Your paper is due Sunday, 2/16 at 8pm as a PDF via email to Please name this file: YOURLASTNAMEfms394Poaching. This wave is referred to as Fandom is Beautiful. Submission Guidelines (please read these carefully): Textual Poachers still heavily influences fan studies research which examine fan communities and fan text production (Coppa, 2014 Booth, 2009). How does the show play with notions of authorial intent, or the idea that there is a singular, correct interpretation of the text?.Supplementing the original, classic text is an interview between Henry Jenkins and Suzanne Scott in which. How does the show represent its fans, and slash fans in particular? The twentieth anniversary edition of Henry Jenkins's Textual Poachers brings this now-canonical text to a new generation of students interested in the intersections of fandom, participatory culture, popular consumption and media theory.Which narrative moments help facilitate and/or contain fannish readings of the brothers’ relationship as homoerotic?.How is the “moral economy” between producer and fan addressed in this episode?.How do the discourses surrounding slash (or Wincest) as a form of textual poaching in the episode function to validate and/or dismiss such readings?.When extracting and analyzing examples from the episode to serve as supporting evidence for your argument, begin by considering the following questions: Your paper must critically engage with both Jenkins’ and Tosenberger’s work, and craft a thesis-driven argument exploring textual poaching as a fan practice that considers how the power dynamics between producers and consumers shape these practices. Conversely, Catherine Tosenberger’s article, “The epic love story of Sam and Dean: Supernatural, queer readings, and the romance of incestuous fan fiction,” argues that Wincest slash doesn’t resist or subvert the text, but rather should be viewed as an “actualization of latent textual elements.” Using the Supernatural episode “The Monster at the End of This Book,” as a test case, write a 3-5 page paper that stakes a position on the continuum created by these two readings, between poaching-as-resistance and poaching-as-actualization. In Henry Jenkins’ chapter on slash in Textual Poacher he positions fans as resistant readers and textual poachers, discussing the production of slash fiction as a prime example of both.
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