical reading in the classroom and the academy and asks what kind of cultural ideals are reinforced by this form of reading. Warner cites Saba Mahmood's study of the grassroots women's piety movements in Egypt, whose members seek to read the Qu'ran in ways that do not line up to western ideals of critical reading because they seek a different model of personhood and subjectivity.
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Warner's argument implicitly acknowledges fandom as an alternative hermeneutic framework available to his students, affective as opposed to critical reading. Felski describes the process by which students are required to renounce this affective style of engagement in the classroom as "moving from attachment to detachment and indeed to disenchantment, undergoing not just an intellectual but also a sentimental education"
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Fan fiction writers focus on the emotional life of historical characters and imagine a way into their lives, a route to knowledge not conventionally countenanced by the academy, as Felski and Warner show, but complementary to other ways of intellectually exploring texts.
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It is clear that the affective hermeneutics used in fan fiction—the focus on intense affect, the desire to inhabit it, to imagine it, and to understand it—has particular resonance for marginal communities whose histories must be read between the lines.
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Dinshaw also gives an example of the role of affective hermeneutics in the history of sexuality: the fan letter she finds in the correspondence of the late John Boswell, scholar of Latin literature and writer of Christianity, Social Tolerance, and Homosexuality (1980) (a controversial book that reinterpreted Biblical passages and historical evidence to suggest a more tolerant attitude toward homosexuality in the early church than had been previously thought). An unnamed professor wrote to Boswell: "Whereas I have often felt intellectual 'friendships' across the centuries—historical thinkers with whom I have felt such strong affinities that I feel I know them and that we speak for one another, I had never felt—until I read your book—that I had gay friends across the centuries" (quoted in Dinshaw 1999, 28).
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Reading the affective hermeneutics of fan fiction has great potential to expand our explorations into what it is that fan fiction does; it also can help refocus attention toward the role of affect and the reader in other forms of transformative literature. Uncritically referring to any ancient literature that uses allusion or transformative formal elements as early fan fiction is to ignore the significance of the context of fan fiction's emergence from an affective discourse and, above all, the central importance of affect to both its authors and its audiences. Bringing attention to affect in comparisons between fan fiction and premodern literature, however, may help to bring out the extent to which these early transformations of other stories might have emerged from their own fan communities of invested audiences and loving readers.

@темы: литература, фандомы, fanfiction