Whether you look at quantity, quality, or readership, we are in an unprecedented era of fan fiction. Thus far, however, the genre has been subject to relatively little rigorous qualitative or quantitative study--a problem that Judith May Fathallah remedies here through close analysis of fanfiction related to Sherlock, Supernatural, and Game of Thrones. Her large-scale study of the sites, receptions, and fan rejections of fanfic demonstrate how it often legitimates itself through traditional notions of authorship even as its explicit discussion and deconstruction of the author figure contests traditional discourses of authority and opens new spaces for writing that challenges the authority of media professionals.
You've eaten too much, you fat pig." When Jessica was thirteen years old, she met the Monkey. The Monkey lived inside her: a driving, fiery voice telling her that thinness was the only way. The only way to be safe, to be good, to be acceptable and above all, to escape from the cold, looming threat of approaching adulthood. Jessica listened to the Monkey, and it consumed her. This is the illuminating story of a teenage girl's wanderings in darkness: the spiral down into madness, the terrible realities of an adolescent psychiatric unit, and the stark choice that she must either tame her monster - or die. Through memory, reflection, and enduring black humour, Jessica makes a tenuous peace with the world and with her emerging adult self.
For many, the word “emo” calls to mind angsty teenagers, shaggy black haircuts, and skinny jeans. A popular music phenomenon in the early 2000s, emo is short for “emotional hardcore,” and refers to both a music genre and a youth scene notable for its androgynous style. Judith May Fathallah pushes beyond the stereotypes and social stigma to explore how online fandom has shaped the definition of emo, with significant implications both for millennial constructs of gender and for contemporary fan studies. First laying out the debate over what emo is, Fathallah walks superfans and newcomers through the culture surrounding thegenre’s major bands, including the emo holy trinity: My Chemical Romance, Fall Out Boy, and Panic! At the Disco. Next she examines fans’ main mode of participation in the emo subculture—online communities such as LiveJournal, Tumblr, MySpace, and band websites. Taking a hard look at the gender politics that dominated those spaces, she unearths a subculture that simultaneously defines itself by its sensitivity and resistance to traditional forms of masculinity, yet ruthlessly enforces homophobic and sexist standards. Fathallah demonstrates fandom’s key role in defining emo as a concept and genre after 2001, with probing insight into its implications for gender constructions through popular music.
For many, the word “emo” calls to mind angsty teenagers, shaggy black haircuts, and skinny jeans. A popular music phenomenon in the early 2000s, emo is short for “emotional hardcore,” and refers to both a music genre and a youth scene notable for its androgynous style. Judith May Fathallah pushes beyond the stereotypes and social stigma to explore how online fandom has shaped the definition of emo, with significant implications both for millennial constructs of gender and for contemporary fan studies. First laying out the debate over what emo is, Fathallah walks superfans and newcomers through the culture surrounding thegenre’s major bands, including the emo holy trinity: My Chemical Romance, Fall Out Boy, and Panic! At the Disco. Next she examines fans’ main mode of participation in the emo subculture—online communities such as LiveJournal, Tumblr, MySpace, and band websites. Taking a hard look at the gender politics that dominated those spaces, she unearths a subculture that simultaneously defines itself by its sensitivity and resistance to traditional forms of masculinity, yet ruthlessly enforces homophobic and sexist standards. Fathallah demonstrates fandom’s key role in defining emo as a concept and genre after 2001, with probing insight into its implications for gender constructions through popular music.
You've eaten too much, you fat pig." When Jessica was thirteen years old, she met the Monkey. The Monkey lived inside her: a driving, fiery voice telling her that thinness was the only way. The only way to be safe, to be good, to be acceptable and above all, to escape from the cold, looming threat of approaching adulthood. Jessica listened to the Monkey, and it consumed her. This is the illuminating story of a teenage girl's wanderings in darkness: the spiral down into madness, the terrible realities of an adolescent psychiatric unit, and the stark choice that she must either tame her monster - or die. Through memory, reflection, and enduring black humour, Jessica makes a tenuous peace with the world and with her emerging adult self.
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